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The South African Art Times | November 2010 | Free


Heidi Erdmann
9 Years of The Erdmann Gallery

Photo: Jenny Altschuler

‘A blooming success’
Cape Town, Monday, 11 October 2010
3 3 6 8 000 INTING

Irma Stern, Gladioli, signed and dated 1939, oil on canvas, 99 by 93 cm

Wondering what your artworks are worth?

We are currently inviting submissions for our forthcoming Cape Town and Johannesburg auctions.
Entries close end December 2010 and mid March 2011 respectively.

Cape Town – 021 683 6560 / Johannesburg – 011 728 8246
J.H. Pierneef (1886-1957), Leadwood trees, Bushveld, 1944, oil on canvas, Sanlam Art Collection.


Representations of the South African Landscape
Curated by Michael Godby
15 October 2010 to 28 January 2011

Sanlam Art Gallery

2 Strand Road, Bellville

Hours : Monday to Friday 09:00 to 16:30

Telephone 021 947 3359 • Catalogue on sale • Entry Free
11.11.2010 – 24.11.2010
cape town
Everard READ
cirkine RUSSOUW
kerri EVANS






Starts Thursday 25th November 2010

at Everard Read, Cape Town,
3 Portswood Road,
V&A Waterfront

The exhibition concludes 9 December 2010

Right: At the Sun’s Return,

acrylic & gesso on canvas, 152 x122 cm

Letter to the Editor

The South African

Art Times
November 2010

Dear Sir, private collections as well as in many publications.

As you can imagine, the younger and clearly more
I would like to extent herewith a kind and courteous limelight-loving and ‘copyright conscious’ Gerhard
request to you to consider publishing this short Marx has become an increasing source of embar-
Published monthly by letter in ART TIMES that will identify and explain an rassment and irritation to me. Ironically enough I
Global Art Information ongoing misunderstanding. may have a good copyright case against him for
I am sure you will remember the much publicised claiming the name which I had been given 20 years
PO Box 15881 Vlaeberg, 8018 copyright court case between Gerhard Marx and before he was born and to which I had contributed
Tel. 021 424 7733
Fax. 021 424 7732 BMW / Ireland Davenport in 2008. In fact, it still considerable recognition, goodwill and familiarity in
dominates the most prominent Google and Wikki- the art world by the time he had his first exhibition !
Editor: Gabriel Clark-Brown pedia information regarding the artist, despite being
somewhat ‘old news’ by now. It almost seems Ever since the famed court case I’ve been get-
Advertising: Eugene Fisher as if it remains the artist’s main claim to fame as ting many e-mails and phone calls, some from even during a recent radio interview Marx proudly overseas clients, asking me for a more detailed
brought up his tainted and triumphant litigation explanation about the much publicised court settle-
Subscriptions: Tracey Muscat campaign against BMW. ment that they assumed I had been involved with
Please forgive me if I sound unsympathetic and ! One American client even wrote and asked how
News: Lea Rhodes dismissive but above situation has gradually did I respond to the journalist who wrote after the
become a bigger irritation and embarrassment to court settlement : “This has got ‘money grabbing’
Shows: Liesel Botha me as to anyone else involved. and ‘quick buck’ written all over it.” I am sure I may even have lost some friends and potential
Admin: Bastienne Klein
The reason is that I am also a South African artist commissions due to the fact that people concluded and my name is Gerhard Marx. I was born in 1956 that I turned out to be a much more aggressive,
and ironically enough my first published artwork unforgiving and opportunistic character that they
Daily Website appeared in Die Huisgenoot of 29 May 1974, two had assumed.
Andrew Kapliski
years before above-mentioned namesake was Being a somewhat self-contained person and
Artwork: born ! I graduated ( BA Fine Arts - U.P.) in 1979 rather unconcerned with self-promotion, I have
Layout: Endofyearofficeparty and in 1980 participated in my first public exhibition regrettably done nothing towards it to date and
in Bloemfontein am still unsure just how to ‘clear my name’ so to
Deadline for news, articles and advertising is the
20th of each month. The Art Times is published in I am a versatile artist and illustrator with production speak !
the last week of each month. ranging from abstract painting, figurative realism,
Newspaper rights: The newspaper reserves the right botanical illustration, palaentological illustration and Therefore, this is my official attempt then to
to reject any material that could be found offensive sculpture, childrens’ books and even caricature clear up the confusion and to point out the very
by its readers. Opinions and views expressed in the artwork. unfortunate situation that there are two living artists
SA Art Times do not necessarily represent the offi- Although undoubtedly a less aggressive self-pro- in South Africa at this time who are both named
cial viewpoint of the editor, staff or publisher, while
moter as the younger Gerhard Marx, I am never- Gerhard Marx.
inclusion of advertising features does not imply the
newspaper’s endorsement of any business, product theless well known internationally and in particular
or service. Copyright of the enclosed material in this as botanical artist. My work is represented in the Yours gratefully and sincerely,
publication is reserved. Standard Bank Collection, Kirstenbosch collection,
Albany Museum, numerous local, USA and British Gerhard Marx.



SHOW OPENS TUES 16 NOVEMBER, 6.30PM 71 Loop Street, Cape Town

RUNNING UNTIL 30 NOVEMBER +27 (0) 21 424 5150 / /


Artists: What you should

know about the
Information Bill and Media Tribunal
Peter Machen

While South Africa’s constitution promises freedom considered to compromise ‘national security’, what
of expression to all its citizen, that guarantee is then? And, as the global art canon expands to in-
currently under threat from the proposed clude archives, documentation and research-based
Protection of Information bill and the Media work, there’s a good chance that artists might bump
Tribunal, two separate but thematically related up against legal frameworks suggested by the
initiatives from the ANC-led government. Protection of Information bill.
If, for example, a newspaper crossed the proposed
Although the bill and the tribunal do not at first line and published something that the state had
glance directly effect the work of artists, the con- determined to be unpublishable, what about artistic
straints that would be imposed on the work which includes that story?
country’s media, should either of them come to This isn’t as big a stretch as it might seem. Think of
pass, would no doubt impact on the cultural late-period apartheid-era protest art and how much
production of South Africa, as part of the the of it related to the specific actions of the state and
resultant shift towards a more autocratic and to the supression of information.
authoritarian state.
Although the legal issues are murky, it’s a short
The Protection of Information bill would allow any walk from attempting to control the output of the
national or local government department or agency country’s journalists to trying to regulate the output
to classify and make secret any information that of its artists. We see this tendency frequently in
they consider against ‘national security’ and would government, including Lulu Xingwana’s impulsive
punish whistle blowers or journalists with up to 25 (although later recanted) desire to ‘ban’ Zanele
years in jail if they leak or publish classified infor- Muholi’s work, the endless debacle over Andries
mation, even if it is in the public interest. Botha’s elephants in Durban and the calls from
various ministers to censor the internet.
This violates Section 32 of the Constitution which Outcries against the Protection of Information
protects citizens’ right of access to any information bill, including several international petitions, have
held by the State. already weakened its proposed language, with the
phrase ‘national interest’ being watered down to
While the proposed act would allow the state to ‘national security’, although that is still a spectacu-
hide large-scale dirty secrets (the entire arms-deal larly ambivalent phrase that could be applied to
story would certainly be considered classifiable a vast range of matters. Continued petitions and
since it clearly relates to national security), it would protests could do much to stop the bill in its tracks.
also allow local municipalities to fudge a great deal
of information, leading to radically reduced account- There is another parallel issue which has largely
ability and transparency. been ignored. The content of publications not
registered with the press ombudsman (as well as
The media tribunal, meanwhile, is a far more films and video games) is already theoretically
amorphous affair. Prompted by an ANC discussion under state control since publications that skirt the
paper and based on a resolution adopted by the edge of ‘decency’ require potentially dodgy content
ANC at Polekwane in 2007, the call for a tribunal to be approved by the Film and Publication Board,
is ostensibly based on the idea that the existing thanks to legislation passed last year. These kind of
press ombudsman is inefficient and inaccessible measures are all part of a broader process aimed
to most South Africans. But the suggested model at regulating our reality.
would seem to make the press directly accountable
to government, rather than to the country’s legal The South African constitution was written not
system. by government but by a rich mixture of citizenry,
including a full-spread of role-players. It’s a similarly
In the media landscape of the 21st century, art diverse range of people who have continued to
occupies a unique position in that it is not bound fight for our freedom in post-apartheid South Africa,
by the same moral, legal and social constraints but who so often do so in the wilderness. It’s time
imposed on most other forms of expression. for all South Africans to join the fight.
Much of contemporary work sits on the edge of
morality and legality, exploring issues such as own- As Pieter-Dirk Uys frequently opines, democracy
ership, privacy, sexuality, politics and economics. is precious and fragile. It needs vigilant protection
from all of us. It’s not something we can leave up to
If artistic work contains information that might be the people we did or didn’t vote for.

Numerous panel discussions were organized by The SA National Gallery Director Riason Naidoo over the weekend of 1-2 October at The National Gallery, Cape Town.
Essentially the panels were in set up gauge the response to the show entitled From Pierneef to Gugulective which had received mixed press reviews from the South African
art media. Numerous panels discussions were organized over various topics including Curatorship – Audiences, Art Museums, Art Criticism and the media, Art Educa-
tion etc. On the whole the level of discussion was of a high standard and the collection of some of South Africa’s great art minds were present which lent itself to a much
needed platform for healthy art debate. In addition the occasion raised many current and relevant topics that would be good to follow on to further forums.
One of the most pressing issues was raised by Malcolm Payne, who asked what was being done by the arts community to address the proposed Media Tribunal and
Information Bill. For more information regarding the Information Bill and Media Tribunal please go to page 7.

Top - Left to right) On the Art Critics panel: Gabriel Clark-Brown, Lloyd Pollak, Gerhard Schoeman, Bronwyn Law-Viljoen, Ashraf Jamal, Alex Dodd and Thembinkosi
Goniwe | Steven Sack relays how he became a curator on the Curator panel | Jenny Stretton, Bronwyn Law-Viljoen, Jenny Stretton and Storm van Rensburg in the
audience | Jenny Stetton, Gordon Metz, Ciraj Rasool on the Art Museums panel | Lloyd Pollak delivers his right as a Critic speech (left Gabriel Clark-Brown, right
Gerhard Schoeman) The critic in the media panel.| Malcolm Payne stresses his concern regarding the Information Bill and Media Tribunal.
All photographs by Jenny Altschuler

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


SA art galleries:
Coping with the recession
“The game has changed”
Patrick Burnett know if the market has actually dropped,” she said.
She said Strauss and Co were still seeing record
The depressed worldwide economy has scoured prices – like that for the Irma Stern still life - with the
a mark on South Africa art galleries – and there area doing well being the top 1% of artists.
appears to be little relief in sight. Decorative works in the R30,000 to R50,000 price
Two years ago a booming art industry was seeing range had been down, but works of quality were
itself as largely recession proof, but this idea has still seeing “a lot of interest”.
since been blown away as cash drained out of Michael Stevenson of the Michael Stevenson
financial markets following the US sub-prime crisis Gallery in Cape Town, expresses a similar senti-
two years ago. ment. “We have not changed our programming or
“The big issue is to stay alive and keep your head our commitment to artists in any way because of
above water. Right now it’s quiet, there are less feet the ‘recession’. There are always serious collectors
coming through,” said the owner of one art gallery. and curators and museums, in SA and internation-
The picture is not uniform, however. Larger, well- ally, interested in work that has validity and integrity,
capitalised art enterprises targeting the top end irrespective of the economy.”
of the market seem less concerned about talk of There are some positives to tough economic times,
recession. it appears.
And record sales - at least for works by the “old Bezuidenhout said the changed business environ-
masters” - still make headlines. ment opened up the possibility for experimentation.
An Irma Stern still life sold recently for a stagger- “That’s great because it forces you to do things,
ing R13 368 000, setting a new record price for takes you out of your comfort zone and hopefully
a South African painting at auction. The auction, the knowledge gained will help when times are
conducted by Strauss & Co, featured several works better.”
which sold for over R1 million rand each. At APS, Berman said the board of directors had
But many gallery owners can only dream of sales met to design new strategies for sustainability and
like these and are in battle mode. to reduce reliability on outside funders.
Worldart owner Charl Bezuidenhout said even This had led to a fund raising art evening and din-
though the recession had an impact, it was difficult ner that had raised a potential R1.7 million.
to tell how much of an impact because “you cut In addition, a team of 10 risk managers and
down a bit, get lucky or work harder”. staff from Deloitte had been sent in as part of
But while in the past he had someone on the floor a corporate social investment initiative to do a
of his gallery, he was now on the floor. And he had systems audit and design process flows to improve
decided not to renew his lease on a Johannesburg efficiency and management systems.
property. At Straus and Co, Darroll said there had been no
João Ferriera, the owner of the João Ferriera Gal- specific change other than a “clear direction in
lery, said the recession had affected turnover and selling the very best works that we can find. We are
decisions on exhibitions – which were down. trying to be discerning in what we put on offer.”
“We have had to cut back on everything: interna- Views are mixed on how long the economic dip
tional penetration at art fares, reduced staff levels might last.
and promotion.” Ferriera said while there had been “a bit of move-
Also facing down the crunch has been institutions ment in the decorative market”, there was little
like Johannesburg’s Artist Proof Studio (APS) movement on the financial markets and so it was
– considered to be an incubator of young talent. not clear where the money to rejuvenate the sector
Director Kim Berman said APS had lost much of its would come from.
core funding for 2010. In the meantime, the focus would be on finding new
Thirty-five new learners had been accepted in markets, developing collections and carrying stock
February 2010, but there had been no bursaries that “has the distance”.
to cover fees and students had struggled with Ferriera said while people were saying it was
transport costs. “really slow” and a negativity had slipped into the
“We had enough funding to last up to June 2010,” market, people had previously survived recessions
said Berman. and depressions.
Mary-Jane Darroll, Executive Director at fine art “At the same time the deals are not there and that’s
auctioneers Strauss and Co, said she thought the almost scary because the collectors feel they are
recession had had an impact. “The broader market being over approached.”
is that money is definitely tighter.” Bezuidenhout’s time frame is another two years.
But she also cautioned that this depended on which Survival would depend on “how deep your pockets
market area was being examined. are” and how creative businesses could be in terms
She said over the last five years new auction of savings and re-negotiationg things like rentals.
houses had entered the market and therefore “The game has changed,” he said.
overall spend had increased. “Overall it is difficult to

David Goldblatt
TJ: Some things old, some things new and some much the same
On at The Goodman Gallery, Johannesburg: until 06 November 2010

housing and poverty in Joburg.

Much of Goldblatt’s frustration lies in the city’s remarkable oversights,
greed and lack of planning. “When we came out of the apartheid regime
the Johannesburg municipality was split up and the Gauteng province
became responsible for planning in the north-west and they just didn’t
plan,” explains Goldblatt. “The result was that to a large degree property
developers were at liberty to develop pretty well as they liked.” At the same
time exorbitant amounts are spent on stadia and events such as the Miss
World competition, while certain areas, such as Diepsloot, remain in dire
need of basic facilities such as school libraries and storm water drainage
systems. The urban sprawl that the city has become, as well as its often-
desperate and baffling conditions, is revealed through aerial shots of the
indiscriminately structured northern suburbs and townships, photographs
of Zimbabwean refugees sleeping in a congested Methodist church and
of the ruins of an amusement park in the foreground of Soccer City – a
conflicting icon of growth and prodigality with a budget overrun of R800
Refugees from Zimbabwe given shelter in the Central Methodist
Church on Pritchard Street, in the city. 22 March 2009 In another recent series, Goldblatt has focussed on ex-offenders, inviting
them to revisit the scenes of the crimes that led to their incarceration and
be photographed there. “I don’t believe that many of them are inherently
About Photographer David Goldblatt brings together old and new pho- evil,” says Goldblatt. “They came to their crime for a whole lot of other rea-
tographs of Johannesburg in a solo exhibition at Goodman Gallery titled sons.” In the 20 plus ex-offenders who he has met, Goldblatt – while admit-
TJ: Some things old, some things new and some much the same. TJ – an ting that this is only a small sample – has picked up on various factors
obsolete acronym stemming from the South African pre-computerised and patterns that seem to contribute to their criminal behaviour such as
system of motorcar registrations – stood for “Transvaal, Johannesburg”. domestic dysfunctionality (many, he found, grew up without fathers), and
These letters, Goldblatt explains, “implied a certain loyalty”. While some a dire education system. “We have failed a very large number of young
of the photographs to be on show at the Goodman Gallery were taken in black people in this country in regard to their education,” he says. “We had
what Goldblatt refers to as the “time of TJ”, the title refers to the notion that Bantu education under apartheid, and that was a crime against humanity,
particular aspects of the city have changed very little since that era and in because it educated deliberately to under-educate. But the education of
some cases, worsened. The exhibition ultimately elucidates on these par- millions of young black people in post-apartheid has been almost as bad…
ticular aspects of the sprawling city of Johannesburg, which both infuriate their ability to mobilise upwards and out of the ranks of the poor is very
and astound the photographer. limited. They’re at a tremendous disadvantage from the start.”

