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BUSINESS ART May 2009 | Supplement to The South African Art Times | E-mail:

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Deborah van Niekerk (2009), From the series ‘The hand that feeds’ Oil on canvas, Now showing at The KZNSA Gallery, Durban, Kwa Zulu - Natal. Until 10 May. see for further details

With newspapers in terminal decline,

what future for arts journalism?
Coverage of the arts is migrating online but unless someone is prepared to pay for it, the outlook is uncertain

and the Los Angeles Times in the non-specialist readers—and some matter of time before someone
By András Szántó balance. At the Los Angeles Times, are folding. The news industry, puts the pieces back together
newsroom positions have been on the whole, was too slow to again. The search for a hopeful
From The Art Newspaper cut by half over the past decade, embrace the internet and deploy future begins with the insight that and arts coverage substantially its once abundant war chests to although journalists and publica-
reduced. An aptly named blog, find new ways of capturing readers tions are suffering, readership is
From Issue 202 (May 2009) Paper Cuts, counts 24,000 news- seeking information, services and up by wide margins. More people
paper jobs lost in the US since the communities. Myopically obsessed than ever are reading and writing
Before we succumb to nostalgia, start of last year. The outlook for with their traditional product, about art, thanks to the web.
let’s be clear: arts journalism has newspapers on both sides of the newspapers failed to acquire,
never had it easy. Culture, espe- Atlantic is dim. let alone invent, game-changing The problem is not the scarcity or
a coelacanth and a DNA machine. cially in its rarefied incarnations, technologies such as Craigslist, the quality of arts journalism (the
has never been a high priority for Arts journalism as we used to Facebook or the Kindle. latter has always been mixed), but
Other possibilities seem limit- the mainstream press. Criticism know it is sinking with the ship. that no one is paying for it—at
is a strange bird in an enterprise Under relentless shareholder pres- least not yet. Broadly speaking,
New Everard Read Gallery, Johannesburg rises less. “All I can say is that it will
be a confused and non-directional devoted to “objectivity” and mass The forces undermining the news sure, publishers have tried every there are three ways forward from
path.” He hopes outsiders will readership. And news bosses rarely business are the same every- game in the book to monetise here.
Michael Coulson partly through the passage house on the top”). The ground also propose relevant projects and care about “soft” arts stories. They where and have been extensively journalism on the web—from
of time and partly given greater floor he describes as a project and events. are into “hard” reporting on wars catalogued by now. Studies show, charging for online subscriptions, Recreating economies of scale
For some months now, those who freedom after buying out other office space, with a ramp curling and money and sport—boys’ stuff. however, that arts journalism is not to fencing off “walled gardens” of
travel along Jo’burg’s Jan Smuts members of the family from up to the middle level, a towering The building has been named Instead of a reliable income, arts being singled out for inequitable premium content, to surrounding Clearly, arts journalists aren’t
Avenue have noticed a strange the business, his own horizons exhibition space big enough to sus- Circa – Latin for about. “This is journalism has paid dividends in rollbacks. The problem is that journalism with clever advertising. disappearing. They are just moving
elliptical concrete structure slowly expanded. The final building pend motor cars from the ceiling, the perfect name, because it’s not the form of access to art and a the cuts are deepening an already Lately, some executives have been online. Technorati lists 185,000
rising on the corner of Jellicoe, just block fell into place when he met and then another ramp up to the actually any one thing. In some voice in cultural debates—that, miserable shortage of resources, pinning their hopes on an iTunes- “arts” blogs at present, including
down the road from the Everard architect Pierre Swanepoel, and top to accommodate Darwin’s, an ways it’s like an opera house, and an occasional VIP pass, dinner set against a cultural universe that style micro-payment scheme. Last 5,396 on “art criticism” and 1,858
Read Gallery. The corner site was discovered in enthusiastic discus- oyster bar which will be a private but it’s really a techno-space that invite or goodie bag. continues to expand. We are past month, the Associated Press threat- on “arts journalism” (disclosure:
actually bought by the gallery sions that they shared a vision of club for his friends. can take on many identities.” It’s the tipping point: it has become ened to make sites that link to its I am a co-founder of one of them,
20-odd years ago, when the then what could be done. planned to link it across Keyes Recently, though, the situation acceptable to run a paper with just content pay up or face legal action, From a busi-
owner, the old Johannesburg City He doesn’t see the exhibition space Avenue with the existing building, has taken a turn for the worse. a skeletal culture staff. Specialised while Rupert Murdoch warned: ness standpoint, the question is
Council, decided it was surplus to When I first spoke to Read about as primarily for selling art, though though Read is still vague on pre- The imminent demise of printed writers are giving way to general- “People reading news for free on how to generate audiences around
requirements, but for most of the the building, last year, unof- that won’t be precluded. Rather, cisely how this will be achieved, newspapers is no longer a panel ists. Culture sections are being the web, that’s got to change.” these atomised writers to allow
time since then it stood idle, used ficial cost estimates were put at he envisages seasons displaying which will have to be determined discussion topic, but a reality. tossed overboard (standalone book them to collect paid advertising.
mainly for surplus parking during R10m-R12m, and he planned an new technologies. Like building in conjunction with the Jo’burg Many US cities including Denver review sections, in particular, are But so far nothing has worked. No One strategy is for individual blogs
gallery openings. environmentally positive project. with bamboo, as is being done at Metro. and Seattle are losing their second a dying breed). Article lengths and substitute for newspapers’ monop- to scale up to a size where their
Today he ruefully admits that those a resort he’s involved with in the papers; others (including, pos- “news holes” (space for editorial oly on local and classified advertis- writers become popular “personal
How to develop it has thus had a were vain hoped. “The cost has Seychelles. The first show, towards the end of sibly, San Francisco, Miami and content) are shrinking. All this has ing has emerged. For Douglas brands”. This has happened in
long gestation. For years the gal- gone way north of that, as for an the year, will be a collaborative ef- Philadelphia) are contemplating eviscerated newspapers’ ability McLennan, publisher of ArtsJour- political punditry and may happen
lery’s present director, Mark Read, elliptical building almost every He’s also increasingly involved fort by Willem Boshoff and Karel life without a printed daily. The to deliver quality arts coverage, nal, a popular arts newsletter and in entertainment writing. But it is
felt that the gallery’s handsome component has to be purpose- with people like Richard Leakey Nel. “I couldn’t wish for a better Detroit Free Press is only printing which, as a result, must migrate link aggregator (with 50,000 daily unlikely in visual arts journalism,
and much-loved premises rather made, and you can hardly have a and Richard (The God Delu- duo.” a paper edition three days a week. elsewhere. users), it is simply too late for where audiences even for top writ-
petered out on the western bound- less environmentally sound build- sion) Dawkins and wants to show Read stresses that his relatively Even the New York Times, its papers to innovate their way out ers are thin.
ary, and at one time considered ing than one made of concrete with Leakey’s “amazing” East African new minority shareholder, banker stock worth barely more than its Beyond the tipping point of this quandary. “We just need to A more realistic, already extant
building a small space – “nothing an aluminium cladding.” fossils. He’d like to take works Paul Harris, has not put up any of Sunday edition, has sold its Renzo regretfully bid them adieu and get scenario links blogs to heavily
ambitious” for contemporary art out of museums and show them the money, “though he loves the Piano tower, imposed steep cost But where? Many experts believe them out of the room, because they trafficked journalism, entertain-
there. Nevertheless, the building will in a different space, juxtaposed project.” The existing business will cuts, and is threatening to close its that daily newspapers will never are sucking up oxygen. It is going ment, or aggregator sites, which
reflect Read’s growing interests in with other objects, and is confident have to pay for it. “It’ll be tight, subsidiary, the Boston Globe. The find a way back to sustaining solid to make it difficult for the new attract large numbers of readers by
But gradually the concept expand- things other than selling art, espe- museums will go along with this. but we’ll manage it.” massively overleveraged Tribune arts journalism. Magazines are do- models to take hold until some of providing access to a wide range
ed, and a desire grew to put up a cially palaeontology. The building For example, the old Transvaal Company, owner of dozens of ing marginally better, but they can- this dead wood is pushed out.” of news content.
multi-purpose building that would will basically have three levels Museum has a chunk of moon If passion is any determinant, this newspapers, is in bankruptcy, leav- not shoulder the burden of timely
be an adornment to the city. Also, (“Unless some day I build a pent rock: he’d like to show this next to shouldn’t be a problem. ing the fate of the Chicago Tribune local arts coverage, especially for Now the good news: it is only a

