South African Art Times May 2011

The South African Art Times: SA’s leading visual arts publication | May 2011 | Free | Read daily news on www.arttimes.co.za

ART TIMES

Peter Clarke Artist extraordinaire

KZ -Natal Art Special Feature Photo: Jenny Altschuler

Receive the SA Art Times to your door subscribe for R 320 for 1 year: details at www.arttimes.co.za

Photo: John Hodgkiss

Fransi Phillips

Met hierdie uitstalling het ek gevind Sy genade is meer as genoeg vir vandag en m么re en oorm么re.

+ s s Dinsdag - Vrydag / Tuesday - Friday 9:30 - 3:30 Saterdag / Saturday 9:30 - 1:00

+

With this exhibition I have found that His mercy is more than enough for today and tomorrow and the day after.

+ Vir meer inligting / For more information: Michael 012 804 0869 jennifer@michaelheyns.co.za www.michaelheyns.co.za

+% *2+*

The Young Concrete Sculptor Awards Competition PRIZE MONEY: Best Sculpture on Exhibition – R50 000 Runner-up – R25 000 Merit Awards – 2 x R5 000 Submit entries from 27 – 29 September 2011 For more information on how to enter visit www.ppc.co.za or phone 012 346 3100 Terms and conditions apply

YOUNG CONCRETE SCULPTOR AWARDS

SPONSORED BY

TJDR/46960

bring your vision tolife enter

Second Chances

artist: JJA

12 May 2011 - 4 June 2011 In a world which is desperately running out of resources, and the time has come to react, I present second chances! When I see an empty can of soda, I don’t see aluminium waste, but an artistic challenge. Empty soda bottle, I see an angel which is waiting to spread its wings! As human beings, if we just took a second glance, at something which seems ugly, and realized that beauty lies in potential, nothing would ever be disregarded. Like the cave men from past times, I too use leather, snake skin and springbok fur. To me it is all about interaction, touch and visual!

Art should be living, feeling, touching unique! That’s what I believe.

THE FRAMERY ART GALLERY

67g Regent Road, Sea Point 021 434 5022 debbiegrewe@gmail.com

ART TIMES | NEWS / RESPONSE TO THE DEPARTMENT OF ARTS AND CULTURE’S APRIL CONFERENCE, JHB The South African

Art Times MAY 2011

Another missed opportunity for government to listen Zukiswa Wanner

Daily news at www.arttimes.co.za

See related article page 11 Arty plan to ‘grow economy’ Published monthly by

Global Art Information PO Box 15881, Vlaeberg, 8018 Tel. 021 424 7733 Fax. 021 424 7732 Editor: Gabriel Clark-Brown editor@arttimes.co.za Advertising: Eugene Fisher sales@arttimes.co.za Subscriptions: Tracey Muscat subs@arttimes.co.za News: Jim Wolf news@arttimes.co.za Shows: Tracey Muscat show@arttimes.co.za Admin: Bastienne Klein admin@arttimes.co.za Daily Website: Liesel Botha Artwork: art@arttimes.co.za Layout: Fourseasons

Deadline for news, articles and advertising is the 20th of each month. The Art Times is published in the last week of each month.

Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the SA Art Times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

First Published: http://blogs.african-writing.com/zukiswa

A Missed Opportunity for Arts & Culture Asked on a South African Broadcasting Corporation (SABC) news insert whether I thought the Arts Consultative Conference would make a difference to the lives of artists, I smiled and answered, ‘I am observing but get the feeling it is another pre-election feel-good campaign.’ And yet, being the eternal optimist, I was still hopeful. I was not the only one clearly. In Newtown Precinct on the 14th of April, South African artists came out in droves to attend the two day ‘consultative’ conference and for a chance to be listened to by the Department that is meant to cater for their issues – the Department of Arts and Culture. Despite the fact that only 500 artists had been accredited, an extra 350 artists in film, music, literature, crafts, storytelling, and visual arts, turned up. This alone should have been indicative to the DAC officials on just how important this was, but did they notice?

The answer to that is an unequivocal ‘no.’

The first day begun with an address by Arts Minister, Paul Mashatile and Economic Deputy Minister Enoch Godongwana both telling us how ‘important artists are’ blah blah blah. Owing to lack of electricity, the programme had started late so tea break was skipped to continue with the programme. Avril Joffe addressed the delegates giving us a case study of the use of the art, culture and heritage sector as a tool for social cohesion and economic growth. If nothing else, those artists who did not know, got to know about the Arterial Network from her. Then it was straight to panel discussions where we got to listen to a heritage

expert, Zimbabwean Dr. Webber Ndoro telling South African artists on the importance of their heritage sites, and National Library Chair Muxe Nkondo on literature and books.

After these two presentations, the delegates were asked by a very strict Chair, Gauteng MEC for Sports & Arts Lebo Maile, to ask questions. Many questions were posed, as well as quite a few rants – among the amusing ones, a singer who spoke thus: ‘there are some of us who are very good at what they do, yes, I am saying it, I am a good singer. But at every cultural festival and event, the government keeps focusing and inviting the same people who cannot even sing and do not understand music.’ If the reader fails to understand why this was funny then perhaps I need to highlight that as she spoke, African National Congress favourite singer and dancer Chomee had just stood up and her producer Arthur was sitting in the row next to the speaker.

Delighted that we had been addressed by the National Library Chair, I enquired just who was in charge of book purchasing since it seemed odd to me that I can go to many a library in the country and not find South African writers on the shelves.

The answer? ‘That is a very good question. The people in charge of that are right here and you can talk to them further.’ To his credit, Professor Nkondo did introduce me to a pair in charge who, when I took them to task just before lunch break, informed me that my issues would be addressed in the breakaway sessions.

SABC Head of News Phil Molefe was another interesting speaker and he found no irony in stating that the arts were very important to SABC and that is why the national broadcaster dedicated two five minute sessions twice a week on SAFM to focus on the arts. He also highlighted the 40 percent local content regulation of the national broadcaster but failed to mention that it is a qualified 40 percent (so for instance when South African music is played from midnight to 6am, and when news in isiZulu is shown on SABC 1, they count as part of the 40 percent of local content). (continues on page 07)

the loop art foundry

t 27(0)13 7582409 f 27(0)11 5075747 theloop@worldonline.co.za www.theloopartfoundry.co.za & www.thelooponline.co.za

striving in our passion towards excellence 06

SA ART TIMES. May 2011

RESPONSE TO THE DEPARTMENT OF ARTS AND CULTURE’S APRIL CONFERENCE, JHB / NEWS | ART TIMES After lunch we went to the breakaway sessions royalty fee (in the same way that musicians get which were arranged in an odd way to say the paid anytime their music receives airplay). The least. I would have thought film and theatre would author would then get her/his share as part of have had its own room so artists in this field can their royalty while the contribution to the National bring forth their most important issues to report Library would go to a Writer’s Grant that would back the next day, same for visual arts, literature permit the grant recipient to take time off to write (where I could get a chance to talk further with the without worrying about bills.

National Library folks) and so forth. Alas, I was DAC seemed very keen to push the idea of an being too hopeful. Instead, we had three parallel Arts Bank but in the breakaway session I sat in sessions under the umbrella topics of Organisaon Day 2, many a visual artist shot the idea down, tion, Performance, and Funding on the first day suggesting instead that it would be better if the and slightly narrower discussion panels the next funding was utilised for existing yet underfunded day (Skills Development; Sourcing of Goods & galleries. Another idea that DAC was keen on, services in Sector; Cultural Precincts, events & that of setting up a National Skills Academy was Information hubs; National & international Touring also shot down by artists for two reasons: one Company, Heritage Development; Art Bank & being that there are already existing institutions Public Art Programme). In each of the sessions dealing with the arts which need support and as we had a hodgepodge of different artists. And yet, such, funds should be diverted there instead; and from the two breakaway sessions I attended in secondly that talk of training more artists was not the two days, many very real industry issues that practical given that existing artists are not thriving needed to be discussed were brought forth. (a delegate whispered, ‘what do they want to train more of us for when those of us who are here are Among the big issues dying broke or committing suicide because we cannot pay our bills?’)

Definition of artists on South Africa’s economic In the end though, all this talk came to nought as landscape – most artists are treated by South artists received copies of a Conference DeclaraAfrican Revenue Services and taxed as full time tion which some of us thought may have been employees but many other industries consider written before the conference begun. artists as unemployed because of their irregular income and thus will not give home or car loans.

And why would we not think that? Clause 5.1 A delegate suggested that DAC needs to work of the Declaration read, ‘We will also establish with Department of Labour and SARS to ensure a National Skills Academy’, and 5.9 read, ‘An clarity on this. This was an issue of particular art bank will be established…’ Then just in case importance to artists given that at last study, the the reader is not laughing already, there were arts and heritage sector contributed more than Clauses 9 and 10 which committed to ‘initiate a R40 billion annually to South Africa’s GDP. consultative process’ and to a ‘follow up consultaA set minimum standard royalty fee percentage in tive conference’ – in essence, more conferences the different creative arts fields and a DAC-funded about this conference. Perhaps the straw that legal team to fight for artists hen companies broke the camel’s back as we waited for this infringe those rights. talk shop to end though was when a delegate The need for cultural attaches at all South African from the Creative Workers Union South Africa diplomatic missions to ensure that there is a (CWUSA) wanted to make an announcement promotion of South African arts and artists. to the delegates about a march to M-Net on The need for bureaucrats in DAC who are familiar Wednesday March 20. The march follows that with their field of artistry. Someone complained, company’s recasting of actor Tony Kgoroge when and many nodded in agreement, that oftentimes he questioned a clause in their contract to him artists will talk to department officials on a certain – an issue that many an actor have battled with issue and the official is not familiar with the field at with M-Net. The powers that be, despite the very all although they are getting paid for it. real presence of creative workers, did not feel this The need to streamline the national, provincial warranted the delegates’ attention and refused to and local governments’ year ends so that funding allow a minute or two (which is what it would have can be better accessed by artists. taken) for the announcement to be made.

The need for the Department to give real deadlines to act on different issues so that artists can And they wonder why we are cynical. hold them accountable.

The need to separate Sports from Arts & Culture Instead the programme closed with a team of in provincial and local government. choristers from, some said Denmark, singing The need for SABC to guarantee that their 40 some song in isiZulu and DAC officials joining percent local content occurs between 6am and them on stage, dancing, whistling and ululating.

8pm so that artists can get the most out of the Yay for celebrating a Rainbow Nation of Starving exposure. Also the need for Public Service Artists!

Announcements (PSAs) to ensure that more Zukiswa Wanner is a South African Writer. She has people are familiar with the arts since the national contributed material to newspapers and magazines that broadcaster does not do that. A delegate suggested that ICASA monitors and fines the SABC if include the Sunday Independent, Oprah, Elle, Juice and Afropolitan. Her debut novel, The Madams (Oshun this is not done.

Books, 2006), explores race relations while my second A South African library book in each South African novel, Behind Every Successful Man (Kwela Books, library purchased by the libraries. Also, a system 2008), looks at what happens when husband and wife where any time a local book is borrowed, the roles are reversed. Both novels are set in post-apartheid author and the National Library split a minor South Africa.

SA ART TIMES. May 2011

07

ART TIMES | NEWS / RESPONSE TO THE DEPARTMENT OF ARTS AND CULTURE’S - VENICE BIENNIAL DEBACLE 2011

CAUSE FOR ALARM: THE DAC SHADY DEALINGS : Venice Biennale debacle 2011 The somewhat shady in-house modus operandum and deal between The Department of Arts and Culture (DAC) and art dealer Monna Mokoena erupted in the media after Malcolm Payne’s letter to the editor was published on The SA Art Times daily news. It seems clear from statements made by the DAC that The Venice Biennale guidelines were not followed, and the consequence of this would ultimately tarnish South Africa’s ability to maintain a clear and international selection process by this potentially corrupt deal. Perhaps now the only decent thing left is for ‘selected’ artists and curators themselves to resign and distance themselves from this show- no matter how great the temptation, until they are satisfied with the outcome of DAC’s complying to International levels of art selection process. The SA Art Times follows these movements through the media.

Malcolm Payne’s: Letter to the Editor: South African participation in this year’s Venice Biennale 14 April 2011 News of South Africa’s participation in this year’s Venice Biennale was unexpectedly announced via Venice Biennale press releases. This is unusual. Notification of national participation in such an important global event is the duty in our case, of the Department of Arts and Culture (DAC).

No such notification appears on their website and no official press release by the Minister is forthcoming.

A number of enquiries for clarification have been directed to the department including my own without response.

I conclude the Minister; his office and official’s silence on the matter means the following:

1. That zero curatorial sense can be made of the project and is therefore an embarrassment to the DAC. See (http://www.labiennale.org/en/art/exhibi tion/first-time/south-africa.html) 2. That the DAC is embarrassed that an open nation wide competition for curatorial proposals was not called for.

3. That the DAC is embarrassed that a commercial art dealer (Monna Mokoena Gallery MOMO) with blatant vested interests is appointed Commissioner under these circumstances.

4. That the DAC is embarrassed that said commercial dealer is sending two artists in his gallery stable to

represent this country.

The above would never be permitted by any of the exhibiting countries. A cursory web search proves this.

Perhaps the Minister is aware his unprincipled appointment of a commercial art dealer as commissioner and the subsequent commissioner’s appointment of a tame curator (Thembinkosi Goniwe) to administer the project, is flawed.

Without suggesting the process of selection is heavily tinged with corruption it is certainly opaque: hence the Ministers silence.

Emeritus Professor Malcolm Payne, Cape Town

Unhappiness over appointments, secrecy Biennale- artists want answers First Published in The Cape Times 19 April 2011 Tanya Farber While the Department of Arts and Culture has kept mum on claims of corruptuion and a lack of transparency around South Africa’s participation in the upcomming Venice Biennale, artist’s organisations and other interested parties are waiting for an explanation.

The Cape Times reported last week that a private art dealer, Monna Mokoena, had been apppointed commissioner for the country’s official presence at the Biennale, and that his curator had chosen two artists from Mokoena’s stable to represent the country. A third artist, Zwelethu Mthethwa, had withdrawn because of lack of transparentcy about the budget. Several attempts by The Cape time to procure an explanation from the department have gon unanswered, and many more questions remain.

According to Kirsty Cockerill, director of the Association of Visual Arts (AVA), the artists’ community is

feeling “unhappy” about the situatioon. “Unfortunately, the major concern is the lack of transparency,” she said. “This could hinder us from getting a pavilion at the Venice Biennale on a consistant level. How will others perceive South Africa at this year’s event, and what does this mean for the future?”.

Cockerill said the unusual protocol of a national call going out to all artists “works for very good reasons”, but the way things were done this year was’not only creaul to the art community, but to the individuals who are going’. She said many questions remained unanswered.

Lyndi Sales, one of the artists from Mokoena’s stablewould not comment on the scandal and was only prepared to say tha “this was an opportunity of a lifetime”. Michael Stevenson, a private gallery owner, said : “There are just so many conflicts of interest between the curator world and the commercial world, which often come to a head in Venice. It is too murky and what makes it promlematic for Mokoena to have

taken on that role.”

But, he added: “It is great that we’ll have a pavillion at the Biennale, so let’s not throw the baby out with the bath water. It’s really the department’s fault and there are questions to be answered.”

Cockerill’s predecessor at AVA, Estelle Jacobs, said the problem was not a new one.

“For years, there have been problems with the DAC and their release of information on the Biennale.

When we get invitations to participate, the department doesn’t act on it timeously or doesn’t act at all. When I was director, the department would never invite artists or curators to put forward proposals and so we would not be represented or commercial galleries would take it upon themselves to represent the country.”

The Department of Arts and Culture has said that it will respond to questions by today.

Dept. of Arts and Culture defends itself First published in The Cape Times. 21 April 2011

By Tanya Farber The proposal as it appears is semi-literate drivel...’

THE Department of Arts and Culture has defended its position of allowing a private art dealer, Monna Mokoena, to represent the country at the upcoming Venice Biennale, but art commentators are still crying foul over the use of taxpayers’ money for the initiative.

Percy Mthimkhulu. spokesperson for Arts and Culture Minister Paul Mashatile, said: “The department did not initiate involvement of South Africans at the Biennale.

We were approached earlier this year by Mokoena who had already spent two years preparing for the event as a private initiative. The minister felt that it was important that South Africa should participate in an event of such stature.”

Mthimkhulu confirmed that funds would come from the state and said that “the department has a budget

08

dedicated to promoting participation in international cultural events”. He could not disclose an amount, however, stating that “the DAC is still finalising the nature of its support”.

This comes in the wake of well-known artist Zwelethu Mthethwa withdrawing as he could not be given a clear indication of what his budget was for the production of work.

According to Professor Emeritus Malcolm Payne, who previously headed the Michaelis School of Fine Art at UCT, and whose letter to the Cape Times first initiated an investigation, the fact remains that “it is a highly unethical business and therefore the relationship between the dealer and the governing official is corrupt.

When a commercial art dealer is given the option by government to pursue this endeavour, it reinforces the notion that Mashatile and Mokoena know each other”.

When the department was asked whether the two men are friends. Mthimkhulu declined to answer and said that the department appointed Mokoena as the

commissioner because of “the excellent work he had done prior to this, and because of his experience, expertise and track record in the field”.

But, according to Payne, who represented the country in 1995: “This is an official South African pavilion which represents the country and the funds come from the country’s coffers yet it is clear that they didn’t create the conditions for open competition to find the best concept to represent the country. The proposal as it appears on the Biennale web-site is semi-literate drivel.” Says current Michaelis head Stephen Inggs, “One could argue that Mokoena spotted an opportunity and took it but really, the way these things are supposed to work is that if public money is being used, it is important that a careful process is followed.

The current system of commissioning does not appear to meet an appropriate standard of transparency given the apparent conflict of interest.”

SA ART TIMES. May 2011

2010_ArtTimes_70x297 10/21/10 10:55 AM Page 1

RESPONSE TO THE DEPARTMENT OF ARTS AND CULTURE’S - VENICE BIENNIAL DEBACLE 2011/ NEWS | ART TIMES C M Y CM MY CY

Reply letter from Percy Mthimkulu, spokesperson for DAC Dear Tanya Please see our answers in red. (Italics) Regards Percy Mthimkulu • Is Monna Mokoena a personal friend of the minister? Why was he (Mokoena) appointed as the commissioner when there is a direct conflict of interest when he is a private art dealer?

The DAC did not initiate involvement of South Africans at the Biennale. We were approached earlier this year by Mr Monna Mokoena who had already spent two years preparing for the event as a private initiative. This request to the Department was conveyed to Minister Mashatile. The DAC was supporting an existing initiative that was well advanced in terms of its planning. The DAC formally named Mr Monna Mokoena as the Commissioner. We also noted the excellent work he had done prior to this, his experience and expertise and his track record in the field. We also considered the lateness with which South Africa had confirmed participation and thus the necessity to couple this with existing groundwork that had already been done.

• Does the department recognise the proof of an obvious conflict of interest that two of the four artists chosen from our entire country are from Monna Mokoena’s own art stable?

The reasons for the artistic choices made should be directed at the commissioner and the curator he appointed. The DAC named the commissioner and it was up to the commissioner and the curator he appointed to choose the artists and artworks.

• This is being viewed as a case of corruption. Can the minister please comment?

We are surprised that such an accusation can be made. We think that this initiative should be applauded since it is the first time in 18 years that South Africa is formally participating.

•1. How and why was Monna Mokoena – a private art dealer with vested interests – appointed as the commissioner? See the answer to question bullet 1 above.

• 2. What process was followed to appoint Thembinkosi Goniwe as his curator? This question should be directed to Mr Mokoena. As stated earlier, there was no ministerial interference in the artistic work.

• 3. Does the department recognise the proof of an obvious conflict of interest that two of the four artists chosen from our entire country are from Monna Mokoena’s own art stable?

See answer to bullet 2 above.

• 4. Why did the department never send out a call for an expression of interests from artists around the country? The DAC threw its weight behind an existing initiative.

• 5. Is Mokoena’s credit as “Lethole Mokoena” on the Biennale website not an obvious attempt to avoid suspicion that he is also Monna Mokoena who owns an art gallery?

We shall not comment on this. Ask Mr Mokoena.

• 6. Why were no press releases sent out and why was our participation in the biggest international fine arts event not even put up on the DAC website?

After we finalise the nature of our support and exact financial commitment, we shall publicise our participation.

• 7. Why was Zwelethu Mthethwa – who has since withdrawn because of lack of transparency – not informed of the budget? This should be directed at the artist concerned, the commissioner and the curator.

• 8 It is our belief that this is a case of corruption. Does the department deny this, or acknowledge it?

Please answer as urgently as possible.

Tanya Farber

SUBSCRIBE TO THE SA ART TIMES For just R 320 pa get your copy delivered to your door See www.arttimes.co.za for details SA ART TIMES. May 2011

09

CMY

K

ART TIMES | NEWS / RESPONSE TO THE DEPARTMENT OF ARTS AND CULTURE’S - VENICE BIENNIAL DEBACLE 2011

24 April 2011: Letter to the Editor: SA Art Times by Lloyd Pollak, Art Critic Dear Sir, Tanya Farber’s articles vis-à-vis South Africa’s participation in the Venice Biennale in the Cape Times of 15/4/2011 and 19/4/2011 contribute yet another sickening chapter to the endless chronicle of ANC mal-administration and sharp practice.

The blatant infringements of established protocol listed by Farber, should irredeemably tarnish the reputation of Paul Mashatile the Minister of Arts and Culture, Monna Mokoena, a leading Johannesburg dealer and Thembinkosi Goniwe a prominent curator.

The Minister is to be congratulated on at least demonstrating a modicum of common courtesy, and actually replying to the Venetian authorities which many of his predecessors failed to do in the past. He also must be commended for replying in the affirmative, rather than declining, as so often happened in the past. Everyone in the art world will be delighted that once again South Africa is to participate.

However other actions of the minister must be condemned in the strongest terms. The first announcement that South Africa was to participate came in a press release issued by the press office of the Venice Biennale. This gross irregularity is only the first of many. When the Biennale invites a country to participate, the standard modus operandi is for the minister of Arts and Culture to immediately notify the public and invite all artists nation-wide to submit proposals. This minister failed to do. There was no official press release nor were any notices posted on the department’s website.

Instead of embracing transparency and initiating a democratic process of public participation as is right and proper, the minister acted in a culpably high-handed and clandestine manner. Behind closed doors, he appointed Monna Mokoena as commissioner. Monna, the director of the MOMO art gallery in Johannesburg, is a dealer, and hence a flagrantly unacceptable choice. The

commissioner should be a completely disinterested party, not a dealer, who stands to financially profit from the situation. Mokoena immediately cashed in, exploiting his appointment by choosing two artists from his stable, Lyndi Sales and Mary Sibande (whose name is incorrectly spelt on South Africa’s Biennale website), and a third, Siemon Allen whose work he has often shown on group shows. Mokoena cannot but gain financially from the increased sales generated by the exposure of his artists in Venice. Mokoena’s choice effectively prevented South African artists of far greater stature than Allen, Sales and Sibande from participating in the biennale, and the artists he chose must have realized that their gain was their colleague’s loss.