“One of the most damaging things that apartheid did to us,” Goldblatt says, As always Goldblatt’s photographic style is unaffected and direct, reflect-
“was that it denied us the experience of each other’s lives. Apartheid has ing art critic Ken Johnson’s observation that the “effect of Mr. Goldblatt’s
succeeded all too well. It might have failed in its fundamental purpose of understated, antisensational photographs and the spare words that accom-
ruling the country for the next thousand years in that fashion, but it suc- pany them is cumulative. They build into an infectiously mournful beauty.
ceeded in dividing us very deeply and it will take a long time to overcome Even in pictures that seem almost nondescript… Mr. Goldblatt’s composi-
that.” This deep-rooted division is further exacerbated by a continuing tions have a classical elegance and a reticence that speaks volumes.”
social and urban fragmentation. While TJ includes old black and white pho-
tographs from an earlier era, new works explore the intricacies of crime, Continued on page 11

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David Goldblatt continued from page 10

David Goldblatt was born in 1930 in Randfontein, South Africa and since the early 1960s he has devoted
all of his time to photography. In 1989 Goldblatt founded the Market Photography Workshop in Johan-
nesburg, with, he explains “the object of teaching visual literacy and photographic skills to young people,
Frank Spears, "Crucifiction", Oil on Canvas
with particular emphasis on those disadvantaged by apartheid”. In 1998 he was the first South African to
be given a one-person exhibition at the Museum of Modern Art (MoMA), New York. Goldblatt received an
Honorary Doctorate in Fine Arts at the University of Cape Town in 2001. The same year a retrospective ex-
hibition of his work, David Goldblatt Fifty-One Years, began a tour of galleries and museums in New York,
Barcelona, Rotterdam, Lisbon, Oxford, Brussels, Munich and Johannesburg. He was one of the few South
African artists to exhibit at Documenta 11 in Kassel, Germany in 2002. He recently held solo exhibitions
at the Jewish Museum (which travels to the South African Jewish Museum in October this year) and the
New Museum, both in New York and is currently exhibiting alongside photographers such as Walker Evans
and Bruce Nauman in The Original Copy: Photography of Sculpture, 1839 to Today at MoMA. Goldblatt’s
photographs are in the collections of the South African National Gallery, Cape Town; the Bibliothèque
Nationale, Paris; the Victoria and Albert Museum, London; and MoMA. He has published several books of
his work. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award
and was recently announced the 2010 Lucie Award Lifetime Achievement Honoree.

Ex - Offenders body of work

Born in Soweto in 1979, Paul Lerato Tuge’s mother was pregnant with him when his father went to prison
for 15 years for robbery. Brought up by his grandmother, who was hardly able to feed him, Paul began
house-breaking at thirteen and at fourteen was dependent on drugs and drink. In 2001, after he and a
Gerard Bhengu, "Zulu Chief", Watercolour
friend broke into a house in Benoni in which he stole a pistol, a neighbour’s gardener reported them and
they were arrested. With the stolen pistol Paul shot and wounded one policeman and possibly a second; Shop 43 Willowbridge
they then escaped and hid in this stormwater gulley. When they heard dogs, they surrendered. Paul was
Lifestyle Centre,
sentenced to twenty years for two attempted murders. On appeal he was acquitted of one charge and his
sentence was reduced to twelve years of which he served six. He underwent intensive rehabilitation in Carl Cronje Drive,
prison. He has founded a company called Dream Finders in which he hopes to employ fellow ex-offenders Tyger Valley,
‘because it’s hard to find a job if you have a criminal record’. Bellville, Cape Town
Gallery : 021 914 2846
Gerrit Jr : 072 699 5918
Media slashes arts coverage Email :
Pardon the generic tone of this email but I’m larly theatre is most unfortunate...What I’m trying to
sending it to as many people as I can. In two organise is for actors, playwrights, theatre makers,
weeks’ time the Sunday Times review section will gallerists, dancers, artists and anyone involved in
be cutting back on its arts coverage, this in spite the arts to protest this move and this decision.
of audience/reader surveys that have shown it is a Please, when you notice the cutback, start writing
very popular section in, in your masses..inundate them with mail and
in the paper. Now, instead of a page, there will be perhaps they will offer a public explanation for their
ONE review and a listing. Sunday Times thea- lacklustre support of the performing and visual arts.
tre/performance/visual arts/dance writers were
informed of the decision by the editor Ray Hartley If you want to take part in this could you circulate it
this week. to people in the industry on your database....
They would not dream of doing that to sports and Emails to
this slow death of support for the arts and particu- Adriaan Boshoff, "Chickens", Oil on Canvas

Johann Louw, Painter
Residency in Paris, 2010 of China, Beijing. The theme of the biennale
In June this year, Johann Louw took up a one was Environmental Concern and Human Exist-
month workshop residency in Paris that entailed ence. Johann was in Beijing during the biennale
producing a series of stone based lithographs and attended the opening ceremony and the
at the Le Atelier Pons studio. Le Pons is an old symposium.
lithography workshop, run by Elizabeth Pons,
daughter of Jean Pons, who as master printer Sabbioneta Biennale, 2010
worked with a number of artists such as Pablo Currently, Johann is also participating in the 2nd
Picasso and the French expressionist and International Biennale of Contemporary Art of
abstractionist graphic masters. Sabbioneta. Louw’s work forms part of the main
exhibition of the biennale; entitled “Parallels”,
The residency culminated in a touring exhibition curated by the art critic Stefania Provinciali and
Since his large and successful mid-career of graphic and lithographic work, organized by is hosted in the magnificent Palazzo Ducale in
retrospective, organised by the Sanlam Art Paul Boulitreau and the Rendezvous Art Project. Sabbioneta until the 14th of November 2010.
Collection in 2008-2009, that showcased his The lithographs that Johann produced during
extensive oeuvre and toured the country, includ- the workshop residency are also exhibited by Exhibition of new works at SMAC Art Gallery,
ing the Pretoria Art Museum, Durban Art Gallery, Rendezvous in South Africa as a touring show. 2010 – 2011
the Oliewenhuis Art Museum in Bloemfontein A long awaited solo-exhibition of new paintings
and the SASOL/University of Stellenbosch Art and drawings is scheduled to open in December
Museum, Johann Louw has achieved much in at SMAC Art Gallery in Stellenbosch. A cata-
the last two years, giving great momentum to his logue is being produced for the exhibition.
professional and artistic career. In Johann’s words: “ I’m filled with expectations
53rd Venice Biennale, 2009 for my upcoming exhibition at SMAC. It’s a large
gallery, which is easy when curating a retrospec-
Last year, Johann Louw was one of only three tive but more challenging when dealing with an
artists selected to participate in an official col- exhibition consisting solely of new work”.
lateral exhibition to the 53rd Venice Biennale Discussing his new work, Johann says: “My
entitled I Linguaggi del Mondo: Languages of newer works demonstrate a greater investigation
the World. He exhibited four large paintings and of colour than in the past. They are more elu-
received considerable attention, facilitating his 4th Beijing International Art Biennale, 2010 sive with a gradual reintroduction of expression-
participation in further international exhibitions Johann is one of four South African artists who ist tendencies in terms of a looser use of paint.
and biennales. exhibited at this year’s Fourth International Art In terms of subject matter, I have moved away
Biennale that ran from the 20th of September to from more specific themes to something broader
the 10th of October at the National Art Museum – investigations of an emptiness and voidness”.

12 (Above) Johan Louw at his studio in Piketberg, 2010. (Photo: Robert Hofmeyer) (Below) Bardo II 2010 . ‘Liggende torso met landskap’, 2006,

Marilyn Martin writes a response to Melvyn Minnaar’s October’s column regarding the need
to have a museum of contemporary art, or an alternative venue to the SA National Gallery
Background : The lack of adequate space and no museum in South Africa that collects and displays Seminar rooms
facilities at the Iziko South African National Gallery architectural drawings and models. Workshop spaces/studios
(Iziko Sang) has been critical for many a decade. The Computer work stations for the public
problem first surfaced in the late 1960s and in 1969 There are many examples of what an iconic art build- Classrooms x 2, each able to accommodate about 30
the Marist Brothers’ property adjoining the Iziko Sang, ing can do for a city and a country. Such a building can learners at tables or easels
known as the Annexe, was accepted by the Board. only result from a national competition, and it must be Sinks x 8 for classroom activities and storeroom
This brought only temporary relief. one which takes into consideration all the aesthetic, space, Gallery Shop, Gallery Café (with separate
technical, practical and environmental requirements, entrance), Garderobe, Sickbay, Toilets for the general
As a result of consistent appeals by the late challenges and possibilities of the 21st century. This public, as well as for classrooms, workshops and
Raymund van Niekerk, the Department of National would not only solve many problems but would stimu- children
Education engaged in discussions in the mid-1980s late national and international interest and put Iziko Art
to develop the space between the main building and Collections well and truly on the map. Exhibition spaces
the Annexe. Preliminary sketch plans were prepared General comment: that the size of spaces be similar to
but for various reasons this never materialised. At Marilyn Martin those in the main building (different sizes) but without
this stage, the property of the Natale Labia family in impediments such as pillars; track lighting suspended
Muizenberg was offered to government and accepted. EXISTING SPACES : from the ceiling to optimise efficiency and flexibility;
Costly renovations followed. At the same time, the a close connection with the natural environment, eg
main building was in a sad state of upkeep and repair MAIN BUILDING glass walls around enclosed gardens/sculpture court-
and there was a need for new lighting and a climate yards; full temperature and humidity control; maximum
control system. The work was done between April • All exhibition rooms are restored to their original of 50 lux, including natural light.
1989 and October 1991. By now some millions had function (no storage, shop or café) and are used for
been spent on the Sang and government did not see the exhibition of the permanent collection and special Temporary exhibition spaces : Spaces specifically
its way clear to proceed with an additional building. temporary exhibitions designed for prints, drawings and photography.
The political situation was changing rapidly and the • The permanent collection is stored in the basement, Flexible spaces for installations and videos, divisible
project slipped off the agenda. with the exception of paintings and sculpture that are by movable partitions. Sculpture courtyard/garden
too big
In 1993 I started the process of assessing the needs • The offices of the Director of Art Collections, the Storage space : For all works that cannot be ac-
with staff and over a long period I engaged with archi- Administrative Assistant and the Manager of Art Col- commodated in the main building, particularly large
tects and architectural students in order to advance lections remain in the building paintings and sculpture, and making provision for
the project. • The following spaces are vacated and their use future needs; storage for works on paper, photography
reconsidered as part of the architectural brief: and new media; for frames
The restructuring of national collections Storage for prints and drawings, photography and new
When the Department of Arts, Culture, Science and media; Library; Workshop; Wing; offices; the storage Conservation :Studio for painting and sculpture
Technology (Dacst) announced the restructuring of space under Room 8 Studio for works on paper and photography
national collections, our plans went the back burner. Frames
The building was placed on the list of the Department ANNEXE BUILDING
of Public Works, but other Iziko priorities prevailed, The Annexe presents wonderful opportunities for Exhibitions & Technical : Workshop and studio for
such as the Iziko Social History Centre, which has restoration and allocation of different functions. The preparation of exhibitions Climate controlled holding
just opened, and the courtyard project at the Iziko history of the building has to be researched and areas for temporary exhibitions awaiting installation
South African Museum. Now it is back on the agenda. redesign and different uses are to form part of the brief and transit, with sufficient space for large crates to
Such projects are in the first place the responsibility for the new building. deal with exhibitions coming in and going out Techni-
of central government, after which fundraising could cal entrance and loading bay with direct access for
augment allocations; there have been no attempts at NEW BUILDING – trucks (surface to be the same height as trucks so that
finding a single big patron. A CENTRE FOR CONTEMPORARY ART crates can be wheeled off on trolleys into the building
and despatched by lift to basement or temporary
Iziko Centre for Contemporary Art Underground parking, Public spaces, Room for the exhibition area).
Lack of space has gone beyond being critical, while Friends of the Sang, Library
curatorial and public demands are constantly chang- Auditorium for 200-250 people, with control room for Facilities for staff and activities
ing. The Iziko Centre for Contemporary Art could be film, video and audio-visual equipment Board Room, Meeting rooms, Offices for curatorial,
a lively, open and vibrant place where contemporary Multi-media room conservation, education, security and cleaning staff
cultural production, in all its manifestations, could be Centre for Children, comprising spaces for activities, Reception area where staff can receive visitors
stimulated and developed to the benefit of all. There is exhibition and a playroom Tea room, Kitchen, Sick bay, Toilets

Alette Wessels Kunskamer

Maroelana Centre, 27 Maroelana Street,
Maroelana, Pretoria

GPS S25º 46.748’ EO28º 1.5615’

Mon to Fri 09h00 - 16h00
Saturday 09h00 - 13h00

Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729

WALTER BATTISS A quality selection of SA masters and
FISHERMEN AT THE LAKE selected contemporary art
OIL ON CANVAS 30 X 50 CM Alette 082 652 6663 Gerrie 084 589 0711

The South African
Art Information
R 189, 00
Vat Inclusive

Directory 2011

The most complete listing of South African art resources and infrastructure for visual artists.

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Ceramics Southern Africa National Exhibition 2010

Grande Provence Gallery, Franschhoek

Clockwise: CSA National Ceramics Exhibition at The Grande Provence Gallery, Franschhoek,
Top right :The American Master potter Jeffrey Oestreich, the award judge opened the exhibition. Middle: Jeffrey Oestreich with the first prize: by Sibonelo Cyril
Luthuli’ “A brush with death” piece, Ralph Johnson with Jeffrey with Ralph’s winning pieces entitled “Large vessels”.
Below: The winning entry: A Brush with death by Sibonela Luthui, Other winners include: Untitled by Bantu Mtshiselwa and 4 Pinch pots by Annalie Odendaal

The CSA National Ceramics Exhibition opened on CSA National Exhibition 2010 Prize winners CPS Sterling award for first time entry on a National;
Sunday 10 October at Grande Provence in Fran- Bianca Whitehead ( Eastern Cape )
schhoek. A capacity crowd of visitors attended the CSA Premier award; CPS Supa Porcelain award for best porcelain piece;
opening. American Master potter Jeffrey Oestreich Sibonelo Cyril Luthuli ( Kwa Zulu- Natal ) Rika Herbst ( Gauteng )
opened the exhibition. Jeffrey who was the award Cape Gallery award for Best work for Expression; Merits for Use
judge spoke about the uniqueness of the ceramics Ralph Johnson ( Western Cape ) Karen van der Riet ( Gauteng )
on show noting minimal influence of American, Reinders Potters Supplies Best work for Function; Clementina studio ( Western Cape )
British or Japanese ceramics. The exhibition Christo Giles ( Western Cape ) Annalie Odendaal ( Gauteng )
continues until Sunday 24 October and viewing is Rose Korber award runner up for Expression; Merits for Expression
from 10am to 6pm daily. Charmaine Haines ( Eastern Cape ) Monica van den Berg ( Gauteng )
For more information please call Potters Shop award runner up for Use Bantu Mtshiselwa ( Eastern Cape )
Ralph Johnson on 021 6716139 Laura du Toit ( Western Cape ) Ann Marais ( Western Cape )

CSA National Exhibition 2010 Prize winners Follows from left page bottom: Row 1 (Vertical)
The seven deadly sins by Ann Marais, Dancing Trees by Rika Herbst, Celadon Bowls by Christo Giles
Row 2: Zig Zag Vases by Cllemintina van der Walt, Bowl 1,2,3 Karen van der Riet,
Row 3: Red and Orange by Bianca Whitehead, Well loved ceramics personality: Hennie Meyer