A Unique Asset Class

By Johans Borman that determine that segment of the listic development or a new series Internationally, artists’ careers have work of art usually provide endless a particular subject matter or in a ing us what we want to hear… warrant a strategy where it could
art market that can be regarded to of works will never be as desir- been made when the right museum enjoyment for the owner, bringing particular style can be multiples When analyzing art as an asset comfortably make up 10% of any
‘Safe as houses’ and ‘you can be of investment quality – thereby able as the works which define an curators and collectors started instant and continuous gratification of that of other works by the same class, another important aspect of investment portfolio. The motivat-
bank on it’ are just two phrases justifying its status as an asset artist’s oeuvre. The long term value buying their work – collectors like that does not exist with most other artist. This aspect of the art market the art market that needs to be tak- ing factors are in short:
that come to mind when most of class: of any artist’s body of work also Charles Saatchi have managed to financial investments. is of course used by unscrupulous en into account is the transaction - Instant and continuous pleasure
us think about investing in some requires a great enough number of capitalise on this characteristic of - Art purchases are usually not dealers to motivate inflated prices charges. As the purpose of most and enjoyment with almost no
or other asset class. We have been Desirability works that will ensure continuous the market and made millions of financed – works are bought for based on the record prices paid for investments is to ultimately turn it holding costs (Most serious art
conditioned, from the time that we It is a sobering thought that the trade in it – thereby confirming Pounds because of it. The basic cash by art lovers who can afford the truly exceptional pieces. To into cash, the cost of liquidating an buyers are art lovers and not just
were able to comprehend the con- value of any painting is determined and reinforcing the value over requirement to ensure the long them. This means that it is highly avoid being caught in this trap, it asset can have a significant influ- investors).
cept of investments, to believe that by its desirability only, as it has time. The value of works by artists term value of any body of work unlikely that owners would come is important to have an in depth ence on the final return on the capi- - An excellent and stable store
the value of fixed property and the no intrinsic value such as that of who only produce a few hundred is therefore a large enough group under pressure to sell as there is no knowledge and understanding of tal invested. Unfortunately these of value and wealth in uncertain
trustworthiness of our banks are a fixed property or shares in a works in their lifetime often suf- of capable buyers and/or collec- debt to service and we are dealing an artist’s oeuvre and to have repu- charges are higher than in most times where other asset classes can
beyond doubt. That was until the company with a net asset value. fers because of the irregular trade tors. For anybody considering an with people who know how to gen- table and trustworthy advisors. other asset classes. Listed shares experience severe volatility and
‘toxic debt’-inspired credit crunch Investments, like ‘blue chip’ in such works. It becomes very investment in this alternative asset erate wealth (which enabled them Finding a reputable, independ- can be sold for a commission of erosion of value.
of 2008 - which seems to have shares, are rated by their historical difficult to establish a fair current class, it would be wise to follow to purchase it in the first instance). ent art advisor is very difficult as low as 1%, and an agent’s com- - The potential for exceptional
deepened now, at the start of 2009. performance and the perception of market value of a particular work those in the know – the experi- - The stability of the art market can – given the subjective nature of art mission on fixed property usually growth in value if buying the right
With South African collectors pay- their expected future performance. when there are no records of recent enced collectors. Private collectors also be attributed to the fact that it appreciation and the fact that most ranges from 4 to 10% (with buyers pieces at the right time – like now,
ing millions of Rands for works These two aspects are largely re- sales of comparable works. Artists have much more at stake than any is a relatively small market where advisors/dealers/auctioneers are also having to pay transfer duty of where financial pressures will cer-
by our most desirable artists, there sponsible for the premium paid for are often criticised for ‘repeating’ individual dealer or auctioneer, as a handful of able buyers/collectors commission driven. The only prac- about 8 to 10%), but auctioneers tainly force sales at prices which
is no doubt that our art has now such shares, thus reflecting their themselves when they produce they are spending their own money can ensure that it stays healthy tical alternative in the South Afri- and dealers in works of art operate will offer very good value.
become a recognised asset class. In desirability. It is for this reason works based on the same subject and have to consider a far greater and stable at any given time – in can market is reputable galleries on much higher commissions. - No Capital Gains Tax (or any
my opinion, ‘investment art’ can be that most ‘investment art’ pieces matter or idea – unfortunately investment risk. stark contrast to stock markets who are prepared to guarantee the South African auction houses other taxes) on profits if works
a very misleading concept as it cer- are works by deceased artists who this is exactly what is required where panic selling can result in an authenticity, condition and value of charge 10 to 12% (Plus VAT) were bought privately as col-
tainly does not apply to all works would normally fall under the ‘old to establish a large enough body Store of value investment’s value being eroded to the works they offer. Dealers who of the hammer price to both the lectables and not for speculative
of art but only to a select group. masters’ category. Works by these of work to ensure its long term Given the current turmoil in fi- a fraction of its cost in a matter of sell works of art as ‘investments’ buyer and the seller (a total of 20 purposes.
The core issue, which offers the artists have a proven track record market value. If Hugo Naudé had nancial markets globally, it is now weeks. should be asked to provide the to 24% plus VAT), while London - An opportunity to leave a legacy
key to understanding the character- of the change in its value over only painted Namaqualand’s spring even more important to consider same set of figures and guarantees auctioneers charge a buyer’s com- that says much more about an
istics and nature of this asset class, time, which offers a sound refer- flowers once, these paintings the stability of the value of any Buying your profit one would typically expect from an mission of 20 to 25% and a seller’s individual than any bank balance
is the degree of uniqueness. Every ence for predicting its future per- would never have become his most asset one invests in. Historically, The most important difference investment advisor. Would they be commission of about 10% on the can reflect - but with a built-in
original work of art is a unique formance. With fashionable trends sought after, and therefore valu- the values of top quality works between art and other recognised prepared to guarantee the purchase hammer price (a total of 30 to financial advantage. We have often
creation, which will be interpreted often evident in the art market, it able, works. of art have always withstood the asset classes is that it does not pro- price in a trade-in or buy-back situ- 35%). When buying overseas, an sold inherited works where the
by uniquely different individuals, obviously helps to know that a par- short term volatility of the financial vide any income. There is no inter- ation? And, would they guarantee additional import VAT at 15,4% of proceeds literally changed people’s
who will all have uniquely differ- ticular artist’s work has maintained Collectability markets. With less cash around and est, dividends or rental income and an annual increase in value at a the invoice value (calculated on the lives for the better – paying the de-
ent views about its appeal, success its desirability over long periods The functionality of any work of with many established banks and the performance of the investment particular rate? rate of exchange when it arrives posit on their first home, or paying
and value. of time – unlike some avant-garde art can generally be best described corporations going bankrupt, all is measured purely in terms of its One should not expect independent in SA) is payable to SA Customs. for their university education.
The investment value of any asset contemporary works that can lose as a luxury item which provides potential investors have to be extra capital appreciation. Investors will advice from agents or auctioneers Most galleries charge a 20 to 30% With South African art now an
is ultimately determined by its their relevance or appeal relatively emotional and intellectual stimula- careful about where they store their therefore have to be extra careful who are selling works on consign- commission to re-sell works, with established alternative asset class,
desirability. How desirable a par- quickly (Like the ‘Resistance art’ tion. It is therefore obvious that, as wealth. Most experts agree that the when deciding what a fair purchase ment for a commission – they the commission percentage on it is important to evaluate the ef-
ticular asset is depends on diverse of the eighties). with other luxury goods, it is only focus is now on the preservation of price is as the performance of their usually ring-fence themselves with higher priced works usually more fects of the current financial crises,
factors like the emotional impact the relatively wealthy members of wealth and that the value of invest- investment will be based purely on ‘conditions of sale’ to limit their negotiable. It is therefore obvious, and formulate a strategy to take
it has on the potential buyer, the Uniqueness society who can afford it. From an ments should be beyond doubt. the entry cost. Unlike other assets responsibility. ‘Buyer beware’ given the commission structures in advantage of the situation. I firmly
intellectual stimulation it provides, As mentioned above, we are deal- investment perspective and purely The stability of the long term value where investors can enjoy both should flash in everybody’s mind the art industry, that any ‘invest- believe that one should now look
its inherent quality and condition, ing with a unique asset class. Al- as a theoretic model, it would of quality works of art can in short income and capital appreciation, when attending an auction where ment’ would have to perform very for opportunities to acquire quality
how fashionable it is and to what though every work by a good artist therefore be prudent to invest in be ascribed to the following: which offer greater investment the auctioneer claims the right (in well for a period of at least 5 to works of art while the pessimists
degree the price matches the buy- is an original and unique creation, works by those artists which the - Unlike other assets, there is security when combined, the pur- the small print of their ‘Conditions 7 years before the real net return are too pre-occupied with the
er’s perception of its current value there needs to be consistency in biggest group of collectors are passion involved and ‘the heart chase price is critical when buying of Sale’) to bid ‘on behalf of the would be worthwhile. doom and gloom to even notice
and its potential for appreciation. terms of the technical quality, style buying. This would guarantee con- wills the mind’ when collect- a work of art. This is why an inti- seller’ (bidding against the chande- them.
Investment characteristics and subject matter for the body of tinuity in the competition for, and ing art - it is not an unemotional, mate knowledge and understanding lier!), and passes the responsibility Conclusion
In order to make sense of these work to generate long term inter- trade in, these works and would rational decision based purely on of an artist’s oeuvre is so important of establishing the authenticity of In my opinion, the unique char-
abstract concepts we need to iden- est and thus value. Experimental result in a stable market - under- financial principles. Sentiment and - the desirability (read value) of a any work to the buyer! Most good acteristics of works of art that © Johans Borman Fine Art Gallery
tify and define the characteristics works which do not lead to a sty- pinning a steady increase in values. the emotional involvement with a work from a particular period, of sales people are very good at tell- fall into the investment category

