THE SOUTH AFRICAN Issue : August 2009 Full free edition available at www.arttimes.co.za 1 Year’s subscription R 180 includes South African Business Art Supplement E-mail subs@arttimes.co.za for details
ART TIMES
Walter Battiss Artist’s feature supplement inside
New scheme to promote Art Fair talk demonstrated that art fairs aren’t a contemporary phenomenon but his assessment of the art fair as a concept was ambiguous.
Discussions about the Joburg Art Fair showed the event to be beneficial, however, Artlogic have cooked up a Spring Art Fair to bolster confidence, writes Mary Corrigall The recent Joburg Art Fair Assessment Discussions held in Joburg wasn’t exactly defined by vigorous self-analysis as its title implied. Nevertheless the general consensus appeared to be positive with most agreeing that the Joburg Art Fair (JAF) was advantageous to the promotion of contemporary art. In response to the toll that these tough financial times have taken on JAF, Artlogic have proposed a new scheme which should encourage gallerists continued support of the fair. With a panel consisting only of individuals associated with the art fair, Ross Douglas, head of Artlogic, established a hard line of defence to buttress against the criticism the fair has attracted from the media and gallerists, who have been questioning the affordability of the fair. Certainly Artlogic have engaged in some level of self-reflection, evidenced in Douglas’ new scheme and his more measured discussions about the art fair. He dispensed
with his usual rhetoric, which has thus far embodied Douglas’ attempt to position the fair as “educational” a “contemporary African art affair” and as “an alternative to a biennale” – in other words anything other than a commercial enterprise. Clive Kellner made a very clear distinction between art fairs and biennales, finally putting to bed Douglas’ assertions that the fair was in some way a ‘replacement’ for such an art event. Nevertheless the general tone of the talks tended more towards the self-congratulatory as the panellists used the opportunity to expound on the benefits of an art fair. The implication was that it was necessary to justify its relevance. But generally everyone who attended seemed to agree that JAF has been a credit to the city of Joburg, has aided in positioning South Africa as a “progressive” cultured destination and that it has helped render contemporary art “less scary” to the general public. Kellner’s informed
“What does it do for art?” he asked. Indeed the talks did not address his query. There was little mention of how the art fair benefited the discipline itself or the galleries and artists – none of whom were represented on the panel. Nevertheless, Douglas’ willingness to engage in discussions, displayed his openness to critical feedback. Alex Dodd on the other hand, who was obviously speaking in her capacity as media advisor to Artlogic, discouraged arts writers from participating in critical assessments of the fair, implying that the fair was a vulnerable inchoate entity that required nurturing. The low sales figures for the 2009 Joburg Art Fair (JAF) weren’t glossed over. The slump was ascribed to a generally unhealthy financial climate which threatened industries across the board. Aidan Walsh and his partner Andrew Verster share a joke with Peter Machen outside the KZNSA Gallery, Durban. Aidan Walsh died of a heart attack in July and was one of the most amazing artists and art professionals in Durban. Aidan had an important impact on the Durban Art Scene as a seminal figure as the curator and director of The Walsh-Marais Gallery. Other artists who had their work shown in the gallery include Walter Battiss, Peter Schutz and Cecil Skotnes, Clive van den Berg and Penny Siopis. As a result of the high standard set by Walsh’s curatorial eye, many works that now reside in the Durban Art Gallery’s permanent collection were purchased from the Walsh Marais Gallery. See Aidan’s Obituary on page 5. Photo: Peter Machen
Stephen Rosin
The winner of this year’s ABSA L’Atelier competition is an unlikely suspect. Thirty-four year old Stephen Rosin runs a family pie-making business, and lives in a rural area near Plett,
Rosin, who studied painting at the Nelson Mandela Metropolitan University in Port Elizabeth (though he never painted a single canvas in his final year), has entered the competition for the previous two years in a row, making the list of top ten finalists last year.
continued on page 3
R3.2 M Lost Orchid “not” a Tretchi
Pie-maker wins ABSA l’Atelier Award 09 where, until last September, he had no electricity. Winning the award, held at Gauteng’s ABSA gallery on the 23rd July came as something of a surprise to the artist too. “I wasn’t even supposed to be going,” says Rosin, “it was completely unexpected!”
“The art fair took place at a very difficult time when the recession was just kicking in. The interest rate hadn’t
The pie season being what it is, Rosin says he will only be able to head to Paris after December, possibly in January of 2010. He is however, thrilled at the prospect. “It’s incredible,” says Rosin, “amazing”, to be afforded the opportunity not only to travel to Paris, but to receive so much exposure. Until then, he plans to set up a proper portfolio, framing the works he hasn’t had funds to frame, and saving up for his European sojourn. Read the full story at www.arttimes.co.za
Graham Britz told Beeld newspaper that forensic tests on the painting, signed “Tretchikoff”, showed that it was not the original “Lost Orchid” art work. He said it was a “mistake” to have stated in the catalogue that this painting was the original “Lost Orchid”.
The so-called “Lost Orchid” painting sold at slain mining magnate Brett Kebble’s art auction was not the real thing, the auctioneer admitted in an interview published on Friday.
In fact, it was “without a doubt” not the original, said Britz. The catalogue should have stated that this was “a painting in the style of Tretchikoff’s ‘Lost Orchid’,” said Britz.
He added that this painting could be another painting by Tretchikoff called “After the Dance”. This is the first time that Britz, who sold the painting for a record R3.2-million including commission at the auction earlier this year, admitted that it was not the original work. Beeld newspaper reported shortly after the auction that there were differences in detail between the painting owned by Kebble, and a picture of the painting that appeared in a book by Howard Timmins on Tretchikoff’s work in 1969. continued on page 3
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