Other noteworthy pieces: Row 1 (Vertical) Lace Impressed bowl by Catherine Brennon, Three vases by Heather Mills, Decorative plate by Brendan Ford,
Row 2: Trophies of Africa - only yellow by Margaret Woermann, Cosi Funtutis operatic tea party by John Bauer.
Row 3: Drinking party by Ardmore Ceramics, Tenmoku jugs by Christo Giles. For all the work on exhibition see:

Trasi Henen’MNMNMNMN’ (Detail) To be seen at Blank Projects

Artspace –Jhb GoetheonMain
27 October - 11 November, “Paperworks” a solo Exhibi- 11 November - 15 December, “Aleph”
tion of etchings and engravings inspired by the Tarot and an installation by James Webb
Alchemy by Judy Woodborne. GoetheonMain, 245 Main Street, City & Suburban, Jhb.
20 November - 11 December, “Oppitafel X” T. 011 4423232
1 Chester Court, 142 Jan Smuts Ave., Parkwood, Jhb.
T. 011 880 8802 Goodman Gallery Until 06 November, “TJ: Some things old, some things
new and some much the same” by David Goldblatt.
Artspace Warehouse 163 Jan Smuts Ave., Parkwood, Jhb. T. 011 788 1113
10 October - 06 November, “Skin” a group exhibition by
Danelle Janse Van Rensburg, Thelma Van Rensburg
and Adele Oldfield. 16 Halifax
3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 Works by Michael Heyns can now also be viewed by appointment in Johannesburg at 16 Halifax Street
Bag Factory Dana MacFarlane 082 784 6695
Until 03 November, “Vesia-Amanzi-Waters” a group
exhibition. Featuring South African artists Jill Trappler,
Eunice Geustyn, Witty Nyide and Finnish artists Kristiina Henry Taylor Gallery
Korpela, Jaana Partanen, Leena Mäki-Patola. The Henry Taylor Gallery specializes in South African
The project will be joined by Silja Saarepuu from Tallinn, Investment art; hence, it is not uncommon to find Old
Norman Catherine Zombie to be seen at “People, Estonia, ashore the Baltic Sea. Master paintings by Errol Boyley and J.H. Pienreff,
Prints and Process-Twenty five years at Caversham” 10 Mahlatini Street, Fordsburg, Jhb. T. 011 834 9181 hanging alongside up and coming artists such as
Standard Bank Gallery Claire Denaire or Gian. P. Garizio.
Shop No G 7.2 Cnr. Cedar Rd. and Witkoppen Rd.
Brodie/Stevenson Fourways. T. 011 70-53194

Free State 04 November - 15 December, “Permanent Error” a solo

exhibition of new work by Pieter Hugo. Brodie/Stevenson
is pleased to announce the opening of its new gallery

Johannesburg Art Gallery

space at 62 Juta Street, Braamfontein, Jhb. 09 August - December, “Transformations: Woman’s art
Bloemfontein T. 011 326 0034, from the late 19th century to 2010” artists taken from
JAG’s Collection.
Oliewenhuis Art Museum Carol Lee Fine Art Until 21 November,
04 November - 16 January, “Rendezvous” a group 06-14 November, “Nuance” group show. Photography by Ernest Cole.
graphic design exhibition. (In the Main Building) upstairs@bamboo Cnr 9th Street & Rustenburg Road, Until 11 January 2011,
25 November - 05 December, “Planet Pixel” Melville, Jhb. T. 011 486 0526 “South African Photography 1950-2010”
From 11 November, “Fractal” 10 November,
16 Harry Smith Street, Bloemfontein CIRCA on Jellicoe Portfolio readings at Market Photo Workshop from
T.051 447 9609 4 November - 16 Dec, Mixed media, bronze 9:30am to 3:45pm.
sculpture by Deborah Bell. 10 November,

2 Jellicoe Ave. T. 011 788 4805 Panel Discussion on Borders and Photography as part of the Borders Master class at 4pm at the Market Photo
David Krut Projects 10 November - 11 December,
Johannesburg During November, a solo exhibition by Deborah Bell.
140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627
Borders Master class exhibition opening at 6pm at
The Photo Workshop Gallery (photography) 08 December - 12 January,
Afronova Gallery
Portfolio 10 opening: 8 December at 6pm at
29 October - 27 November, “Black Line”
Everard Read Gallery Jhb The Photo Workshop Gallery (photography)
a solo exhibition by Billie Zangewa.
04-28 November, Oil on canvas by Paul Augustinus. Until 19 January 2011,
155 Smit Street, Braamfontein, Jhb. C. 083 726 5906
6 Jellicoe Ave., Rosebank, Jhb. T. 011 788 4805 “I am home” by Mimi Ng’ok currently on at the Photographers Gallery at the Market Theatre.
King George Str., Joubert Park, Johannesburg
Alliance Française of Johannesburg
Gallery 2 T. 011 725 3130 Email:
10-15 November, “Memory Stains” by Cathy Abraham.
During November, Graduates of the Artists Proof Studio.
Paintings and drawings.
140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98
17 Lower Park Drive, Corner Kerry Road, Parkview. Jozi Art:Lab
T. 011 646 1169
22-27 November, “Eunic Architecture studio 2010”
Gallery AOP The 3rd annual EUNIC Architecture Studio will devise
06-29 November, New drawings by Marcus Neustteter. strategies to improve and renovate an existing inner city
Art-icle Showcase (Gordart) Gallery
44 Stanley Ave., Braamfontein Werf (Milpark) building, Florence House. This weeklong programme was
06-14 November, “(ge)integr(i/eerde)t(eit/yd): a visual
T. 011 726 2234 launched in 2008 with an aim of linking public, students
sonnet cycle” a collaborative exhibition by M.C. Roodt
and young professionals in addressing the crucial issue of
and M Visser. David Paton will open the exhibition
Gallery MOMO living and housing conditions in modern South Africa. Arts
on 06 November at 12pm.
Until 08 November, OKHA Design. on Main, 264 Fox Street, Johannesburg.
Parkwood, Johannesburg. Parkwood, Jhb.
11 November - 31 December, Dumile Feni Sculptures. T. 011 836 0561
C. 084 423 8635
18 November - 31 December, Group exhibition.
52 7th Avenue, Parktown North, Jhb. T. 011 327 3247 Manor Gallery
Artist Proof Studio Until 02 November, “The 84th National Open Exhibition
30 October - mid November, “I see you” prints by
of the Watercolour Society of South Africa” top South
Thabo Motseki.
Gertrude Posel Gallery African watercolourists participating include: Sue Orpen,
The Bus Factory, 3 President Street, West Entrance,
This gallery has a permanent exhibition of traditional Zanne Bezuidenhoudt, Cherelee Powell
Newtown Cultural Precinct, Newtown.
southern, central and West African art. and Ingrid Kolzing.
T. 011 492 1278
Address: University of the Witwatersrand, Senate House, 11 November - 14 December, “The Year End Fine
Jorissen Street, Braamfontein. Art Sale 2010” a selection of paintings- framed and
Tel: 011 717 1365 unframed. Norscot Manor Centre, Penguin Drive. T. 011 465 7934

Colbert Mashile
new monotypes

Temptation I, Monotype, 76 x 57 cm. 1/1.

The Artists’ Press

Box 1236, White River, 1240 • Tel 013 751 3225 •

Art Times Colbert Oct. 2010.indd1 1 18/10/10 09:13:09

Recent Acquisition
Art Exhibition

Unisa Art Gallery,Kgorong Building
Ground Floor, Main Campus
Preller and Ridge Street, Pretoria, 0003
Tel: (012) 441 5683

November 2010
Enquiries: (012) 441 5683 /
Gallery viewing hours: (Tuesday to Friday)
10H00 - 16H00

Market Photo Workshop

06 October - 01 November, “Working the City, Experi- Pretoria Platform on 18th
21 October - 13 November, “Soup” a group Show of
ences of Migrant Women in Johannesburg” a group paintings, photography and mixed media by Leanie
student project in Poster form. Alette Wessels Kunskamer Mentz, Liebet Marie, Marcia Moon.
From 10 November, Borders Master class exhibition. Exhibition of Old Masters and selected leading 18 November - 04 December, Solo exhibition of
2 President Street, Newtown, Jhb. T. 011 834 1444 contemporary artists. paintings and mixed media by David Smuts. Maroelana Centre, Maroelana. 232 18th Street Rietondale, Pretoria. T. 084 7644 258 GPS : S25º 46.748 EO28º 15.615
T. 012 346 0728 C. 084 589 0711
Museum Africa Pretoria Art Museum
Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein- Until December, A selection of ceramics, representing
Lessing and Leopold Spiegel” co-curated by Association of Arts Pretoria the development of studio ceramics and the work of
Nessa Leibhammer and Natalie Knight. During November, PPC exhibition traditional rural potters of South Africa over the past thirty
121 Bree Str., Newtown, Jhb. T. 011 833 5624 173 Mackie Street, Nieuw Muckleneuk, Pretoria. years, is on display. T. 012 346 3100 A selection of artworks from the permanent collection of the Museum tells a brief story of South African art from
Nirox Foundation (Arts on Main) the time of the first San artists.
Until 07 November, “What do we know about Brooklyn Theatre in association with Trent Gallery Until 28 November, “Corobrik Collection”
Landscape?” by French photographer Éric Bourret. Until 10 November, “Four Artists” Jaco Benadé, Ceramics Southern Africa.
Until 15 December, “The Mystery of the Elements” Ernst de Jong, Loeritha Saayman and Sam Müller. North Gallery and Preiss Hall. T.012 344 1807/8
featuring works by the Spanish artist Enric Pladevall Greenlyn Village Shopping Centre, Thomas Edison
(Nirox Sculpture Park) Street, Menlo Park. Stuart @ 082 923 2551
Corner Berea and Main street, City and Suburban, Jhb. The Tina Skukan Gallery | | Until 18 December, An exhibition of handcrafted furniture Fried Contemporary and décor, wooden sculptures, Suzanis and other hand
24 November - 22 January 2011, embroided textiles, the best of central Asia.
Resolution Gallery “UP Fine Arts Staff Show” 6 Koedoeberg Rd, Faerie Glen, Pretoria.
Until 11 January 2011, “Public Perception” 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 T. 012 991 1733
a poster show by Andy Robertson.
142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 4054 Trent Gallery Gallery Michael Heyns 29 October - 11 November, Group show including
14 November - 09 December, “R5,000 & less” Wilma Cruise and Jan van der Merwe.
Rooke Gallery Michael Heyns ends off the year with an eclectic exhibi- Curated by Marijke de Kock.
28 October - 15 December, “Study of Trees” tion of his paintings and clay works priced at R5,000 and 12-25 November, “Works on Paper” by Willem Boshoff
photography by Garth Meyer. less. Exhibition opening Sunday 14 November. and Judith Mason. Opening Friday 12 November at
The Newtown, 37 Quinn Street, Newtown, Jhb. 351 Lynnwood Road Menlo Park Pretoria. 6:30pm. Curated by Hardus Koekemoer.
C. 072 658 0762 (next to Schweickerdt Art Shop) 26 November - 09 December, solo exhibition by Jan-
T.012 460 3698 C.082 451 5584 Henri Booyens. Opening Friday 26 November at 6:30pm.
Seippel Gallery Curated by Richard Humphries.
Until 30 January 2011, “Floating Underwater Dreaming” 11-24 December, “Boudiccea Castings show” Featuring
by Jill Trappler. Kunsuniek Susanna Swart and Kay Potts. Opening Friday 11
Arts on Main, Cnr of Fox and Berea, Jhb. 06 October - 14 November, Experience a stimulating December at 6:30pm. Curated by Klaus Fischer.
T. 011 401 1421 variety of well-known South African artwork uniquely 198 Long Street, Waterkloof, Pretoria.
exhibited in a superb dwelling atmosphere. T. 012 460 5497.
Spaza Art Gallery 331 Chappies Rd, Lynnwood, Pretoria.
From 27 November, “Christmas Show” group Marie Spruyt 012 361 6927
multi-media exhibition.
19 Wilhelmina Street, Troyville.
T. 011 614 9354 C. 082 494 3275 Pandora Art Gallery
04-25 November, “Enso” a group exhibition. Featuring

Standard Bank Gallery Aleta Michaletos, Andrew Abramovitz, Aniki du Plessis,
Until 04 December, “People, Prints and Process-Twenty Francois Coertze, Hilton Edwards, Jan Haarhoff, Louis White River
five years at Caversham” Botha, Neels Venter, Phanuel Soza, St John Fuller,
Until 04 Dec, “Translations: Art into Jewelry.” Steven Ashley Botha, Susanna Smith, Tony Wintour, and The Loop Art Foundry & Sculpture Gallery
Cnr of Simmonds & Frederick Str.’s, Jhb. Willem Edel. Exhibition Opening 04 November 6:30pm Casterbridge Complex Corner R40 and Numbi Roads
T. 011 631 1889 for 7pm. Opening speaker Ronel Nel with music by Riku White River T. 013 751 2435
Latti. 621 Berea Street, Muckleneuk, Pretoria.
Strauss & Co C. 084 997 3903
01 November,
Auction of Important Paintings and Sculpture.
Country Club Johannesburg, Woodmead
Corner Lincoln Road & Woodlands Drive, Woodmead.

Thompson Gallery
07-30 November, “Homage to Dan, a celebration of Life”
paintings by Sheila Jarzin Levinson. Opening 07 Novem-
ber @ 4pm with opening speaker and award winning
architect of the Apartheid Museum, Sidney Abramowitch.
78, 3rd Avenue Melville, Jhb.
T. 011 482 2039/9719


(Above) Sibisi Sthembiso Afternoon Song (Below) Hogins Robert Twin Cigars

IChagall® / © Dalro 2010 La Flûte Enchantée, 1967

(The Magic Flute). Standard Bank Gallery
People, Prints & Process 25 Years at Caversham
Marc Chagall Lithos
donated to the
producing handmade, limited edition artists’ prints.

Constitutional Court.
Caversham prints occupy an important space in
South Africa’s art, culture and political evolution
and in the history of South African prints. The
The art collection at the Constitutional Court Press is now part of a cluster of related art and
received three Marc Chagall lithographs donated educational initiatives, including the Caversham
to the Court by the famous Russian French Centre for Artists and Writers and the Caversham
artist’s granddaughters, Bella and Meret Meyer. Education Institute. The journey undertaken by
The Court’s collection is unique. Collected over Malcolm Christian was guided by his belief in
the past sixteen years, the original paintings human creativity, and summed up in the word
sculptures and drawings evoke democracy and Masabelaneni (let us share). Christian has shared
human dignity, and draw regular visitors to the his technical expertise and inventiveness with the
Court and to Constitution Hill from all over the artists who visited Caversham for 25 years.
world. “Caversham,” says Malcolm, “is about people and
their need to share stories and insights, affirming
The gift to the Court, made possible by the gener- The Caversham Press, founded in 1985 by our common bonds of humanity from frailty to
osity of the Chagall family, will be marked by Malcolm Christian in KwaZulu-Natal, has made strength, from baseness to transcendence. Over
a ceremony hosted by the artworks committee of an important contribution to the development of 25 years, these artists have been drawn from the
the Court and the Ambassador of France in printmaking in South Africa and has a memorable renowned to the emergent, from those who have
South Africa. The works will enhance the already history. It is this contribution and history, as much completed life’s journey to those just beginning...
wonderful collection and will be accepted by as excellence in printmaking, that ‘People, Prints They reflect the essence of collaboration, the
former Justice Albie Sachs on behalf of the Court. and Process – 25 Years at Caversham’ celebrates. duality within each of us to be inspired and to be a
Chagall, who was born in Belarus and settled in The exhibition runs at the Standard Gallery, Johan- source of inspiration.”
France, travelled widely and is now one of the nesburg, from 14 October to 4 December 2010. In 1985 most of the visiting artists were formally
twentieth century’s most famous artists: his monu- trained white artists; now they are largely black
mental commissions include The Opera ‘People, Prints and Process – 25 Years at Caver- artists and students from KwaZulu-Natal who ex-
Ceiling in Paris (1964), glass windows for the sham’ features over 100 works by more than 70 perience the joy of learning new visual communica-
Cathedral of Metz (1959-60), windows for the artists. It tells a remarkable story of faith in creative tion skills from a dedicated teacher in the tranquil
synagogue of the Hadassah University Centre in people and the processes of human interaction and studios of rural Caversham.
Jerusalem (1962) and a glass window Peace empowerment, generated through collaborative Caversham is a story of collaboration in a country
for the United Nations Building (1963-64). work underpinned by exacting design and printing characterised historically by division, fragmenta-
processes (etching, lithography, screenprint, and tion, hostility and injustice. After two and a half
The life and work of Marc Chagall find a strong linocut). decades, Caversham’s contribution to the story
resonance in the country concerned with the The Caversham Press found a home near Lidget- of South African printmaking reveals a complex
problems of exile, memory and love. ton in KwaZulu-Natal when master printer, Malcolm dialogue of many voices and the evidence of many
His works are an apt addition to the Court’s singu- Christian, bought a former Methodist chapel visions embedded in a rich diversity of imagery.
lar collection. They reflect the intellectual surrounded by a graveyard. The chapel became a
and moral forces binding people and societies studio but retained the peaceful aura of its original Reference: Meintjes, J (2010). Hats Off! at Tokara.
together and their aspirations for peace and spiritual structure. The gravestones are now incor-
happiness. porated into the garden and many newer buildings Standard Bank Gallery : Corner Simmonds and
Media queries: Eléonore Godfroy-Briggs at the contribute to Caversham’s community identity and Frederick Street, Johannesburg, Tel: 011 631-1889
French Institute of South Africa provide accommodation for residencies and visiting Gallery hours: Mon-Fri, 08:00-16:30; Saturday,
Tel: (0)11 298 2706 | | artists. There are no distractions to inhibit dedica- 09:00-13:00. The gallery is closed on Sundays and tion to the processes of thinking in visual form and public holidays. Admission free


Western Cape
Barnard Gallery City Hall
Until 19 November, “CC-Unlimited Power” by 14 October- 05 November, “Prêt-à-partager - a
Robert Slingsby. transcultural exchange in art, fashion and sports”
55 Main Street, Newlands. (Presented by the Goethe Institute) City Hall, 2nd Floor, 101 St Georges Mall St, Cape Town.