Facebook is more than a fad -and museums need to learn from it

By Jim Richardson creating some kind of presence a major factor in the success of museums should embrace the idea as they walk around the gallery One potential obstacle to museums such as MoMA that have whole- themselves; they are also being
on sites such as Facebook, Twitter social networks is that they al- that “everyone is a curator”, both and view them later on the website. sharing content online is the issue heartedly embraced the new digital discussed online, whether it is on
From The Art Newspaper and Flickr. But because this has low people to select and share online and offline. of copyright and how to protect environment are becoming part of social network sites such as Face- primarily been done as a marketing content. This has become a hobby, Victor Samra, digital media mar- images if they are put on the the conversation, rather then just book, online discussion forums or
(May 2009) tool, institutions are missing a far even considered by some to be a Most of the institutions that are keting manager at MoMA, says: internet. Legal implications aside, pushing content or questions at the many blogs, and the content
greater opportunity. By treading serious creative outlet, with web adapting their own websites with “It’s not enough just to broadcast from a practical point of view this visitors and then sitting back. prompting these responses is no
Social networks and blogs are the gently into the second generation users spending time “curating” those facets of the social networks information now. Sharing and approach is becoming outdated. longer restricted to the four walls it
fastest growing online activities, of web development and design, their online space. Museums are that so many people find attrac- participating in discussions are For example, the Art Museum of Online activity such as MoMA’s actually inhabits. This means mu-
according to a report published in known as Web 2.0, museums risk well placed to appeal to this new tive are in the US. The Museum becoming normal activities on the Estonia has gone against conven- requires investment, both in terms seums and galleries need to expand
March by research firm Nielsen achieving little, and are effectively generation of “curators” because of Modern Art (MoMA) in New web, so I think people are coming tion by actively encouraging visi- of web development costs and staff the sites where they introduce, nar-
Online. Almost 10% of all time paying mere lip service to online they offer rich and interesting York relaunched its website in to expect it. People want to engage tors to photograph its collection; time, but if this is where people rate and edit their programmes.
spent on the internet is spent on social engagement. If they were to content that can be virtually March. It now includes links to the with content they are really pas- the MoMA website helps users to are and how they are communicat-
these types of sites, which Nielsen make a proper commitment to the “cut-up” and stuck back together museum’s online users on various sionate about, and museums have co-create content and share these ing, then, one can argue, museums The writer is the managing direc-
describes as “member communi- enterprise, they could transform online in numerous different ways social networking sites such as a great opportunity to provide this creations with friends. should be there too. tor of Newcastle-based Sumo, a
ties”, and they are visited by more their relationship with audiences, to reflect the individual tastes of Facebook, Twitter and YouTube. for them. This helps to change the Curators pride themselves on using design consultancy specialising in
than two-thirds of the world’s change people’s perceptions of each user. If remixing, reinterpret- Users can also create personal perception of the museum as a All museums want to create a their collections to analyse issues, arts and culture. He is a speaker at
online users. them and vastly expand the reach ing and sharing interesting content online accounts, which allow them building with four closed walls to dialogue with their audiences, and provoke reactions and ask difficult the conference, “Communicating
of their collections. is, as Nielsen suggests, the kind to bookmark upcoming events, cre- an organisation with personality most museum staff are well aware questions. But these questions the Museum”, in Malaga (24-27
This has not gone unnoticed by of engaging interaction that draws ate online exhibitions and “collect” and a human face.” that the internet can be a useful are no longer just being debated June). www.communicatingthemu-
museums and galleries, with many The Nielsen research shows that people to social networks, then works of art via their mobile phone tool for doing this. But museums over a coffee or in the galleries