In any case the choice of Biennale artists should be made by the curator, and not the commissioner. The commissioner is simply the overseer and coordinator of the South African entry to the Biennale, and it is he who chooses the curator.

The curator, in turn, chooses both the theme of the South African show and the artists who will take part in it. Not only was Mokoena not supposed to select the artists, but three of the artists he selected are far from suitable candidates for the Biennale. None could be numbered amongst the foremost artists at work in this country, and all are in their early thirties, and hence far too young.

Usually the various participating countries choose seasoned, senior artists of the highest achievement, men and woman who have chalked up a splendid track record extending over many decades such as Robert Motherwell, Robert Ryman, Jasper Johns, Louise Bourgeois and Jean Michel Basquiat for America, Sigmar Polke and Gerhard Richter for Germany, and Richard Hamilton, Yinka Shonibare and Chris Ofili for Britain.

Monna Mokoena’s full name is Isaac Lethole Monna Mokoena, although he is simply known as Monna Mokoena in the art world. Mokoena attempted to achieve anonymity by using the

name ‘Lethole’ – which nobody knows - instead of ‘Monna’, on the Biennale website. Mokoena is a common surname, so the commissioner must have hoped that readers of the Biennale website would never associate ‘Lethole’ with himself.

This was of course a grossly deceitful attempt to conceal his identity.

Mokoena then appointed Thembinkosi Goniwe as ‘curator’. Goniwe readily accepted, when he should have immediately turned the appointment down on ethical grounds because of the minister’s appointment of Mokoena. Additionally he should have refused for professional reasons as he was effectively eliminated from the process of selecting the participating artists and presented with a fait accompli, making his curatorship redundant.

After all the principal role of a curator is to choose the artists he wishes to put on exhibition. It would thus appear that Goniwe was prepared to act as a ‘front’ for Mokoena, and had the latter’s cover not been blown, everyone would naturally assume that Goniwe was responsible for the selection of artists, and not Mokoena.

Zwelethu Mthethwa, the fourth artist chosen to represent South Africa, was a sound choice. He is undeniably one of our major artists. Mthethwa is the only player in this sorry saga to have behaved with impeccable propriety. He immediately withdrew because of his moral objections, when he discovered Monna Mokoena was the commissioner.

Taking part in the Biennale represents a heavensent opportunity for South African artists to exhibit internationally to an audience of the most important curators, critics, gallerists and collectors in the world, and this exposure is essential to advance the careers of our visual artists and raise the profile South African art. One can only deplore the crass opportunism that will again make our country appear like a farcically incompetent banana republic in the eyes of the world. (continued on page 11)

your creative drive’s destination ..

ROSEBANK Upper Level, The Mall of Rosebank, Bath Ave, Rosebank.

Tel: (011) 447-3262.

Fax: (011) 447-4146.

Fax: (011) 452-0806.

FOURWAYS Upper Level, Fourways Crossing, William Nicol Dr. Fourways.

Tel: (011) 465-8989.

Fax: (011) 465-0445.

GREENSTONE Upper Level, Greenstone Shopping Centre, Cnr. Modderfontein Rd & Van Riebeeck Ave. Greenstone.

Tel: (011) 452-0777.

Fax: (011) 452-0806.

Follow us on Facebook under ‘Herbert Evans Art Shop’.... hit the ‘like’ button and we will inbox you a discount voucher to use against your next purchase. info@herbertevans.co.za (or you can just email us) www.herbertevans.co.za 10

SA ART TIMES. May 2011

NEWS | ART TIMES

(Continued from page 10) What do we do now at the eleventh hour? Ideally Mokoena and Goniwe should be relieved of their responsibilities, and the whole process of choosing artists should start afresh with an open invitation being extended to all South African artists to make submissions.

Yours faithfully, Lloyd Pollak PS Since I wrote to the South African Art Times, I have received a copy of the letter whereby Mr Percy Mthimkulu of the Department of Arts and Culture purportedly ‘replied’ to a series of questions put to it by Tanya Farber.

There is yet another tawdry history of governmental opacity, rather than transparency, behind this reply. Farber’s attempts to contact Mokoena merely resulted in the latter referring her to Goniwe who proved impossible to contact.

Zwelethu Mthethwa, like Marilyn Martin, Emeritus Professor Malcolm Payne all endeavored to clear up this issue by phoning, e-mailing and textmessaging the minister and the department as I also did. To date Tanya Farber is the only person to have received a reply.

Mthimkulu’s reply, which is appended below in a slightly abbreviated form, surely confirms the universal suspicion that the Department, Mokoena and Goniwe have something to hide.

As every reader will readily recognize, Mthimkulu fails to answer Miss Farber’s question as to whether Mokoena is a personal friend of the minister, and whether this is a case of corruption or not. In fact, his reply is all smoke, mirrors, juggling, evasion and passing the buck. Mthimkulu must know that it is entirely futile to suggest that Farber contact Mokoena and Goniwe who have consistently proved impossible to contact, and unwilling to speak.

Mthimkulu’s reply raises far more questions than it provides answers. Why one earth did Monna Mokoena spend two years preparing for the Biennale as a private initiative? This is most fishy, and suggests that someone in the ANC ministerial hierarchy had given him the go-ahead.

Why else would Mokoena spend time on a project that had no guarantee of acceptance?

Your comments count e-mail us directly at: editor@arttimes.co.za

SA ART TIMES. May 2011

Current Minister of Arts and Culture, Paul Mashatile

Arty plan to ‘grow economy’ See page 6 for Zukiswa Wanner’s article entitled: Another Missed Opportunity for Government to listen First Publshed in Timeslive.co.za Buyekezwa Makwabe The government is turning to the country’s creative arts as a source of economic growth - but the proposals have met with a mixed reaction.

The Minister of Arts and Culture, Paul Mashatile, is leading an initiative to put South Africa’s creative talent back on the map. This week, he told a conference attended by industry stakeholders, business and trade unions in Johannesburg that: They should consider a proposal to establish a national skills academy to train artists and produce internationally competitive actors; An “art bank” to display art in public buildings would be created; and Discussions were under way to teach visual arts and drama at schools.

Mashatile said research had shown that in many advanced economies, the creative arts generated economic growth, employment and trade.

He said an estimated R7-billion was generated by technical services - such as stage construction, lighting and sound engineering - alone.

Theatre veteran Athol Fugard said any funding of the arts was to be welcomed, provided there were no strings attached.

Oupa Lebogo of the Creative Workers’ Union of South Africa was positive about the proposals, but cautioned: “Whether what has been discussed will at all be implemented is something else.” Artscape managing director Marlene le Roux said it was time the government “forced” institutions with custodial powers over the arts to account.

“One can pump money in, but we have to ask: what are you pumping the money into?”

11

ART TIMES | NEWS / VISIT BY MUSEUM OF ARTS & DESIGN (NY) TO SOUTH AFRICA

CIRCA Jhb, with Mark Read and Lois & Dirk Jecklin

Museum of Arts & Design NY visit to South Africa The reason for the Museum of Arts & Design in New York’s ‘’once in a lifetime trip’’ to South Africa was in celebration of their Global Africa Project exhibition that premiered in Nov 2010. Curators Lowery Stokes Sims and Leslie King Hammond assembled a ‘’profusion – not only of objects, but ideas, materials and voices’’ and ‘’did not accept any of the easy caricatures associated with ‘craft’ or ‘Africa’’. (Tsunami Africa, Glenn Adamson, Art in America). After seeing the show in January, Ravi Naidoo invited them to address both the Design Indaba Conference as well as make a presentation at the Expo. from Africa, on the rocks in Kalk Bay and to the sound of drums at Gold. ‘’The itinerary allowed an experience of the wealth and challenges that are the reality of life in South Africa. The example of the curator Lunga Smile at the Lwandle Migrant Labour museum and the guiding spirit of creative collaboratives, were important hallmarks of the trip’’ Lowery Sims, MAD curator

Nirox Sculpture Park –‘’Where the landscape begins’ What director Holly Hotchner wanted was a trip that contextualised the big picture while allowing for personal engagement and discovery. They selected Marion Ellis of Cape Insights, a boutique travel company, to design and lead a special interest tour that opened a window into the design heart of South Africa, and the eyes of first world visitors to the abundance of local talent. ’’The scope of the trip was amazing - anyone looking at the itinerary was overwhelmed by its magnitude’’ Linda Grossman, New York Beginning in Cape Town the group dovetailed with the Design Indaba, saw the iconic sights, visited co-operatives like Streetwires, Monkeybiz and Mogalakwena gallery, meandered around Church St, blitzed exhibits at the Old Town House and Irma Stern museum, celebrated sunset from Ellerman House’s deck – along with its art collection, dined in private homes, the woods at Light 12

They wandered around Montebello, popped into cutting-edge Woodstock galleries, were shown over a housing project in Mitchell’s Plein by award-winning architect Luyanda Mpahlwa, took tea with Willie Bester in his eclectic studio home, hearing from a number of vigorous personalities all the way.

They spent a day in the Winelands seeing living conditions in a migrant labour hostel museum that preceded the country’s premier wine estate.

They interacted with artists Michael Methven, Porky Hefer and Dylan Lewis, and took in Tokara, Delaire Graff and the Rupert Museum. ‘’The inclusion of special guests who were well selected was a real addition to our understanding of Africa’’ Holly Hotcher, MAD director In Durban they met with Zenzulzu’s wire weavers in their homes, visited Paul Mikula’s Phansi museum, hearing about collaborative projects from Andries Botha and Marisa Fick Jordaan. At Ardmore they witnessed masters at work, while at The Nelson Mandela Capture site down the road, they gave a kick start to Christopher Till’s new project by purchasing a significant embroidery for their museum. At the Tatham in Pietermarizburg Juliet Armstrong enticed local talent to the table - the Hillcrest HIV project which had just won the Design Indaba’s ‘Most Beautiful Object award, and Ubuhle Beads.

In Johannesburg they went on whirlwind gallery and studio visits at Arts on Main, Kim Sacks, The Goodman and Everard Read where they celebrated sunset on the deck of CIRCA with Mark Read and some artists in his stable.

SA ART TIMES. May 2011

VISIT BY MUSEUM OF ARTS & DESIGN (NY) TO SOUTH AFRICA / NEWS | ART TIMES

The South African

Art Times

Nirox walkabout, with Marion Ellis and Nirox manager Stephen du Toit on right

Daily Online News happens? : every 3 months ?

Willem Boshoff with Mary Bloom

The Design Indaba Expo – talk by curators Lowery Sims and Leslie King-Hammond

every month ? every week?

Daily: Mon- Fri Catch what’s going on Daily Mon- Fri from 9 am Director Holly Hotchner, Kim Sacks, Lowery Sims and Leslie King-Hammond

Publisher David Krut

After the Origins Centre they were treated to an exclusive site visit in the Cradle of Humankind led by palaeontologist Lee Berger, to his Sediba skull fossil find. At Nirox Sculpture Park they engaged with Willem Boshoff, Kim Berman and members of the Artist Proof Studio, artists in residence Geoffrey Hendricks and François Sarhan while strolling around its beautiful grounds, encountering art works in unexpected places. They celebrated their last night under the Southern Cross in this symbolic landscape where three million years of human

activity have taken place.

SA ART TIMES. May 2011

‘’We got the best of the best on this trip. Not just seeing the country, but really gaining insight and understanding ... because of gracious home entertaining, attention given to us at galleries, meeting the artists … and activists who care about others. The soul of the trip was wonderful Marion who brought out the best (in every way) of her incredible country’’ Beverly Siegel, New York

Art happens as we think

Catch the art news as it happens

www.arttimes.co.za

subscribe to our weekly wrap up e-mail at subs@arttimes.co.za 13

ART GALLERY GUIDE Free State Bloemfontein

Artspace –Jhb 7- 28 May, “A Portrait of Ophelia” an exhibition of paintings

by Bronwen Vaughan-Evans.

1 Chester Court, 142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 8802 artspace@wol.co.za www.artspace-jhb.co.za

Oliewenhuis Art Museum 9 May, PPC Cement workshop for artists who intend entering this year’s PPC Cement Young Concrete Sculptor Awards competition (Art Rondawels).

Until 22 May, “Index: 40 Leading Works from the Sanlam Art Collection” Among others, works from Irma Stern, William Kentridge, Anton van Wouw, Edoardo Villa, Kenneth Bakker, Christo Coetzee, Francois Krige, Pieter Hugo Naudé will be exhibited (Main Building).

Until 29 May “Playoff” new sculptures with the theme ‘viruses’ by Gordon Froud and recent works by painter Lance Friedlande (Reservoir).

16 Harry Smith Str, Bloemfontein. T.051 447 9609

CIRCA on Jellicoe Opening 5 May at 6pm, “Navigators of the Cosmos” featuring large-scale paintings in luminescent powders by Raimondo Galeano, until 5 June.

2 Jellicoe Ave. T. 011 788 4805 gallery@circaonjellicoe.co.za

Clarens

David Krut Projects Until 7 May, “Original Skin” mixed media by Jessica Webster.

140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627 www.davidkrutpublishing.com

Art & Wine Gallery on Main The Gallery houses an exquisite collection of art by wellknown artists like Gregoire Boonzaier, J.H. Pierneef, Pieter van der Westhuizen, Erik Laubscher, Jan Vermeiren, Marjorie Wallace, Eben van der Merwe, Conrad Theys, Hennie Niemann, Hannetjie de Clercq, ceramics by Laura Du Toit, sculpture by Fana Malherbe & Jean Doyle, glass by David Reade & Shirley Cloete and numerous others.

279 Main Str, Clarens T. 058 256 1298 or Anton Grobbelaar C. 082 341 8161 anton@artandwine.co.za www.artandwine.co.za Blou Donki Art A selection of contemporary and functional art as well as photography, ceramics, steel sculptures and handmade glass.

Windmill Centre, Main Str, Clarens T. 058 256 1757 manager@bloudonki.co.za www.bloudonki.co.za Johan Smith Art Gallery A selection of works by old masters and contemporary artists as well as bronze sculptures, ceramics and glass.

Windmill Centre, Main Str, Clarens T. 058 256 1620 manager@bhm.dorea.co.za www.johansmith.co.za

Gauteng Johannesburg Alliance Française of Johannesburg Opening 20 May at 6pm, “Morocco Bound” by Ali van Jaarsveld featuring paintings and sketches inspired by her travels around Morocco, until 28 May. Alliance Française, Lower Park Drive, Parkview.

Contact Ali 072 9048305 www.alivanjaarsveld.co.za

14

David Brown Fine Art David Brown Fine Art has relocated to Nelson Mandela Square, Sandton City.

The new gallery is situated below the Michelangelo Hotel and next to Montego Bay Restaurant.T. 011 783 7805 david@dbfineart.co.za www.davidbrownfineart.co.za

Everard Read Jhb 5 May- 16 June, “Icon Iconoclast” an exhibition of oil and silkscreen on canvas by Beezy Bailey featuring images of Nelson Mandela.

6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805 gallery@everard.co.za www.everard-read.co.za Gallery AOP 7- 28 May, “Still, life” drawings by Terry Kurgan & Ruth Rosengarten.

44 Stanley Ave, Braamfontein Werf (Milpark) T. 0117262234 www.artonpaper.co.za Gallery MOMO Opening 5 May @ 6:30pm, “My New World” mixed media works by Vitshois Mwilambwe Bondo, until 30 May. 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247 info@gallerymomo.com www.gallerymomo.com Gertrude Posel Gallery This gallery has a permanent exhibition of traditional southern, central & West African art.

University of the Witwatersrand, Senate House, Jorissen Str, Braamfontein.

T. 011 717 1365 julia.charlton@wits.ac.za Goethe-Institut Until 20 May, “Becoming Animal” presents selected performances, videos & works-in-progress by Donna Kukama.

119 Jan Smuts Ave, Parkwood, Jhb. T. 011 442 3232 info@johannesburg.goethe.org www.goethe.de/johannesburg Goodman Gallery Until 7 May, “Till Death do us Part” drawing & installation

by Frances Goodman.

163 Jan Smuts Ave, Parkwood, Jhb. T. 011 788 1113 www.goodman-gallery.com

Goodman Gallery Projects Until 20 May, “Editions” celebrates the art of printmaking.

The show is comprised of old, recent and new works that take the form of etchings, lithographs, silkscreens, linocuts & woodcuts by numerous artists including older works

by Robert Hodgins & Cecil Skotnes and recent works Kudzanai Chiurai, Brett Murray & William Kentridge to name a few.

At Arts on Main, Corner Main & Berea Streets, Jhb T. 011 301 5706 projectspace@goodmangallery.com www.goodman-gallery.com Grahams Fine Art Gallery The gallery houses one of the finest collections of art in South Africa, their focus is on absolute quality and are proud to offer an extensive selection of works for sale.

Unit 46, Broadacres Lifestyle Centre, Cnr Cedar & Valley Rds, Broadacres, Fourways, Jhb. T. 011 465 9192 sarah@grahamsgallery.co.za www.grahamsgallery.co.za 16 Halifax Works by Michael Heyns, Leon Muller & Mimi van der Merwe can be viewed by appointment in Johannesburg at 16 Halifax Street, Bryanston. Dana MacFarlane 082 784 6695 dana@michaelheyns.co.za Johannesburg Art Gallery Opening 8 May at 4pm, “Alan Crump: A Retrospective Exhibition” and at 5pm in the Project Room, “Antagonistic Harmonies in First Arrangement” mixed media works by Peter Mammes, until 15 June.

Until 28 August, “Looking as learning: art in the 2011 schools curriculum” an exhibition of international and SA artists focused on the current school curriculum.

King George Str, Joubert Park, Jhb. T. 011 725 3130 khwezig@joburg.org.za www.joburg.org.za Junction Art Gallery Opening 7 May at 4pm, “Paper, Paint & Portraits” multimedia portraits in acrylic, ephemera, encaustic wax and pastel

by Frans Cronje, until 2 June.

Junxion Centre, Osprey Avenue, Off William Nicol, Dainfern. C. 079 207 4800 info@junctionart.co.za Manor Gallery Opening 26 May at 6:30pm, New Signatures Exhibition of the Watercolour Society of South Africa (WSSA) exhibiting up and coming associates of the WSSA. Norscot Manor Centre, Penguin Drive. T. 011 465 7934 gallery@wssa.org.za www.wssa.org.za Market Photo Workshop Until 30 May, “Homelands” a debut solo exhibition of photography by Tierney Fellowship artist Thabiso Sekgala.

2 President Str, Newtown, Jhb. T. 011 834 1444 info@marketphotoworkshop.co.za www.marketphotoworkshop.co.za Museum Africa Until 30 June, a retrospective exhibition “Fosatu History” takes visitors on a powerful, interactive journey chronicling one of the most interesting and turbulent times in SA history.

121 Bree Str., Newtown, Jhb. T. 011 833 5624 www.knightgalleries.net

SA ART TIMES. May 2011

‘Figures on a Parisian Street’, Oil on Canvas, Gerard Sekoto (1913 – 1993)

‘The Bridge’, Oil on Board, c.1971, George Diederick During (1917 – 1991)

EBONY FRANSCHHOEK IS MOVING TO NEW PREMISES. PLEASE JOIN US DURING THE WEEKEND OF 13TH TO 15TH MAY TO CELEBRATE THE OPENING OF OUR NEW GALLERY AND SHOWROOM. 67 LOOP STREET, CAPE TOWN FRANSCHHOEK SQUARE, HUGUENOT STREET, FRANSCHHOEK WWW.EBONYDESIGN.CO.ZA

INFO@EBONYDESIGN.CO.ZA

(021) 876 4477

ART TIMES | FEATURE / GALLERY BUZZ PERFORMANCE PIECE FLOATING BODIES THAT TOOK PLACE IN JOZI ART:LAB, JOHANNESBURG

Itumeleng Mokgope during his collaborative Floating Bodies performance with Katrin Wegemann (right) Charl Pierre Naude with Itumeleng Mokgope NICOLAS LEHMANN ART STUDIO OPENING, MONTEBELLO, NEWLANDS, CAPE TOWN

Daniel Guerrier and Thierry Leclair GM French SA Chamber of Commerce

Danier Guerrier Painter and Nicolas Lehmann

MARTIN OSNER FINE ART GALLERY HOSTED TALENTED KLAUS TIEDGE OPENING, WATERKANT, CAPE TOWN

Wenzel Ziegler, Elizabeth Tiedge, Klaus Tiedge & Sandra Tiedge

Klaus Tiedge signing a print

Martin Osner Fine Art Gallery in the Cape Quarter was proud to host the successful official opening of Pride of Africa, an exhibition featuring striking animal portraits photographed by Klaus Tiedge in the diverse landscapes of South Africa, Namibia, Botswana, and Kenya’s. See www.martinosner.com for more 16

SA ART TIMES. May 2011

OPENING OF UBUNTU BETHU BY LINDILE MAGUNYA AND GERALD TABATA , CASA LABIA, CAPE TOWN GALLERY BUZZ / FEATURE | ART TIMES

Gerald Tabata

Antonia Labia Hardres-Williams

Charles Haupt,Kevin Reinders,Laurie van Heerden,Margie Murgatroyd

Lindile Magunya

OPENING OF THE WORLD WIDE NETWORKS AT THE DUT GALLERY, DURBAN

Nathi Gumede (Curator DUT Art Gallery), Thulisile Zwane & Lungaie Zemfili

Thabani Mbhamali, Werner Traut, Bwalya Lungu and Page Chetty

Alette Wessels Kunskamer Maroelana Centre, 27 Maroelana Street, Maroelana, Pretoria GPS S25º 46.748’ EO28º 1.5615’ OPEN Mon to Fri 09h00 - 16h00 Saturday 09h00 - 13h00 JH PIERNEEF LANDSCAPE GRAAFF REINET 48 X 65 CM OIL ON CANVAS

SA ART TIMES. May 2011

Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729 alette@artwessels.co.za gerrie@artwessels.co.za Alette 082 652 6663 Gerrie 084 589 0711

A quality selection of SA masters and selected contemporary art

www.artwessels.co.za

17

Retrospective Exhibition of the sculpture of Pitika Ntuli Please join us for the opening at 6:00 for 6:30pm on Wednesday, may 25th 2011 Showing until the 17th June 2011 Unisa Art Gallery, Kgorong Building (New Entrance Building) Ground Floor, Main Campus, Preller Street, Pretoria, 0003 Email: ukun1@unisa.ac.za, Tel: (012) 441-5683

Hanneke Benadé new lithographs

Tied in a bow, Hand printed lithograph, 46 x 38.5 cm. Edition 30.