Cape Town Blank Projects. David Krut Projects Cape Town

04-26 November, Until 28 November, “Heritage osmosis” by Mischa Fritsch
“In Transit” a travelling exhibition of photographic works Montebello Design Centre, 31 Newlands Avenue, CT.
38 Special Art Café and Studio by Laurence Bonvin (Switzerland); T. 021 685 0676
Until 23 November, “700 Wives and 300 Concubines” “A Re Fanon” A process based project by Lerato Bereng/
a solo exhibition by Cinga Samson T. 021 462 1348 Mohau Modisakeng.
082.307.7883 Exhibitions Opening Thursday 04 November @ 6pm. David Porter Antiques 113-115 Sir Lowry Rd, Woodstock, CT. T.072 1989 221 Buyers and sellers of South African art. T. 021 6830580/083 452 5862
Absolut Art Gallery
19 November - 19 December, a group exhibition featuring Cape Gallery
works by Ryan Loubser, San-Maré Raubenheimer, Until 13 November, “Desert Abstractions and Photo The Donald Greig Bronze Foundry and Gallery
Pieter Uitlander and Raché Gerber. Impressionism” Photographs (Giclée Prints on Canvas) Donald Greig is a specialized wildlife sculptor and his
Ongoing, permanent exhibition with some of the best by Robert Müller. To be opened by Nicole Palmer sculptures ranging in size from life-size to paperweights
Masters and contemporary artists. Namely Irma Stern, (Artist Photographer, Stellenbosch) will be on display at the gallery. The foundry will do a
JH Pierneef, Cecil Higgs, Adriaan Boshoff, Tinus De On Sunday 24 October @ 4:30p.m. bronze pour on most days and the entire ‘Lost Wax Cast-
Jongh, Adolf Jentsch, William Kentridge, to name but a From 14 November, “Natures & Patterns” recent work ing Process’ can be viewed by the public through special
few. Shop 43 Willowbridge Life Style Centre, Carl Cronje by Christopher Langley. glass windows.
Drive, Bellville, CT. T. 021 914 2846 60 Church Street, Cape Town. T. 021 423 5309. The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town. T. 021 418 4515
Artvark Gallery Carmel Art
Until 30 November, Paintings by Dealers in Fine art, exclusive distributers of Duende
Lolly Hahn-Page and Tammy Griffin. Pieter van der Westhuizen etchings. 10-20 November, “Abandoned Spaces” by N.J. Molloy.
During September, New work of the well-acclaimed Relocation of their Claremont and Constantia galleries A new Art Gallery in Sea Point, Shop 1 Trafalgar Place,
Zimbabwean Artist Wendy Roselli. is now complete visit the new gallery at the Cape Quarter 67G Regent Road, Sea Point will be opened on 10
48 Main Road Kalk Bay. T. 021 788 5584 Square –Cape Town’s newest upmarket and trendy November @ 6pm. “Abandoned Spaces” shows film
Artvark now also at the Cape Quarter, on the 1st floor shopping mall where Leonard Schneider and Beila are photography hand printed limited edition work by N.J.
available to assist you. Molloy. Exhibition ends 20 November. To be opened by
Alliance Française of Cape Town Cape Quarter Square, 27 Somerset Road Green Point gallery director Debbie Grewe.
04 November, A screening of Schadeberg’s documentary, (on the first floor above the Piazza & restaurant level) 23 November - 03 December, “h-u-m-a-n book 1”
Voices from Robben Island. T. 021 4213333 Surisa-Surisa shows acrylic on canvas together with word
155 Loop Street, CT. T. 021 423 5699 paintings. Opening 4pm. Casa Labia
Until 11 November, “Florence Years” by Kim Meyerson. Erdmann Contemporary /Photographers Gallery
/A Word Of Art 17 November - 29 January 2011, Africa Nova presents 20 November-end January 2011,
A Word of Art will be closed for the next few months to Casa Labia in Bloom - a celebration of indigenous “Summer group exhibition” featuring works by Lindeka
work towards the next big group show and on the flowers. Casa Labia in Bloom is a multi-media festival of Qampi, Fanie Jason, Karlien de Villiers, Lien Botha, project art, inspired by South Africa’s indigenous flora developed Nomusa Makhubu, Johann Louw and
66 Albert Rd, Woodstock Industrial Centre. by Margie Murgatroyd of AFRICA NOVA. The exhibition Barbara Wildenboer.
T. 021 448 7889 will feature works in a range of media and styles, includ- 03-20 November, ing painting, ceramics, photography, sculpture and “Mauerbilder 1961” photographs of the Berlin Wall by
jewellery. 192 Main Rd, Muizenberg. T. 021 788 6067 Jurgen Schadeberg. opens on Wednesday 3 November
The Arts Association of Bellville at 6pm. Schadeberg will be present at the opening. The
10-24 November, “Unisa 2010” exhibition Mauerbilder 1961 is presented in Cape Town
The Arts Association of Bellville, The Library centre, Cape Town School of Photography courtesy of the Goethe Institute, Johannesburg. It forms
Carel van Aswegan Street, Bellville. T. 021 918 2301 04 November - 03 December, part of the German Cultural Weeks program, hosted by “Inner and outer landscape impressions” by the German Consulate in Cape Town.
Michel le Sueur. 04 November,
Atlantic Art Gallery 4th Floor, 62 Roeland Street, Cape Town. A screening of Schadeberg’s documentary, Voices from
A permanent display showcasing leading contemporary T. 021 4652152 Robben Island. This screening will be hosted at the
South African artists. Alliance Francaise in Loop Street, Cape Town.
25 Wale Street, Cape Town. T. 021 423 5775 Cedar Tree Gallery 63 Shortmarket Street, Cape Town. T. 021 422 2762
30 November - 06 Febuary 2011, Photography by
AVA Malcolm Dare. Opening 30 November @ 6pm.
Until 12 November, Main Gallery: Rodwell House, Rodwell Road, St James, CT.
“Stalking the Familiar” by Lynette Bester T. 021 787 9880 Everard Read Gallery
Long Gallery: Until 31 Jan 2011, “Untamed”, an installation by
“One in One- My Year as a Statistic” by Tracey Derrick Dylan Lewis at Kirstenbosch Gardens.
Artstrip: “Diagram of Change” by Elsabe Milandri Centre for African Studies Gallery 18 November - 02 December, “Never & Always”
13 December - 21 January 2011 Until 18 December, “Juggling with the Familiar II : by Mark Shields.
“Monotype by Warren Editions.” Exhibition of Works in Progress” the exhibition brings to- 3 Portswood Road, Victoria and Alfred Waterfront,
13 December - 21 January 2011, gether photographic and mixed media projects by South Cape Town. T. 021 418 4527
“Category Error 2” group exhibition. Participating artists: African female artists who utilise extreme subjectivity and
Joanne Bloch, Jann Cheifitz, Mandy Darling, Josie intimacy within their methodology and style in one way
Grindrod, Verna Jooste, Leora Lewis, Lynne Lomofsky, or another. Artists included are: Ingrid Masonda, Tracey 34 Fine Art
Khanyisile Mbongwa, Philip Miller and Jane Solomon. Derrick, Suzanne Duncan, Sophia Claassens, Until 06 November, “Submerge” a
Association for Visual Arts, 35 Church Street, Cape Town. Siona O’ Connell and Jenny Altschuler. solo exhibition by Lionel Smit.
T.021 424 7436 Harry Openheimer Building, Engineering Mall, Upper 09 November - 15 January 2011, Campus, UCT. T. 021 650 2308 “Then: Now” a group exhibition. /
C. 082 354 1500


Focus Contemporary curated for the ifa lethu foundation.

28 October - 25 November, “Pretending to be Flesh” by Infin Art Gallery Iziko Michaelis Collection, Old Town House, Greenmarket
Christian Diedericks. A gallery of work by local artists. Square, Cape Town. T. 021 481 3800
26 November - 26 December, “Spot” by Helen Sear. Wolfe Street Chelsea Wynberg. T. 021 761 2816 and
67 Long Street, Cape Town. T. 021 419 8888 Buitengracht Str. Cape Town. T. 021 423 2090 Iziko Good Hope Gallery Until 31 January 2011, “Ghoema & Glitter:
Institute for Democracy in Africa (IDASA) New Year Carnival in Cape Town”
The Framery Art Gallery Until 30 November, “Arch” by Ed Young. A super-real Buitenkant Street, opposite the Grand Parade,
Until 06 November, Patrick Mokhuane and sculpture of the Archbishop Emeritus Desmond Tutu Cape Town. T. 21 464 1262
Timothy Zantsi. swinging from a chandelier.
67g Regent Road, Sea Point. T. 021 4345022 6 Spin Street, Cape Town. T. 021 467 7600 Johans Borman Fine Art Gallery 13 November - 04 December, “Seebriewe”
G2 Art an exhibition of oil paintings by Jacobus Kloppers.
24 November - 10 December, “Road trip” Paintings by Irma Stern Gallery In Fin Art Building, Upper Buitengracht Street,
Roelie van Heerden. Opening 24 November @ 6pm. Until 30 November, Ceramics by Melanie Hillerbrand. Cape Town. T. 021 423 6075.
61 Shortmarket Street, Cape Town. T.021 424 7169 Cecil Rd, Rosebank, CT. T. 021 685 5686
Kalk Bay Modern
Gallery F Until mid November, “Point of Focus” photography exhibi-
Contemporary and archival South African Art. tion. Pinhole Photography with selected conventional
221 Long Street, Cape Town. T. 021 422 5246 photography. Jenny Altschuler, Glen Green, Nic Bothma, Gavin Foley, Geoff Kirby, Dave Robertson, Leanette
Botha and Kevin Factor are some of the photographers
Gallery M featured in the exhibition.
04 November - 04 December 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay.
“Pussyfooting” by Louise Sinclair. T.021 788 6571
Opening Thursday 04 November @ 6pm.
First Floor, Piazza da Luz, 94 Regent Road, Seapoint.
T. Marlo 072 461 3387 or Louise 082 326 4827 Kirstenbosch Botanical Gardens-Sanlam Hall 06-17 November, “Original Cape Art” 23 Cape Artists. The exhibition will be opened on Saturday 06 November
@ 12am by guest speaker Dr Ian McCallum, psychiatrist,
Gill Allderman Gallery naturalist, and well known writer. Art works in a wide
Continuous Exhibition, “Exhibition # 36” A Group exhibi- range of mediums, by established and
tion featuring abstract art, graffiti, paintings, drawings. up-coming Cape artists.
278 on Main Road, Kenilworth. Entrance to the exhibition is free after entry to Kirstenbosch Gardens. T. 021 799 8621
C. 083 556 2540
Michael Stevenson Contemporary
Goodman Gallery, Cape 21 October - 27 November, “As Terras do Fim do Mundo”
16 October - 15 November, “Open End” Painting show, a by Jo Ractliffe
group exhibition featuring Minnette Vari, Lisa Brice, David 21 October - 27 November, “4 for Four” a four-screen
Koloane, Tom Cullberg and more. video installation by Simon Gush.
20 November - 09 January 2011, 21 October - 27 November, “Fishermen (Études no 1)” a
Season Show featuring Brett Murray. short film by the renowned Finnish artist Eija-Liisa Ahtila
3rd Floor, Fairweather House, 176 Sir Lowry Rd., as part of the FOREX series.
Woodstock, Ground Floor, Buchanan Building, 160 Sir Lowry Rd,
CT. T. 021 462 7573/4, Woodstock, CT.
T. 021 462 1500
Greatmore Studios
Artist in Residence Kim Myerson will be exhibiting at
Casa Labia from 06 October - 11 November with an Jacobus Kloppers: Seebriewe and Seebrief 3 Raw Vision Gallery
exhibition entitled “Florence Years” An exhibition of oil paintings to be seen at: 16 December - January 2011, Marina Cano wildlife
08 September - 26 November, “Take5” featuring Johans Borman Fine Art Gallery exhibition
Victoria Malcolm, Tom Fleming and Edwin Pennicott, 13 November to 4 December 2010 89 Sir Lowry Rd, Woodstock, CT. T. 076 581 9468
Witty Nyide and Andy Williams.
47-49 Greatmore Street, Woodstock. T. 021 447 9699 Rose Korber Art
Iziko SA National Gallery 20 October - 20 November,
iArt Gallery Until 30 January 2011, Borders presents a distillation of “Abstraction and Meaning” by J P Meyer.
Until 13 November, “Mad Art Moments” An exhibition in in work from the Bamako Encounters 8th African Photo- 48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152
support of the Make a Difference Foundation. graphic Biennale, 2009. Mali’s pan-African exhibition is
Featuring Sheena Rose. travelling for the first time to Sub-Saharan Africa,
During December, “The Gift of Fine Art” providing South Africans with a unique opportunity to Rust-en-Vrede Gallery
71 Loop Street, Cape Town. T. 021 424 5150 engage with contemporary photographic production Until 04 November, “Sandveld Compositions” from across the continent and its diaspora. The show is by Annelie Venter;
curated by Michket Krifa and Laura Serani. “Sensus – The landscape of stolen moments”, Sculptures
iArt Gallery - Wembley 06 November - 16 January 2011, in wood by Loni Drager; “Breathing Lessons”
Until 06 November, “Boarding House” photographs by Roger Ballen. by Leoni Uys.
“Patmos and the war at sea” by Alistair Whitton. 27 November - April 2011, “Imagining Beauty” 09 November - 15 December, “From the Vine” - Jewellery
29 November - end December, “Tempermes” by Louis body adornment from Iziko collections and designed by Ilke & Marc Whitehorn; “Alternative Realities”
Jansen van Vuuren. Louis Jansen van Vuuren will young SA designers. oils by Janna Prinsloo; “Legkaart” oils by Lynie Olivier;
launch his first and long-awaited anthology of Afrikaans 25 Queen Victoria Street, Cape Town T. 021 481 3934 In the Cube in the Clay Museum: Rice Bowls by various
poetry, entitled Tempermes. The book will be potters.
accompanied by an exhibition of painting. 10 Wellington Rd, Durbanville.T.021 976 4691
Wembley Square, Gardens, Cape Town. Iziko Michaelis Collection
T. 021 424 5150 Until 30 January 2011, “Home and Away:
A Return to the South”
SA art: from 27 November 2010