With newspapers in terminal decline, what future for arts journalism? - Continued from Page 1
ArtsJournal, for example, currently art of raising money for its cover- Habermas, the German sociolo- ramp up a new arts journalism MoMA’s recently relaunched at USC, and the City University of
hosts 42 blogs on a variety of However, journalism is not just age—from foundations and legions gist, has urged direct government service. Writers at imperiled publi- website features online groups Mr Anderson’s other innovation New York, have recently launched
arts topics, including the widely about scoops. It’s about due dili- of listeners. Both PBS and NPR support for the media. Not to be cations like the Los Angeles Times that allow visitors to explore, at IMA is a digital “Dashboard”, graduate programmes in cultural
read visual arts blogs Modern Art gence, evaluating accuracy, giving receive government support. Only outdone, France’s Nicolas Sarkozy are following these developments create and share information via located on the museum’s website, journalism. Despite the current
Notes and CultureGrrl. Under subjects an opportunity to respond, the trained eye can distinguish the has pledged €600m to aid the press closely. Facebook, YouTube, Twitter, Flickr providing up-to-date statistics on meltdown, these are among the
such arrangements, bloggers get and providing non-judgmental “image spots” of foundation and with advertising, tax breaks and and iTunes. London’s Tate (which the museum’s administration and most heavily sought after spe-
a cut of the advertising fees along context. Such protocols are more corporate underwriters on public student subscriptions. The real hurdle for non-profit arts publishes its own glossy, Tate performance. An array of digital cialisations. Certification may be
with greater visibility (which can likely to be followed under the TV from the sort of advertising journalism, it should be clear, is Etc, billed as “Europe’s largest art “widgets” tally up everything from even more important for freelance
lead to other paid gigs), while the gaze of professional editors. Major that populates the commercial Philanthropy can help to build a not technology, or ethics, or a magazine”) and the Walker Art the number of museum members to writers than for those in accredited
umbrella site captures readers and investigative stories are clearly out airwaves. new arts journalism infrastruc- lack of ideas. It is fundraising. To Center in Minneapolis are among the total kilowatt-hours of energy newsrooms. Do-it-yourself journal-
turns more “sticky”. Something of reach for even the most intrepid ture to offset the collapse of local get behind arts writing, founda- the trailblazers pouring resources consumed daily. Some of the sta- ism is expanding so rapidly that it
analogous is happening with some bloggers. Some fascinating new web-based coverage. Proposals to harness tions and arts patrons would need into deep, polished, personalised tistics are not for the faint-hearted may be sparking its own demand
established journalism brands. funding models appear less suited freelance writers in an organ- to steer funds away from their online content and public forums. museum director. One of the IMA for journalism training.
Innovative newspapers like the Going non-commercial to rescuing the mainstream media ised fashion date back to the late traditional recipients (artists and Some museum sites are, in effect, widgets tracks the museum’s
Guardian in the UK and VG in than to helping smaller for-profit 1990s, when David Resnicow and organisations) towards journal- starting to resemble interactive endowment in monthly snapshots Students may be attracted precisely
Norway are putting together a What if audience aggregation or not-for-profit publications. A Frederick Schroeder, of the promi- ists (who are often considered as online art magazines. (down $120m since last October). by the lure of the new and un-
kind of layer-cake of content that won’t make arts journalism into Bay Area outfit called has nent Resnicow Schroeder arts adversaries). In other words, a not- Another chronicles admissions known. The most exhilarating as-
attracts a sizable number of online a viable business? Until recently, a method for “community funded marketing and PR firm, launched for-profit rethink of arts journalism Their latest features are strikingly with data generated every five min- pect of tomorrow’s arts journalism
readers. At the top are editorially it was anathema to suggest that reporting”, which pools small do- an independent company named hinges on a rethink of cultural similar to the innovations news utes. A catalogue of objects slated will be its unpredictable hybridity,
supervised staff journalists. Below newspapers could become not-for- nations for specific stories. People MuseNews, a national for-profit philanthropy. organisations are deploying to for deaccessioning is next, along how it feeds on multiple sources
are blogs, written by staff and free- profit organisations. Yet hospitals interested in a proposed story can art news syndicate that sold stories turn their customers into active, with their sale price and where the of innovation and energy. It will
lance writers with latitude to shape and museums offer public benefits make a tax-deductible contribution to old and new media outlets for a Arts groups step up participating, loyal partners in the proceeds end up. For Mr Anderson, be an undertaking where nimble
their content. The third tier is the this way, and so might the press. (typical budgets are below $1,000). small fee. The service, which also enterprise of journalism. the Dashboard, with its objective entrepreneurs sustain criticism and
vast, unsupervised “commento- In fact, a few smaller US papers The money is held in escrow until sought foundation underwriting, This brings us to the third, and measurements of administrative reporting through a mix of adver-
sphere” of opining readers. The are already run as non-profits (with the entire sum for the story is col- was subsequently merged into arguably most controversial, cure The next step is pooling resources. goings-on, is an antidote to the tising, licensing, social networks,
whole machinery works in unison mixed results). Specialised art peri- lected, at which point the writer Bloomberg, where it evolved into for the ills of arts journalism—cul- “What’s the point of having 1,000 “risk of institutional control” that donations, digital space rental,
to congregate a wide, lucrative odicals, such as Cabinet, have for gets the green light. My current the site’s arts and culture section, tural organisations. Until recently, museum websites with separate pervades most in-house publica- and barter arrangements—what-
ad base. In view of these devel- years survived on donations (with favourite payment model is Kach- known to readers of this newspaper there was an unambiguous division databases of information?” asks tions. It is no substitute for hard- ever works. Boundaries between