The Artists’ Press Box 1236, White River, 1240 • Tel 013 751 3225 mark@artistspress.co.za • www.artprintsa.com

Art Times Hanneke advert April. 1 1

20/4/11 15:54:33

Resolution Gallery Until 5 May, “Regard” works by Spanish painter & filmmaker Manolo Belzunce and multi-disciplinary South African artist Kagiso Pat Mautloa.

142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 4054 info@resolutiongallery.com www.resolutiongallery.com Seippel Gallery Until 15 July, “Steel Time” sculpture by Robert Schad.

Arts on Main, Cnr of Fox & Berea, Jhb. T. 011 401 1421 www.seippel-gallery.com Standard Bank Gallery Opening Event on 3 May, Exhibition from 11 May, “Listening to Distant Thunder” featuring works by Peter Clarke, until 2 July.

Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 www.standardbankarts.co.za Stephan Welz & Co. - Art Auction Auctioneers of Decorative & Fine Arts.

13 Biermann Avenue, Rosebank, Johannesburg.

T. 011 880-3125 jhb@swelco.co.za www.swelco.co.za Stevenson Jhb Until 13 May “Geography of Somewhere” a group exhibition of various media featuring Zander Blom, Dineo Seshee Bopape, Ângela Ferreira, Meschac Gaba, Gerald Machona, Nare Mokgotho, Serge Nitegeka & Odili Donald Odita.

62 Juta Street, Braamfontein, Jhb. T. 011 326 0034 www.brodiestevenson.com Strauss & Co. - Art Auction 16 May at 3pm and 8pm, Auction of Important South African Art: Drawings, Paintings, Prints and Sculpture.

Viewings 13,14 &15 May. Country Club Johannesburg, Corner Lincoln Rd & Woodlands Drive, Woodmead.

T. 079 407 5140 jhb@straussart.co.za UJ Art Gallery Opening 11 May at 6:30pm, “MAP - South Africa” a group show of 39 artists including Colbert Mashile, Andrew Tshabangu, Willem Boshoff, Claudette Schreuders & Claude van Lingen to name a few, featuring various new works from the Modern Art Project, until 15 June.

Cnr Kingsway & University Rd, Auckland Park, Jhb. T. 011 559 2099 www.uj.ac.za/artscentre Upstairs@Bamboo Opening 14 May at 9:30am – 4pm, “Etcetera” an exhibition bringing together well known artists such as Jan Neethling, Guy du Toit, Sarah Ballam, Gabrielle Raaff & Helen Joseph as well as emerging artists like Louis Nel & Frederick Clarke, until 22 May. Cnr 9th Str & Rustenburg Rd, Melville, Jhb. Carol Lee T. 011 486 0526 www.bamboo-online.co.za The White House Gallery Designed to provide serious investors, new collectors and browsers with an unrivalled visual arts experience, the gallery has a wide ranging portfolio featuring renowned masters such as Chagall, Marini, Miro, Moore, Portway, Pasmore, Stella, Picasso, Dine & Hockney - to name a few. Also the more affordable works of up and coming artists in Britain and France, along with globally acclaimed South African artists such as Sam Nhlengethwa & Pieter van der Westhuizen and the works of potters, ceramicists and sculptors of the caliber of Esias Bosch, Laurence Chait & Anton Smit.

Shop G11 Thrupps Centre,Oxford Road, Illovo,Johannesburg. T. 011 268 2115 info@thewhitehousegallery.co.za www.thewhitehousegallery.co.za

SA ART TIMES. May 2011

Pretoria

JOHANNESBURG, PRETORIA / GAUTENG/ MPUMALANGA | GALLERY GUIDE

Alette Wessels Kunskamer Opening 8 May at 6pm, “Landscapes: A Colourful Palette” oil and pastel artworks by Pieter Janse van Rensburg, until 21 May. Maroelana Centre, 27 Maroelana Str, Maroelana, Pretoria. T. 012 346 0728 www.artwessels.co.za Anton Smit Sculpture Park Until end May, “Transfigure” an exhibition of new sculptures by Anton Smit.

Near Bronkhorstspruit Dam & Aquavista Mountain Estate.

Directions on website. info@antonsmit.co.za www.antonsmit.co.za Association of Arts Pretoria Until 18 May, “The Jimmy Tunnel” an exhibition of photographs by Neville Petersen.

6- 25 May, “PPC Young Concrete Sculptor Awards Celebrating 20 Years” an exhibition of concrete sculptures by previous winners of this competition.

13 May- 1 June, “After The Ball Is Over After The Fall” works by Charlotte Janse van Vuuren.

20 May- 8 June, paintings by Tanja Malan.

27 May- 15 June, wooden bowls and vases by At Smit & paintings by Corné van Eck. 173 Mackie Str, Nieuw Muckleneuk, Pretoria.

T. 012 346 3100 www.artsassociationpta.co.za Bolsmann on Brooks Fine Art Gallery Until 28 May, a selection of works by Eric Bolsmann and guest artists Aleta Michaletos, Gunther van der Reis, Roelof Vosser, Elwin Buchel & Lola Dunston.

163 Brooks Str, Brooklyn, Pretoria, T. 012 362 6698 C. 083 454 1797 eric@ericbolsmann.co.za www.ericbolsmann.co.za Fried Contemporary Until 28 May, “Designs of Nature” painting, installation & digital art by Frikkie Eksteen, Rina Stutzer, Jenna Burchell & Christiaan Hattingh 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 art@friedcontemporary.com www.friedcontemporary.com Front Room Art & Artists A new exhibition space for contemporary SA artists.

Until 11 May, “Smalls” an exhibition of smaller works by Michael Heyns.

Opening 13 May @ 6pm, “Africa speaks” linocuts, monoprints and sculpture by Lucas Bambo, Joseph Muzondo & Kevin Panagos, until 29 May. 116 Kate Ave, Rietondale, Pretoria. Jennifer Snyman 082 451 5584 www.frontroomart.co.za Gallery Michael Heyns 14-28 May, “60+5=65” an exhibition of new work accompanied by the launch of the coffee table book “Michael Heyns Chronological” and the artist’s limited edition handmade diaries.

Gallery Michael Heyns has moved to 194 Haley Street Weavind Park Pretoria.

Contact Michael 012 804 0869 or Jennifer 082 451 5584 www.michaelheyns.co.za Jupiter Art Room Until 7 May, “Functional Art” new works by Marinda du Toit as well as older work where she collaborated with Diek Grobler. Francois Coertze, Kevin Panagos & Deirdre Taylor. Also featured are handmade gifts by the Tshwara Odire group of women in Mabopane.

Work by Pierre van Manen and Madeleine van Manen is permanently on display. 34 Ayton Street, Clydesdale, Pretoria Madeleine Goss C. 079 541 8223 / T. 012 343 2193 madeleine@jupiterartroom.co.za www.jupiterartroom.co.za

Pretoria Art Museum Until 29 May, “Leihlo la Pono (Optic Vision)” a joint exhibition of Lefifi Tladi (oil painting) and Matsobane Morris Legoabe (photography) in the North Gallery.

Permanent display of South African art in the South Gallery. T.012 344 1807/8 art.museum@tshwane.gov.za www.pretoriaartmuseum.co.za St Lorient Fashion and Art Gallery Opening 7 May at 3pm, “Hybrid: Graffiti Exhibition” an exhibition of multi-media works with the use of graffiti by artists such as Rasty Snatch & more..., until 11 June.

492 Fehrsen Street, Brooklyn Circle, Brooklyn, Pretoria.

T. 012 4600284 anastasi@iafrica.com www.stlorient.co.za The Tina Skukan Gallery Until 12 May, “Tracing Angels” works by Koos van der Watt.

Opening 15 May at 11:30am, “Speel-Speel” an exhibition of artworks by Michéle Nigrini, Diek Grobler & Corné Joubert, until 3 June.

6 Koedoeberg Rd, Faerie Glen, Pretoria T. 012 991 1733 thea@tinaskukangallery.co.za www.tinaskukangallery.co.za Trent Gallery 8- 18 May, “Far Out Landscapes and other Pierneef Apocalyptica” finely detailed oil paintings by Retha Buitendach inspired by the SA landscape as Pierneef painted it, interwoven with botanical,geological, apocalyptic and even science-fictional elements.

21 May- 1 June, “Three” works by AB Heyns, Jennifer Snyman & Mimi van der Merwe.

Cnr Milner & Long Str, Waterkloof, Pretoria.

T. 012 460 5497.

Trent.art@gmail.com www.trent-art.co.za UNISA Art Gallery Opening 25 May at 6 for 6:30pm, A Retrospective Exhibition of the sculpture of Pitika Ntuli, until the 17th June.

Kgorong Building (New Entrance Building), Ground Floor, Main Campus, Preller Street, Pretoria T. 012 441 5683 ukun1@unisa.ac.za.

Mpumalanga Dullstroom Dimitrov Art Gallery Ongoing, “Expression of freedom” by Branko Dimitrov Lifestyle Complex, shop no.4 on Cnr. Teding Van Berkhout & Hugenote/ Naledi Street, Dullstroom, T. 013 254 5024 C. 082 679 5698 info@dimitrovartgallery.co.za www.dimitrovartgallery.co.za

White River The Artists’ Press Professional collaboration, printing and publishing of original hand-printed artists lithographs, by the Artists’ Press. Also artists books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River, T. 013 751 3225 print@artistspress.co.za www.artists-press.net The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned. Casterbridge Complex Corner R40 & Numbi Roads White River T. 013 758 2409 www.tlafoundry.co.za

19

The South African

Print Gallery

Cheryl Gage

We stock to most amazing range and diversity of leading SA Fine artists.

Start here when looking for lasting gifts that give endless visual pleasure South African Print Gallery: 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 www.printgallery.co.za

The Whitehouse Gallery

Henry Moore Mother & Child, VII

Joan Miro Lithograph III

Jim Dine Ball-Grained Heart

Marino Marini MAGIA 1979

Jim Dine Women and Water

11 THRUPPS ILLOVO CENTRE, Oxford Road ILLOVO P.O. Box 496, Melrose Arch 2076 Tel : 27 11 268-2115 ยน Fax : 27 11 268-2129 WEBSITE : www.thewhitehousegallery.co.za EMAIL : alan@whg.co.za : melanie@whg.co.za

CAPE TOWN / WESTERN CAPE | GALLERY GUIDE

Western Cape Cape Town Absolut Art Gallery Ongoing permanent exhibition with some of the best Masters & Contemporary artists. Namely : Irma Stern, Gerard Sekoto, Hugo Naude, Tinus De Jongh, Frans Oerder, Gerard Benghu, Adriaan Boshoff, Carl Buchner, Conrad Theys, to name but a few. Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Bellville, Cape Town.

T. 021 914 2846 info@absolutart.co.za www.absolutart.co.za Alliance Française of Cape Town Opening 9 May at 6pm, “Vicissitudes” featuring paintings

by Juliette Rousseau, until 27 May. 155 Loop Str, Cape Town. T. 021 423 5699 capetown@alliance.org.za www.alliance.org.za /A Word Of Art Opening 20 May at 8pm with a great line up of Djs, “The Affordable Art Show” a group exhibition of young contemporary South African and international illustrators, designers, street artists and more,until 20 June.

26 May, 8pm till late, Movie night, screening “Beautiful Losers.” The film focuses on the careers and work of a collective group of artists who since the 1990s began a movement in the art world using D.I.Y. aesthetics from skateboarding, graffiti and underground music such as punk rock & hip-hop.

66 Albert rd, Woodstock Industrial Centre.

T. 021 448 7889 rickylee@writeonafrica.com www.a-word-of-art.co.za Art b Until 5 May, South African Landscapes.

11 May - 17 June , “Op Reis” featuring: Strijdom van der Merwe, Ann Marais, Susan Kruger-Grundlingh, Theo Kleynhans, Elizabeth Miller-Vermeulen, Hennie Meyer, Theresa-Jo Wessels & Louis Jansen van Vuuren with jewellery in the vestibule by Lizl Dreijer.

The Arts Association of Bellville, The Library Centre, Carel van Aswegan Str, Bellville. T. 021 918 2301 info@artb.co.za www.artb.co.za/gallery.htm Auto Atlantic BMW MINI Dealer Opening 5 May at 6pm, “After the Master-Class” a photographic group exhibition from the participants in the master-class held by Jurgen Schadeberg last year. Works

by Yazeed Kamaldien, Jenny Altschuler, Ant Strack, Sarah Kate Schafer, Retha Ferguson, Lindeka Qampi, Eric Miller, Barry White & Clara Tilve, until end June.

1 Heerengracht, CT. T: 021 402 7700 Contact Heidi Erdmann for information photogallery@mweb.co.za AVA Until 13 May, Elgin Rust’s “Judgement 2011 Case No. 001/05/2008” installation with participating artists: Paul Birchall, Kitty Dörje, Claire Jorgensen, Dave Robertson, Max Wolpe, Ian Grose, Gretchen Van der Byl, Cara van der Westhuizen, Natasha Norman, Sonja Rademeyer, Isabelle Grobler, Bridget Baker, Dale Washkansky & Nina Liebenberg. “Lay of the Land” photography by Dillon Marsh & “Rusting Iron” mixed media paintings by Cinga Samson.

16 May- 10 June, “Along These City Streets” paintings

by Mary Visser, “Borderline” photography by Damien Schumann & “And Not But” installation by F.M.Burger & C.A.Nerf.

Association for Visual Arts, 35 Church Str, CT. T.021 424 7436 art@ava.co.za www.ava.co.za

SA ART TIMES. May 2011

Barnard Gallery 4 May- 30 June, “Watermarks: Indentifying the Maker” works by Duncan Stewart.

55 Main Str, Newlands. T. 021 671 1666 gallery@barnardgallery.com www.barnardgallery.com Blank Projects.

Until 7 May, “Some Dance To Remember, Some Dance To Forget” painting, printmaking & photography by Sanell Aggenbach and “Enchanted Forest” ceramic sculpture by Adriaan de Villiers.

Thereafter in May an exhibition of works by Ian Grose & Abri de Swardt.

113-115 Sir Lowry Rd, Woodstock, CT. T. 072 1989 221 info@blankprojects.com www.blankprojects.com Cape Gallery Until 14 May, “Collected Works” a selection of etchings, engravings & works on paper created between 1989 - 2011 by Judy Woodborne.

Opening 15 May at 4.30 pm “Raga in Dehradun” (Ballad for North India) an exhibition of new works by Leon De Bliquy, until 4 June.

60 Church Str, CT. T. 021 423 5309 web@capegallery.co.za www.capegallery.co.za Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings.

Visit the new gallery at Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 www.carmelart.co.za Casa Labia Until 29 May, “Ubuntu Bethu” mixed media works by Lindile Magunya & Gerald Tabata.

Africa Nova at Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6067 info@casalabia.co.za www.casalabia.co.za Cedar Tree Gallery In May, a fine selection of various subjects and art in many different styles & mediums will be shown by artists Debbie Field, Evan Douglas, Mpumelelo Dube, Arabella Caccia, Hugo Slabber, Mikaela McKellar, Wendy Potgieter, Pauline Fine, Lone Damgaard, Maryann Nuis, Angela Stannard, Suzie Kidd, Valda Preen & Ann Symmonds.

Rodwell House, Rodwell Rd, St James, CT. T. 021 787 9880 cedartreegallery@gmail.com www.cedartreegallery.co.za The Cellar Private Gallery The Cellar Private Gallery of Art deals exclusively in original & investment art, offering works by a variety of renowned & upcoming SA artists.

12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189 info@thecellargallery.co.za www.thecellargallery.co.za David Krut Projects Cape Town 9 May- 30 July, “Alchemy” an exhibition of works on paper by Deborah Bell as well as “Recent Linocuts”

by William Kentridge.

Montebello Design Centre, 31 Newlands Ave, CT. T. 021 685 0676 alastair@davidkrut.com www. davidkrutprojectscapetown.com David Porter Antiques Buyers and sellers of South African Art. T. 021 683 0580 C. 083 452 5862 david@davidporterantiques.com

The Donald Greig Bronze Foundry and Gallery Donald Greig is a specialized wildlife sculptor and his sculptures ranging from life-size to paperweights will be on display. The foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting Process’ can be viewed by the public through special glass windows.

The Nautilus Building, No.14 West Quay Rd, V&A Waterfront. T. 021 418 4515 greig@intekom.co.za www.donaldgreig.com Ebony Visit the new gallery for a fantastic selection of art and some very exciting new furniture designs.

67 Loop Str, CT. T.021 876 4477 info@ebonydesign.co.za www.ebonydesign.co.za Erdmann Contemporary /Photographers Gallery Until 21 May,“Library of the Infinitesimally Small and Unimaginably Large” by Barbara Wildenboer, a Conceptualist working with paper constructions.

63 Shortmarket Str, CT. T. 021 422 2762 galleryinfo@mweb.co.za www.erdmanncontemporary.co.za Everard Read CT 5- 19 May, New Works by UK artist Ed Hodgkinson showing enamel on aluminium paintings.

26 May, “Emerging Artists” showcasing young talent from the Cape Town area, until 8 June.

3 Portswood Rd, Victoria & Alfred Waterfront, CT. T. 021 418 4527 ctgallery@everard.co.za www.everard-read-capetown.co.za 34 Fine Art During May, “Ensemble” a group show will include major works by Norman Catherine, William Kentridge, Asha Zero, Lionel Smit and new work by Esther Mahlangu, Roger Ballen & Jop Kunneke. For the first time the work of Jade Waller will also be on show.

2nd Floor The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863 info@34fineart.com www.vgallery.co.za / www.34fineart.com The Forge Until 14 May, “Close Encounters” featuring works by South African German Sculptor Nicolas Lehmann & French Painter Daniel Guerrier. On the 7th May, an open studio day with the artists from 10am – 4pm.

The Forge at Montebello Design Centre,31 Newlands Ave,Newlands C. 079 035 9534 www.forge.co.za The Framery Art Gallery Opening 12 May at 7pm “Second Chances” by artist: J.J.A. The artwork consist of recycled materials: empty soda cans, used soda bottles, leather as well as tin... transformed beyond recognition. Showing until 4 June.

67G Regent Rd, Sea Point. T. 021 434 5022 debbiegrewe@gmail.com G2 Art Opening 25 May at 6pm, “Navigating Time: A Body of New Works” featuring sculpture by Uwe Pfaff, until 11 June.

61 Shortmarket Str, CT. T.021 424 7169 di@g2art.co.za www.g2art.co.za Gill Allderman Gallery 5- 31 May, a collection of paintings by Alice Sarembock.

278 on Main Rd, Kenilworth. C. 083 556 2540 gallery@new.co.za www.alldermangallery.co.za

21

                                          

A permanent exhibition of South African Art

Rob MacIntosh, Twilight grazing 915 cm x 1020 cm, acrylic on canvas

    

171 Main Road, Hermanus Tel: 028 312 2928 Cell: 082 719 0907 E-mail: francois@walkerbayartgallery.co.za www.walkerbayartgallery.co.za

  

Opening times: Tuesday to Friday 09h00-17h00 Sat/Sun 10h00-15h00 Mon 10h00-17h00



P a p e r I s Yo u 26/05 - 25/06 91 Kloof Street | CPT M| +27 82 679 3906 info@salon91art.co.za www.salon91art.co.za

image: ‘a blue roof’; artist: paul senyol; medium: mixed media

9-2-11 Art Times.pdf

MARLISE KEITH.COLIJN STRYDOM.ELSABE MILANDRI.ANDREW S U T H E R L A N D . G A B R I E L L E R A A F F . K AT R I N C O E T Z E R . PA U L S E N Y O L .

1

2011/04/13

2:07 PM

C

M

Y

CM

MY

CY

CMY

K

The Cape Gallery, 60 Church Street seeks to expose fine art that is rooted in the South African tradition, work which carries the unique cultural stamp of our continent.

Featured above is artist Judy Woodborne

THE CAPE GALLERY

Open: Mon - Fri: 9h30 - 17h00 Sat: 10h00 - 14h00 Tel: 27 21 423 5309 Fax: 27 21 424 9063 E-mail: cgallery@mweb.co.za Web: www.capegallery .co.za

American express, Mastercard, Visa & Diner cards are accepted. Reliable arrangements can be made to freight purchaces to foreign destinations.

Goodman Gallery, Cape 14 May, “Resonant Structures” a series of objects and digital drawings by Stefanus Rademeyer, until 18 June.

3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock. T. 021 462 7573/4 www.goodmangallerycape.com iArt Gallery Opening 18 May, new work by Zwelethu Mthethwa, a collection of photographs, until 29 June.

71 Loop Str, CT. T. 021 424 5150 info@iart.co.za www.iart.co.za iArt Gallery Wembley Until 4 May, “Beaded Light” first solo exhibition by Yolande Breytenbach of 27 beadworks done over several years.

Opening 11 May, “Kotiljons” a collection of photographs

by Niklas Zimmer, until 8 June. .

Wembley Square, Gardens, CT. T. 021 424 5150 www.iart.co.za Infin Art Gallery A gallery of work by local artists.

Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 or Buitengracht Str. CT. T. 021 423 2090 www.infinart.co.za Irma Stern Gallery 5- 12 May, “KWV Epic of Everlasting” travelling exhibition featuring works by Cecil Skotnes from KWV’s collection.

Cecil Rd, Rosebank, CT. T. 021 685 5686 www.irmastern.co.za Iziko SA National Gallery Until 15 May, “Endgame” works by Michael Macgarry, who won Standard Bank Young Artist Award for Visual Art 2010.

Opening 11 May, “Through the Lens of Durban’s Veteran Photographer” photography since 1945 by Ranjith Kally.

Opening 11 May, “The Indian in Drum Magazine in the 1950’s” a photographic exhibition.

Opening 26 May, “Tretchikoff: The People’s Painter” a retrospective exhibition of works by Vladimir Tretchikoff.

25 Queen Victoria Str, CT. T. 021 467 4660 www.iziko.org.za Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800 hproud@iziko.org.za www.iziko.org.za Iziko Good Hope Gallery (The Castle) Ongoing exhibition of oil paintings, furniture, ceramics, metal & glassware from the William Fehr Collection.

Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262 kmooney@iziko.org.za www.iziko.org.za Iziko SA Museum Until September, “Made in Translation: Images from and of the Landscape.”

25 Queen Victoria Str, Gardens, CT. T. 021 481 3800 info@iziko.org.za www.iziko.org.za Johans Borman Fine Art Gallery Currently showing a selection of works by Maggie Lausber, Maurice van Essche, Gerard Sekoto, Walter Battiss, Cecil Skotnes & Ephraim Ngatane.