Tel: 044 874 4027
79 Market Street, George
GPS 33°57’42.66’’S | 22°27’24.54’’E

Unrequited Love: Under a Sickle Moon

3 - 27 NOVEMBER 2010
‘love the way it hurts’ sue dall

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Archival Framing
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Tel: 021 448 9220/021 448 3466
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39 Lower Main Road,
Observatory 7925
Salon 91
03-27 November, “Unrequited Love: Under a Sickle Piketberg
Moon” group exhibition of mixed media, drawing,
furniture, sculpture and painting. Featured artists include: IS Art AntheA Delmotte Gallery
Coba Vermaak, Cornelis Dumas, Lorenzo Nassimbeni, 31 October - end November, An exhibition of 29 October - 20 November, “Portraying the beauty of
Lourens Joubert, Ndikhumbule Ngqinambi, Franschhoek artists. Featuring Achim von Arnim, Alisha Verlorenvlei” This exhibition is to draw attention to a very
Niklas Wittenberg, Paul Senyol and Sue Dall. Erasmus, Andrea Desmond-Smith, Cindy Douglas, important wetland close to Piketberg that is under threat
91 Kloof Street, Gardens, Cape Town. T 021 424 6930. Annemarie van Heerden Hermans, David Walters, by a proposed mine. Francois Marais, Ingrid Bolten, Jacqueline Crewe-Brown, 29–31 October, Piketberg Art Weekend.
Johannes du Plessis, Kerri Evans, Paddy Howes, Sarah With amongst others an open studios route.
South Gallery Walters, Stuart Douglas, Sue van Rensberg, 25 November - 15 December, “16 days of activism”
Showcasing creativity from KwaZulu-Natal Vuyisa Potina. 47 Voortrekker Street, The Old Bioscope, Piketberg.
including Ardmore Ceramic Art. Ilse Schermers Art Gallery at Le Quartier francais, 073 281 7273,
Fairweather House, 176 Sir Lowry Rd, Woodstock, 6 Huguenot Street, Franschhoek. T. 021 876 8443
Ground Floor. Somerset West
T. 021 465 4672
Liebrecht Art Gallery
South African Print Gallery 3 November - 28 January 2011, “Slice of Life” a group ex-
Strydom Gallery
A wide selection of Fine Art Prints by South African hibition. In what must surely be one of the largest national
From 27 November, 42st Summer Exhibition of South
Masters and contemporary printmakers. New prints in exhibition projects ever undertaken by a small privately-
African Art
stock! During November, “Exquisite Corpse”, a group owned gallery - run by one gallerist and his dog – in this
Opening Saturday, 27 November @ 6pm with opening
exhibition featuring Judy Woodborne. country, 630 paintings by 63 artists from all corners of
speaker Prof Lize van Robbroeck (Art historian,
107 Sir Lowry Rd, Woodstock, T. 021 462 6851 South Africa are being showcased in the Liebrecht Gallery
Stellenbosch University) in Somerset West for a period of three months.
79 Market Street George. T. 044 874 4027 Opening 03 November @ 6:30pm.
34 Oudehuis Street, Somerset West.
Waterkant Gallery T. 021-8528030 C. 0823043859
21 October - 08 December,
“African Archival Photography”
123 Waterkant Street, Cape Town. T. 021 421 1505
Hermanus Abalone Gallery Stellenbosch
During November, Selected Works by Alta Botha,
Wessel Snyman Creative John Clarke, Christo Coetzee, Hannes Harrs, Leonard Art on 5
29 October - 27 November, “Footprints” by award winning Matsoso, Larry Scully, Lynette ten Krooden, Elzaby Laub- Permanent exhibition of paintings and ceramics by
French photographer Amelie Debray. scher, Louis van Heerden. (Main Gallery); Maryna de Witt, Pera Schillings, and Karen Kieviet.
17 Bree Street, Cape Town. T. 021 418 0980. Graphic and Photographic collection featuring Lien Botha, 7b Andringa Str., Stellenbosch. T. 021 887 7234 Bettie Cilliers-Barnard, El Loko, Cecil and Pippa Skotnes,
Braam Kruger, Judith Mason, Pat Mautloa, Dorpstraat Galery
What if the World… Dirk Meerkotter, Diane Victor.(Side Gallery.) 06-30 November, “20squared”
Until 20 November, “Teeth are the only Bones that 2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935 a group exhibition. Opening 06 November @ 10am.
Show…” by Athi Patra Ruga. 144 Dorpstraat, Stellenbosch. T. 021 887 2256
10 November - 04 December,
Solo Exhibition by Andrzej Nowicki.
08-15 January 2011, “WITW Summer Group Show” Knysna
First floor, 208 Albert Rd, Woodstock, T.021 448 1438 Glen Carlou Estate Knysna Fine Art On exhibition is The Hess Art Collection, including works
From 05 November, “Roadtrip” by Alex Hamilton. by Deryck Healey, Ouattara Watts and Andy Goldsworthy.
Worldart Gallery Opening (coinciding the official new gallery opening) Simondium Rd, Klapmuts. T. 021 875 5314
Until 08 November, “Un-mute my tongue” Friday 05 November @ 6pm.
a solo exhibition of new paintings by Ayanda Mabulu. Knysna Fine Art has relocated to Thesen House,
54 Church Street, Cape Town. T.021 423 3075 6 Long St, Knysna. SMAC Art Gallery T.044 382 5107 C. 082 5527262 30 September – 28 November, “Green” by Barend De Wet. At Smac. The exhibition will feature a
combination of recent and older works; sculpture, painting
Youngblackman Gallery and performance.
From 27 October, Matthew King’s Fissinage- Until 28 November, Ulrich Schwanecke.
“I feel like going home to bed, but it’s only noon” Oudstshoorn De Wet centre, Church Street, Stellenbosch.
69 Roeland Street, Cape Town. T. 021 887 3607
T. 083 383 0656 Artkaroo Gallery 18 November - 18 December, mixed & multi media and Sasol Art Museum University of Stellenbosch
lithographs by Chris Spies supported by ceramics by 11 November - 14 Febuary 2011, “Mother Nature. Art and
Elsable Pretorius. Psychology in conversation.” A multi-media exhibition.
Franschhoek 107 Baron van Reede, Oudtshoorn. T. 044 279 1093
Includes paintings by Marlene Dumas, sculpture by
Claudette Schreuders, and photographs by Jodi Bieber,
as well as multi-media artworks by established and
Galerie L’ Art upcoming artists. Curated by psychologist Elzan Frank.
A permanent exhibition of old masters. Paarl 52 Rhyneveld Street, Stellenbosch.
Shop no 3, The Ivy, Kruger Str., Franschhoek
T. 021 876 2497 Hout Street Gallery US Art Museum 25 November - 28 February 2011, “Annual Summer 26 October - 20 November, “Self” a solo exhibition of
Salon.” this exhibition features an extensive range of contemporary art jewellery by Angela Tölken.
The Gallery at Grande Provence paintings, ceramics and sculptures by more than thirty
31 October - 01 December, “Painters who Print-Art on South African artists. Cnr of Dorp and Bird Streets, Stellenbosch.
Paper” an exhibition that celebrates some of the artists 270 Main Street, Paarl. T. 021 872 5030 T. 021 808 3524/3489
who have worked at The Artists Press.
Until 01 December, “Fragile Earth” by Jeannette Unite
(The Project Room)
Main Road, Franschoek. T. 021 876 8600. gallery@

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a wisp of spider’s web or a shred of gossamer.

Lace is the lightest of substances, and even the
faintest current animates the cotton phantom
which appears to breathe as he glories in his virile
Lloyd Pollak Belinda Blignaut’s funsy-wunsy exercise in masti-
cation permeates the entire space with the cheap
The Dada South exhibition confirmed the vision scent of the chewed bubble gum she has lumped
of the curators of the Menippean Uprising, Hentie all over a door which erupts in pustules and boils,
van der Merwe and Pierre Fouche, vindicating their
love of fantasy, and inspiring them to bypass the
glum, issue-driven art of our past. Instead they
struck out toward the enticing subjunctive realms
of perhaps, if and maybe, and as soon as we
clap eyes on Adriaan de Villier’s fantastic tower of
swirling, bulbous silhouette, inspired by the trickled
sand-castle spires of Gaudi’s Sagrada Familia, The commission revolves around a fleeting, but
we know we have tumbled down a rabbit hole into passionate, seaside romance between two men
Wonderland. who parted never to see each other again. Aiden,
the lost lover, has dissolved into a tissue of remem- making the inanimate, animate, and prone to all
Like a ring around a gemstone, the over-sized brance, and the frailty and transparent voids of the the disgusting ailments to which flesh is heir. The
baroque frames enclosing the miniaturized, pho- lace give dissolving memories, and inconsolable gum, manually wrenched into lubricious vaginal
tographic collages that comprise Mendisa Pantsi’s loss consummate expression, resonating the el- and anal shapes, brought back my itchy-twitchy pu-
‘Wanneer die Tokkerlossie …’, underline the egiac poignancy of the marble effigies of Hadrian’s bertal years of undirected libido and disconcerting
wonder of this encounter with the supernatural, and drowned paramour, Antinous. Conscious or uncon- erections. The work invites intimate erotic explora-
force us to peer, as if through a peephole, at their scious allusions to these Hellenistic masterpieces tion and provides multiple fleshy, pink apertures for
contents. In this gender-bending imagery, Pantsi in which a grief-stricken Emperor unceasingly com- the randy index finger to probe, at last bringing the
photographs herself, and collages the tokolosh memorated his grande passion, definitively inscribe sex toy into the art gallery.
over her own likeness, so the two become one, and the work in the history of queer imagery.
the bogeyman of tradition metamorphosises into a
benign black fertility goddess.

Niklas Wittenberg applies his eclectic blend of

drawing, painting and photographic collage to
diminutive, intimate formats that usher us into his
droll and whimsical daydream world. His trademark
is a quirky, but sophisticated, faux naïf style in
which the stylization of comics and the wonky Dale Washkansky’s examination of the roots of
charm of child art are charmingly refracted through Nazism embedded within traditional German
a sensibility steeped in ooh-la-la and campy hanky- culture; Liza Grobelaar’s winged skull adduced
panky. Three lace panels, suspended from the ceiling, and as proof incontrovertible of the existence of
tiered one behind the other, lend a sculptural di- miraculous beings; and Hentie van der Merwe’s
Even though presented in fragmentary, unfinished mension to the head and torso of the naked Aiden dreamy matelot all reveal the curator’s support for
form, Pierre Fouche’s ‘Aiden’s Metamorphosis’, who the artist reconstructed from an old B& W a creative approach in which tensions relax, and
is a show-stopper that realizes every ideal the photograph, reproducing the contrasts of the tonal the imagination takes wing in exotic and sensual
curators aim to achieve in the art of the twenty first gradations by decreasing or increasing the size of materials - mohair, lace, velvet, lapis lazuli, gold
century. A traditional feminine craft is applied to a the apertures in the lace patterns. Hung before a and mercury. Although such art may at first ap-
homoerotic theme, and Fouche’s manual black rectangle on the gallery wall, the supporting pear inconsequent, it remains rooted in the myths,
skill, flawless aesthetic sense and intensely poetic cotton threads become invisible, and Aiden’s body dreams and legends that fill the Jungian collective
imagination bring off this chimerical reification of asserts an immaterial presence like unconscious and nothing could be more relevant
yearning, nostalgia, desire and absence. than that.
Images: (Left- right) Pierre Fouche’s ‘Aiden’s Metamorphosis’ | Adriaan de Villier’s fantastic tower; Mendisa Pantsi’s ‘Wanneer die Tokkerlossie …’, 29
| Hentie van der Merwe’s dreamy matelot; Liza Grobelaar’s winged skull; Niklas Wittenberg’s Rabbit
Group exhibition :
Ryan Loubser, Pieter Uitlander,
San-Mare Raubenheimer
and Rache Gerber
19 November till 19 December
Pieter Uitlander San-Mare Raubenheimer

Ryan Loubser Rache Gerber

A selection of the best
Masters & Contemporary artists

JH Pierneef, "Landscape of Boabab Trees", Mix Media, Signed & dated 1933
Shop 43, Willowbridge Lifestyle Centre,
Carl Conje Dr, Tyger Valley,
Bellville, Cape Town.
Gallery : 021 914 2846
Gerrit Dyman Jr : 072 699 5918
Email :
SSAMP_ArtT_Ad_136x93_ART.pdf 1 2010/10/19 7:40 AM






Cape Town based artist with “Loved”. Oil painting, 1500 x 1000mm on boxed can-
ExhibitionÊopensÊ6pmÊThursdayÊ11ÊNovemberÊ2010 vas. Ilse’s work can be seen on het website; and can be con-
atÊSharonÊSampsonÊStudio,ÊIllovo,ÊJohannesburg tacted on +27 845042814 / +27219814630. This year Ilse was selected by a panel
of judges for the recent addition of Best of Oil Artists Worldwide, Vol 1, published by
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he coffee table style book feautures a double page spread of Ilse’s work.

Eastern Cape Montage Gallery

Mid October - Mid November, “fine art sale”, in the run-up
to the end of the year period, as an early boost for art lov-
New Creations
29 October - 20 November, “Transfiguration”- Ekphrastic/
Art & Poetry Exhibition
ers. The idea is to entice artists to clear out their studios 25 Artists, 12 Poets, 40 Artworks, 35 Poems Paintings.
by offering their work at reduced prices, and a number of Photography and ceramics will be displayed alongside the
East London well-known names have already pledged their support. poem which originally inspired the artwork. Amongst our
59 Main Road, Walmer, P.E. T. 041 581 2893 poets are Gabeba Baderoon (2005 winner of the Daimler-
Ann Bryant Gallery Chrysler Award for South African Poetry), Chris Mann (Ad
The Main Gallery Hominem Professor of Poetry at Rhodes University and
02-12 November, Walter Sisulu University B-tech degree Nelson Mandela Metropolitan Art Museum founder and convenor of Wordfest.) Established artists
Graduation exhibition, a group exhibition of oil paintings Permanent exhibition, “Art in Mind” include: Greg Schultz, Anthony Harris, Sandy Coffey, Der-
and mixed media works by students from Walter Sisulu Until 05 December, “RE.SPONSE” Lecturers, students rick Erasmus, Christine Ross-Watt, Donve Branch, Bret-
University. Opening 2 November @ 6:30pm. and Alumni from the Nelson Mandela Metropolitan Univer- ten-Ann Moolman, Esme Goosen, Alida Stewart, Nonnie
The Coach House sity School of Music, Art and Design were challenged Roodt, Rick Becker, Louise Punt-Fouche, Sue Hoppe...
Until 06 November, “Great Expectations Revisited” a solo to produce artworks in response to selected works from Dr Nicholas Allen will be the opening speaker.
Exhibition by Liz Sanchez. Paper Mache Sculpture, Oil the Art Museum’s Permanent Collection. This exhibition For enquiries T. Stephanie Liebetrau at 041 3737136/ 082
painting, Ceramics and Fibre Art. showcases these interpretations together with the original 8774138
11-27 November, Solo exhibition of mainly woodblock artworks.
prints with the original woodblock by Jeff Rankin. Until 12 December, “Fauna and Flora” images and
Opening Thursday 11 November @ 6:30pm.
9 St. Marks Rd, Southernwood, East London.
T. 043 722 4044
ceramics.(Artworks include a selection from the print port-
folio “Art meets science: flowers as images” produced at
The Caversham Press. Artists selected include Vusimusi
Northern Cape (Derek) Nxumalo, Douglas Goode, John Manning and
famous early South African 20th Century artists Hugo
Port Elizabeth Naude and Irma Stern, will be featured together with
ceramics produced at Ardmore Studio and a selection of Kimberley
Hilton Nel’s ceramic cats. Textiles from the Art Museum’s
Alliance Francaise William Humphreys Art Gallery
Chinese collection will also be displayed, alongside prints
During November, “Réunion Chroniques” (Reunion 27 October – 15 November, Exhibition of works by lectur-
from the Indian and Japanese collections.)
Chronicles), a photographic exhibition from Reunion ers of the University of KwaZulu Natal.
10 December - 06 February 2011, Nelson Mandela Metro-
Island. Featuring François-Louis Athenas, Raymond Work on display from the William Humphreys Art Gallery
politan Art Museum Biennial Exhibition and Award 2010.
Barthes, Thierry Fontaine, Yo-Yo Gonthier, Line Leclerc, Collection: Peter Clarke; New acquisitions from the
18 December - 18 March 2011, “Faces and Places” An
Edgar Marsy, René Paul Savignan and Laurent Zitte. Eastern Cape; Alan Grobler – linocut prints from Port
exhibition of paintings, photographs, prints and ceramics
17 Mackay Street, Richmond Hill. T. 041 585 7889 Elizabeth; Contemporary South African Ceramics.
from the Art Museum’s Permanent Collection depicting Civic Centre, Cullinan Crescent, Kimberley.
people and the environments that they live work and
play in. (Artworks featured include portraits by George T. 053 831 1724
Epsac Gallery
Pemba, Maggie Laubser, Dorothy Kay, Lynnley Watson
27-29 November, “Professional Practice Seminar” - 3 day
and Jessie Mooy with photography by Rob Duker, Marc
Seminar AT EPSAC.
Shoul and Jurgen Schadeberg. Scenes by Tommy
A first for Port Elizabeth! Booking Essential.
Motswai, Linga Diko and Willie Bester will feature people
The seminars have been successfully run in Johannes-
in places.)
burg, Pretoria & Cape Town.
1 Park Drive, Port Elizabeth. T. 041 506 2000
36 Bird Street, P.E. T. 041 585 3641