opments, today’s do-it-yourself excellent results). Going not-for- ingle, which promises to “sprinkle as an excellent source of art busi- of labour between arts institutions Maxwell Anderson, director and nosed reporters, but for transpar- writers and audiences, channels of
blogs are destined to be a transient profit involves some legal and ethi- change on the blogs you love”. A ness reporting. Current proposals and the press. One side delivered chief executive of the Indianapolis ency, it’s a start. communication, and professional
phenomenon. Many talented arts cal intricacies for the press. Purists Kachingle member sets a monthly for a new kind of art news service programming, the other provided Museum of Art (IMA), where he constituencies will blur in ways
journalists will carve out a satellite worry that journalism could end budget for donations to favourite are inspired by the success of exposure, evaluation and public recently launched two innovations The hybrid future that are at once alarming and hope-
franchise in the orbit of larger up in the pockets of foundations media sources—say, $50. Benefi- online news sites such as Pro- scrutiny. Any suggestion that that bridge the gulf between the ful. Our notion of what a “news
media entities. with random agendas and short ciaries are identified by pressing Publica and GlobalPost, which these roles could blend together press and the visual arts. One is Amid the doom and gloom about organisation” or an “art magazine”
attention spans. Yet, if publishers a Kachingle button already found hired top-notch journalists (some would elicit howls of condemna-, a kind of YouTube arts journalism, such innovations is supposed to do will be upended
How soon such bloggers can tackle can keep a “firewall” between their on many sites. Everything happens recently laid off) to fill blind spots tion. But if the marketplace or for art, with high definition videos offer a glimmer of hope. There as new relationships crystallise
the full journalistic workload editorial and business operations, automatically. The $50 is distrib- in public affairs and international cultural patrons cannot sustain gathered from a consortium of is no going back to the cultural between the arts, the media and the
left unattended by newspapers they can also do it with donors. uted in proportion to the amount of news coverage, with foundation arts journalism, those with a stake art institutions (IMA, MoMA, and advertising dominance that public.
is another question. In terms of time the donor spends on each of support. Politico, which was in its survival must come up with SFMOMA, Lacma, the New newspapers once enjoyed. We
commentary and plain kibitzing, There are applicable precedents. the chosen sites. Genius. launched by private investors and alternatives. And it’s already hap- York Public Library, Art 21 and should be mindful that the emerg- “Society doesn’t need newspapers.
especially about local arts scenes, The Kaiser Family Foundation will soon turn a profit, operates on pening. the Smithsonian, at present). In ing landscape offers asymmetrical What we need is journalism,” me-
we may be there already. When it supports coverage of healthcare, There is a growing realisation that a similar model, and it has become contrast to YouTube, the videos are odds for art criticism (which can dia analyst Clay Shirky observed
comes to fair and balanced report- for example. “The NewsHour” on without some form of non-com- influential enough to sponsor presi- Arts groups are getting better carefully selected and screened for survive by the labour of individual in his blog recently. “No one ex-
ing, the record is mixed. On the PBS, one of the most respected mercial support, certain realms dential debates and be called up for at telling their own stories and quality. The transcripts of many writers) and arts reporting (which periment is going to replace what
one hand, bloggers are breaking TV news shows in the US, has of quality journalism may not a question at President Obama’s directly engaging their constitu- of them are searchable, locally requires institutional firepower and we are now losing with the demise
stories, with arts organisations (or 22 foundation sponsors and two survive, especially under cur- first major press conference. Initia- ents. It may not always look like or via Google, so that a casual protections). Writers will struggle of news on paper,” he added, “but
their disgruntled employees) oblig- corporate underwriters (Intel and rent market conditions. Carnegie tives are currently underway to journalism, but it is filling in some viewer or a researcher can find to reclaim the access and influence over time, the collection of new
ing them with excellent scoops. Chevron). Some pay for specific Corporation president Vartan develop specialised newsgathering gaps. In the US, regional online art the exact spot, for example, where they achieved with the backing experiments that do work might
The Getty Center’s leadership cri- types of journalism—and no out- Gregorian has suggested buying operations for science, healthcare hubs are springing up from Chi- Ed Ruscha reminisces about the of prestigious journalism brands. give us the journalism we need.”
sis, in 2006, when internal memos rage, so far, over conflicts of inter- newspaper subscriptions for col- and even religion (the Religion cago to Kansas City, Miami and Cirrus gallery in a documentary Even so, the faint outlines of a new
trickled to the press via blogs, was est. Public radio (NPR), with 33 lege students—a bailout that would News Network). These organisa- Los Angeles, supported by coali- produced by Lacma. Visitors to the system are starting to emerge.
an early example. Much “insider million weekly listeners (as against replenish future readers. The Andy tions are recreating alternatives tions of local arts organisations site can add their own comments
baseball” that may not get ink the New York Times’ 1 million Warhol Foundation supports art to professional newsrooms with and philanthropists, to provide and engage in online discussions, It’s worth noting that journal-
in a newspaper is now routinely daily circulation), is a haven for critics and reporters by means of editorial guidance and supervision. information and discussion about just like at any savvy news site. ism schools are seeing a record
covered by blogs. Deaccessioning quality arts journalism that attracts grants awarded through Creative According to some estimates, $2m the arts. Museums, in particular, ArtBabble, and others like it, may surge in applications. Many top
stories alone have become a minor some of the best reporters in the Capital. In Europe, where such per year—one-fifth of 1% of US have taken the lead in creating an well develop into future platforms institutions, including Columbia,
cottage industry. business. It has also perfected the support falls to the state, Jürgen foundation arts support—could alternative media infrastructure. for art criticism and commentary. Syracuse, the Annenberg School