In Fin Art Building, Upper Buitengracht Str, CT. T. 021 423 6075. art@johansborman.co.za www.johansborman.co.za Kalk Bay Modern For a surprising collection of contemporary modern art, seek out the first floor entrance of an enigmatic gallery situated opposite Kalk Bay harbour. The gallery and craft shop showcases an eclectic mix of local South African art

SA ART TIMES. May 2011

talent along with quality crafts from developing community groups.

1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 kbmodern@iafrica.com www.kalkbaymodern.com

CAPE TOWN / WESTERN CAPE | GALLERY GUIDE

Lindy van Niekerk Art Gallery A large selection of artworks by new and prominent South African artists and SA old Masters.

31 Kommandeur Rd, Welgemoed, Bellville.

T. 021 913 7204/5 lindy@artpro.co.za, www.artpro.co.za The Lovell Gallery In early May, an exhibition of oil paintings by Diane Harper and photographs by Tamzin Lovell.

20a Eden on the Bay, Big Bay, Cnr Otto du Plessis & Sir David Baird Drive T. 021 55 44 065 info@lovellgallery.co.za www.lovellgallery.co.za MM Galleries The gallery offers a platform that showcases a wealth of talented artists whose works are affordable and of high quality; the art is available in a mix of mediums.

Shop 3, 31 Palmer Road, Muizenberg, CT. T. 021 688 8370 info@mmgalleries.co.za www.mmgalleries.co.za Martin Osner Fine Art Gallery A contemporary portfolio of archival fine art photographic prints.

Shop A14, Cape Quarter Piazza, 72 Waterkant Street, Green Point, CT. T. 021 790 6494 info@martinosner.com www.martinosner.com Michael Stevenson CT Until 21 May, “Who’s Afraid of the Crowd?” mixed media paintings & video by Penny Siopis, “Tone” a series of pencil drawings, linocut & sculpture by Paul Edmunds, and “50 g and Tlhogo” a video projection & a live performance

by Lerato Shadi. Edmunds, Siopis & Shadi will exhibit concurrently.

Opening 26 May at 6-8pm, “Interlaced” a video installation

by Berni Searle as well as a second work entitled “Black Smoke Rising” and thirdly a single-channel video to be premiered at the opening.

Searle will exhibit concurrently with Ângela Ferreira and Sabelo Mlangeni until 23 July. Ferreira will show a single work titled “Cape Sonnets” a sculpture based on the structure of an old Mozambican radio tower and topped by a loudspeaker and Mlangeni will show black & white photographs capturing everyday life in small South African towns.

Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500 info@michaelstevenson.com www.michaelstevenson.com Red! The Gallery Opening 7 May at 6.30pm with a seated dinner, a combined exhibition with David Kuijers (works in acrylic on canvas & glass) and David Riding (works in acrylic on canvas), until 14 May. Red! The Gallery also have an Art Auction on 4th June at the Gallery at 6.30pm. The auction will include works from a selection of their artists as well as works from their private collection.

Shop G9, Steenberg Village Shopping Centre, Reddam Ave, Tokai. T. 021 701 0886 red@redthegallery.co.za www.redthegallery.co.za Rose Korber Art Until 31 May, “Recent Works” a survey of paintings, mixed media works and original prints by leading contemporary South African artists, including William Kentridge, Deborah Bell, Robert Hodgins, Willie Bester, Sam Nhlengethwa, Simon Stone, Pamela Stretton, Paul Blomkamp, Diana Hyslop & Lallitha Jawahirilal.

48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C.083 261 1173 www.rosekorberart.com

Rust-en-Vrede Gallery Until 12 May, “Natural Selection” sculptures and work on paper by Nic Bladen & Jane Eppel as well as “Coming Home” by Theo Kleynhans and “The Inner World” by Janna Prinsloo.

Opening 17 May – 9 June, works by Theo P Vorster, Tania Babb and Vinyl art by DieSign Gogga.

10 Wellington Rd, Durbanville. T.021 976 4691 www.rust-en-vrede.com Salon 91 Until 21 May, “Phantasmagoria” a solo exhibition of etchings & oil paintings by Paul Painting.

91 Kloof Str, Gardens, CT. T 021 424 6930 info@salon91art.co.za www.salon91.co.za SMAC Art Gallery, Cape Town Until 22 May, “Archaeology of Memory” works by Whitney McVeigh.

In-Fin-Art Building, Cnr of Buitengracht & Buitensingel Str, CT. T. 021 422 5100 info@smacgallery.com www.smacgallery.com South African Jewish Museum Until 9 May, photographic exhibition by David Goldblatt Ongoing exhibition, “Hidden Treasures of Japanese Art: The Isaac Kaplan Collection” 88 Hatfield Str, Gardens, CT. T. 021-465-1546 info@sajm.info www.sajm.info South African Print Gallery Until 31 May, “Tim’s Print Studio Show: A selection of Collaborative works from Tim’s Print Studio, Midrand, Jhb” Over the past ten years Tim Foulds has been working as a master printer and in 2004 set up his own professional print studio in Midrand where he collaborates with various artists.

Artists represented in this show include: Colbert Mashile, David Koloane, Willem Boshoff, Kim Berman, Paul Molete, Zak Benjamin, Elza Botha, Pat Mautloa, Cheryl Gage & Michael Chiboga Khumalo.

109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 info@printgallery.co.za www.printgallery.co.za Stephan Welz & Co.- Art Auction 31 May- 1 June, Decorative and Fine Arts Auction.

The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461 ct@swelco.co.za www.swelco.co.za Strauss & Co. - Art Auction Fine Art Auctioneers & Consultants.

The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560 ct@straussart.co.za www.straussart.co.za The Westin Hotel Until 4 June, “Uniting People – Travels” an interactive sculptural display by renowned South African-German artist, Nicolas Lehmann will be displayed in the hotel’s forecourt before embarking on a three year world tour across continents, from South Africa to Germany and France, the United States and Brazil.

The Westin Hotel, Convention Centre Square, CT. www.westincapetown.com What if the World…

Until 28 May, “The Tenacious Tree Huggers” a new series of paintings and monotypes by Michael Taylor.

First floor, 208 Albert Rd, Woodstock, T. 021 448 1438 www.whatiftheworld.com Worldart Gallery 7 - 28 May, “Moniker” large, colourful paintings in aerosol sprays by Kilmany-Jo Liversage.

54 Church Str, CT. T.021 423 3075 charl@worldart.co.za www.worldart.co.za

23

4PVUI $BQF &YIJCJUJPO +VOF +VMZ

Tel: 044 874 4027 www.artaffair.co.za 79 Market Street, George

GPS: 33°57’42.66�S | 22°27’24.54�E

ALL / WESTERN CAPE | GALLERY GUIDE

Franschhoek

Ebony The Ebony Gallery shows classic and contemporary artworks by some of the most recognised and collectible South African artists.

11 Huguenot Str, Franschhoek T. 021 876 4477 info@ebonydesign.co.za www.ebonydesign.co.za Galerie L’ Art A permanent exhibition of South African old masters & contemporary art. Shop no 3, The Ivy, Kruger Str, Franschhoek T. 021 876 2497 www.galart.co.za The Gallery at Grande Provence Until 25 May, “The Mute Opera” paintings, sculptures and graphic works by Paul Boulitreau.

Main Rd, Franschhoek. T. 021 876 8600. gallery@grandeprovence.co.za www.grandeprovence.co.za Holden Manz Collection The Holden Manz Wine Estate is proud to announce the opening of its Art Gallery in the city centre of Franschhoek Village. The Holden Manz Collection is focused on contemporary local art and showcases works including charcoals, collages, oils, drawings as well as photography & prints.

30 Huguenot Str, Franschhoek T. 021 876 44 02 info@holdenmanz.com www.holdenmanz.com Is Art Until 4 May, “elements” featuring works by Judy Woodborne & Talitha Deetlefs.

Opening 8 May, “New Works” by Strijdom van der Merwe, until 9 June.

Ilse Schermers Art Gallery at Le Quartier francais, 6 Huguenot Str, Franschhoek. T. 021 876 8443 www.is-art.co.za

George

Strydom Gallery 03-30 May, “Out of the Wood” Strydom Gallery’s annual themed exhibition of South African art – a response by a few selected artists.

79 Market Str, George. T. 044 874 4027 info@artaffair.co.za www.artaffair.co.za

Hermanus

Abalone Gallery During May in the Main Gallery: Works on canvas, wood or paper and sculpture by: Raymond Andrews, Alta Botha, John Clarke, Christo Coetzee, Hannes Harrs, Judith Mason, Lynette ten Krooden, Carl Roberts, Susanna Swart.

In the Annex: Graphic works (cooperation project Flanders - South Africa, 1998/99) by selected Flemish and South African artists.

2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 info@abalonegallery.co.za www.abalonegallery.co.za Bellini Gallery and Cappuccino Bar In May, “Cabinet Exhibition” new oil paintings by Annette Barnard.167 Main Rd, Hermanus. T. 028 312 4988 bellini@telkomsa.net www.bellini-gallery.co.za Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up and coming South African artists.

Until 7 May, an exhibition of works by Aviva Maree.

171 Main Rd, Hermanus. contact: Francois Grobbelaar 028 312 2928 francois@walkerbayartgallery.co.za www.walkerbayartgallery.co.za

Knysna

Dale Elliott Art Gallery Exhibition of new images of the Garden Route by Dale & Mel Elliott Woodmill Lane Shopping Centre, Knysna. Anneline: T. 044 382 5646 www.daleelliott.co.za

SA ART TIMES. May 2011

Knysna Fine Art Until 12 May, Pink Loerie Festival exhibition featuring “Glamour Girls” oil on canvas paintings by Marinda Combrink. During May, new works by Clare Menck (oil paintings), Helena Hugo (pastel on board), Simon Stone (oil on canvas) & ceramics by Lucinda Mudge.

Knysna Fine Art has relocated to Thesen House, 6 Long Str, Knysna. T. 044 382 5107 C. 082 5527262 gallery@finearts.co.za www.finearts.co.za

Langebaan

Bay Gallery Bay Gallery supports excellent, local artists, many of whom are members of S.A.S.A. All mediums exhibited.

Marra Square, Bree St., Langebaan. Contact: Daphne 073 304 8744 baygallery@xsinet.co.za www.baygallery.co.za

Oudstshoorn

Artkaroo Gallery A selection of authentic Karoo fine art by various established and emerging artists.

107 Baron van Reede, Oudtshoorn. T. 044 279 1093 janet@artkaroo.co.za www.artkaroo.co.za

Paarl

Hout Street Gallery The Hout Street Gallery specialises in South African paintings and fine art and offers an extensive range of ceramics, sculpture, creative jewellery, glass, crafts and functional art.

270 Main Str, Paarl. T. 021 872 5030 zetler@icon.co.za www.houtstreetgallery.co.za

Piketberg

AntheA Delmotte Gallery Opening 27 May at 7:30pm, a solo exhibition by self-taught artist Susan Kemp whose works range from massive copies of master works to ceramics, book illustrations, multimedia, handmade books & any medium, until 27 July.

47 Voortrekker Str, The Old Bioscope, Piketberg. C. 073 281 7273 anthea@lantic.net

Plettenberg Bay

Lookout Art Gallery A fine selection of interesting contemporary paintings, sculptures & blown glass.

The Courtyard, Lookout Centre, Main Str, Plettenberg Bay. T. 044 533 2210 mwdawns@mweb.co.za www.lookout-art-gallery.co.za

Somerset West

Liebrecht Art Gallery 12- 19 May, “Cityscapes” the urban environment in oil & acrylic by Lisette Forsyth.

34 Oudehuis Str, Somerset West.

T. 021 852 8030 C. 082 304 3859 www.liebrechtgallery.com

Stellenbosch

Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera Schillings & Karen Kieviet.

7b Andringa Str., Stellenbosch. T. 021 887 7234 Glen Carlou Estate On exhibition is The Hess Art Collection, including works by Deryck Healey, Ouattara Watts & Andy Goldsworthy.

Simondium Rd, Klapmuts. T. 021 875 5314 www.glencarlou.co.za

Oude Libertas Art Gallery Until 12 May, “Easter Rainbow” featuring works by Marius Lourens. c/o Adam Tas & Oude Libertas Str, Stellenbosch T. 021 809 7463 Sasol Art Museum Opening 11 May at 6:30pm, “Lens” until 23 July. The exhibition will include works of diverse media where the lens is used as primary device for image production. Participating artists: Andrew Putter, Araminta de Clermont, Avant Car Guarde, Bridget Baker, Carla Liesching, Dineo Bopape, Gerhardt Coetzee, Hentie van der Merwe, Husain & Hasan Essop, Jessica Meuninck-Ganger, Jo Ractliffe, Kathryn Smith, Lien Botha, Nathaniel Stern, Pieter Hugo, Richardt Strydom, Sonya Rademeyer, Steven Cohen, Stephen Hobbs, Svea Josephy & Zanele Muholi.

52 Ryneveld Street, Stellenbosch T. 021 808 3691 SMAC Art Gallery Until 15 May, “Fugitive Lines” mixed media works by Sue Pam-Grant.

De Wet Centre, Church Str, Stellenbosch. T. 021 887 3607 info@smacgallery.com www.smacgallery.com Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists are on offer to the discerning buyer.

34 Ryneveld Str, Stellnbosch. T. 021 887 8343 mjg@kingsley.co.za www.stellenboschartgallery.co.za The Tank Art Gallery Until 30 June, an exhibition of works by Judy Wheeler, Annemarie Renaud, Estelle Byrine, Peter Jander, Pauline Fine & Loretta Carter.

Situated at Stellenbosch Hills Wine Cellar, Vlottenburg Rd, Stellenbosch T. 021 881 3828/9 info@stellenbosch-hills.co.za www.stellenbosch-hills.co.za US Art Gallery (University of Stellenbosch) Opening 11 May at 6:30pm, “BOS” Constructed Images & the Memory of the South African ‘Bush War’ by Christo Doherty, until 11 June. Cnr of Dorp and Bird Str, Stellenbosch.

T. 021 808 3524/3489

Villiersdorp

Elliott Art Gallery Themed Boland and Overberg Exhibition by Dale and Mel Elliott 80 Main Rd, Villiersdorp. T. 028 840 2927 dale@daleelliott.co.za

Wilderness

Beatrix Bosch Studio Unique works in leather as well as paintings & photography can be viewed at her studio.

57 Die Duin, Wilderness. T. 044 877 0585 www.beatrixbosch.co.za Pharoah Art Gallery Following the fire that destroyed the gallery in June last year the newly opened gallery features an exquisite collection of Peter Pharoah’s fine art originals & prints including rich colourful portraits, unforgettable African wildlife and bold textured abstracts that are inspired by his travels around Africa. Wilderness Centre, George Road, Wilderness T. 044 877 0265 C. 076 976 2629 gallery@ peterpharoah.com www.peterpharoah.com

Worcester

Hugo Naude Art Gallery 12 May until 9 June, recent landscape paintings and new figurative bronze sculptures by Niel Jonker.

113 Russel Str, Worcester. T. 023 342 5802 www.nieljonker.co.za

25

Kwazulu- Natal Ballito Imbizo Gallery 20 May, karoo landscapes & geometric abstract paintings by Rick Becker.

Shop 7A, Ballito Lifestyle Centre, Ballito 4418 T. 032 946 1937 info@imbizogallery.co.za www.imbizogallery.co.za

Durban The African Art Centre Until 29 May, “Transformation and Innovation” unique items of jewellery created by crafters supported by the Centre and especially crafted pieces by Fiona Simmons.

94 Florida Rd, Durban. T. 031 312 3804/5 africanartcentre@afri-art.co.za www.afriart.org.za Artisan Contemporary Gallery Until 14 May, “Indigenice” botanical photographs by Carol Albertyn Christie and ceramics by Leanne Frisinger & Fahmeeda Omar.

344 Florida Rd, Morningside, Durban. T.031 312 4364 info@artisan.co.za www.artisan.co.za ArtSPACE Durban Until 7 May, “WO.MAN” paintings, prints & drawings

by Coral Spencer Domijan, Di van Wyk, Jane Oliver & Michele Silk.

9- 28 May, “Rhythms in Clay” Ceramics SA KZN Regional Exhibition, “Perennial” mixed media from Garret Artists and “Photogarage 2011” photographs from Angie Buckland’s photography workshop students.

3 Millar Rd, Stamford Hill, Durban. T.031 312 0793 info@artspace-durban.com www.artspace-durban.com Elizabeth Gordon Gallery 4- 14 May, “Echo” acrylics on canvas and oils on paper by Sudanese artist, Hussein Salim.

120 Florida Rd, Durban T. 031 3038133 joy@elizabethgordon.co.za www.elizabethgordon.co.za KZNSA Gallery Until 8 May, “Past Imperfect- Future Tense” botanical art from The Botanical Artists Association of South Africa featuring young guest artist Sibonelo Chiliza amongst others, in the Main Gallery.

Also until 8 May, “Drowning in Colour” acrylics on canvas, a public art performance & videography installation by Yvette Dunn, in the Mezzanine Gallery.

5 & 19 May at 6:30pm, “Cinema Thursday Picnic Screenings.” The KZNSA Gallery lawn will transform into a picnic theatre with a selection of international art-house, classic, foreign, experimental and generally interesting films.

Opening 31 May at 6pm, The Turquoise Journey’ ceramic, carved wood, bronze & embroidery by Hendrik Stroebel, until 25 June.

166 Bulwer Rd, Glenwood. T. 031 277 1705 gallery@kznsagallery.co.za www.kznsagallery.co.za

Kloof Fat Tuesday Until 7 May, “Come and Live” a quirky installation-style exhibition by Kevin Parry.

Bellevue Campus, Bellevue Rd, Kloof. T. 031 717 2785/9 shannon@fattuesday.co.za www.fattuesday.co.za

Margate Margate Art Museum Museum’s art collection on display which comprises a

SA ART TIMES. May 2011

KWAZULU NATAL / EASTERN CAPE | GALLERY GUIDE variety of modes, techniques and media that attempts to reflect the cultural and artistic diversity of the KZN region.

Margate Civic Centre, Dan Pienaar Square, Vikings Rd, Margate. T.039 312 8392 C.072 316 8094 huey@hcm.gov.za www.mam.org.za

Pietermaritzburg Art in the Park 1-5 June, “Nashua Art in the Park” the country’s largest outdoor art selling exhibition featuring a selection of 55 artists from across the country as well as some SADC countries north of our borders.

Alexandra Park, Pietermaritzburg.

Contact Pietermaritzburg Tourism on 033 345 1348 events2@pmbtourism.co.za www.artinthepark.co.za The Blue Caterpillar Art Gallery Until 20 May, oil on canvas paintings of still life & landscapes by Shirley Howells.

The Blue Caterpillar Art Gallery at Butterflies for Africa 37 Willowton Rd, Pietermaritzburg. T. 033 387 1356 art@butterflies.co.za/ bluecaterpillarart@hotmail.com www.butterflies.co.za Tatham Art Gallery Until 15 May, “Art and Politics” group show.

(Schreiner Gallery) Until Mid-June, “Whitwell Collection 1923-1926” (First floor Galleries & Ceramics Room) and ‘Storm in the Wheatfields: The Gallery’s History 19031974” (Perimeter Gallery) Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall) Pietermaritzburg.

T. 033 342 1804 www.tatham.org.za

Umdloti The Audrey Rudnick Gallery Surrealist Paintings, Sculptures and Pod People by Audrey Rudnick.

77 North Beach Rd, Shop no.10 Upper Level, Umdloti Centre, Umdloti. T. 031 568 2445 audrey@thehoozoo.com www.audreyrudnick.com

Underberg The Underberg Studio A gallery specializing in South African fine art landscape photography and ceramics. Owned by photographer Lawrance Brennon & his potter wife, Catherine Brennon, the gallery is set in a delightful garden facin g the mountains. Currently on show is a photographic exhibition entitled ‘Disintegration’ featuring Lawrance’s black & white pinhole images and a selection of Catherine’s newest ceramic work. 21 Ridge Rd, Underberg. Signage from R617 T. 033 701 2440 C. 072 141 9924 / 082 872 7830 www.underbergstudio.co.za

group exhibition every year in an attempt to encourage artists to try their hands at other media of artistic expression. This exhibition offers artists a chance to show their works to the wider public.

9 St. Marks Rd, Southernwood, East London.

T. 043 722 4044 annbryant@intekom.co.za www.annbryant.co.za

Port Elizabeth artEC (Previously EPSAC) 3- 13 May, in the Main Gallery (Lower Gallery): Cheshire Homes: water colours by disabled & mouth painters sharing space with Egazini: Printmaking from the Grahamstown Community Project.

17- 27 May, Group Ceramic Exhibition from Ceramics Southern Africa, Eastern Cape.

17- 27 May,in the Upper Gallery a group show: The artEC Members Only Exhibition.

Workshops: There will be a Drawing Marathon on Saturday 28th and Sunday 29th May, R495 pp (includes materials) and a Printmaking Workshop on the 30th May3rd June.36 Bird Str, P.E. T. 041 585 3641 gallery@epsac.co.za www.artecpe.co.za Art & Antiques New gallery with works by Rick Becker, Les Bird, Matthew Calitz, David Lister, Angel Mey, Yvette Mey, Len Nel & Leoné Spies.

31A 8th Avenue, Walmer, P.E. Yvette 072 186 5475 braveheart.mey@gmail.com Montage Gallery 3 – 31 May, “Once upon a time” featuring an array of exuberant childrens book illustrations by Fereshteh Najafi of Iran and Alida Bothma.

59 Main Rd, Walmer, P.E. T. 041 581 2893 montage1@iafrica.com www.montagegallery.co.za Nelson Mandela Metropolitan Art Museum Until 8 May, “Who’s Who and What’s New? 2011” the annual unselected exhibition is a chance for the Nelson Mandela Bay’s art community to exhibit new work at the NMMAM. Until 31 July, “Weird And Wonderful” filled with treasures from the NMMAM’s permanent collection, this exhibition promises to delight the senses and ignite the imagination.

Selected works includes prints by Walter Battiss, ceramics by Hylton Nel & paintings by Derrick Erasmus.

1 Park Drive, PE. T. 041 506 2000 www.artmuseum.co.za Ron Belling Art Gallery 10 May- 6 June, Watercolours by Mary Rose Dold.

30 Park Drive, P.E. T. 041 586 3973 ronbelling@mweb.co.za www.ronbelling.co.za

The SA Art Times

Eastern Cape

Is thrilled to be doing an:

East London

Eastern Cape Special Feature for June 2011

Ann Bryant Gallery Opening 10 May at 6:30pm , ceramics by Theo Ntuntwana and the Ncedisizwe Ceramic Project which aims to address the unemployment issue by trying to find a way to train and empower youth and women to produce excellent functional pieces as well as art masterpieces.

On show until 21 May. Opening 26 May at 6:30pm, “Anything but Painting” until 11 June. The East London Fine Art Society holds this

Please could you contact us at: editor@arttimes.co.za for us to include your details

27

Great SA Art Masters Series:

Peter Clarke ‘The power of art lies in its ability to transcend the artist’s original intention.’