Kwazulu- Natal ArtSPACE Durban

01-13 November, “we loved being at home” - Caryn Nolan
15-25 November, Anthea Martin and Megan Bonnetard. The Blue Caterpillar Art Gallery
29 November - 15 January 2011, “8th Annual Affordable 1-30 November, Oil Paintings by Tony de Freitas and Roy
Durban Art Show” Stokes both local KwaZulu Natal artists.
3 Millar Road, Stamford Hill, Durban. T.031 312 0793 01-30 December - Spanish artist Didier Lourenço’s
The African Art Centre Durban watercolour and original oil paintings will still be on view in
Until 15 November, “An African Christmas” The exhibition the gallery and on our website.
will showcase a large selection of skillfully beaded and 02-31 January, Still lifes and landscape oil paintings by
telephone wire Christmas ornaments and decorations, Durban Art Gallery Jocelyn Boyley and Charmaine Eastment both artists
colourfully beaded tableware, hand-built ceramic created Until 07 November, Standard Bank Young Artist 2010: where influenced and tutored by the late Errol Boyley.
by crafters supported by the African Art Centre. Michael MacGarry. The Blue Caterpillar art gallery at Butterflies for Africa
17 December - 05 December, A solo exhibition of land- 2nd Floor City Hall, Anton Lembede St (former Smith St) 37 Willowton Road, Pietermaritzburg. T. 033 387 1356
scape paintings by Derrick Nxumalo. Durban.
08 December - 09 January 2011, A New Range of Sum- T. 031 311 2264 or
mer Jewellery and a selection of artwork in a variety of
mediums by the Velobala Group. KZNSA Gallery
94 Florida, Durban. T. 31 312 3804/5 02-07 November, NPC Photo Awards Tatham Art Gallery 14 November - 2011, “Buzz Art” Christmas gift fair Until 26 November, “Jabulisa 2010 The art and craft of extravaganza. Kwazulu-Natal.”
166 Bulwer Rd., Glenwood. T. 031 2023686 Until 28 November, A Passion for Plants, a mixed
Alliance Française of Durban media exhibition by BAASA members.
During November, “Extra-Muros : Architectures of Delight” Cnr of Chief Albert Luthuli (Commercial) Rd. and
22 Sutton Crescent , Morningside. T. 031 312 9582 Church Str. (Opposite City Hall) Pietermaritzburg. Margate T. 033 342 1804

Artisan Contemporary Margate Art Museum

10 November - 04 December, “Coastal Reflections” paint- Museums art collection on display.
ings by Jenny Meyer and Jewelry by Bianca Ladds. T.039 312 8392 C.072 316 8094
344 Florida Rd, Morningside, Durban. T. 031 312 4364
Kim Myerson opening at The Casa Labia Galleria, with her solo show entitled: Florence Years

Clockwise: Kim Myerson | John White, Frederike Stokhuyzen-White | Carey Brander, Carmen Brander, Rachelle Bomberg, Charl Bezuidenhout | Victoria
Myerson, Kim Myerson, Sue Sayers | Antonia Labia Hardres-Williams, Catherine Bolton | Sarah Daly, Jenny Daly, Glynis Mayer, Di Gottschalk |

Robert Slingsby opens at The Barnard Gallery

Conrad Theys, Chris Barnard and Robert Slingsby

New Osner Photography Gallery, Waterkant

Zavrik Botha aka Superdog gives a killer blast to his past work at the Castle. Photo : Alex Jongens

Pictured at the ABSA function “Journey into Investing in Art” exhibition at the Crouse Art Gallery were Mpume Langa; Portia Nodangala and Ndabo Langa |
Kate Butler; Karen McGuinness from Backsberg Wines and Dean Butler | . Yashika Phunwasi and Mukesh Maharaj.

RE.SPONSE - Nelson Mandela Metropolitan Art Museum, Port Elizabeth

Jeanne Wright points out that art arises as a response to a par- kernels within the circle – a remarkably elegant and
ticular period in the artist’s working life and that it pithy interpretation of a colonial subject overlaid
The Nelson Mandela Metropolitan University in reflects what was going on in both the artist’s mind with contemporary systems and profiles. Another
collaboration with the Nelson Mandela Metropolitan as well as the particular set of social circumstances work in response to the same I’Ons was Graham
Art Museum is presenting an art exhibition with prevalent at the time. In this instance, styles and Jones’s wooden construction of a ‘bridge/ ladder’
an innovative twist. The concept for this exhibition approaches vary from the literal to the obtuse. supporting a trio of rider and horses - a marriage of
is an interesting and challenging one. 38 artists Interpretation of works was undertaken either in the Quixotic irony and rustic metaphor.
who have been associated over the years with established canon or if works were ‘modern’ and Some of the new work is underwhelming when
the University’s fine art department were invited to perceived as conceptually opaque, interpretation seen alongside the museum works, underscoring
choose a work from a menu of works chosen from was open-ended and idiosyncratic as Alhyr- how difficult the business of making art is when
the museum’s permanent holdings. The original ian Lane’s ‘Walter’s Battery’ - a quasi scientific specific briefs determine how the artist approaches
work was to act as a catalyst or springboard for the construction with sea water and electric currents his topic. It was also evident that some artists found
genesis of a new work. The ‘response’ would be which was a response to Walter Battiss’s abstract the brief far removed from their own concerns and
displayed contrapuntally or ‘in dialogue’ alongside patterned serigraph called “Floating Goddess”. the links to the original subject were tenuous at
the original. Many well-known local and national Nicholas Allen’s ducal and ironic self-portrait in best. Two which did work surprisingly well in an
figures are amongst the works which are executed response to Dorothy Kay’s seminal work “The unlikely symbiosis was Bantu Mtshiswela’s earthy
in a wide range of media. The works were arranged Eye of the Beholder” - and bearing the same title ceramic loaf-shaped disc called ‘Lava Unfolds’
under titles such as Faces, Figures, Inner City to - adheres to a long tradition of photo-realism in art. as a response to Walter Oltman’s insectoid-like
the Countryside, Flora and Fauna and Narratives. Anton Momberg’s sculptural take on the same work sculpture, ‘Lava suit’. Diametrically opposed in their
The project challenges both artists and viewers, as deconstructs the subject matter literally using eyes metaphysical meaning and technical attributes
iconic images like Pembas, Prellers and Kentridges as the linking motif. Mary-Anne Kella produced two – the one laboriously made from twisted aluminum
have an aura of their own and are not easily ac- exquisite white horn shaped ceramics in response wire and the other, a simple shape made from low-
commodated or faced down. Significant pieces to Jurgen Schadeberg’s black and white photo- tech heavily grogged clay, the two images have all
were set alongside the new works and consequent- graph from the 1950’s - the sinuous curves of the sorts of cross-pollinated cultural references – wire
ly, both works could be seen or understood in a horns echoing the gyrating dancers movement art as an indigenous African craft medium and clay
different context. In one of the six academic essays and shadows. An 1850 I’Ons watercolour of Xhosa as the medium for the famous Xian warrior figures.
in the catalogue, Professor Gregory Kerr suggests women resulted in layered resonances from three In some strange non-linear way, both are about the
that works acquired by museums tend to acquire different artists. Vulisango Ndwandwe produced same thing – voids and a sense of the primeval
a ‘hallowed’ status by the sheer fact that they are an installation of tent-like pit-fired ceramic vessels and ancient.
picked out and isolated from an artist’s oeuvre as placed in a laager around a circle of ceramic can-
work to be admired, criticized or emulated. He also ons which had elephant dung and a bowl of maize

Clockwise: The exhibition room, Dorothy Kay’s seminal work “The Eye of the Beholder” Vulisango NdwandwaIbhunga (War meeting, the agenda) ceramic,
cow dung, maize (mielies); Walter Oltman’s ‘Lava suit’; Bantu Mtshiswela’s earthy ceramic loaf-shaped disc called ‘Lava Unfolds’


Art Times Schools Feature: Bishops Four Seasons Project

The Art Times recently caught up with the Bishops Art Department who were embarking on interesting projects for
their pupils namely The Four Seasons Project that involved them painting in situ on The Rondebosch Common

If your school has an interesting art department project, e-mail us at and tell us about it


Bishops Accelerated Art Programme - The Four Seasons Project

Peter Hyslop winter months, the boys painted images based on The interpretation of the season of spring was
photographs taken of the Common and environs based on drawing and painting from the lilies that
Conceived from the outset by Accelerated Art on typical Cape winter days, where the boys car- flower on the Common. Working from life and pho-
Programme tutor Ashley Bestbier as a collaborative ried over what they had learned about technique tographic sources, the boys were also introduced
project involving the pupils in the Accelerated Artand the use the medium of oil paint from the to the new painting techniques, involving the use of
Programme, the Music and English departments at ‘Learning from the Past’ investigation. an exciting range of materials.
both College & Prep, the project grew out of a de- The Music and English pupils who participated in
sire to use the Rondebosh Common, experienced The interpretation of summer was undertaken this project were shown the paintings that had been
through the four seasons, as the starting point and during the first term of 2010, and in this instance
created by the visual arts pupils to be used as the
source of inspiration. the boys went out with their easels and painted springboard for their response in music and words
Ashley Bestbier and Peter Hyslop (Art Master) directly from nature on the Common, just as the respectively.
introduced the boys to the work of the French French Impressionists had done in the latter half of
The collaborative aspect of this project, drawing
Impressionists & a few more recent practitioners the 19th Century. together pupils and staff from different disciplines is
of the plein air approach in order to learn from Autumn was depicted in a collaborative project a very exciting process, and was enjoyable for all
the masters. This was the first component of the involving a collage of small individually painted
project, titled ‘Learning from the Past’. squares, then arranged by the boys to create a
As the next stage of the project started during the large-scale artwork.
Row 1: Hewitson, Joshua; - Row 2: Hendrix, Zach; Gray, Ethan; Church, Christopher | Row 3: Dawray, Ihsaan, Hewitson, Joshua | Row 4: Hutchinson, 39
Gregory ; Manicom, Steven ; During, Alastair | Row 5: Hendrix, Zach; -
Jewellery and Watches

Auction in Cape Town

Monday 22 November 2010
The Vineyard Hotel, Newlands

Thursday 18 to Sunday 21 November
from 10am to 4pm
Strauss & Co, 1st Floor, Colinton House,
The Oval, 1 Oakdale Road, Newlands

021 683 6560

Vladimir Griegorovich Tretchikoff was born in

Petropavlovsk, in distant north-eastern Russia
on a peninsula overlooking the Pacific Ocean.
In 1917, to escape the Russian Revolution, the
family fled south to Chinese Manchuria, where
the young Tretchikoff became a set painter in
the Harbin Opera House. It was here that his
passion for theatre, opera and spectacle were
nurtured. He met and married his beloved
wife Natalie in Shanghai in 1932. They soon
relocated to Singapore where they became
part of the cosmopolitan, social set that
frequented places like the Dutch Club.
Natalie was inevitably the centre of attraction
at these glittering events in ball gowns and
jewellery designed by her devoted husband.
Her striking, good looks and his penchant for
theatricality are reflected in dramatic designs
that evoke historical periods and exotic
However, when the Second World War
spread to the Pacific in 1940, Natalie and their
daughter Mimi were evacuated and the family
lost all contact. It was 1946 before they were
re-united in South Africa. Tretchikoff went on
to become one of the most commercially
successful artists of all time.
This remarkable necklace, designed and made Amethyst and gold fringed necklace,
in Cape Town, is both an extraordinary art designed by Vladimir Tretchikoff
piece and the embodiment of an abiding love for his wife Natalie
that triumphs against all odds. R100 000 – 120 000
Masterpiece by
Vladimir Tretchikoff

A creative cycle: Andrew Putter introduces the project that is picked up and evolved by students and volunteers who takes things forward.
Below the opening of the Sketch Assembly at Gipca, Michaelis School of Art. Right hand page: The final works resulting from the collaboration

Putters new project: Sketch Assembly: Merry Company at Gipca

They depict young people having fun: drinking, dancing, gambling, feeling each other up.
Sketch Assembly: Merry Company is a new based educational project, not a body of new including photographers, graphic designers,
educational project in the Hottentots Holland cycle commercial artworks. The idea for the Sketch As- industrial designers, painters, clothing designers,
by GIPCA Fellow Andrew Putter, in which a group sembly was sparked by a visit to the Jol exhibition set designers, and an architect. Many of these
of 30 artists and designers re-imagine the history at the Iziko SA National Gallery last year, where people were in their final year of study at one
of the ‘Hottentots’ and the Dutch at the Cape Putter saw Dirck Hals’s little painting titled ‘Merry or other local tertiary institution, or had recently
of Good Hope in the 1600s by collaboratively Company’ for the first time. Merry companies are graduated.
making a body of visual sketches based on 17th a kind of painting that were very popular in Dutch
century Netherlandish merry companies. households in the early 1600s, a generation or The group first met in early June, and began the
two before van Riebeeck came to the Cape. They process by choosing 4 existing merry company
Sketch Assembly: Merry Company is the third depict young people having fun: drinking, dancing, images from the early 1600s to work with. In the
project in Andrew Putters’ ongoing Hottentots gambling, feeling each other up. ensuing 4 months, they produced an enormous
Holland cycle. Putter’s first project in this cycle body of new tests, experiments and versions of
- a video installation artwork in which Maria Della Merry company paintings – with their emphasis these 4 works – and elements of them – in the
Quellerie sings a ‘Hottentot’ lullaby – won him the on the passions of youth – gave Putter the idea of form of photographs, drawings, diagrams, and
prestigious Spier Contemporary Award in 2007. making a new body of images which looked at the models. This group of collaborative, interdiscipli-
Each of Putter’s Hottentots Holland projects history of Khoikhoin/ Dutch contact through the nary sketchers is the Sketch Assembly, and it is
re-imagines the meeting of the local ‘Hottentots’ eyes of the young. The idea was to photographi- their body of tests and sketches which comprises
(the Khoikhoin) and the Dutch at the Cape in the cally imitate historical merry company paintings the output of the project called Sketch Assembly:
1600s. As historians now know, the arrival of the – with actors, costumes, sets and props - except Merry Company. Instead of the usual display of
Europeans at the Cape was devastating for the that these new works would have both Dutch and final products, the exhibition will only show these
Khoikhoin. As a consequence, very little knowl- Khoikhon characters, and they would be set at preparatory processes. This makes it particularly
edge of the ancient and sophisticated culture of the Cape. interesting for those who are curious about all
these ancestors survives today. Putter advertised the project broadly in May, and the work that artists make, but don’t usually show
received more than 120 expressions of interest. – the preliminary ideas, the tangents, the playful
Unlike the previous two projects in the cycle, After looking at portfolios and conducting a series explorations. It is an exhibition especially suited
Sketch Assembly: Merry Company is a visually- of interviews, he selected 30 people to work with, to students.
44 Above: Alice Elahi painting at Cape Cross. Red Freesias; Clump of trees, Waterberg 2006; Quartz plains near Ugab ; Wild surf 1998
Alice Elahi : An elemental passion for Africa