Cecil Skotnes 1926 – 2009

By Hayden Proud against fascism with the South always fired by his contact with itself, selectively colouring it with heritage, which somehow always
African Army in Italy in his late original works of art. The work pigments. Such wooden panels underpinned and inserted itself
Well before his recent death at teens in 1944-45, Skotnes was by of Italian Renaissance masters became major ensemble art works, into his own efforts at producing
the age of 83, Cecil Skotnes had nature more of a pacifist than a such as Giotto, Masaccio and particularly when integrated within an art that embodied the spirit and
attained something akin to saintly strident activist. His quiet, persist- Michelangelo had deeply moved architectural settings, such as at style of Africa. Herbert Read once
status in the annals of South Afri- ent example and gentle encourage- him when he was a young soldier the 1820s Settlers’ Monument in referred to the extreme northern
can art. Prior to his 70th birthday ment gradually opened conduits in Florence. Back in Johannes- Grahamstown. parts of Europe as “the preserve of
in 1996, he was already the holder for dialogue between the separated burg at the fledgling Wits Fine an indigenous prehistoric style”. It
of numerous awards. On reach- and vastly unequal worlds of the Art department in 1947, he was After his marriage to Thelma was a style that was carried across
ing biblical age he was invested white and the black South African inspired by the teaching of Dr Carter in 1951, the couple toured vast oceans through small precious
with many further honours. These artist. Serving the needs of the Maria Stein-Lessing, a somewhat Europe for nine months during objects of impeccable craftsman-
included several honorary doctor- poor and the disadvantaged was a eccentric but highly professional which he gained greater apprecia- ship, as well as through shal-
ates in Fine Art and the Order of socio-religious imperative that he art historian whose lively interests tion of the implications of Cubism low, painted relief carving in the
Ikhamanga in Gold. The latter had been born to; his Norwegian straddled Medieval, Modern and and Egyptian, pre-classical Greek wooden sections which comprised
was bestowed in recognition of father and his Canadian mother African art. It was through her that and Assyrian art. A sojourn in the longboats of the Vikings. A
his work in the ‘deracialisaton’ of were both active social workers Skotnes was first introduced to the England brought him into contact limited range of motifs and forms
the fine arts in South Africa. His with the Salvation Army in East principles of the German Expres- with the work of Henry Moore and was employed, creating patterns of
nimbus glowed even more brightly London. With their example before sionist woodcut. At that time, Graham Sutherland. The influ- amazing confusion and invention
in recent years as greater art his- him, and with time, he realized the printmaking was not yet a feature ence of the latter was profound, that always respected the forms
torical stock was taken of his role parable of the sower. The artistic of the Wits Fine Arts curriculum, informing his interpretation of the that held them. In the life and work
as a catalyst in the emergence of a harvest garnered from the seeds but the incised wooden block with South African landscape, which of Cecil Skotnes, something of that
significant urban black art move- that he planted was great. In the the discipline of its planar limita- he was to revisit continually in his Scandinavian aesthetic persisted;
ment in this country. roll-call of black South African tions and its expressive potential prints and paintings over the years its pioneering spirit enriching and
artists of the Polly Street era, many was to become the abiding concern that followed. It could perhaps fertilizing the artistic soil of South
Skotnes’ role at the Polly Street Art also now dead, his tutelage and of his life’s work as an artist. In a be argued that in all of Skotnes’ Africa.
Centre coincided with apartheid’s influence figures prominently. leap of inspiration he decided to oeuvre there is also something sub-
high water-mark in the 1950s make the incised wooden block liminally present that is redolent
Cecil Skotnes in his studio 1967. Photo courtesy Pippa Skotnes
and 60s. Although he had fought Skotnes’ artistic imagination was an independent work of art in of his own Scandinavian ancestral

Alan Crump 1949 – 2009

By J. Brooks Spector student fondly recalled Crump as well as in his role developing Barbara Masekela with her first he loved to share a good glass of
entering her class on the first day the bank’s own corporate collec- major public opportunity after South African wine with friends.
Artist, educator, Alan Crump of lectures, surveying his new tion. Alan Crump was the guiding returning from exile to address a
passed away on May 1, 2009, al- students, and then striding away force behind the widely heralded new artistic and cultural vision for A capstone of his career would
most sixty years to the day he was from the lecture hall, wearing red Chagall and Miro exhibitions. His South Africa. have been the opening of an
born in Durban. He had attended leather, bell-bottomed trousers. public lectures on art and society exhibition at the 2009 Graham-
the Michaelis School of Art for He was equally enthusiastic in his were eagerly anticipated because Beyond his role as an educa- stown Festival, marking a quarter
BA and MA Fine Arts degrees and commitment to emerging young of their power to educate, uplift tor, Crump was a sculptor and a century of Standard Bank Young
he received a Fulbright Scholar- artists, championing artists like and entertain. consummate watercolour artist Artist Award winners. Sadly,
ship for an MFA at the University Willliam Kentridge and Penny and his works are in private and while he will not be present at the
of California at Los Angeles. Siopis, early on in their careers. In 1984, Alan Crump joined corporate collections around the opening, his influence assuredly
He was a passionate advocate for the Grahamstown National Arts country – and beyond. He found will be.
Before studying for America, he arts awards that came with real Festival’s Governing Committee, unlikely beauty in a mine dump
taught at Michaelis for a year. benefits, saying ‘Artists should recognizing the responsibility of or cast off industrial artifacts and As he, himself, had said a half
Returning from Los Angeles, get an incentive for their work’. educators to engage with society Linda Givon once called him decade earlier at the opening of
he became a lecturer and then beyond the academy. He became South Africa’s first real concep- the Bonnie Ntshalinshali
senior lecturer in art history at Beyond his role as a university Festival Committee chair during tual artist. Museum,
UNISA. Joining the University instructor, Alan Crump was active a particularly contentious decade,
of the Witwatersrand in 1980, he in the larger public dimensions helping steer the festival to ad- Crump was a legendary convivial ‘When someone dies, it is what
became Professor and Head of the of arts and culture education. dress the revolutionary changes host and guest who loved a great they leave behind that counts, the
Department of Fine Arts -- at the He was an arts advisor to the taking place in South Africa. story, a sharp, well-argued discus- objects and the residue of their
age of 31. Alan Crump had a well- Standard Bank, serving as cura- Among many important mo- sion about art, sports (he had been thoughts.
earned reputation for intensity and tor or consultant for numerous ments, the festival provided ANC an avid rugby player and runner
exuberance as an educator. One exhibitions at the bank’s gallery, Arts and Culture Spokesperson, as a student) or politics – just as
Alan Crump Photo courtesy Lynette Marais