Written and researched by Donvé Lee. Based on an adaptation by Awareness Publishing of the same title

Wind blowing on the Cape Flats – gouache, 1960. Here Clarke aptly reflects the harshness of life on the Cape Flats by focussing on the debilitating weather – the blinding sun and the merciless wind. The stylized, strongly defined shapes are reminiscent of both Japanese woodcuts and Mexican expressionism.

Early Life Born in the tranquil coastal suburb of Simonstown on 2nd June 1929, Peter Edward Clarke began to draw as soon as he could hold a pencil. He was the third of six children born to Rose and Peter James Clarke, a plumber’s assistant at the naval dockyard. The family lived in an old stone house on the mountainside. In his spare time Peter James made treasure out of trash, transforming scrap metal into candlesticks and picture frames while young Clarke watched, entranced. Not surprisingly for a creative child, Clarke loathed school, but when the Second World War began in 1939 his afternoons at least, were never dull.

Soldiers and sailors from exotic places poured into sleepy Simonstown while battlescarred ships appeared in the bay, providing endless excitement for curious schoolboys.

Images: Left: Peter Clarke, aged nine, dressed in his Sunday best, Top right Peter Clarke grew up in this street.

Bottom WWII Battleship in Simon’s Town Naval Base 28

SA ART TIMES. May 2011

Photo: Jenny Altschuler 2011

GREAT SA MASTERS SERIES / PETER CLARKE

A man of many talents By the time he entered secondary school, Clarke was an avid reader, and could write as well as he could draw. Neither was he lacking in confidence, announcing one day to his English teacher that he would be both an artist and a writer when he left school.

One of his favourite school subjects was book-binding, an art form which he would continue to enjoy for the rest of his life. During his grade nine year at Livingstone High he made a wondrous discovery - a fat pile of art magazines in the back of the art room. He subsequently spent many happy hours pouring over images of Japanese, Mexican and German Expressionist art, all of which were to influence his stylistic career.

Soon after this, at the age of 15, he left school and found a job as a ship’s painter, and the following year began evening art classes at Saint Phillips School in District Six (which later became CAP).

During the weekends he continued to paint and draw outdoors, and in 1949 fell in love with Tesselaarsdal, an idyllic farming village near Caledon where he began to spend December holidays writing, painting, and feeding his soul.

Finally, after 11 years of boring dockyard jobs followed by three blissful months in paradise, he took a leap into the unknown. He would never work for a boss again.

Towards Simon’s Town from St. James – watercolour, 1949. Clarke was only 20 when he painted this competent seascape. A few years later the government would declare this beach ‘whites only’.

Artist and writer By 1961 Clarke was winning prizes in short story competitions, illustrating books and designing book covers, teaching himself calligraphy, making leather belts, jewellery and sculpture, as well as exhibiting in England, Germany and America. In 1962 he spent nine months studying printmaking at the Rijks Academie in Amsterdam, and years later was to study etching in Oslo. Always productive, he was also becoming extremely versatile. He wished he could split himself in two, so that one half could be a writer, and the other half an artist.

Peter Clarke often attended the life-drawing class at St. Phillip’s School

Forced to leave In 1967 Simonstown was declared a white group area, shattering the local coloured community. During the next ten years traumatised residents watched bulldozers destroying their beautiful old homes. Fifteen kilometres away, their new houses in Ocean View were tiny, the area bleak and soulless. Forced to rebuild their lives in the middle of nowhere, many of the older people never recovered from the trauma. Unsurprisingly, Clarke responded to the senseless destruction and devastation by continuing to do the only thing that made sense to him - making art.

30

Ruin – oil on canvas, 1964. By the time Clarke painted this, the group areas act had been in effect for 14 years - tearing apart families, destroying homes and communities. Here the artist reflects the prevailing despair through an abandoned shack and a solitary crippled figure limping out of the picture plane, increasing the viewer’s discomfort with strident complementary colours and a jagged composition.

SA ART TIMES. May 2011

PETER CLARKE / GREAT SA MASTERS SERIES

Haunting prophecy In 1975 Clarke was invited to participate in an international writer’s programme in Ohio.

While he was in America he poured his heartache and homesickness into a triptich ‘Haunted Landscape’. (Middle panel) The oil painting depicts an empty yard, an old pram, a black cat, fighting doves, and a vicious dog barking at children - poignant symbols of the many South African lives broken by apartheid.

The triptych seemed prophetic - the following year, in June 1976, Soweto erupted in flames, heralding the beginning of a turbulent era which was to ultimately reshape the political landscape of the country.

‘Haunted Landscape’ – (Left panel) triptych, oil painting 1975. Clarke combines the ordinary with the extraordinary in these starkly beautiful, disturbing panels. The colour is unnatural, the juxtaposition of images jarring. In the left hand panel, the old pram and broken bicycle remind us that this was once a place where children laughed and played. Now all that remains are broken possessions, symbols of lives broken by apartheid. In the middle panel, a dog barks at petrified children. In the third panel a man twists his face towards us, seemingly in pain.

Accessible and universal Clarke is a man of few words, but when he speaks, we listen. The same can be said about his work, which is both accessible and universal. The couple in ‘Family Fleeing from Fire’, could be from any poor community anywhere in the world; poverty stricken families build homes out of cheap inflammable materials whether they are in Khayelitsha or Cairo.

‘Family Fleeing from Fire’ – coloured woodcut and linocut, 1962. Here Clarke combines woodcut and linocut techniques, printing the coloured areas from a linocut, and the black areas from the same design carved on a woodblock. He also uses the woodgrain effectively to echo the direction of the flames looming over the endangered family.

Top, Middle: “Haunted Landscape” – triptych, oil painting,1975 (left and right-hand panels). Below: ‘Family Fleeing from Fire’ Right: ‘Untitled’ 1966

Be sure not to miss Peter Clarke’s exhibition Listening to Distant Thunder at The Standard Bank Gallery Jhb 11 May - 2 July 2011 Cnr of Simmonds & Frederick Str.’s, Jhb. T. 011 631 1889 www.standardbankarts.co.za SA ART TIMES. May 2011

31

Decorative & Fine Arts Forthcoming auction Cape Town 31 May and 1 June 2011 Important Paintings, Furniture, Silver, Ceramics, Jewellery & Books including

Pieter Wenning’s

PLAAS, WELLINGTON R900 000 - 1 200 000 FOR VIEWING TIMES, AUCTION ENQUIRIES AND CATALOGUES Cape Town 021 794 6461 ct@swelco.co.za Next sale in Johannnesburg 2 & 3 August 2011 closing date for submissions 13 May 2011 Johannesburg 011 880 3125 jhb@swelco.co.za

www.swelco.co.za

Peter Clarke recieving the Order of Ikhamanga (Silver) from Thabo Mbeki.

Photo: Elmond Jiyane / GCIS

Important dates in the artist’ life 1929 1944 1955 1957 1965 1975

Born in Simon’s Town Leaves school to work at the dockyard Drum International Short Story Award First solo exhibition C P Hoogenhout Book Illustration Award Attends International writer’s programme at the University of Iowa, USA 1979 Art teacher at Kleinberg Primary School, Ocean View, Cape Town 1983 Diploma of Merit in Art by the Italian Art Academy 1980–1993 Part time Art teacher, Ocean View Library 1984 Honorary life member, Museum of African American Art, Los Angeles 1984 Honorary Doctor of Literature, Taiwan 1994, 95 Only South African artist invited to exhibit on international shows in France and Japan.

2000 Cape Centenary Foundation Molteno Award for services to the visual arts 2005 Order of Ikhamanga (Silver) 2010 Arts and Culture Trust Lifetime Achievement Award

Peter Clarke in his studio, Ocean View, Cape Town Photo: Jenny Altschuler

Photo: Jenny Altschuler

Time to play Since the democratic elections of 1994, Clarke’s ’s art has became more playful. Like his father who used to turn trash into treasure, he recycles junk mail that lands in his postbox, cutting and pasting and constructing little concertina books that fold up into boxes of various shapes and sizes that he covers with leather or paper, ocassionally applying teabags to the box to create a weathered look. Many of the books are inspired by music, particularly jazz.

Clarke’s Fan Series (Above) Beautiful boxes and beautiful books.

Clarke says, “You can’t fold up a Monet or a Cezanne or any precious work of art.

But with one like this, you can fold it up and carry 34

it in a little box. You can sit next to somebody in a waiting room and say: ‘I’ve got something to show you’ and lift it out its box.”)

While in his seventies Clarke began his fan series, a collection of collages which fittingly draw on both his literary and visual skills.

Each fan is a celebration of a person’s life – a historical, literary or artistic figure, or someone he knows personally. Below each one, in exquisite hand written text, he describes the particular person’s thoughts, sometimes imagined, at other times taken from the person’s actual writing.

Clarke’s small, sunny bedroom in his Ocean View home is also his studio, a factor which has determined the size of his artworks.

An inspiration to many in his community, he has earned the title ‘Godfather of Community Art’ by bringing art and literature to Ocean View, organis-

ing cultural events in the library, and facilitating art workshops in townships throughout South Africa.

In 1995 Clarke’s linocut print, ‘Homage’, appeared in an American publication made in memory of the thousands who died in the atomic bomb blasts in Japan in 1945. The print shows a bird in flight and a hand pointing to the famous words by the poet Langston Hughes: ‘Hold onto your dreams, for if dreams die life is a broken winged bird that cannot fly.’

Clarke has consistently followed Hughes’ advice, believing in himself and holding onto his dreams.

Now in his eighties, with over 80 solo exhibitions behind him and works selling up to R150,000 on auction, he is as productive as ever, busily preparing for yet another major retrospective.

SA ART TIMES. May 2011

PETER CLARKE / GREAT SA MASTERS SERIES

”For Some the Pathway to Education Lies between Thorns” – coloured linocut, 1993

“Homage” – linocut and watercolour, 1983

“Interior with Passerby” – woodcut, undated

‘The wake’ – coloured linocut, 1970 “The Lonely Wanderer” oil painting, 1969

“Dancing with Guys” – gouache, 1954

A year in the life of the artist – 1975 : In 1975 racial tension in South Africa was excalating at an alarming rate. Clarke was relieved to escape to America. He had been invited to attend a writers programme in Iowa, where he was elected Honorary Fellow in Writing by the University of Iowa. Reading about South Africa in the papers was depressing. Watching from afar with a heavy heart, he finally poured out his pain in the prophetically beautiful triptych ‘Haunted Landcape’.

1975 Events in Southern Africa South African government announces it will consolidate 113 separate homeland areas into 36 Bantustans.

19 April Dr. Nic Diedrichs inaugurated as South Africa’s third state president.

May 6 South African government announces free and compulsory education for all black children 25 June Peoples Republic of Mozambique formed November 11 Civil War erupts in Angola 27 March

SA ART TIMES. May 2011

February 20 March 4 March 10 April 30 June 5 October 1

1975 World events Margaret Thatcher elected head of British Conservative Party Charlie Chaplin knighted by Queen Elisabeth 11 of UK Rocky Horry Picture Show opens on Broadway Vietnam War ends.

Indian Prime Minister Indira Ghandhi declares state of emergency Muhanned Ali defeats Joe Frazier in Manila

35

ARTLife THE SOUTH AFRICAN

Kwa-Zulu NatalArt Feature Reseached and written: Durban: by Peter Machen. Pietermaritzburg : Estelle Sinkin

DURBAN Introduction to the Durban Art Scene The Durban art scene is often viewed as the poor, culturally deprived relative of Cape Town and Johannesburg. Uninspiring sales figures, a sparse selection of high-end contemporary galleries and a lack of international attention do little to counter this reputation as a cultural backwater. But despite these limitations, and perhaps also because of them, Durban is a city that overflows with creativity. From acclaimed photographer Zwelethu Mthethwa to last year’s Standard Bank Young Artist of the Year Michael MacGarry to quintessentially Durban artists such as Andrew Verster and Trevor Makhoba, the city’s lush tropical environment continually supplies a pool of cutting edge talent to the country’s national art scene.

Durban’s vibrant mix of cultures, combined with the unshakable feeling that it is, on a conceptual level, on the edge of the world, give it an an edginess and idiosyncrasy that constantly produces fresh and unique visions. But sadly the city’s conservative and culturally apathetic mainstream audiences seldom pay attention to these visions, and then only once they’ve been critically acknowledged elsewhere. And so, while Durban artists and gallerists bemoan the difficulty of establishing commercially sustainable careers, the situation seems unlikely to change in the near future, and all by the most devoted artists leave for more financially viable pastures. In the absence of any major sea change, the city will continue to incubate and nurture world-class talent with benevolence and little hope of reward, in turn helping to fuel the creative lives of Cape Town and Johannesburg, where numerous displaced Durbanites operate in full force.

arts institutions around the country. Riason Naidoo is director of the SANG in Cape Town, while Khwezi Gule is the curator of Soweto’s Hector Pieterson Museum and the Kliptown Open Air Museum and Nontobeko Ntombela occupies the positions of Curator of Contemporary Collections at the Johannesburg Art Gallery. Kirsty Cockrill is the Director of the AVA Gallery, CT.

Art events Red Eye: Started by Carol Brown in 1994, Red Eye has had a major im-

pact on the way that South African public galleries relate to their audiences.

The first major event to invite the public into the gallery for an art-based party, the event has been imitated in various guises over the years, and has helped to break down the highbrow notion of art as a discreetly separate cultural activity. As well as introducing the gallery to younger and more diverse audiences that might not otherwise engage with fine art, the event was also instrumental in helping to reactivate the city centre as a cultural space.

Initially a monthly event, then quarterly, and now firmly established as an annual extravaganza, Red Eye is one of the key events in Celebrate Durban, an annual festival co-ordinated by the eThekwini Municipality. Although the event’s focus has always been on pulling new young artists out of the woodwork, Red Eye has also attracted some of the more prominent names on the South African art scene, from William Kentridge to Steven Cohen.

The Durban diaspora While Durban has an important role in nurturing artistic talent across various disciplines, it is also a difficult place to make a living as an artist, largely because the art market is so small and serious buyers so thin on the ground.

Which is not to say that people don’t buy art in Durban. Most shows features a prominent number of red ‘sold’ stickers, but work is sold cheaply and many of the buyers are often fellow artists - Durban galleries seldom sell work to clients who are buying purely as investments. This constraint, together with the fact that Durban is effectively separated by one degree of separation from the international art market by the other metro areas of Johannesburg and Cape Town, means that Durbanites generally don’t attract national or international attention without either first making it in one of those two cities or establishing themselves on the international exchange circuit.

All of which means that many of the country’s biggest names are from Durban, even if they no longer live here. Former Durbanites who have attracted national and international acclaim include artists Zwelethu Mthethwa, Dineo Bopape, Clive van den Berg, Jeremy Wafer, Zanele Muholi, Aryan Kaganof, Michael MacGarry, Mlu Zondi, Kathryn Smith, Gabi Ngcobo, Thando Mama and Siemon Allen. Durbanites also have strong administrative positions in 36

Unique to Durban: The Durban Art Bus

The Arts Bus is a city-funded intervention which provides a free hop-on

hop-off bus tour of Durban’s galleries at certain times of the year. In a city in which art audiences are often accused of apathy, the Arts Bus has been incredibly successful, running at full capacity most of the time, although it only runs during events such as the World Cup and Celebrate Durban. Because it’s free and entirely dependent on city-funding, the bus’s ongoing existence SA ART TIMES. May 2011

A great colonial gift to South Africa: The beautiful Durban Art Gallery

ARTLife | KWAZULU NATAL SPECIAL FEATURE / DURBAN

is tentative but it’s been running for the last few years during Celebrate Durban and seems likely to continue doing so.

Art for Humanity is a non-profit organisation which engages with the

visual arts to promote an awareness of human rights. The organisation specialises in producing fine art print portfolios, exhibitions, billboards and research projects which advocate various human rights issues in South Africa and internationally. Headed by print-making lecturer Jan Jordaan, the organisation has hosted several exchange programmes and exhibitions, including the globally sourced ‘Dialogues Among Civilisations’, which showed at the Durban Art Gallery last year.

Art Galleries

The African Art Centre is both a gallery and a retailer of a wide range of authentically African art works. Bridging the divide between traditional craft and fine art, the African Art Centre houses both traditional and contemporary work in a large variety of media. With the curatorial eye of Sharon Krampton in attendance, the centre is the perfect stop for tourist looking for authentic souvenirs. The Centre gives equal weight to the work of both internationally recognised and unknown artists and is an important incubator for talent that might not otherwise find an outlet.

38

ArtSpace Durban located in the semi-industrial area of Umgeni Road, just behind the Moses Mabhida Stadium, plays host to a wide variety of artbased events. Essentially a gallery for hire, it is nonetheless one of Durban’s most important exhibition spaces – the work on show is generally free of Sunday painters and is thoroughly contemporary in nature. As well as showcasing work by a wide range of local and national artists, ArtSpace facilitates a number of group shows during the year and hosts the Durban leg of national events such as the Absa Atelier Awards and the now discontinued Sasol Wax Awards. Given the relatively small number of contemporary galleries in Durban, ArtSpace Durban is particularly important as a place to view and buy the work of young emerging artists. The gallery is unrelated to the similarly named Johannesburg gallery Artspace.

The BAT Centre is located in a picturesque corner of Durban Harbour although that picturesqueness has gradually been whittled away by post-911 harbour security boom-gates and fencing. Featuring three gallery spaces and a sprawling studio occupied by working artists, the centre is a mainstay for cultural tourists as well as various youth subcultures. The focus of the work produced and shown at the Bat Centre is markedly African and grounded into the traditions and day-to-day life of KwaZulu-Natal. Some of the work shown courts the edges of curio, while the more interesting work is often evocative of outsider art. Run by cultural activist Nise Malange, with a frequent turnover of curators, the Bat Centre goes in and out of fashion, but nearly two decades after its launch, remains a staple of Durban cultural life.

The Durban Art Gallery is a remarkably dynamic public institution. Located in the colonial baroque of the city hall, and layered with lavish Victorian detail, the space has played host to a variety of activities over the years, from cutting edge performances from the Siwela Sonke Dance Company and Steven Cohen to the famous Red Eye event. The scope and scale of exhibitions has been equally varied, from the outsider genius of Cyprian Shilakoe to powerful installation-based work from Vaughn Sadie and Bronwyn Lace. But not all of the work resides in the space equally and the relationship between the art and the architecture is never neutral – which, depending on the nature of the work on show, is either a blessing or a curse. The DAG has a rich permanent collection of more than 6500 works spanning the 15th century to the present. Pieces from the collection are usually on display, sometimes in conjunction with visiting work.

SA ART TIMES. May 2011

DURBAN / KWAZULU NATAL SPECIAL FEATURE | ARTLife The Collective is a brand new gallery that is set to open this month. An ArtSpace Durban initiative, in collaboration with young artists Amy-Jo Windt, Lisa Herselman and Sayuri Naidoo, the gallery’s raison d’etre will be to promote the work of artists under the age of 35. The Collective intends engaging with galleries in Johannesburg and and Cape Town in order, building stronger links between Durban and the other two Metro areas and, to this end, will double as an artists agency. Opening night will features a collaborative exhibition from photographers-on-the-rise Kevin Goss-Ross and Xavier Vaheed, entitled ‘Our’, as well as work from Riaan Van Jaarsveld and the recently formed Sad and Lonely Institute of Contemporary Art (SLICA). The gallery will open on 16 May at 6.30pm. [Not sure if the last two sentences are appropriate, given their time-based nature] Other Durban alleries include: Tamasa Gallery deals in original South African art, with an emphasis on contemporary work by KZN artists. The gallery shows two solo exhibitions a year, and offers an excellent archival framing service.

The KZNSA is one of South Africa’s most beautifully designed contemporary spaces. Under the curatorial direction of Storm Janse van Rensberg, the gallery was for many years Durban’s most important collective creative space.

In the last few years, the KZNSA has lost that key position but remains an important exhibiting space for a wide variety of local and national artists.

With three separate gallery spaces and a multimedia room, the building’s design ensures clear, easy viewing of work and, and while it’s a non-archival environment due to its natural air flow and lack of temperate control, it’s an inviting and flexible space for performance and installation-based work.

The gallery a weeklyAdcinema event and9:21 is also site of1 the Arts Case, 9553 AAC has Art Times CTP 4/26/11 AMthe Page one of Durban’s most popular daytime eateries.

C M

Y

CM

MY

CY CMY

K

Crouse Art Gallery is dedicated to the promotions of collectable South African art. All works sold are accompanied by a certificate of authenticity.

Fat Tuesday features a strong focus on photography, with both traditional prints and new media work exhibited.

Elizabeth Gordon Gallery is well stocked with original work by well-known South African artists.

Artisan Gallery is committed to showcasing the finest examples of local art and craft, and occasionally has exhibitions.

Educational Institutions The Durban University of the Technology, DUT (formerly the Durban Technikon and ML Sultan Technical College), is one of the city’s most important sources of creative talent. It’s Fine Art and Jewellery Department includes an impressive list of alumni, while current lecturers include practising artists Themba Shibase, Bronwen Vaughn-Evans and Jan Jordaan, who also heads Art for Humanity. DUT’s annual third and fourth year shows are a highlight of the Durban art calendar, and invariably reveal some exciting new talents and a host of works for sale at uber-cheap prices, with a few local art buyers in attendance.

The Centre for Fine Art, Animation and Design, headed by acclaimed Durban cartoonist and activist, Nanda Soobben, is another vital training ground for young Durban talent. Located in the heart of Durban’s CBD, the centre offers an integrated curriculum which includes training across all three disciplines. A hub of idiosyncratic energy, the school is a key cog in Durban’s creative machine, while Soobben’s cartoons, both compassionate and acerbic, appear everywhere from the Weekend Witness to the CNN website.

While Soobben clearly loves his home town, he is also highly critical of the City’s cultural reality, and hosts the annual Too Little Too Late Awards which recognises a broad pool of creative talents from Durban that have largely gone unacknowledged.

SA ART TIMES. May 2011 Composite

39

ARTLife | KWAZULU NATAL SPECIAL FEATURE / DURBAN

Interview with Mdu Xakaza Director of DAG Durban Art Gallery

First published on www.artthrob.co.za Interview with Mdu Xakaza, Director of DAG Robyn Cook speaks to Mr Mdu Xakaza on his role as the new director for the Durban Art Gallery Robyn Cook: Good day Mr Xakaza. Thanks for taking the time out to chat to me. To start with, could you tell us a little about your background, and elucidate on some of your new responsibilities.