I sat at Mile 108 along Namibia’s Skeleton Coast lead naturally to an exploration of the red dunes
in an icy gale waiting for another painting to be of the Namib in the Eighties.
finished. The harsh outlines and sensual shapes of the
sand fascinated her, and year after year she was
In the intervening years Alice’s focus has changed drawn again to this barren and challenging land-
from the Cape coast to Namibia’s wilderness scape. The huge distances across the country
areas, an abiding passion for almost thirty years. meant that work was done on intensive painting
The sea in all its moods has always been a trips and watercolours no longer were simply
subject, one that lies close to her heart. It is the studies for oils. Of course it is the oils that hang in
emptiness of the Southern African landscape that embassies and museums, like Lagoon (pictured)
has inspired her work. Although in the early years at the Pretoria Art Museum.
family holidays and beach scenes were her main
subject matter, there is now seldom any sign of “(Her work) has a rugged African beauty, rich in
man’s impact on his surroundings. “I have been texture and colour, vibrant with light and with a
so lucky to have painted in remote areas that beauty entirely individualistic and personal,” said
many people have never seen.” the late Pretoria Art Museum director Albert Werth
in an article in Our Art 4. “It is simultaneously
There is something about battling the elements realistic and abstract, and possesses both power
that sparks the creative passion in this artist. Not and beauty.”
for her pretty pictures in a studio setting. Wind,
Alice Elahi, Kew Gardens rain, sand and sun all take their toll on the paper. Alice has been based in Pretoria for her entire
Painting outdoors has honed her skills as a wa- career as an artist, but her affinity with the
tercolourist, one the late critic Johan van Rooyen sea means she has remained a Capetonian in
in 2002 called “one of the most accomplished and spirit. This year’s exhibition, Coastlines, includes
By Nushin Elahi subtle landscapists in the book of South African watercolours of Southern Africa’s shores from
art. She expresses most poignantly the temper the Kunene River mouth in the north, down the
I remember as a kid sitting in a howling South and temperament of our wilds.” Skeleton Coast and along the Garden Route.
Easter in the Cape Town docks long before
they became the fashionable Victoria and Alfred Alice Elahi was a winner of the New Signatures I remind her of my ordeal in the docks. “Yes”, she
Waterfront. My mother, Alice Elahi, was painting Award in 1968, and her first solo exhibition says sadly, “that was the day the wind blew my
furiously into the open car boot. The light had in 1972 has been followed by regular exhibi- new palette into the sea.”
already faded, but she could find the colours on tions since then. Initially she took her subjects
her palette without looking. The Flying Dutchman from family life, and watercolours were largely Coastlines: 30 October to 7 November
was blaring from a tape and the wind shook the sketches for her strong and expressive oils. The at the Alice Elahi Studio Gallery, Pretoria.
car. I was cold and wondered if it could blow us glowing reds of her paintings of the canyons in
over the dolosse of the breakwater. Decades later Seweweekspoort in the western Cape seemed to For details see

Above: Alice painting in the desert, Below: Alice at Kew Gardens 45

Bill is not your typical artist. He did The opportunity to retire and devote
not choose art as a subject at school himself wholeheartedly to this passion has
although he trained as a cadastral brought Bill to this very special time in his
draughtsman in the department of the life in his early sixties.
Surveyor General in the then Rhodesia, “I had secretly but not convincingly
and after that as an architectural believed that this day might come ‘some
draughtsman with a firm of Chartered time’” he commented.
Architects in Salisbury. It was only Bill joined the South African Society of
when, in his late twenties, he received a Artists in 2004. Then, on retiring from
set of ink drawings as a present, that a a busy business career in manufacturing
spark was lit. at the end of 2007, he threw himself
This single act that changed his passion wholeheartedly into art.
to draw and eventually paint, turned SASA was the ideal vehicle to carry him
that spark into a consuming fire which towards his goal and the support he has
has continued to this day. received from the society, and its many
He is passionate about capturing and enthusiastic members, has ensured
landscapes and seascapes on paper, board or canvas, that he stayed on target in progressing as a “full time
and he never goes anywhere without his camera – a artist”.
very useful tool when finding the perfect subject matter. Entering SASA competitions and exhibitions has
Light and how it transforms the seemingly mundane maintained firm but positive pressure on Bill and
into exciting and dramatic atmospheric scenes has resulted in his achieving a number of honours from the
compelled Bill to try and record these images in any society. The most recent being his election as a Fellow
way he can. of SASA.
Email: • Cell: 082 403 7292 • Web:

Hout Bay from Kommetjie beach

Twelve Apostles

Hazy day at Muizenberg

Kalky’s of Kalk Bay

St James Beach Sea Gazer

Kalk Bay and Harbour House Jager’s walk, Fish Hoek



Art Leader:

Heidi Erdmann
Hazel Friedman
But arguably, her greatest contribution to contemporary art has been through
Spring has always been a season of dualities for Heidi Erdmann, but this her unrelenting support for contemporary photography - a commitment that
September, as she prepared for Doppelganger. Mark Hipper’s posthumous was cemented in 2001 by the establishment of the
exhibition, her birthday and the 9th anniversary of the Erdmann Gallery, the PHOTOGRAPHERSgalleryza.
paradoxes of birth, death, pain, healing, celebration and mourning probably
never seemed greater. “In fact my life has been broken into two pieces,” she From the outset she adopted a multi-pronged approach to the gallery,
declares, “Before the accident and after.” focusssing primarily on photography and comic art, with a select coterie
of sculptors and painters also on her books. And while she may not be the
The word “broken” seems appropriate. In 1993 Erdmann suffered horrific most high profile of gallerists, since her gallery’s inception she has effectively
injuries in a car accident. She broke every bone in her body and one side straddled both local and international arenas. She partners with a gallery in
of her face was literally ripped off. She was six months pregnant at the London and her artists have been representetd at fairs such as Cologne,
time, and although both she and her child survived, she lives with ongoing Photo San Francisco 2005, Photo LA 2006 and Artseasons 2007. Artist-
reminders of life’s fragility. “I was an extremely physical person before the activist Manfred Zylla will soon be exhibiting a selection of works at Centro
accident. Now, when family and friends go mountain-climbing, I have to wait Luigi Di Sarro, in Rome. Erdmann is also currently compiling a retrospective
in the car.” exhibition for photographer Roger Ballen. And legendary photographer
Jurgen Schadeberg has returned briefly from France, where he now resides,
That will hopefully change with a series of leg operations that will repair her for an exhibition of images of the Berlin Wall …
limbs and allow her to climb mountains. But while her physical mobility is cur-
rently limited, she possesses a relentless, indomitable spirit that has earned Erdmann is, unashamedly, a control freak. “I have to involve myself in every
her the respect of peers and gallery competitors alike. aspect of the gallery. And I can’t just sit around and sell art to someone who
stops by. I have to actively seek out and evolve new projects. Included in the
Erdmann does not have a formal art background, apart from a stint in the litany of “shows to do” in an already crowded cultural calendar, is the Erd-
art department of the film industry, she asserts. After the accident, however, mann’s 10th anniversary show and the curatorship of a photographic show
while she was “healing and hiding”, she began producing ceramics as a in Finland, which she regards as a “career highlight.” Also on the itinerary
distraction from her disability. It was during this period, in November 1993, is an art excursion into Asia, particularly Hong Kong and a focus on African
that she “curated” her first show - a group exhibition showcasing some of the photography in Paris.
Cape’s wildest, most wanton and exciting artists, including Barend de Wet, But apart from a schedule that would stretch the stamina of a marathon
Anton Kannemeyer, Claudette Shreuders, Brett Murray and Kate Gottgens runner, perhaps the most evident hallmark of Erdmann’s commitment to
- to mention a few. contemporary art and photography is the intensely personal relationships
“I called it The Exhibitionists and it was a three-day extravaganza that gave she shares with the artists themselves.
me an incredible taste of what it was like to work with artists,” she recalls.
“They have to do residencies, I regularly visit their studios and drive them
While she cut her cultural teeth with the Exhibitionists , her rite of passage insane. She adds: “and I’m exactly the same with my clients! It’s a
into curatorial adolescence was through a three-year tenure at the South partnership and process that entails presenting a high quality product.”
African National Gallery (SANG), as secretary to the then director, Marilyn
Martin, 1994. “It was a pivotal point in our history. South African art was It was possibly this intense commitment that attracted Mark Hipper to
rearing its head like a baby in a cot!” She reminisces. “Marilyn was always Erdmann’s space. He, the meticulous, disciplined, intellectually-charged
interested in photography. I too was always drawn to the medium and adored perfectionist; she, the more fluid, but equally intellect driven perfectionist.
the museum environment, working with collections.” “It was a wonderfully intense mix. We were such opposites yet had the
She adds: “Although the pace is faster in a commercial gallery I liken myself, utmost respect for each other. I love the grapple stages of an exhibition,
ironically, to the long-distance runner as opposed to the sprinter”. where you agonise and plan everything from title to display. But I never had
But she was nevertheless initiated into the often cut-throat, peak-and-plum- that with Mark. Even the show’s title, Doppelganger, had been decided by
met environment of the commercial art world when she was appointed him ages ago.
curator of the Area Gallery - a pioneering photographic space owned by
renowned filmmakers, Ian and Cindy Gabriel. “Photography was flourishing When Hipper’s drawings and paintings arrived she cursed him. “Here I was,
overseas as an exciting, sexy medium, but in South Africa there were so about to put together an exhibition of works by an artist who would have
many misperceptions about it. While there were very structured rules and been so intensely involved. It was agonising. I felt abandoned.”
guidelines concerning editioning and authentication certificates, internation-
ally, within South Africa the public mistrusted the medium. Today, of course, But Hipper’s presence in the elegiac display is spine-chillingly ubiquitous,
the scenario is very different and the status of photography has been greatly not simply as alter-ego or “double” - as indicated by the exhibition title - but
enhanced as an artform with investment potential.” also in the form of incarnations and entanglements of the other and the self
Doppelganger is about love, loss and transience. It is lyrical, elegant and
Surpisingly, despite her passion for the medium, Erdmann does not practise profoundly poignant. In the Unfinished tripych - ironically, the only titled work
photography herself. But she certainly has a head for figures. While she de- - the artist’s muse hops, skips and jumps out of the frame, the only trace of
scribes SANG’s Martin as her creative mentor, her “MBA” in art management her presence in the form of her shadow, or the shadow of the one who has
was acquired while doing the books for a film production company, where been watching her
she continued her extensive research into contemporary art and photog-
raphy. That was in 2000. Erdmann Contemporary had been conceived in Erdmann too, is something of a dual, no, make that a multiple, personality?
1999, focussing on promoting the international career of comic artist, Conrad comfortably wearing several hats. “It’s not in my nature to slow down, until
Botes, who was being nurtured by Studio d’Arte Raffaelli, in Italy. Although I stumble.” Soon, she will be climbing, literally. However it is apparent to all
Erdmann no longer represents Botes, she has maintained a relationship both that already, she has successfully scaled several summits and even moved a
with him and with international galleries in Italy and London. couple of mountains.
Photo: Jenny Altschuler 51
Perched high up on the upper slopes of Lion’s Head, Ellerman House commands sweeping views of the wide Atlantic Ocean and
the rocky promontory below where Sea Point yields to Bantry Bay, and the sweet scent of wealth permeates the air.
The address 180 Kloof Road is one of the most desirable on the peninsula, and, like a mountain pass, the road slowly snakes its
way past sleek minimalist apartments and the gardens of stately mansions planted with palms, wild fig and magnolias so waxy one
imagines domestics polishing them with a cloth early each day. Text by Lloyd Pollak. Photo’s by Jenny Altschuler (JA) and Ross Hillier (RH)

The five-storey hotel is entered from above via that supremely civilized It is with him that the history of Ellerman house as a refuge and sanctuary
amenity, a porte cochere which protects you from the uncouth assault of begins. The wealthiest plutocrat in the British Empire and the proprietor
the elements. Double doors usher one out of the twenty-first century and of newspapers, breweries, collieries and the Ellerman line, a fleet of 120
into the hall, where time travels backwards to disgorge us amidst colonial merchant vessels – Sir John was a pathological recluse obsessed with
splendor. The juxtaposition of an English fin de siecle marquetry cabinet and privacy. He and his wife, Lady Esther, lived a secluded life in this haven
a massy Cape Dutch antique bible desk pays tribute to South Africa’s dual which is neither overlooked by neighbors, nor glimpsed from the road. So
European heritage, and reflects the sympathies of Sir John Ellerman who intense was the Ellerman’s loathing of exposure, that they permitted only two
started learning Afrikaans in 1948 when he purchased the property and took photographs of themselves to ever be taken, and one of these holds pride of
up residence in the Cape. place on the Steinway grand piano in the sitting room.

52 (Top) The majestic view of the Cape’s full horizon (RH)

(Left) Nick Dreyer, Ellerman’s amazing manager spends much time enjoying the fine art (JA)
(Right) The stairwell into the main corridors of the house (note Welz’s ‘Still Life with Musical Instruments’ ) (JA)


The impressive teak joinery of the hall rises into a pieced screen of carved signature palette of melting grays, browns, pinks, greens and yellows is so
balusters in its upper register. A grand manorial staircase leading to the cloying in colour, and so delectable in appearance, you could eat it with a
principal staterooms sweeps downward to left, and as you descend, you spoon.
are regaled by a roll call of many of our most illustrious old masters like Van
Esche, Preller, Sekoto and Oerder. The progression comes to a climax on Paul Harris, financier and hotelier, was an inveterate collector long before
the landing where Jean Welz’s entrancing ‘Still Life with Musical Instruments’ he purchased Ellerman House in 1988. It was he who turned it into a hotel
stops you in your tracks. This ravishingly delicate creation portrays strung boasting one of the most comprehensive collections of traditional South
instruments, sheet music, a music stand, violin cases, a bow and a single African art in the country. An outright masterpiece of sculpture, Anton van
rose placed on a plate. This vaporous mirage-like image is executed in a Wouw’s ‘The Mieliepap Eater’ (1907), rises from a chest of drawers at the
style as ethereal as tinted steam or a melody fading on the air. The artist’s further end of the baronial hallway on the hotel’s principal floor.
(Left) Van Wouw’s “Meiliepap eater” with Frans Oerder’s “African Kraal” (JA) 53
(Right) One of the friendly staff passes Thomas Bowler’s early Cape scenes (JA)
Although it is but a diminutive cabinet bronze, it triumphantly vindicates the outdoors, indoors, and flooding the interior with light.
proposition that grandeur and monumentality do not depend on scale. This A radiant sparkle is the keynote of the staterooms all of which communicate
portrayal of a lean and dirt-poor black youth squatting on his hunkers as he with the gardens and ocean, and the light picks out the mellow glow of the
prepares his humble meal in a tiny three-legged pot, derives from Euro- veneers and gleaming gilt bronze mounts on a pair of sumptuous, French,
pean delineations of the dignity of labour, but the sheer dereliction of this tambour-fronted commodes, the glint of the gilded porcelain in the alcoves,
bare, forked black stripling, lends the bronze poignancy and expresses Van and the shimmer of the massive cut-glass Regency vases piled with blos-
Wouw’s keen empathy with the miserable and oppressed indigenous peoples soms. Fresh flowers are everywhere: towering vases erupt with proteas,
languishing under the colonial yoke. roses, lilies and sprays of leaves, and bowls filled with Barberton daisies and
camellias afloat on water suggest a pot pourri come back to life.
The Sitting Room and Staterooms
The furnishings are deliberately self-effacing in line with the general
A complete switch of mood occurs on entering the sitting room. After the manager, Nick Dreyer’s, cardinal rule of never competing with the views.
enclosed areas of the staircase and hallways on the mountain side of the Understatement banishes any hint of ostentation. Curtains and upholstery
hotel, space suddenly opens up and expands around us, and the dark sheen are executed in pale, plain and muted fabrics in celadon, oyster and faint
of polished woodwork yields to fresh, spring-like pastels. The room is all powder blue and rose pink. Pattern, when it occurs is unfailingly discrete,
urbane Edwardian elegance and sophistication with pale eau du Nil walls, and any business of effect is avoided. The undeniable panache of the but-
crystal chandeliers and sconces aglow with pendant lusters. Tall, well- ler’s trays, Regency style rope-back armchairs, library and occasional tables
proportioned French windows open up onto the marine vistas, bringing the is disguised by their well-bred reticence.