Artist Andrew Verster receives honourary Doctorate

Chris Crake of the Crake Gallery Johannesburg Andrew Verster is receiving an Honorary Doctorate from the Durban University of Technology (DUT).
Concurrent with the award, the DUT Art Gallery will be showcasing Verster’s artworks, from 21 April to 18 May, which are part of the university’s
chats with Michael Coulson art collection. Last year Verster, who is turning 72 this year, launched his recent publication/book, edited by Carol Brown in celebration of his 70th
birthday. Verster has been a practising artist for over 50 years, leaving teaching in 1976 to become a full time painter.
Born in 1937 Johannesburg, he was trained at the Camberwell School of Art and Reading University. He has lectured at the University of Durban
Think of long-established Jo’burg mad to open an art gallery, with publicity stunt, when a friend put Westville (then University College, Durban) and Technikon Natal (now DUT) until 1976 when he gave up teaching to become a full-time painter.
galleries, and you think of the the townships going up in flames”) on the guise of an old lady and Andrew has been a member of the Film and Publication Review Board, Trustee of the Durban Art Gallery, the Arts Work Trust, Very Special Arts, Art-
Goodman and Everard Read. But and, with just R60 in the bank, complained to the police. Fortu- ists for Human Rights Trust and the African Art Centre. He also served on the Committee of the Grahamstown Festival.
there’s a third that’s survived opened up on his own in Grant Av- nately, he wasn’t charged, and now He has had over fifty solo exhibitions, is represented in many major public and private collections, and has been awarded two retrospective exhibitions
well into its fourth decade, and enue, directly opposite his present says “It was the best publicity we organised by the Durban Art Gallery. To learn more about the artist visit his website
unlike the other two is still run by site, which he moved to 10 years ever had.”
its founder: the Crake Gallery in later. He takes pride in the fact that But, he says, the developing focus Lynette Marais, recieves honorary Doctorate
Norwood, run by the eponymous the gallery has always been self- on realism reflects both his own William Kentridge on Rhodes University will be conferring honorary doctorate degrees on Lynette Marais, who was the National Arts Festival director for 20 years, will be
Chris Crake. financing: he’s never borrowed preference, and that of his clien- the Times Magazine 100 cover receiving a Doctor of Laws (LLD) honoris causa. Marais has been recognised as one of South Africa’s most accomplished arts administrators. Her
Crake has in fact been involved money or had a backer. tele, corporate and individual, who advice is constantly sought out by festival producers, arts funders and the government. Since taking over the leadership in 1989, she has grown the
in the art world for more than 40 For years he staged solo exhibi- are “basically conservative” in National Arts Festival to become the largest arts festival on the African continent.
years. Late in 1968, he was sitting tions every two or three weeks their tastes. He also says he’s not
in the legendary Chesa coffee bar year-round, showcasing names into “investment art”. John Meyer – Schloss Gottorf Museum Award, Germany
in the Rand Central building when like Jean Doyle, Michael Cos- “People buy from me for love and The South African painter John Meyer has won a prestigious comtemporary art award from the Museum Schloss Gottorf in Germany. The prize is one
he noticed an old lady putting up tello, Robin Kearney, Ulrich life. In 33 years, I don’t think I’ve of the most important international art awards in Germany, and the museum will host Meyer at their International Museum’s Day on May 17th this
a Sit Vac sign in a shop window Schwanecke, John Brett Cohen, had 20 pictures come back for re- year, when up to 20,000 visitors are expected. Gottorf Palace is the largest museum complex in northern Germany and is the headquarters of Schleswig
opposite. On inquiry, he was sent Fred Schimmel, Norman Eagle- sale. You have a different respon- Holstein’s state museums. They regularly enjoy 650 000 visitors visiting a single exhibition. The award was established by the German entrepreneur
up to the old lady’s premises on stone, Fleur Ferri, Donna White, sibility to people who spend R400 Gunter Fielmann in 2000, after his donation of 200 lime trees for an avenue in the Gottorf Baroque Gardens at the museum. The prize is regarded in
the first floor. Simon Parkin, Robert Haber and 000 on a painting than when they Germany as a prize of honour. He has been commissioned by the director of the Gottorf, Professor Guratzsch, to produce two works this year for the
The premises were Gallery 101; Leon Sorianos. Some couldn’t pay R40 000. I want my artists to Dale Yudelman poster for Month museum.
the old lady, the legendary Mad- stand the pace, some moved on to be accessible and good value.” of Photography
ame Haenggi. Despite his waist- (possibly) greater things, but oth- Dale Yudelman gets Profoto Prize
length hair and generally hippyish ers have remained loyal. Dale Yudelman was among the top professional photographers who were honored at the Sony Profoto Awards held recently in Sandton, Johannesburg.
appearance, she took him on. And These days, he’s slackened his So his artists must have staying Yudelman, who lives and works in Cape Town, won six awards - including Gold’s in the Advertising and Fine Art categories. His series of images , “ i
he’s stayed in the business ever own pace, cutting back the hectic power, and though he tries to intro- am…” was awarded ‘Professional Portfolio of the Year’
since. schedule to a group anniversary duce a couple of new names in his
Not that it was an entirely random show in the first half of the year annual group shows, he concedes Kentridge hits the top of the Times Magazine “100 World’s Most Influential People” pops
choice of career. Art was the only and half a dozen or so solo shows that he’s reached a stage of life Our William has hit the top top of the media pops with being selected as one of The Worlds Most Influential People (under artists).
subject he enjoyed at school, and in the second half, by regular where he won’t be around for ever, see for more details.(Thanks to Artheat fot the tip-off)
had economics permitted he might members of his stable: Peter so he hasn’t much time to build up
even have become an artist. But Bonney, Russian-born Dimitri new names – not easy in current Moving on - Suzelle Kriel- Director of The US Museum and Art Gallery Moves on
the need to put bread on the table Nikashin, Daan Vermeulen, Roelof conditions, in any event. After nearly six very happy years at the US Museum and Art Gallery is leaving for Robertson to pick up on exciting projects.
(he became a father in 1970) pre- Rossouw, Geoff Horne and others. “You have to do a lot of work Suzelle Kriel Colijn Strydom will be acting Gallery Manager until an appointment has been made.
cluded that. Basically, while they have widely behind the scenes to make a suc-
Crake says he learnt more from differing styles, all are realistic cessful solo show. You have to call Peter Hayes is the new Director at Vansa Western Cape.
Madame Haenggi than from landscape painters, though he also round all your regular clients and Peter has emerged from a cutting edge theatre background, and as a writer, actor and director with Hearts & Eyes Theatre Collective has earned his
anyone, and it was a wrench to carries sculptures by the likes of promote the work. And that’s hard, reputation. Amongst his many talent he has worked in film, owned Gorgeous Restaurant for a number of years and was the creative director for MCQP
leave when he was approached to Laurence Chait. This is no acci- if they’ve never heard of the artist. for 2 years. As he says in his own words “ I feel fantastically out of the loop! I don’t know who’s in and who’s out, who’s hot and why and why sleep-
take over the Madden Gallery in dent, either; even in his schooldays So those who’ve been with me for ing with so-and-so is the fastest way to the top. But I do know who I think is hot and I’m a passionate, if under resourced, collector of contemporary
Sandton, whose backers included he admired Norman Rockwell and 25 years are naturally in the front South African art. I want to help facilitate more networking opportunities, workshops and training, market platforms. Making your lives easier and
businessman Wilfred Robin and Andrew Wyeth, pictures that tell seats.” your careers more sustainable is our mission here at VANSA and I am mightily excited to be here”.
London-based expat Solly Rissen, stories. “Any picture you can go Persistence and hard work are the
whose sister Jean Madden ran the travelling in is a good work.” keys to the success and longevity
Madden Gallery in London. Though this has become his unique of the Crake Gallery. It’s a lesson E-mail us your stories, images and show openings , as well as “In the Limelight” contribution to us at
Crake extended Madden’s range selling proposition, it was not al- the hopefuls who think all you Peter Hayes, does good with “Fast
from international to SA art, and ways thus. He remembers bringing have to do is put work on the wall Girls” outside Joburg Art Fair
tried to promote local artists like the first David Hockney graphics and smile as the buyers pour in,
Keith Alexander, Vic Guhrs, to SA, and selling them for a few so many of whom have flickered
Claude Jammet and others abroad. hundred rand. – perhaps even flourished, briefly
Looking back, he says this was a And in 1980 he was arrested -- across the gallery scene since Subscribe to BUSINESS ART together with the SA ART TIMES for R 180 for 1 year
good idea, but ahead of its time. for selling pornography, for an Crake set out on his career would
After some years it was time to exhibition of erotica inspired by do well to ponder.
take the next step. In 1979 he took the Kama Sutra, by Tatu Penrith.
Call Bastienne at 021 424 7733 or e-mail:
the plunge (“Everybody said I was Today he admits that this was a special ends 1 June 09