Mr Xakaza: Born and bred at Maphumulo, KwaZulu-Natal, I have worked as education officer at the Tatham Art Gallery, Pietermaritzburg from 1996 to 2006. While I was in Cape Town, between 2006 and 2010, I also served on the National Arts Council as board member and chairperson for the Visual Arts Advisory Panel. As Director of this gallery, my responsibilities include general management tasks as assigned by the Ethekwini Municipality. I have to ensure that all control systems and procedures are observed in terms of the provisions of the Municipal Finance Management Act and other relevant internal policies. However, my important responsibility at the moment is to come up with a short-term plan for the Durban Art Gallery; a plan that should highlight my insight into basic service delivery requirements in general and visual art development areas (skills improvement, maximum exposure, creation of new audiences and, possibly, market, etc). However, these duties should be carried out within the context of museological character that this Gallery, like any public art museum, should maintain and enhance. My task is also to ensure that the day-to-day running of the Gallery is partly informed by the social and economic aspirations of this democratic society such as creation of employment opportunities.

It goes without saying that one of the most urgent responsibilities is to make the Gallery accessible to every public member within the Ethekwini metro, be it visual artists, art lovers in general, art connoisseurs and researchers across the cultural and racial spectrum. There has been a perception (or reality at times?) that the Gallery is racially biased in terms of how it treats its visitors and primary beneficiaries: visual artists. I need to fight such perceptions by ensuring that the Gallery is always welcoming to everybody, irrespective of their cultural and racial background. At an intellectual level, I see my responsibility as trying to transform the Gallery into a space of intellectual exchange, a space of critical engagement and creation of knowledge.

Museums must fulfil this role in order to discourage a positivist approach to thinking and engaging with various issues that are often taken for granted.

RC: Who is the current curator of the DAG? Do you work with guest curators or is there a single curatorial vision for the DAG? MX: We have Jenny Stretton who is our Curator of Collections and Phumzile Dlamini who is Curator of Exhibitions. Having been here only from February, we still have not worked out a definite curatorial vision. However, the permanent collection of this Gallery occupies the centre of our existence because it is very powerful and rich in many aspects. We also host exhibitions curated by independent curators. Louis Khehla Maqhubela’s show and ‘Home and Away’ have been curated by Marilyn Martin, former Director of the Iziko South African National Gallery, Cape Town, and Carol Brown, former Director of this Gallery, respectively. However, I would like to see a more interesting mix in terms of racial and gender diversity of curators.

RC: In the past the DAG’s permanent collection has largely been ‘uncurated’ in relationship to its temporary exhibitions, unlike MoMA or SMAK for example that have specific curated shows of their collections. Do you see this as an area that could be addressed under your directorship?

40

MX: Definitely because there are socially relevant themes that I would like this Gallery to explore through our collection. I would also like to engage the public in such themes through our education department. One such themes is ‘landscape’, which I would like us to interrogate more critically from a social perspective. I would like our curators to conduct more research into issues that are touched upon by our landscape paintings and drawings in a manner that is not depoliticized and ahistorical.

RC: How is it decided what temporary exhibitions will be shown at the DAG? MX: We normally hold meetings at which we consider exhibition proposals.

We consider these proposals on merit, checking their social relevance, the intellectual value they add to our existing collection and how compelling their artistic concepts are. However, we do not allow independent curators to bring exhibitions twice in one calendar year; we believe in giving every experienced and aspiring curator equal opportunities given that this is a public art museum, not a privately owned commercial gallery. We divide exhibitions into two categories: developmental exhibitions and those by established artists. The aspect of development is very important to us because this municipality considers development in many respects a very serious issue of service delivery because it has social and economic spinoffs.

RC: If we look at the new public-sculpture in Chicago - The Eye by Tony Tasset - which is darkly humorous, do you think we as South Africans are still stuck on a Modernist focus on so called ‘high-art’?

MX: Not necessarily. I think that our South African visual arts landscape is truly becoming more and more dynamic and less ‘conventional’. Artists such as Andries Botha and Nandipha Mntambo are examples of those individuals whose practices have gone past this ‘high-art’ ‘phase’.

RC: Johannesburg has a number of growing contemporary galleries showcasing the work of up-and-coming artists while the JAG is focused on specific curated shows alongside its permanent collection. Comparatively, with no focused contemporary galleries in Durban, where do you feel the DAG fits into the picture?

MX: I think the DAG should fill this vacuum by showcasing works by contemporary artists mainly from the Durban metro. What I would like to see happening, however, is striking a balance between the exhibition of these contemporary works and works by Durban veterans who have been ‘forgotten’ by local and overseas markets. I am still consulting with my colleagues on whether the best way to deal with this reality would be to hold retrospective exhibitions (in cases of those whose works are represented in collections) or to plan exhibitions of their recently executed works. One example of such artists is Paul Sibisi. This is meant to benefit mainly Durban-born or Durban-based artists given the fact that we are a municipal museum and are expected to treat the Ethekwini Municipality’s broad strategic focal areas.

This, in essence, shows that while there are these broad municipal strategic focal areas I also have my own ideas of what gaps need to be filled in order to address apparent challenges.

RC: In an ideal world, who would you love to see showing at the DAG? MX: If this world was Utopia, I would like to see ‘promising’ artists exhibiting alongside established artists so that there would be a much desired crosspollination of thematic and technical ideas. From the educational perspective, this divide slows down the process of art education in this country. At the moment the world looks ‘ideal’ because we are hosting Prof. Pitika Ntuli’s exhibition of wood, bone and bronze sculptures. Ntuli’s art is very rich because of his knowledge and respect of the fusion of art and culture.

SA ART TIMES. May 2011

DURBAN / KWAZULU NATAL SPECIAL FEATURE | ARTLife

Durban Art People Karen Bradtke is the driving force behind ArtSpace Durban. Together with her husband Klaus, Bradtke established the gallery in lieu of finishing her masters degree in fine art at DUT, in the process making a major impact on the city’s gallery-deprived art scene.

Having established ArtSpace as one of Durban’s prime contemporary spaces, Bradtke opened a branch in Berlin to provide a European showcase for local artists. ArtSpace Berlin closed temporarily last year when Bradtke was diagnosed with serious illness and was unable to travel. She is currently recovering and the gallery should reopen in the next few months. In the meantime, she is helping to launch the ArtSpace-funded gallery The Collective in Windermere Road. Bradtke is also a talented artists, and occasionally contributes her carefully considered conceptual pieces to group shows.

Carol Brown was the director of the Durban Art Gallery for twenty-five years, during which time she helped to transform the gallery from a colonial apartheid-era institution into a space that more broadly reflects the local cultural landscape of KwaZulu-Natal.

In 2006, Brown resigned from that position and has since embarked on a very successful career as a freelance curator, heading the fine art consultancy Curate-a-Space. She recently curated and facilitated two major travelling exhibitions, ‘Not Alone – An exhibition of Make Art Stop Aids’, and ‘Home&Away – an exhibition of the Ifa Lethu and Art Against Apartheid Collections’.

She was also responsible for selecting, curating and installing the fine art collection of the newly built Moses Mabhida Stadium.

Nathi Gumede is currently the curator of the DUT Gallery and a long-time contributor to the Durban art scene, both as an artist and as an administrator. After a successful stint as curator at the now defunct Kizo Gallery, and the KZNSA Gallery before that, Gumede, who is a product of DUT returned to his Alma mater as custodian of the the institution’s gallery. After resigning from Kizo Gallery in 2010, Gumede started a consultancy called Hustle Art Consultants as a response to the many enquiries that he was getting from people seeking professional advice. As well developing Hustle as a sustainable enterprise and fulfilling his duties at DUT, Gumede has also started painting again after a three year hiatus.

Jenny Stretton is the Curator of Collections at the Durban Art Gallery, and has for the last few years done a sterling job as the gallery’s Acting Director where she helped to facilitate a remarkably diverse set of exhibitions and events, including several successful Red Eyes. Stretton is ubiquitous on the Durban art scene, and is frequently involved in facilitating collaborations, both in her private capacity and as a municipal employee. In 2010, she curated the major exhibition ‘The Art of the Ball’ at the DAG to coincide with the Soccer World Cup and later this year she will be curating a show which explores the work of contemporary ceramicists in relation to pieces in the gallery’s collections. Stretton will also be embarking on the arduous task of auditing and digitising the gallery’s collection, which will make it more accessible to both physical and web-based visitors.

Mdu Xakaza was appointed the Director of the Durban Art Gallery earlier this year. Xakaza has spent the last four years in Cape Town working for the National Arts Council but originally hails from Maphumulo in KwaZulu-Natal. Having worked as education officer at the Tatham Art Gallery in Pietermaritzburg for ten years, he subsequently served on the National Arts Council as board member and chairperson for the Visual Arts Advisory Panel. As the new Director of the DAG, Xakaza has stressed the importance of visual art development areas such as skills improvement and the creation of new audiences and markets. He also says that the gallery needs to reconfigure itself so that its collection can become more accessible and user friendly to members of the public from various class and racial backgrounds. At the same time, Xakaza acknowledges the importance of maintaining the museological integrity of the Gallery. His position is an extremely important one, not the least because the Dag is one of the few spaces in Durban that is physically accessible to all who live in eThekwini, and his curatorial decisions will resonate for years to come.

Durban Artists Andries Botha is one of South Africa’s most internationally acclaimed artists. Working across a vast and diverse body of work that ranges from paintings to sculpture to installations, Botha interrogates the politics of historic and contemporary realities and the ways in which they intersect with our personal emotional truths in the post-colonial and post-apartheid era. In recent years, Botha has become increasingly famous for his continually expanding family of life-size elephants constructed from a range of materials, including indigenous hardwood and recycled tyres. Botha’s intimate relationships with his elephants lead him to form the Human Elephant Foundation which explores imaginative ways of repairing our fractured relationship with the planet. Botha has also produced a number of commissioned public sculptures including likenesses of Nelson Mandela and John Dube, which are installed at the Ohlanga Institute, north of Durban, where Mandela cast the first vote in South Africa’s first democratic elections. But some of Botha’s other public works have been plagued by controversy – his rendition of Shaka herding cows at the newly built King Shaka International Airport was uninstalled after complaints from the Zulu Royal family that the sculpture was too pastoral, while a group of three elephants commissioned by the eThekwini Municipality remains unfinished, after complaints from a high-ranking ANC official that the sculpture looked like the Inkatha Freedom Party logo. Botha will be having an exhibition at the Everard Read Gallery in August.

SA ART TIMES. May 2011

41

ARTLife | KWAZULU NATAL SPECIAL FEATURE / DURBAN Angela Buckland is a technically accomplished freelance photographer whose personal work has earned her a great deal of acclaim, including the Chrysler-Benz Award in 2003. Her work focuses on the private histories of seemingly ordinary people – their relationships, their physical environments and the human need for connectedness and a sense of belonging. Buckland engages intuitively with her subjects, seeking emotional veracity rather than objective truth, and although much of her work can be described as documentary, her focus on subjective experiences moves her images clearly into the realm of fine art. Major works by Buckland include ‘Zip-Zip My Brain Harts’, which documents her experience as a mother of a disabled child, and ‘Block A Jacobs Hostel’, made up of 561 images which explore the world of Durban’s male hostel dwellers and the lives contained within their tiny living spaces. The ‘Hostel’ series, which is now part of the Durban Art Gallery’s permanent collection, led to two further bodies of work, ‘The Sleep Series’ which consists of intimate pictures of people sleeping viewed from above, and ‘Block A Thokoza Women’s Hostel’, a sister piece to the male hostel series. Buckland has participated in numerous group exhibitions and her photographs are held in public and private collections locally and internationally.

Doung Jahangeer specializes in urban interventions, concentrating on the multiplicitous nature of urban space and exploring the ingenious design solution that working class city dwellers produce in response to their environment. Jahangeer’s work combines deeply informed knowledge of local realities with a compelling brand of Dadaism. His latest work, Watermark, consists of a trail of pink paint which follows the underground path of the Vars River through the city of Cape Town to the harbour, and which had its origin in a smaller work and more ephemeral work in Durban’s Warwick Avenue. While much of Jahangeer’s work is temporary, he has contributed several permanent structures to South Africa’s urban landscape – although as he would no doubt point out, ultimately everything is temporary. ‘Pipes of Protest’, his abstract tribute to Robert Mtshali, the first black runner to complete the Comrades Marathon, is installed in Church Walk outside the Durban city hall, while the lyrically beautiful Invented Mythologies is a major public sculpture in Johannesburg’s Ellis Park precinct that was inspired by the birth of his son. Together with Rike Sitas and Nontobeko Ntombela, Jahangeer is also the co-founder of the Dala art collective, an interdisciplinary collective which uses the transformative role of creativity to help build safer and more liveable cities.

Langa Magwa works with traditional Zulu forms and materials, often twisting and re-narrating their conceptual and historical threads, while at the same time playing with scale and marks of identity. Magwa’s respect for his heritage and ancestry strongly informs his work, while the use of both animal and human skin is deeply embedded in his approach to art-making. The resulting body of work traces the broken lines between tradition and modernity, chronicling and sometimes inverting the culturally rich lives of indigenous Durbanites. His works often have the feeling of monumentality, both because of their scale and also the way in which they act as a bridge across physical time and cultural space. While the inherent Zuluness of Magwa’s work gives it special meaning in Durban, his command of form and material give his objects a universality. Not always recognisable, they nonetheless contain an iconic modernist strength that resonates independent of meaning. At the same time, Magwa’s unease with the impositional nature of modernism is central to his approach as an artist.

Trevor Makhoba’s unique painting style and his approach to social criticism made him one of South Africa’s most celebrated artists. Makhoba was concerned with the underbelly of society and the social ills and contradictions inherent to contemporary South African life, all expressed in florid and idiosyncratic visual narratives which combined surrealism with the commentative nature of political cartoons. But while Makhoba’s work is critical in its satire, it also overflows with a deep love for the richness of South African life. His work has spawned sufficient imitators to make his style something of a genre, although it is a genre that often descends into cliché in the absence of the artist’s satirical distance. Makhoba, who was also a respected musician, was born in 1956 in Umkhumbane, the culturally rich area of Durban now known as Cato Manor. His mother, a schoolteacher, encouraged him to become an artist and from an early age he would sit next to her, sketching in charcoal taken from the kitchen stove. From those simple beginnings, Makhoba went on to achieve major critical acclaim with the encouragement of Jo Thorpe, the founder of the African Art Centre, who first recognised his talent. His work, which is executed in oils, acrylics, ink and pastels, has been exhibited around the world and is present in many South African collections, including the DAG and DUT Galleries. Makhoba won the Standard Bank Young Artist Award in 1996 and died unexpectedly in 2003.

Jay Pather is a choreographer, rather than a fine artist, but his contribution to the creative life of Durban and South and his engagement with fine art and artists in his dance pieces, mark him as a significant force on the local art scene. Although now lives an itinerant life between Durban, Cape Town and the rest of the world, Pather continues to head the cutting edge dance group Siwela Sonke. Collaborative by nature, Pather was also responsible for the ground-breaking Cityscapes which paired artists and choreographers within a range of urban contexts, from a small hotel room to the escalators outside 320 West Street (now Pixley KaSeme Street) to the Constitutional Court. But even without his engagement with fine arts, Pather’s output negotiates it way across so many conceptual and social barriers, that it’s hard not to view it as fine art. As well as his work with dance companies, Pather is also one of the country’s driving forces in the creative industries. In his role as an arts administrator and facilitator he sits on numerous boards, and has helped to inform the creative agendas of major events such as the Spier Contemporary Festival and the National Arts Festival in Grahamstown.

Themba Shibase is a painter who explores issues of power, identity, history and masculinity. His recent work includes slightly abstracted portraits of African political figures, from murkily rendered Afrikaner extremists to shiny, happy advocates of Afrocentrism.

The resulting body of work offers a collective portrait of leadership that confronts and questions the very notion of leadership. At the same time, the personalised inflections contained within his paintings reflect an ambivalence and scepticism in relation to purist notions of identity. Within this overtly political context, Shibase explores the cultural self, locating individual consciousness within the larger socio-political experience. In this way his work questions foundational concepts such as whiteness, blackness, Zuluness and maleness, in the process reducing history to a series of revolving power figures. Shibase also lectures painting in the Durban University of Technology’s fine art department.

42

SA ART TIMES. May 2011

DURBAN / KWAZULU NATAL SPECIAL FEATURE | ARTLife Greg Streak is the practitioner of a specifically African modernism that combines a sparse and formal minimalism with emotionally laden subtexts and an ingenious use of materials. Unafraid to go against the tide, Streak’s work is often politically strident and informed by a succinct but masterful understanding of form and space, both in physical and psychological terms. Trained as a sculptor, his artistic practise is more accurately defined as interdisciplinary and includes video and installation work. His recent work is characterized by his ability to transform mundane materials into simple yet complex objects that give rise to new values and meanings. These constructions usually carry subtle – and sometimes not so subtle – political overtones and reinforce Streaks preoccupation with the idea of displacement. The titles that Streak gives to his work are significant, providing meaning to what might otherwise be pure abstraction. Streak is also the founder member and coordinator of Pulse – an artists-run initiative through which he has organised numerous international projects. In the last few years, he has expanded into film-making, with his first feature-length documentary film Beauty and the Beasts garnering him a Special Mention Jury Award at the Durban International Film Festival.

Bronwyn Vaughn-Evans is a painter of remarkable visual and conceptual acuity. Working primarily in relief with black Jesso painted over white Jesso, Vaughn-Evans has taken a basic technique and given it an idiosyncratic singularity all of her own, in which the banal and the transcendent occupy different sides of the same Möbius strip. From life-size portraits of her friends and colleagues to the satellites, surveillance cameras and telephone lines that connect and disconnect us, Vaughn-Evans’s ever-growing body of work offers a haunting simulacrum of contemporary life, in which everything is laden with tenderness, profundity and the passing of time. Vaughan-Evans has received a number of awards for her work, and many of her pieces have been snapped up by corporate buyers. But although her work gets stronger and stronger with each showing, she has yet to receive the full embrace of national or international recognition.

Andrew Verster is probably Durban’s most prolific artist. Born in Johannesburg, Verster is nonetheless a quintessentially Durban talent. Inspired by the cultural and visual cacophony of his adopted city, his subject matter embraces everything from the beauty of the male body to the ornate details of temples and fabric – the work often reflecting the lush, tropical atmosphere of Durban. Highly regarded for his drawings, prints and paintings, in the last decade Verster has expanded his oeuvre into costume and set design, as well as collaborating with crafters such as weavers and beadworkers. While his unapologetic embrace of the contemporaneous male form in his ground-breaking work of the early 70s had strong political implications, his later work is less confrontational and more embracing of the full spectrum of human reality. Much of his recent work explores the invisible line between art and ornamentation, which he sees as a spiritual language and which is informed by his visits to India. Verster continues to produce work at a remarkable rate, creating hundreds of work every year and exhibiting frequently. He is also a writer of short stories, articles and radio plays.

Aidan Walsh was a painter of hyper-realist landscapes who died in 2008 after a long battle with illness and cancer. The life-partner of Andrew Verster, Walsh was a seminal figure on the Durban art scene for many decades, having started the Walsh-Marais gallery in Durban and subsequently spending many years as curator of the NSA Gallery (now the KZNSA). While Walsh gave established names such as Bronwen Findlay, Malcolm Christian and Paul Stopforth their first public showing, he himself only started painting late in life, after a visit to Paris in 1989. He quickly became one of Durban’s most beloved – and best-selling – landscape artists, his work transcending the conventions of the genre. Often more like deeply saturated memories of place rather than place itself, Walsh’s work is nonetheless remarkably precise with a resplendent command of light and shadow that gave even the bleakest of landscapes a feeling of resonant if detached emotion. It is this connection between memory, feeling and place, combined with Walsh’s love for deeply worn and lived in structures, that ensures the unique qualities of his legacy. Despite the onslaught of illness, Walsh continued to paint and attend exhibition openings right until before his death. At his wake – at the KZNSA Gallery – his final unfinished paintings were displayed, elegiac and haunting, a tribute to both the artist and the power of painting as an act of human creation.

Amy-Jo Windt is a young artist who recently graduated from DUT and who has made an immediate impact on the local art scene, as an artist and as a facilitator and curator. As well as being a talented visual artist who makes provocative work across various disciplines and media, Windt is also the voice of the KZN wing of VANSA, the Visual Arts Network of South Africa. Windt frequently collaborates with other young artists in the holding of group exhibitions ,and has been helping out with curatorial duties at ArtSpace Durban in Karen Bradtke’s absence. She is also one of the driving forces behind The Collective, a new gallery, funded by ArtSpace, which opens this month next to the historic Ike’s Bookshop in Windermere Road.

X-Ray by Andries Botha SA ART TIMES. May 2011

Performance work by Siwela Sonke 43

ARTLife | KWAZULU NATAL SPECIAL FEATURE / PIETERMARITZBURG

Ardmore Ceramic Art

Egg cups Ardmore Ceramic Art

This couch made by Ardmore Ceramic Art was shortlisted as one of the ten most beautiful objects in SA on The Design Indaba 2011

Internationally renowned Ardmore Ceramic Art celebrated its 25th anniversary last year with the creation of a new range of limited edition dinner services, cushion covers, table cloths and scarves.

Using key elements of Ardmore’s famous ceramic ware, Hillcrest graphic and textile designer, Kevin Perry, has created innovative repeat patterns which have been used to decorate a series of limited edition scarves, similar to collectable Hermes scarves, and a stunning couch, which was shortlisted as one of the ten most beautiful objects in South Africa at the Design Indaba.

“There will be eight scarves, so it’s important that they work independently and together. We are making a scarf that can be worn, but is also collectable,” Perry said. “It’s been a real honour working on this project, but also a challenge to stay true to the soul of Ardmore.”

The patterns have also been used to create beautiful dinnerware made from Walford white

stoneware. “You may not be able to own a vase for R50 000,” Ardmore founder Fee Halstead said, “but you can certainly save up and buy a dinner service, which not only looks beautiful but is a collectable.”

Asked what had made her decide to move in a new direction, Halstead, said: “To be creative you have to live on the edge the whole time… you’ve got to have a gamble and you must never be afraid of failure.”

All these, as well as Ardmore’s beautiful ceramics, can be found at the Bonnie Ntshalintshali Museum at the art collective’s base in Caversham in the KwaZulu-Natal Midlands. The museum is dedicated to the memory of Ntshalintshali, the first artist to work with Halsted on Ardmore products, and other Ardmore artists who have died as a result of the Aids pandemic.

For more information phone 033 234 4869 or www.ardmoreceramics.co.za

Caversham Centre for Artists and Writers Sometimes in life you don’t choose the things you finally end up doing - and that’s exactly what happened to Malcolm Christian who opened the doors to Caversham Centre for Artists and Writers (formally Caversham Press) in the KwaZulu-Natal Midlands a quarter of a century ago.