54 (Top) View from the smoking room to the kitchen, note Maggie Laubsher’s “The Shepherd” hangs above the fireplace. (JA)
(Below) The jewel like rooms are filled with well chosen artwork. Some returning residents insist that staff hang work
that was seen and enjoyed on a previous visits. (RH)
The Dining Room The Library

In the sea-green dining room, three French windows, divided by tall mir- A desk of impressive solidity and many glass-fronted book cases in the li-
rors, face the ocean, coastline and shipping, bathing the space in a Veuve brary evoke the sequestered privacy of a squire’s study in an English country
Clicquot effervescence and shimmer. Two seascapes by Terence MCcaw, house. The 25 weighty tomes of the handsome ‘scholar’s edition’ of the
and early 19th century scenes of coasts and shipping compliment the room’s Encylopaedia Britannica (1875-1889) bound in tooled, gilded leather, turn of
marine theme. All is sparkling, laundered freshness, and the crisp, starched the century classics and monographs on South Africa’s painters and sculp-
white napery, hall-marked cutlery and gilded service are given a honeymoon tors, line the shelves. It is such intimate touches that turn Ellerman House
shot of romance by the candelabra, chandeliers and flickering candles. into a home from home, making the guests feel chez soi and avoiding the
impersonal character of many a Ritz, Grand, Plaza or Carlton. Deep French
Any hotel, by its nature, is a warren of corridors, vestibules, stairs and serv- bergeres, equipped with footstools, and silver trays with crystal decanters of
ice areas, but the nooks and crannies of Ellerman House, like the tunnels of sherry at the ready, dispel any hint of scholastic austerity. A conservatory-
the disused mines that saved Britain’s artistic patrimony from the Blizkrieg, like glass extension to the room whips up a festive holiday mood, and forms
are veritable treasure troves. One passage is lined with Edmund Pink’s a proscenium framing the view. Management’s unswerving commitment to
topographic studies of the peninsula in the 1820’s; another contains the larg- the comfort of their guests is seen in many inspired personal touches. Here
est collection of Bowler water-colours of the colony in private hands. In the two commodious chairs and footstools have been strategically positioned
gym, one suddenly haps upon a spiral staircase in a minuscule cubic space before the windows, inviting you to drink in the prospect, like some rare,
like a jewel box, hung with superb graphic works. vintage appellation contrôlée.

The dinning room paintings complements one’s culinary pleasures, paintings include John Meyer and McCaws Seascapes (RH) 55

Maggie Laubsher’s “The Shepard” hangs above the fireplace. This tabletop for you are lord of all you survey, as you gaze down at the shoreline which
arrangement carves out a shallow space in which, five paraffin lamps, are obligingly curves around you to extend the views beyond a mere 180 de-
juxtaposed with shells, lemons and a hieratic sculpted head of archaic, grees. Space appears boundless, for the distant horizon recedes beyond
Afro-Egyptian inspiration. The round lamps state the spherical theme, and the ocean, and the sweeping views seemingly extend for ever. The only
a suite of variations on the circle constitute the formal basis of the paint- hints of the finite are the passing cargo ships, the occasional playful whale,
ing. The background objects – an artist’s palette, flat metallic silhouettes Robben Island, Bloubergstrand and the distant mountain ranges beyond.
and a decorative fragment of wallpaper - are dragooned into circles, ovals
and arcs, and the swinging curves inject a boogie-woogie rhythm and swirl The peace is broken only by birdcall. The soothing sough of trees, the liquid
into the painting. The severity of Preller’s continent mesh of pewters and music of waves pounding on rocks, the heave of the ocean swell and the
gun-metal grays is offset by the frivolous pink of the artist’s palette, lemon, plash of water trickling into the swimming pool heighten the sense of ease
carmine, blue and orange accents, the burning orange flames of the wicks and hush.
and the play of highlights and reflections on the metal surfaces. Lamps Balustraded terraces descend in strict formation. The broad expanses of
are associated with mining, and they establish this as the source of both impeccably manicured lawn are bordered by spruce, well-groomed beds
the country’s wealth, and the finer things of life such as the painting and of white and pink roses, agapanthus, lavender and irises interspersed with
sculpture invoked by the palette and head. soaring Canary Island date palms.

The Main Façade and Gardens The Contempory Gallery and its Statuary

A greatly enlarged seaside villa first constructed in 1907, Ellerman House is So as not to sacrifice an inch of precious garden space, the new contempo-
a comely, horizontal range of buildings of broad and ample proportions that rary art gallery was built underground beneath the furthest terrace. Artists
turns architecture outside in. French doors and sash and bay windows are advised on the design which aims at the inconspicuous. The architecture
prefixed by wide arched loggias that marry the inside to the outside, invite never forgets its minion status, and - like a Cockney dresser attending a
nature within, and provide ideal vantage points from which to admire the gar- prima donna assoluta - remains subordinate to the painting, sculpture, video
dens, coastline and sea lain down before you like a Persian carpet. Paved and photography. Nevertheless this is no sterile and aseptic white cube.
areas outside provide a transitional feature before house becomes garden, The lavish makes an appearance in Quaker disguise. Floors are stained
and these are dotted with tables and umbrellas for leisurely al fresco meals, oak parquet; walls, white painted beech wood, lending texture and warmth to
teas, sundowners and aperitifs. The garden is a foretaste of heaven. You the brilliantly lit exhibition space which completely avoids the claustrophobic
could be on the bridge of an ocean liner, gloom associated with subterranean structures.

Unfortunately, although the Harris’s have assembled a premier old master

collection, they have Helen Keller’s eye for contemporary art, and most of
the work on display is dispiritingly nondescript. Angus Taylor’s dramatic
sculptures spilling out from the gallery into the garden are however the
exception that proves the rule. These rugged, craggy earth gods present a
wild appearance that underlines the couth character of Ellerman House.

A hulking, naked ogre looms up before us like a materialization of the genius

of the place, and acts as keeper and guardian of Ellerman House. The
neck of this hybrid being – part stone, part mineral and part flesh – rises
into a savage array of rocks. Lighting, gales, storms and lashing rain, have
inflicted grievous damage upon this Titan who crouches in order to rest his
pitted and scarred bronze body. Deep crevices part his flesh. Screws and
nails hold the ruptured skin together, and indicate the lengths to which Eller-
man House’s staff will go, to ensure one’s every comfort.

56 (Above) The entrance to The Ellerman House (RH)

(Below) A sweeping view of Bantry Bay and Seapoint. From here Sir Ellerman could watch his fleet of ships appear
from one horizon and disappear over the next (RH)

(Above) Inside and outside the contemporary art gallery with Angus Taylor’s mighty head looking out into the bay (RH) 57
(Middle) Taylor’s Sitting man in garden (JA). For more work see Ellerman at

their long-forgotten gods and old legends from other European traveller’s
tales, and then created his own myth.
His determined embrace of a naïve art is still unsettling a century on: the
devil crouching in the undergrowth, the monumental female deity Oviri.
The constant presence of these ancient forces makes for provocative work,
often startlingly modern but seldom the dreamy vision of paradise that he is
popularly believed to have created.
From this perspective it is possible to see how Gauguin was always search-
ing for the Other. A simple flower study has a malevolent idol crouching
behind the blooms; the gentle portrait of a sleeping child shows wallpaper
that seems to contain sprites from a dream-world; a devilish-eyed child peers
at a bowl of fruit. What appears a simple portrait of an island girl (Tehamana
has many parents) takes on another layer when you know it is his teenage
‘vahine’, demurely dressed in European garb, but flanked by images of idols.
These conflicting narratives of European culture imposed on a primitive
lifestyle permeate his island work, but Gauguin was astute enough as a
businessman to realise that the mystique of his art depended on the tropical
idyll that Westerners then and now craved.
There is little showing Gauguin’s Impressionist beginnings, but many from
his stint in Brittany where the Celtic folklore laid the seeds for his later work.
His landscapes are exquisite, his simplified style and blocks of saturated
By Nushin Elahi colour still uniquely his own, despite the many artists who have been inspired
by his work. His religious paintings, from the self portrait as Christ, to the gor-
It’s an interesting exercise walking backwards through Gauguin: Maker of geous almost abstract reds and whites of Vision of the Sermon, the strange
Myth, the exhibition that is now drawing record crowds at the Tate Modern in use of iconography and landscape in both the Green and the Yellow Christ
London. Almost like rewinding a film, you see images that you hadn’t noticed all prefigure the primitive deities of his Tahiti paintings.
before. Although the exhibition is arranged in thematic groups, rather than This is the first time in over fifty years that London has hosted a major Gau-
chronologically, it ends with his island paintings. guin exhibition and the incredible range of work covers not only his paintings,
We have all been fed the myth of Gauguin’s tropical island paradise, of the but sculpture, carvings and ceramics. Many of his great masterpieces are
artist who threw everything away to remain true to his art. In fact, there are here, but also lesser known, unusual work. So the ornately carved lintel of
few paintings that show the idyll. Two Tahitian Women from New York’s Met his Tahitian home, the ceramic self-portrait as a severed head made soon
is the exception rather than the rule: two beautiful dusky, doe-eyed creatures after Van Gogh’s death, woodcut prints of his books and the work he prized
bearing offerings against a jungle background. More often the islanders are as his best sculpture, the grotesque figure of Oviri, are displayed alongside
close-faced, their eyes hooded and wary, their look sullen and secretive. his oils. They come from all over the world, but a surprising number hail from
They are squatting for their morning toilet by a river, whispering amongst Copenhagen. As a young French stockbroker, Gauguin took a Danish wife,
themselves or gazing fearfully at monstrous gods. Their figures are statu- who fled home with their five children when the market crashed and her 34-
esque rather than sensual. year-old husband turned his Sunday hobby into a full-time passion.
Gauguin came to the tropics to escape a conventional life. He had already As he told her, he was indeed a great artist, but his work will never have the
turned his back on his family to fulfil his own belief in himself as an artist. “I comfortable delight of the Impressionists. It is challenging, modern and deep-
am a great artist and I know it,” he wrote to his estranged wife in 1892 from ly unsettling. Reproductions also never do it justice, so this is one exhibition
Tahiti. The search for the primitive had led him to a down-at-heel French worth joining the pilgrimage to the Tate.
colony the missionaries had got to a century earlier. The islanders were
clothed, housed and eventually even had electricity – a far cry from the half Gauguin: Maker of Myth at the Tate Modern, Millbank, London
naked groups he depicts in jungle clearings. Gauguin set about researching until 16 January 2011.

58 Nevermore O Tahiti 1897 (Courtauld Gallery, London) Oil on canvas. Girl in a European Dress

Strauss & Co. set a new record for South African art
A still life by celebrated artist Irma Stern sold this week for R13 368 000, set- The auction finished on an exhilarating note with high prices for contem-
ting a new record price for a South African painting at auction. The auction porary art. Stanley Pinker’s The Wheel of Life sold for R2 450 800, more
conducted by Strauss & Co featured several works which sold for well in than double its pre-sale estimate of R1m and an elegant still life painting by
excess of R1 million rand each. The sale totalled over R43 million bringing Cecil Skotnes fetched R946 900 (estimates R300 000 – 500 000). A bidding
Strauss & Co’s total for the year thus far to over R120 million rand confirm- frenzy ensued on a John Meyer landscape which sold for R267 360 and
ing the strength of the local art market and Strauss’s leading position as on two graphic works by William Kentridge which also sold well above their
auctioneers of South African art. estimates.
Major collectors and art lovers packed the auction house to capacity to
witness the sale that has been the talk of the art world. Stephan Welz, Significantly, sales were good at the top, middle and lower ends of the mar-
Managing Director of Strauss & Co and the country’s top fine art auctioneer, ket, bucking predictions that the financial climate would put a dampener on
set a cracking pace from the start. J H Pierneef’s Koringlande, Agter Paarl, buyers’ enthusiasm for art purchases and proving yet again that quality sells.
which as a rare Cape landscape has excited much public interest, exceeded By close of evening it was clear that Strauss & Co had achieved the highest
its pre-sale estimate of R2 500 000 - 3 500 000 and sold for R4 678 000. total yet for any of its six auctions to date, since the company’s founding in
Hot on its heels two remarkable paintings by Maggie Laubser achieved late 2008. With the year’s total thus far standing at R120 million, Strauss
excellent results: Flamingos on the Beach sold for R2 673 600 and a second and Co have already passed their previous highest annual turnover figure,
landscape sold for R1 782 400, both well beyond their pre-sale estimates. with two sales to go. This firmly establishes them as the leading auction
The highlight of the evening, Irma Stern’s Gladioli, was sold for R13 368 house worldwide for South African art by turnover, expertise and quality.
000, far beyond its pre-sale estimate of R5-7m, the highest price ever paid
for any South African painting on auction. When Welz’s gavel went down, All prices quoted are inclusive of Buyer’s premium.
spontaneous applause erupted both for the buyer and in recognition of the For a post sale video by Strauss & Co’s Stephan Welz see here
auctioneer’s expertise. Two late paintings by Stern also performed well with
the innovative Yachts and Houses achieving R2 673 600 and her Figure on For more information visit Strauss &Co’s website at
a Beach selling for R1 448 200, comfortably beyond the pre-sale estimate of or call 021 683-6560
Irma Stern’s Gladioli, was sold for R13 368 000, far beyond its pre-sale estimate of R5-7m, the highest price ever paid for any South African painting 59
on auction.

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The thrust behind this exhibition is to assess Louis Maqhubela’s place in and contribution to, South African art and to return
a great artist from obscurity. When he won the ‘Artist of Fame and Promise’ Award in 1966, Maqhubela became the rst to
cross the divide between black and white artists. Through a personal iconography and abstraction, he showed the way to a
world and a discourse beyond the familiar.
“In spite of trials and challenges he faced during his life, Maqubela’s art is characterised by a profound humanism, inner joy
and afrmation of life; [his works] spring from a deep spiritual and metaphysical well.”
Curated by Marilyn Martin
Iziko South African National Gallery, Government Avenue, Cape Town
27 October 2010 – 13 February 2011
A fully illustrated catalogue with essays by Martin, David Koloane and
John McLean accompanies the exhibition
Enquiries: Joe Dolby Telephone +27 (0)21 481 3966
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Next Stephan Welz & Co Sale: Johannesburg Tuesday 17 - Wednesday 18 November

Decorative & Fine Arts, Ceramics, Silver, Furniture, Jewels & Books
Location: Johannesburg
Sale Dates: Tuesday 16 November, 2010 until Wednesday 17 November, 2010
Auction: 961 Lots in 4 Sessions

One of the Sales highlights: Shangaan by Van Wouw

It is likely that Van Wouw inherited a comfortable sum of money after the death of his father in Rotterdam in November 1907
that allowed him to have bronze castings made at the Massa and Nisini foundries in Rome of all the small sculptures he had
made in 1906 and 1907. When he received the bronze castings six months later, he held his first one man exhibition on 7
July 1908, where he exhibited no less than sixteen small bronze sculptures, inviting interested patrons to order any of them.
It is, however, remarkable that it was these very works that brought Van Wouw fame as a sculptor of folk and indigenous
types. Amongst these were Shangaan and Kruger in Exile.

Shangaan – This nude half-figure shows a Shangaan with intense concentration on his face, his shoulders drawn up and
his arms tightly folded around his chest. This is a typical supplicatory posture and it attest’s VanWouw’s keen observation of
the various postures of the African miner in early Johannesburg. Conspicuous in the best Massa and Nisini castings are the
distinctness of the frown on the forehead, the protruding mouth, the exact lines of the armband, the well modeled right thumb
and ears and the contrast between the dark patina of the hair on the head and the light patina of the rest of the body. This
man was also the model for ‘The mealiepap eater’.- Edited from A.E. Duffey, Anton van Wouw

Download the sales catalogue on


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The Great Cellar | Alphen Hotel | Alphen Drive | Constantia 7806
PO Box 818 | Constantia 7848 | 021 794 6461 | |
Currently consigning for our February 2011 Auction. Closing date: 19 November 2010
Selected images from our October 2010 Auction

13 Biermann Avenue | Rosebank 2196
PO Box 52431 | Saxonwold 2132 | 011 880 3125 | |
Next Auction: 16 & 17 November 2010
Viewing dates: 12 November 10h00 - 17h00 | 13 November 10h00 - 14h00 | 14 November 10h00 - 17h00
Selected images from our forthcoming November 2010 Auction
Johann Louw
New Paintings
8 December 2010 - 27 February 2011