He found the idyllic midlands location quite by chance during a visit to David [Walters, the potter], at Caversham Mill. “I always broke my journey here when I came to visit family in Durban,” Christian, who was lecturing at Wits University at the time, said. “One day, while I was out walking, I saw this derelict church. I climbed over the fence and wandered round the graveyard. Then I peaked through the broken windows and thought what an amazing space it was and that it would make the perfect printmaking studio.”

His impulse buy led to the creation of a peaceful haven which has been offering artists and writers the chance to stretch their creative wings since 1985. Among those who have spent time at the centre are William Kentridge, David Koloane, Zwelethu Mthethwa, Deborah Bell, Mmakgabo Sebidi, Robert Hodgins and Bonnie Ntshalintshali.

To celebrate their milestone, Caversham Press hosted the exhibition ‘People, Prints and Process – Twenty-Five years at Caversham’ in Johannesburg at the end of last year. The show featured over 100 works by 70 artists, including those of Kentridge, Magkabo Helen Sebidi and the late Robert Hodgins and Gabisile Nkosi.

In February this year, Christian and his staff travelled to America’s Boston University to stage an exhibition in the 808 Gallery, an old Cadillac showroom dating to the 1920s. Some 180 pieces were on show.

A smaller edition of this exhibition is set to travel around the United States.

For more information phone 033 234 4893 or log on to www.cavershamcentre.org

Tracyci Tompkins Zulu-lulu A CHANCE encounter with the potter, Mo Abdalla, from North Africa, on the steps of Camden Arts School in London, inspired ceramic artist, Tracyci Tompkins’ passion for hand building with clay.

Tompkins, who lives in the Dargle in the KwaZulu-Natal midlands with her husband, Stuart, gave up a career in advertising to pursue her passion in 1999 and within a very short time became a regular topselling artist at Pietermaritzburg’s Nashua Art in the Park.

Sales helped fund the growth of her studio and gave her base to grow her commercial studio, Zulu-lulu.

Sourcing talent from previously unskilled local artists, Zulu-lulu makes a range of ceramic products from one-of-a-kind sculpture figurines - including the ruler-high Dlamini figurines which are individually handmade and have faces filled with expression - to quirky functional art that allows you to mix a bit of humour and personality with your existing tableware.

Zulu-lulu also makes a range of smoke-fired ukhamba and ceramic vessel shapes by combining traditional Zulu beer drinking pots with the skill of Tompkins’ large statement smoke fired urns. Individually fired in a smouldering pit of sawdust and other combustibles, these exciting pieces emerge with their own life and carry with them unplanned spontaneous random patterning.All these items can be found in the Zulu-lulu ceramic boutique at Piggly Wiggle in Lions River and at the Tompkins’ Lionsgate studio in the midlands.For more information email Stuart Tompkins at stuart@zlt.co.za, or phone him at 083 627 3491. You can also follow the gallery on Facebook.

44

SA ART TIMES. May 2011

PIETERMARITZBURG

ARTLife | KWAZULU NATAL SPECIAL FEATURE / PIETERMARITZBURG

A portrait of Ada Tatham, the wife of the Natal Judge President, who initiated a drive for the citizens of Pietermaritzburg to buy and donate artworks to the city.

particular time - and it tells us what artists were around in Pietermaritzburg and in KwaZulu-Natal, so you start building up a picture that is greater than the work itself. That picture, the more general picture, becomes part of our collective history,” he explained.

Bell’s book is the first volume of a planned comprehensive history of the gallery, which was started in 1903, after Ada Tatham, the wife of the Natal Judge President, initiated a drive for the citizens of Pietermaritzburg to buy and donate artworks to the city.

Brendan Bell, Director of the Tatham Art Gallery, Pietermaritzburg Estelle Sinkins An Art Museum exists to give you as full a picture as possible of a people’s common history - both good and bad. That’s the view of Tatham Art Gallery director, Brendan Bell, who has penned a book on the gallery’s collection titled Storm in the Wheatfield (The Tatham Art Gallery Collection 1903 to 1974).

The intriguing title refers to a storm which arose in 1967 over the purchase of Bertha Everard’s painting, Wheatfields with Blue Sky. At the time, the deputy mayor said the work looked like it was covered in “chocolate drippings”. For Bell, the controversy exemplifies attempted interference by councillors in acquisitions for the gallery in Chief Albert Luthuli Road, Pietermaritzburg.

He said: “We had quite a lot of problems in the 1990s with people, councillors amongst others, asking why certain works were being acquired for the collection. Were they being bought on aesthetic merit or because they were politically correct? It was a huge controversy.”

Bell believes strongly that every artwork tells a story. “Every picture tells us something about who owned it previously, it tells us something generally about taste - the taste of the public at a 46

One of the largest donations was the gift of more than 400 artworks and objets d’art by Briton, Colonel Robert Whitwell, who visited the city in 1919, some of which can currently be viewed in the gallery’s Lorna Ferguson room.

“Our exhibition is the first major public acknowledgement of Whitwell and his collection,” Bell said. “If we didn’t have the Whitwell collection, this institution would be so much the poorer. He helped change the collection from purely Victorian and Edwardian works to one which looked at modernism and British modernism in particular.”

In 1963 the exhibition rooms at the City Hall were officially renamed the Tatham Art Gallery and the collection was reviewed and restructured, with more than 100 artworks being sold at the suggestion of a Eleanor Lorimer, then director of the King George Gallery in Port Elizabeth.

Speaking about the sale, Bell said: “I think it was done with the best intentions in mind… but it was also done at a time when Victorian and Edward ian paintings were not held in very high esteem at all. The people who undertook the selection of works were very much from what I would call the ‘modernist tradition’. They also selected quite a few works by South African artists [for sale]. I’ve been trying to get them back or to get works by similar artists back in the collection, to reflect what was happening in the art world at the various times of the gallery’s existence.

“I argue in the book that you don’t get rid of artworks in a collection. An art museum is there to give you as full a picture of our common history

as possible - both good and bad.”

The Tatham Art Gallery, which moved to its current home in 1990, believes in giving both professional and aspiring artists the chance to display and partake in its exhibition programme, which, in recent months has included: the mixed media show, Samsara, a celebration of the arrival of indentured Indians in KwaZulu-Natal in 1860; botanical art created by members of the Botanical Arts Association of South Africa (KwaZulu-Natal); and last year’s stunning celebration of craft in the province, Jabulisa 2010.

Looking ahead, the gallery will be staging an exhibition of contemporary craft in KwaZulu-Natal from July 14.

The Tatham Art Gallery is open Tues to Sun from 10 am to 5 pm. Inquiries: 033 392 2801.

Copies of Storm in a Wheatfield (The Tatham Art Gallery Collection 1903 to 1974), which is priced R495 (hardcover) and R375 (soft cover), can be purchased from the Tatham Gallery Shop.

Telephone 033 392 2828 or visit www.tatham.shop@msunduzi.gov.za SA ART TIMES. May 2011

What do these two royals have in common?

Both are in the Tatham

Art Gallery collection!

The Tatham Art Gallery is an art museum in Pietermaritzburg housing internationally renowned collections of British, French and South African art works and objets d’art.

The Portrait of Queen Victoria is a copy by Charles van Havermaet of Winterhalter’s coronation portrait. It was commissioned in 1903 by the Gallery’s founder, Mrs Ada Tatham. The Portrait of King Cetshwayo kaMpande was painted by Helene Train in 2003 as a companion piece to Queen Victoria, the result of a national portrait competition to celebrate the Gallery’s centenary.

Opposite City Hall, Chief Albert Luthuli (Commercial) Road, Pietermaritzburg P.O. Box 321, Pietermaritzburg, 3200 Tel: (033) 392-2801 Fax: (033) 394-9831 Email: brendan.bell@msunduzi.gov.za Web: www.tatham.org.za

Open: Tuesday to Sunday 10h00 to 17h00.

Closed Christmas Day, Day of Goodwill, Good Friday, Workers’ Day Refreshments and light meals available at The Chef’s Table

ARTLife | KWAZULU NATAL SPECIAL FEATURE / PIETERMARITZBURG

Nashua Art in the Park This year’s Nashua Art in the Park selling exhibition will take place at Alexandra Park in Pietermaritzburg from June 1 to 5.

Among the artists taking part in the event, which is staged under the London plane trees on the banks of the Msunduzi River, are: Diane Erasmus, Isaac Sithole, Stephen Pryke, Ezequiel Mabote, Marion Townsend, Siyabonga Sikhosana, Martin Wenkidu, John Lewis, Mat Louwrens, Harry Lock and Wim Rautenbach.

Artists attending the exhibition come from across KwaZulu-Natal, and from as far afield as the Eastern and Western Cape, Mpumalanga, Gauteng, the Free State, and north of our borders, Botswana, Mozambique, Zimbabwe and the Democratic Republic of the Congo. The representative mix is attributed to several factors, not least the picturesque venue and legendary ambience wrought by the splendour of autumn, fires at night, sherry and an inventive entertainment programme.

The organisers are again hoping that the artists, who sell direct to customers, will enjoy record sales, perhaps even surpassing the R2.8 million made in 2008.

Art in the Park is open from 10 am to 8 pm, Wednesday, June 1 to Saturday, June 4 and Sunday, June 5, between 9 am and 4 pm. Admission is R10, children under 12 free. Parking is available in Kershaw Park and is free. No pets will be allowed into the exhibition, except for guide dogs.

Ezequiel Mabote is one of the artists who will be exhibiting at this year’s Nashua Art in the Park.

Photo courtesy of The Witness.

Throughout the show visitors will be able to listen to music provided by Mark the Fiddler, saxophonist, Chris Jensen, Tracy Stark, Rowan Stuart, Bear Hansen and the Chain Breakers Band, the St Nicholas Steel Drum Band, Jaspar and Jesus Alonso. Inquiries: Buhle Ndwandwe, Pietermaritzburg Tourism Events Managerat events2@pmbtourism.co.za or phone 033 345 1348. 2 Ezequiel Mabote is one of the artists who will be exhibiting at this year’s Nashua Art in the Park at Alexandra Park in Pietermaritzburg from June 1 to 5.

Zotha Shange One of those most innovative pieces to be found in the Tatham Art Gallery is a kinetic rolling ball sculpture of a ship, which uses a motor to power moving lifts which in turn help keep the large glass balls which form part of the piece in constant motion.

Titled The Ship, the work is the creation of Pietermaritzburg sculptor, Zotha Shange, who is believed to be the only artist in South Africa designing and building these works for public display.

Each of the kinetic sculptures, some of which are a metre or more in height and length, is constructed on a frame-work of copper piping. The tracks and support arms for the rolling giant glass balls are constructed out of 3mm copper-plated mild steel rods.

Shange’s interest in rolling ball machines was piqued in early 2007 when he saw several works featured in the film Fracture, which a consulting engineer, played by Anthony Hopkins, designs and studies rolling ball sculptures for relaxation.

Shange had never seen anything like them and was immediately fascinated. What followed was many months of research, hard work, experimenting and construction.

A year later he held his first exhibition at the Natal Museum in Pietermaritzburg. His intricate works fascinated visitors who spent hours watching the balls spin, whirl, loop the loop and drop through drawbridges or switch direction. Among those who saw his work were staff members from the United States Embassy in Pretoria who promptly placed orders for one of the machines, which can now be found in the Embassy’s Public Affairs Permanent Collection. Another two are in the United States.

Since then, Shange – who grew up in Dambuza, and matriculated at Georgetown High School in Edendale, outside Pietermaritzburg – has enjoyed a successful exhibition at the Tatham Art Gallery and continues to make works on commission.

Inquiries: zothashange@gmail.com or T. 072 039 1261.

Top: Zotha Shange at work on one of his kinetic sculptures Below: Zotha Shange’s intricate rolling ball sculpture, The Ship, which can be viewed at the Tatham Art Gallery.

48

SA ART TIMES. May 2011

PIETERMARITZBURG / KWAZULU NATAL SPECIAL FEATURE | ARTLife

Blue Caterpillar Gallery The Blue Caterpillar Gallery, which is situated in the Butterflies for Africa complex in Willowton Road, Pietermaritzburg, was founded ten years ago and has grown and expanded its selection of art and artists over the past five years.

The gallery’s main aim is to give new artists - both local and those from abroad – exposure and to encourage visitors to the centre to take an interest in fine art.

Currently on show at the gallery is an exhibition of work by Shirley Howells, a Pinetown-based artist, who has been painting since 1985. She hosted her first solo exhibition in 1997 at Moore’s Africa Art Gallery in Detroit in the United States – and thanks to the success of the showing decided to turn professional. Howells works in all media, but leans towards the use of pastel for portrait studies, oils for landscapes, still life and florals, and acrylics for her bright decorative art. Each work is created Shirley Howells ‘s Women and Children. by her imagination and layer upon layer of colour gives her paintings a wonderful depth and texture.

Her work has been sold to individual collectors all over South Africa and the State President of Tanzania has included two of her paintings in his collection.

Her religious art can be seen in the Catholic Seminary in Umtata and at the Marianhill Monastery Retreat House in Pinetown.

The Shirley Howells exhibition is on view until May 14.

From May 14 onwards, the gallery will be showcasing its investment art section which includes: a large William Kentridge lithograph; Christiaan Nice oil paintings; Frans Claerhout oils and mixed media work; and works by Errol Boyley, Don Madge and Terence Mc Caw; lino cuts by Gregoire Boonzaier; and smaller examples of Walter Battiss works. Also at the gallery are works by local investment artists, including Kobus Kotze, Charmaine Eastment and Marion Townsend; and Spanish artist Didier Lorenco’s original oils, watercolours and lithographs.

For more information phone 033 387 1356 or log on to www.butterflies.co.za.

The Midlands Meander The rolling hills of the KwaZulu-Natal Midlands provide a home to a host of creative people.

They range from the sculptors and painters of world-renowned Ardmore Ceramic Art, to John and Andrew Early, who create beautiful wooden bowls made from salvaged wood, the decorative and functional ceramics of artists Tracyci Tompkins, Iain Glenny and Lindsay Scott and the stunning bronze sculptures on Nicky Richards.

Many of these artists are members of the Midlands Meander Craft Guild, which was formed three years ago to reinstate the Midlands Meander founding members’ vision of offering exceptional and authentic local craft.

Founder member, Helen Shuttleworth, who runs Shuttleworth Weaving on the Fort Nottingham Road with her husband, Andy, and their son, Robert, said the craft guild was a way to return to the founding principles of the Meander. “It’s taking us back to to what the Meander was all about in the beginning… back to the roots of the Meander, which was good crafts and getting people to come to the artists and crafters’ studios to see what they do and how they do it,” she added.

The Shuttleworths began weaving in 1976 and for over 30 years their family-owned business has produced high quality carpets and throws, with a special emphasis on texture and colour. For more information phone 033 266 6818.

Also well worth visiting are the Earlys, whose business, The Woodturner, is based on the Dargle Road.

They produce a range of contemporary furniture and bowls made from jacaranda, blackwood and Indian mahogany, which are sought after both at home and abroad. Each bowl is turned from wet wood, left to dry for up to four years and then sanded and waxed or oiled. For more information phone 033 234 4548.

A short drive down the road is Sterling’s Wrought Iron in Lions River, which was established in 1985 and uses traditional blacksmithing techniques to create a range of pot racks and garden accessories, candelabras and chandeliers, chairs, tables, beds and a host of other one of a kind pieces. For more information phone 082 218 1614 or e-mail info@sterlingswroughtiron.co.za Last but not least a visit to Corrie Lynn and Co’s showroom in the Dargle will reveal stunning handmade furniture made by Robin and Tinks Fowler.

Their wares are housed in a 100 year old barn on the farm on which their family has lived for three generations. Corrie Lynn and Co.’s speciality is in creating just the right piece to suit there customers needs.

Originality, uniqueness, quality and personal service are their hallmarks. Phone 033 234 4838.

(Top) Silver Shuttleworth, the third generation of Shuttleworth weavers, with some of the stunning woven carpets and blankets made by the family.

SA ART TIMES. May 2011

49

Charmaine Eastment Charmaine focuses on capturing translucent light and atmosphere in her paintings and strives to bring a sense of peace and tranquility to her work, tending only to paint when inspired by something she has seen.

She was mentored by Errol Boyley whose influence is particularly apparent in her landscapes and seascapes.

Shirley Howells

Shirley is a versatile artist who Works in a variety of media with her brightly coloured oils being particularly sought after.

She has held successful solo exhibitions nationally and in the USA. Two of her paintings are included in the Unity Canvas which toured the State commemorating 9/11.

Didier Lourenço

Working from his studios in Barcelona, Didier uses rich textures and colours to create work that presents a window into a world where life passes at a slower, more gentle pace. With his work receiving prestigious European awards, Didier has achieved global recognition and has held exhibitions in prominent galleries in Europe and North America.

Ezequiel Mabote

Ezequiel studied fine art at the Nucleo de Arte in Maputo where he developed his skills in woodcut printing. His work reflects childhood memories and stories his grandparents used to tell him. It is important for him to keep these memories alive.

Ezequiel’s work has been exhibited in a number of galleries including annual exhibitions in New York and Chicago.

���������������� ��������������� ��������������������������������

������������������������������������������������������

�

������������������������������������������ ������������������������������������������ ���������������������������������������������� ��������������������������������������������� �������������������������������������������� ������������������������������������������ ��������������������������������������������� �������������������������������������������������� ����������������������������������������� ������������������������������������������������ �������������������������������������������� �������������������������������������������������� ������������������������������������ ����������������������������������������� �������������������������������������������� ������������������������������������������� ��������������������������������������� ������������������������������������������� ���������������������������������������������� ������������������������������������������������ ������������������������������������������������� ��������������������������������������������� ����������������������������������������������� ����������������������������������������������� ��������������������� ��������������������������������������������� ����������������������������������������������� ������������������������������������������������ �������������������������������������������� ����������������������������������������� ��������������������������������������������� ������������������������������������������� �������������� �������������������������������������������� ���������������������������������������������� ��������������������������������������������� �������������������������������������������

�����������

������������

�������������

������������

�������������

������������������������������������������������������������������������������������������������������������������

Art Leader Profile

Barbara Freemantle Director: Standard Bank Gallery Jhb

The inner workings of an ATM? Barbara Freemantle, curator of the Standard Bank Gallery and Corporate Art Collection for the past eleven years, showed exactly that to the public many years ago when the downstairs gallery of the illustrious Standard Bank Gallery was still used as museum space.

In 1992 Freemantle was appointed display assistant to the Standard Bank Museum. Her work description entailed mounting small permanent exhibitions about the various financial processes in Standard Bank, such as the inner workings of an ATM, various aspects of electronic calculation and objects from banking history that have become artifacts in their own right.

The museum also screened historical films about other banking processes, such as the assaying of gold and the printing of banking documents on an Intertype Typesetting machine. To complement the displays the museum also produced various booklets and pamphlets. Not only was this a good training school in terms of curating and display for her later promotion to curator, her experience taught her about the interface between the museum sector and its visiting public.

Her first degree at the University of the Witwatersrand also stood her in good stead: she majored in Social Anthropology, Industrial Sociology and Zulu. Freemantle points out the concept of cultural symbolism and its role in society that was instilled during her undergraduate studies. She then went on to do a Post-Graduate Diploma in Museum Studies at Pretoria University.

Freemantle proceeded to complete an Honours Degree in Anthropology at Unisa, furthering her insight and academic approach to art practices in society at large. She then enrolled for a three year course in Art History at Unisa, refining her knowledge of art and its role in the world. In addition, she pursued a course in ceramic conservation and a Post-Graduate Diploma in Marketing, which equipped her with those skills she needed to become one of the leading advocates of art in South Africa with a keen understanding of the role of arts sponsorships in corporate branding and marketing.

One of the highlights of her career was in fact the first exhibition in South Africa of the international artist, Marc Chagall, Marc Chagall: The Light of Origins, held at the Standard Bank Gallery in 2000. That exhibition posed a huge learning curve for Freemantle: she had to assist with the documentation for overseas lenders and met the Chagall family, “essentially a dynasty in its own right” she says. In addition, she had to assist with the overseeing of the transportation and security of the valuable works from overseas to Johannesburg and help produce the world class catalogue for the exhibition as well.

In the end the exhibition turned out to be one of the most successful shows ever mounted by the Standard Bank Gallery and Freemantle proudly quotes the attendance figure of over 21000 visitors to that show.

Freemantle readily lists her favourite shows that she has managed over the years: the Irma Stern: Expressions of a Journey retrospective exhibition in 2003 with her accompanying the curator to all the major Stern collections in the Cape and visiting the Irma Stern Museum in Cape Town.

Then there was the Picasso and Africa show in 2006 with its unsurpassed attendance figure of over 56000 visitors: “The first time ever at Standard Bank Gallery South Africa when people queued around the block to get to see the show: a real blockbuster!”.

She also holds the Willem Boshoff retrospective exhibition, Word Forms/ Language Shapes in 2007 dearly because of the special visit she organized for the visually impaired employees of Standard Bank who engaged with Boshoff’s famous Blind Alphabet sculptural installation by reading the Braille texts accompanying the wooden sculptural pieces to those visitors with perfect sight! “Talk about shifting the balance of power!” she comments wryly.

The Judith Mason retrospective, A Prospect of Icons of 2008 was another highlight for Freemantle. ‘It was all because of the artist herself. Judith has a formidable intelligence and a wonderful dry sense of humour. It was an incredible experience to meet one of South Africa’s leading artists in real life, and then to work with such a modest, talented person.”

One of the exhibitions that Freemantle remembers with particular fondness, 54

is the commemorative exhibition she co-curated, with Alan Crump, celebrating 25 years of the Standard Bank Young Artist. “Looking back over our longstanding sponsorship of the Young Artists Awards revealed how Standard Bank and its advisors showed a knack for identifying real, longstanding talent such as William Kentridge, Sam Nhlengethwa, Jane Alexander, Churchill Madikida and Wim Botha, and creating a platform for their work. This was done through the launching of a national solo tour at the National Arts Festival, (then the Standard Bank National Arts Festival), and then travelling countrywide with the show, essentially being instrumental in exposing these young artists to the general South African public. One of the myths I set myself to debunk is that art is for the elite and for the intelligentsia.

SA ART TIMES. May 2011

ART LEADER / BARBARA FREEMANTLE | BUSINESS ART

BUSINESS ART

Barbara Freemantle: Director of The Standard Bank Gallery

Everybody should be encouraged to go to art exhibitions and enjoy the shows and this is one way of ensuring that.” Another way Standard Bank has made art accessible is through its unwritten policy of not allowing its collection to languish in a storeroom. Freemantle has ensured that all Standard Bank-owned art is in public spaces and various offices within the Standard Bank Group. She organizes regular talks for the employees and gallery visitors and Standard Bank has recently published a comprehensive book, Signature Pieces, about the organization’s vast art holdings. She is also quick to mention some of her favourite works from the collection: Hugo Naude’s Breede Rivier, Bonnie Ntshalintshali’s Last Supper, Gerard Bhengu’s Bush Fire and Minette Vari’s Mirage, to name a few. Where would she lead South SA ART TIMES. May 2011

Photo: John Hodgkiss

African art? “Art is always a reflection of society and its concerns. We could see more exhibitions dealing with environmental issues. Many artists are grappling with our wasteful destruction of the planet and its resources. South African artists are and should continue to engage with such global issues.

That is why I think such artists as Simon Bannister, Marcus Neustetter and Strydom van der Merwe are so relevant on the art scene today.” And the future? “I cannot wait for the Water exhibition we are curating for a show in late 2011!” With her comprehensive understanding of the inner workings of the art world, this will no doubt be another huge success.

Wilhelm van Rensburg 55

BUSINESS ART | SOUTH AFRICAN ART AUCTIONS / STRAUSS & CO.’S JOHANNESBURG AUCTION

Good Value in Quality Art at Strauss & Co. Strauss & Co’s upcoming auction at the Johannesburg Country Club, Woodmead, on 16 May has many highlights and some surprises. Reflecting on recent trends, Stephan Welz, Strauss & Co’s esteemed auctioneer, anticipates an impending and necessary shift of emphasis in the South African art market. to give life to its cultures is apparent in both Mapogga Women (R800 000–1 200 000) of 1952 and in Primavera, (R2 000 000 – 3 000 000), painted in 1956. Like its famous antecedent by Sandro Botticelli, Primavera extols the joys of spring. But unlike the Primavera in the South African National Gallery’s Permanent Collection, here Preller uniquely brings together a European figure that appears to celebrate and pay homage to Africa and an African figure that offers, in return, branches symbolic of regeneration and of peace.

Irma Stern’s paintings of the human figure have been grabbing international headlines as a result of high prices reached at auction recently. The Cellist (R7 000 000 – 10 000 000), a remarkable painting that has been hidden from public view for over 40 years, is a life-size image of a young girl, her sensitively painted face a study in concentrated energy and her taut body draped in a golden gown that evokes the flow of music. The result is a strong cultural statement forging the sublime sounds of music with the dynamism and vigour of one of South Africa’s finest painters.

Of Stern’s ever-popular still lifes, two are sure to attract keen bidders.

Strauss & Co, who hold the record for the highest price ever paid at auction for a still life by Irma Stern (R13 368 000 in October 2009) are offering two good examples. A Still Life of a Blue Jar with Oranges and Limes (R2 500 000 – 3 500 000), painted in 1939, provides fascinating insights into Stern’s earlier style with strong overtones of her German Expressionist mentors. The later painting, Still Life of Blossoms (R2 000 000 – 3 000 000), which sold for just R60 500 in 1994, is a lovely interpretation of spring flowers in a Japanese vase.

J H Pierneef’s A Mountain Gorge with a River Running Through It (R4 000 000 – 6 000 000), painted in 1928, is a key work in the artist’s oeuvre, clearly revealing the influence of the Impressionists’ and Post-Impressionists’ colour palette and treatment of light effects on his early paintings, while Golden Gate (R5 000 000 – 7 000 000), an impressive example of his mature work, demonstrates how he forged a unique South African style that continues to capture the imagination of art lovers.

Pieter Wenning, a grossly underrated artist in the opinion of Stephan Welz, is exciting much interest amongst art collectors with At Claremont, CP having sold for R1 782 400 at Strauss & Co’s March 2011 sale, establishing a new record for the artist. Landscape Bishop’s Court (R500 000 – 800 000), painted when Wenning was in Cape Town in 1916 and Clouds, Pretoria (R600 000 – 9000 000), painted in 1918, will have great appeal to all who are interested in this artist’s work.

‘Whatever I am after is contained in an African shape’ wrote Alexis Preller in a letter dated 1948. This drive to capture the intrinsic qualities of Africa and 56

Maurice van Essche’s Fishermen and Women I (R600 000 – 900 000), portraying heroic figures ennobled by their labour, is one of his most impressive paintings to come to auction in a while. George Pemba’s Portrait of a Young Man (R400 000 – 600 000) embodies the poignant humanity of his best paintings, making Pemba the celebrated artist that he is today.

Cecil Skotnes forged a unique style and iconography drawing both on his European training and Nordic roots as well as on local histories, legends and the great traditions of African art. Four Figures (on four panels) (R350 000 – 500 000) with its considered aesthetic formality, bolder colouring and clarity of form, is a major work demonstrating his technical mastery of an innovative medium ideally suited to his inimitable style and African-inspired subject matter.

Edoardo Villa’s steel Sentinel (R800 000–1 200 000) of 1966 combines mechanical forms with more rounded, anthropomorphic elements to create an heroic figure which resembles the powerful ancestral figures of traditional African art. A Seated Figure, Red Room (R150 000 – 200 000) was in the artist’s opinion, the key painting in Robert Hodgins’s last solo exhibition in 2008. Karel Nel’s Convergence, House of the Initiate (R350 000 – 500 000) draws on his knowledge of traditional cultures and modern art to evoke associations of nurturing environments and spaces for the meeting of ideas.

Says Stephan Welz, Strauss & Co’s Managing Director: “The highlights are undoubtedly the important Irma Stern of the cellist, the two major Pierneefs and a good Van Wouw that was cast in the Nisini Foundry. Key works by Alexis Preller, Edoardo Villa and Cecil Skotnes should attract interest. The sale features good examples of Gregoire Boonzaier’s Cape urban scenes and a large number of works by Piet van Heerden and Alexander Rose-Innes. Artists rarely seen at auction include Eugene Labuschagne and Georgina Ormiston.”

In Welz’s opinion: “The South African art market has in recent years ridden on the back of Irma Stern but one senses collectors are increasingly becoming aware of the good value presently to be had with artists who have somehow fallen out of the limelight due to all the attention and publicity being given to Stern. The market can certainly be described as being out of balance as far as prices are concerned and an adjustment is long overdue. Perhaps this sale will start reflecting this trend. Astute collectors will no doubt be looking keenly at several quality lots in this auction.”

Fine South African, British and Continental Art Monday 16 May 2011 Day Sale at 3pm, Evening Sale at 8pm Venue: Country Club Johannesburg, Woodmead Corner Lincoln Road & Woodlands Drive, Woodmead GPS Co-ordinates: Latitude: 26.0519 S – Longitude: 28.0675 E See advert (right) for more details

SA ART TIMES. May 2011

Fine Art Auctioneers Consultants

South African Art Monday 16 May 2011 Day Sale at 3 pm Evening Sale at 8 pm VENUE:

Country Club Johannesburg, Woodmead PREVIEW:

Friday 13 to Sunday 15 May 10 am to 5 pm WALKABOUTS:

Stephan Welz and Mary-Jane Darroll Saturday 14 and Sunday 15 May at 11 am ENQUIRIES AND CATALOGUES:

079 407 5140 / 079 367 0637 Fax: 011 728 8247 jhb@straussart.co.za

Entries are now invited for the Cape Town 26 September 2011 auction of Important South African Art, Furniture, Silver, Ceramics, Glass and Jewellery.

Closing date: 30 June Enquiries: 021 683 6560 ct@straussart.co.za www.straussart.co.za

Cecil SKOTNES Four Figures (detail)

R350 000 – 500 000

BUSINESS ART | SOUTH AFRICAN ART AUCTIONS | STEPHAN WELZ & CO.’S CAPE TOWN ART AUCTION

Stephan Welz & Co.

31 May and 1 June Decorative & Fine Arts auction, Cape Town View their online catalogue at www.swelco.co.za Auction highlights include:

Pieter Wenning’s Plaas, Wellington (Wellington Cultivated Fields).

JH Pierneef’s Kranskop from the Banks of the Matlabas River - an unchanged vista.

Painted in the first quarter of 1920, Wenning wrote of this work to his longtime correspondent D.C. Boonzaier. He detailed looking forward to returning to painting full-time following his recovery and also of five new canvasses “two them being very good: the Wellington Cultivated Fields (pl 136) and Windswept Trees, Observatory Road.”

JH Pierneef’s mature style canvas titled Kranskop from the Banks of the Matlabas River is being offered by Stephan Welz and Company on the 31 May and 1 June in Cape Town.

Plaas, Wellington, titled as such in the list of illustrated plates in Scholtz’s book, is a richly painted piece. Despite more than half of the composition being made up of the sky, it is the fields that captivated the viewer’s attention.

The dramatic perspective created by the bold lines of the fields leads the viewer to the vanishing point of the background. The lush greens favoured

by Wenning in his Cape compositions are offset by the rich golds of the surrounding farm fields and blue sky. These are tempered by lavender mountains and the warm grey applied in the foreground. Inspired by Japanese prints and culture, Wenning favoured harmonious composition punctuated by strong areas of detail. Attention is drawn to the farmhouse, otherwise dwarfed by the landscape, with the use of well-considered splashes of vermillion red. Wenning indeed once remarked in a rare reference to his ability, “his job was that of an artist and that he knew something about colours.”

Shortly after completing these works Wenning’s health took a turn for the worse, and on the 24th of January 1921, he succumbed to his final fever.

“Pretoria gave me my health again; but for work, nothing like the Cape.”

Lot 570 : Pieter Willem Frederick Wenning (South African 1873-1921) Plaas, Wellington (Wellington cultivated fields) signed, oil on canvas, 37 by 47cm, R 900 000 – 1 200 000

The clearly recognisable landscape near Kranskop in the Free State, provides a dramatic and highly structured backdrop for this composition.

Rendered primarily in the softer tones of Pierneef’s mature palette, attention is drawn to the autumn hued trees that stand in stark contrast to the rest of the foliage.

We were able to locate an image courtesy of SanParks which clearly llustrates how little this landscape has changed.

Lot 576: Jacob Hendrik Pierneef (South African 1886-1957) Kranskop Matlabas. Signed and dated 1942, oil on canvas, 40 by 55cm, R 2 000 000 – 3 000 000

Stephan Welz & Co.- Art Auction 31 May- 1 June, Decorative and Fine Arts Auction.

The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia T. 021 794 6461 ct@swelco.co.za www.swelco.co.za 58

SA ART TIMES. May 2011

JODI BIEBER | BUSINESS ART

Jodi Bieber, South African photographer, wins the Worldpress Photo Award for Best Picture 2011 twilight zone where you can’t be sure if the dog is a wolf or the wolf is a dog”.

The exhibition held recently (April 2011) at the Goodman Gallery Cape titled Between Darkness and Light, and Bieber’s collection of images, Between Dogs and Wolves, published in 2006, was put together with these themes in mind, exploring the twilight that she experienced in the decade following the advent of democracy in South Africa. The issues deal with daily life in South Africa, poverty, loss of innocence and the instinct for survival. The bodies of work that make up these collections indicate her intense involvement in and empathy towards her subjects who live in a fragile asymmetry of failure and dreams. Bieber takes the viewer to delicate spaces where ‘gangs rule, children live with HIV/Aids, and where prostitutes vary their rates depending on the colour of their clients’ (Lewis 2006).

Bieber prepares her concepts around which to shoot, with intense dedication to her subject. She is aware of her evolvement from being “a fly on the wall when I was younger” to considering her personal photography to be a collaboration with her subjects, including their opinions, feelings and sanctioning of the images. In Real Beauty, produced in 2009, Bieber posted pamphlets in her search for women who would be prepared to be photographed in their underwear as a campaign against the ‘processed concept of beauty’ promoted by advertising, magazines and commerce. She also carried out interviews with each, including their comments on beauty as an integral part of the body of work. When I attended a recent slide and talk show given by Bieber at the Marais Road Hall, Bieber refused to show the work unless the audio accompaniment of the women’s statements could be installed.

Image and text by Jenny Altschuler In 2011 Jodi Bieber, South African photographer, won the Worldpress Photo Award for Best Picture 2011. This was not her first Worldpress Award. In She also won First Prize Portrait Series with ‘Real Beauty’ at Picture of the Year International (POYI) in the USA, March 2009.

In 1990 Jodi Bieber, working in the marketing industry, made a step towards her yearning to create photographic images. She completed a short course with the Market Photoworkshop in Johannesburg. Throwing herself into her new-found passion she crossed over wholeheartedly into a new career path.

Abandoning her previous job, Bieber began a 3 month training program that was available at the Star Newspaper, where Ken Oosterbrook was chief photographer. Working as a photojournalist in the early 90s was an eye opener. “I photographed a lot of political rallies” remembers Bieber, but she also busied herself documenting the issues that disturbed her. “Photography gave me access to my country”, she states.

This ‘fresh-eyed girl from the suburbs’ which she describes herself as, suddenly had the opportunity to become aware of her environment in a new way through her photography. Witnessing the struggle climax and apartheid’s first swirling peak towards the light, she also witnessed the darkness of photography’s effect on its photographers. Oosterbroek had been killed while shooting a story, Kevin Carter and Gary Bernard had committed suicide. “We all have darkness inside of us and we all have light.” Bieber speculates. “My work taught me a lot about life. The times were explosive and lines were blurred between truth and myth. She discloses that her own work began looking for images which precariously hovered between the darkness and the light, “the SA ART TIMES. May 2011

Her high moral code and integrity led to being requested to shoot the assignment for the New York times in Afghanistan. Bieber had submitted a portfolio of images, not of high end new stories, but of Real Beauty and her more recent publication, Soweto. She surmises that her project, Real Beauty, was one of the factors that led her to see the inner strength and glowing female persona behind the disfigurement in Bibi Aisha’s face. Bieber remembers that it was difficult to photograph this already exploited woman, whose husband had sliced off her nose and ears for trying to escape him. She did not wish to expose this fragile woman any further and although she could have asked her to pull her hair back so that she could picture the horror of the attack, she opted for humble respect. Instead she set out to gain an intense connection with the eyes and mutual understanding. In this way Bieber was able to access the woman’s innate grace and allure, which had remained intact.

The image recalls the profoundly moving picture of the Afghan 12 year old, Girl with the Green Eyes, photographed as a refugee in Pakistan by Steve McCurry and published on the cover of National Geographic in 1985. The reference the plight of women over many decades, placing Aisha in a history of degradation, shame and abuse, yet elevating her to madonna and queen.

“This could become one of those pictures – and we have maybe just ten in our lifetime – where if somebody says ‘you know, that picture of a girl…’, you know exactly which one they’re talking about.” Jury Chair David Burnett.

So what happens after one made the ultimate photograph? Whats next?

Bieber says that she has been invited all over the world to speak about the Aisha photograph, her experience as a photographer and her bodies of work in general. “There is no more time for photography right now”, she confesses, “I have become a celebrity speaker”. I have many confirmed talks to give in countries I have never been to and although I realize that photography is not going to be what I will be doing there, I have discovered that I’m really good at speaking and I love it!”

Bieber will receive her award of €10,000, in Amsterdam on May 7th 2011.

She has previously won 8 Worldpress Photo category awards.

59

BUSINESS ART | NUSHIN ELAHI’S LONDON LETTER

Nushin Elahi’s London Letter

The Farm 1921-2

Miró. The name conjures up images of brilliant blocks of colour, squiggly black lines – some thick, some thin, quirky creatures, doodles, random dots and stars. The essence of the artist is captured in the logo of his country of birth, Spain. Or so you may have thought until the Tate Modern’s current blockbuster show: Joan Miró: The Ladder of Escape, which is on in London until mid-September.

In fact, Spain and Miró are inextricably intertwined, but not in the breezy humour embodied in that logo. Miró is above all the Spanish artist who bore witness to his country’s bloody civil war and Franco’s dictatorship in his painting - from the disturbing Still Life with Old Shoe (1936), through the bizarre and grotesque figures of the Barcelona series (1944), and later the Constellations, right up to the Fireworks triptych, which he painted in his eighties and reflects the tensions in the dying days of Franco’s regime.

“And I thought I knew Miró,” muttered my companion as we looked at the early works of his farm in Spain. It’s not uncommon to see little typical in an artist’s early works though, and by the second room one can identify many surrealist elements that have become so synonymous with Miró. Yes, there are shades of Magritte or Dali too – it would be hard to distinguish at this stage which artist it was. But against the backdrop of Spain’s political oppression, Miró’s work takes on an entirely different – darker - tone.

60

Barcelona Series (XVII) 1944 SA ART TIMES. May 2011

NUSHIN ELAHI’S LONDON LETTER | BUSINESS ART

Fireworks 1974 From the early portraits of Catalan peasants, where a red beret is all that is recognisable, Miró’s identification with his country is at the fore. There are loving portraits of his home farm, including one owned by his friend Ernest Hemingway, some with surrealist symbols such as an unexpected eye or ear.

The intense blue of his exploration of the subconscious and a dream landscape are contrasted by the strange pastel shades of distorted figures which he called his “savage paintings”, created in response to bloody protests at the declaration of a Catalan Republic in Barcelona. The disconcerting hallucinogenic hues of MOMA’s Old Shoe with its everyday subject matter – an old shoe and an apple - reflect the turmoil and anguish not only of his exile but of the Civil War which now racked Spain.

Perhaps one needs to know that the 20-odd Constellations were painted over two years while escaping the war with his family to see the distress in those strange creations that are uniquely Miró, but the subversive energy in the Barcelona series needs no explanation.

The curators have included work from across six decades in the 150 items on show in this enormous retrospective, the first in London for almost fifty years. Many of the later paintings are from Miró’s Fundació in Barcelona and are much more muted and sombre than his earlier work, their titles reflecting an ongoing political interest.

Five huge triptychs are reunited for the first time - three of them largely white.

In two, The Hope of a Condemned Man and Painting on White Background for the Cell of a Recluse we follow a single black line across the canvases,

while in Fireworks black paint cascades over the white. The other triptychs are huge blocks of saturated colour: sky blue from the Pompidou Centre and a trio of orange, green and red.

This Tate exhibition of one of the giants of modern art offers a new perspective on his work. Perhaps, as some reviewers have argued, it detracts from the sheer exuberance and delight with which he created a unique lexicon of images during his long life. On the other hand, the great sweep of variety on show proves that Miró succeeded when he said in 1979, “… (an artist) must turn each of his works into a negation of the negations.”

More Surrealism in the form of an exhibition at Moor House, in London Wall (until 30 June) Dali and the City: Surrealist Sculptures, among them a five metre tall Alice in Wonderland.

The Barbican (until 22 May) explores three key players of the New York art scene in the Seventies, musician Laurie Anderson, choreographer Trisha Brown and artist Gordon Matta-Clark.

The Queen’s Gallery at Buckingham Palace presents work from the golden age of Dutch landscape painting until 9 June, including the likes of Jacob van Ruisdael, Aelbert Cuyp.

National Portrait Gallery Portraits from the early 20th century by master photographer EO Hoppé are at the National Portrait Gallery in Trafalgar Square until 30 May. The Victoria & Albert Museum in Kensington looks at contemporary South African photographers (until 17 July), as well as highlighting David Goldblatt’s work in a separate exhibition (until 31 July).

Also at the V&A is The Cult of Beauty (until 17 July), the first international exhibition to explore the unconventional creativity of the Aesthetic Movement in Britain (1860-1900).

Calvert 22 Gallery Young Artists from Russia from Moscow’s Institute for Contemporary Art are on show at the Calvert 22 Gallery until 29 May, Whitechapel has key work from the D. Daskalopoulos Collection in Athens, one of the world’s most significant private collections of contemporary art, on loan until 22 May.

(Left) The Escape Ladder 1940 SA ART TIMES. May 2011

61

NICOLAS LEHMANN Nicolas Lehmann South African German artist, was born in 1970.

He explored the effects of heat and experimented with the possibilities of the age old craft of forging at an early age.

In 1990, Lehmann travelled from Asia to Continental Europe. The purchase of his rst air hammer, found in a scrapyard while touring in the United Kingdom, allowed him to kick start his project of forging.

To nance his art, Lehmann founded “Le Forge”, specializing in manufacturing high end ironmongery using the pure blacksmithing techniques.

Self Portrait Steel 12cm x 65cm x 12cm

Lehmann has worked across the globe on numerous projects from private estates to ve start hotels, working hand in hand with foremost architects and designers.

In pursuit of Art, Lehmann started in 1995 with his sculptural work. Inspired by nature, and people, Lehmann has never ceased to forge, twist, and shape forms and gurines. His material medium have varied from recycled steel to experimenting with glass, bronze and wood.

The Phoenicia Recycled Steel 1.17 meters x 63 cm x 1.10 meters

Close Encounter Exhibition 14 April - 14 June 2011 Lehmann Art Studio, Newlands

Uniting People - Travel Steel 1 meter x 2 meters x 1 meter The Westin Grand, Cape Town 4 April - 4 June 2011

It has taken 15 years for Lehmann’s project “Uniting People” to mature. The collection “Uniting People” was launched on the eve of the Soccer World Cup, held in South Africa, in 2010; Challenged by time and design, while hand forging solid blocks of steel. Lehmann’s art is brut, avant garde and contemporary.

The collection “Uniting People - Travels” 2011 will kick start its voyage of a three year journey across continents, from South Africa to Germany, France, the United States and nishing in Brazil. The collection is a demonstration not only of genuine positive Art made of steel, but that Art unites people, where unlimited freedom and happiness is generated. “Uniting People Travels” represents gurines all varying in size, shapes much like the human race, yet all uniting under one roof gathering at an event. Its message is of peace, tolerance and happiness, and to show case that, “with determination, will and believing in your dreams, anything is possible” Nicolas Lehmann.

Thanks to Mr. Friedrich Schaefer COO / General Manager, and Mrs. Philma Gomes, Director Sales & Marketing , of the Westin Cape Town, enthusiasm and vision for contemporary art, the art piece is currently exhibited at the 5 start hotel, The Westin Cape Town, from 4 April to 4 June 2011.

Parallel, Lehmann launched Close Encounters, a joint exhibition with French Artist Daniel Guerrier featuring paintings interacting with contemporary steel structures Lehmann created from ship wrecks pieces. Nicolas Art studio, 31 Newlands Avenue, Newlands from 14 April to 14 May 2011.

Nicolas Lehmann Art studio 31 Newlands Avenue Montebello Design Center Newlands, Western Cape South Africa +27 7 903 59 534 Nicolas.Lehmann@yahoo.co.uk www.forge.co.za

The South African

Print Gallery

Colbert Mashile

is proud to present:

Tim’s Print Studio Show: A selection of Collaborative works from Tim’s Print Studio, Midrand, Johannesburg

Over the past ten years Tim Foulds has been working as a master printer and in 2004 set up his own professional print studio in Midrand where he collaborates with various artists. Artists represented in this show include: Colbert Mashile, David Koloane, Willem Boshoff, Kim Berman, Paul Molete, Zak Benjamin, Elza Botha, Pat Mautloa, Cheryl Gage & Michael Chiboga Khumalo. Closes 31 May, View the show online at www.printgallery.co.za South African Print Gallery: 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 info@printgallery.co.za www.printgallery.co.za