Eastern Cape Johannesburg T. 011 880 4054 PAM - East Gallery, until 22 Jun, Street (Opposite City Hall) Pieter- Marlene von Dürckheim and Knysna from the Museum’s Permanent maritzburg. T. 033 342 1804 Cape Town School of others. In-Fin-Art Building, Upper
Alliance Francaise, Collection, Artists from Polly Photography Buitengracht Street, Cape Town, Knysna Fine Art
East London Johannesburg Rooke Gallery Street and Rorke’s Drift Until 15 May, Jurgen Schadeberg; T. 021 423 6075/082 5664631 From 8 May, Considering Therian-
For May, Sharing / Shared, ex- Until 01 May, The Travels of Glass Gallery, Corobirk Collection, Northern Cape 18-29 May, Andrew McIleron. thropes Animal Human, new works
hibition including artists: Wayne Bad, Major Solo Exhibition and ceramics selection representing 4th Floor, 62 Roeland Street, by Guy Thesen. 1-08 May, The
Ann Bryant Art Gallery Barker, Bongi Bengu, Zanele publication by Zander Blom. By studio ceramics and rural tradi- Cape Town, 021 4652152 Kalk Bay Modern Tattoo Show.
Until 9 May, Anything but paint- Mashinini, Mmkgabo Mapula Appointment, The Newtown, 37 tional potters of SA Kimberley Until 15 May,Paintings and Prints 8 Grey Street Knysna,
ing, East London Fine Art Society (Helen) Sebidi, Stompie Selibe, Quinn Street Newtown Johannes- T.012 344 1807/8 by Nicolaas Maritz. T.044 382 5107
exhibition. Pene Meniere, Ilana Seati, Isa burg. T. 072 658 0762 William Humphreys Art Gallery 1st Floor, Olympia Buildings, 136
Until 16 May, Four Contemporary Schwartz Gesseau. Permanent Collection Exhibition Christopher MǾller Art Main Road Kalk Bay.
Chinese Artists. 17 Lower Park Drive (corner of Pretoria Association of Arts - Includes works of a variety of 14-30 May, Blue, group show: T.021 788 6571
9 St Marks Road, Southernwood, Kerry Road, Parkview, Standard Bank Gallery 10-28 May, Paintings by Johan contemporary SA artists Margot Hattingh, Brigitte Berg, Plettenberg Bay
East London T. 043 722 4044, Johannesburg. T. 011 646 1169 Until 23 May, Past/Present, Marais, Art creations in wood by Civic Centre, Cullinan Crescent, Diane Mc Naughton, Ros Molteno, Andrew Verster. At Smit. Kimberley, T. 053 831 1724, Adele Gordon, Judy Mckune, Jen Lindy van Niekerk Art Gallery Lipschitz Gallery
Art & Artifact Gallery, Until 23 Main Gallery, Until 7 May, Jaco Lewis, Anne Terblanche, Odette Exhibition of SA’s leading artists. 18 May, Book/DVD launch by
Goodman Gallery May, Eduardo Villa Miniatures. Benade & M J Lourens. Marais, Christine Cherry-Jones, 31 Kommandeur Road, artist Stanley Grootboom, From
Port Elizabeth Until 23 May, Peter Friedl; 28 Cnr. Simmonds & Frederick Until 13 May, Galerie Chaton / Jeoff Burr, David Porter, Susan Welgemoed, Belville T. 021 913 4 May: a selection of South
May-Jun, Nation State. Streets, Johannesburg, 2001 Black Box, Mimi van der Merwe. Hall and Margaret Curry 7204/5 African artists, including Stanley
Nelson Mandela Metropolitan 163 Jan Smuts Avenue, Parkwood, Tel: 011 631 1889 15 May-3 Jun, Sybrand Wiechers. Mpumalanga 82 Church Street, Cape Town, Grootboom, Amos Langdown,
Art Museum Johannesburg, T. 011 788 1113 North Gallery, Until 21 May, T. 021 439 3517 Dumisani Mbaso, Thomas Kgope,
7 May-12 Jul, Scenes in the Street, Penny Baillie Kunst House Sam Nhlengethwa, Pieter Van Der
Seippel Gallery 173 Mackie Street, New Muckle- White River 62 Kloof Street, Gardens, Westhuizen and others.
through the eyes of artists and
photographers; Until 26 May, Re- Nirox Foundation and Goodman Until 27 Jun, Project Gallery, neuk, Pretoria, Gauteng, 0181, Tel. David Porter Antiques T. 021 422 1255 Hill House, Number One Main
Gallery Street Scenes, recent paintings by (012) 346 3100 The Loop Art Foundry & Sculp- Buyers and sellers of South Afri- Street, Plettenberg Bay, T. 044 533
cent acquisitions of top SA Artists’
Until 5 Jun, Contemporary Sculp- Linda Shongwe; Main Gallery, ture Gallery can art 4581
work; Until 2 May, Art Talk, ex-
ture in the Landscape, various art- Sculptures and installations by Casterbridge Complex Corner R40 T. 021 6830580/083 452 5862 Michael Stevenson
ploring narrative, iconography and
ists, at the Cradle of Humankind. Kevin Brand, Vincent Baloyi and UNISA Art Gallery and Numbi Roads White River T. Contemporary George
expression, featuring Kentridge,
Contact the Goodman Gallery for Danelle Janse van Rensberg. Until 08 May, Then and now, 013 751 2435 Until 30 May, Paintings by Penny
Siopis & Verster.
viewing and walkabouts, by ap- August House, 76-82 End Street, Images by 8 SA Photographers: Erdmann Contemporary / Siopis; The encounter by Nandipha Strydom Gallery
1 Park Drive, Port Elizabeth,
T. 041 506 2000 pointment only. T. 011 788 1113 Doornfontein. T. 011 401 1421 Graeme Williams, Gisele Wulf- Photographers Gallery Mntambo; Lunga Kama, Here I A Selection of South African art sohn, Paul Weinberg, Eric Miller, 6-30 May, Left of November, a Am. Marklaan Centre, 79 Market Street,
George Hallett, David Goldblatt, Western Cape painting exhibition by Bronwen Ground Floor, Buchanan Building, George, T. 044 874 4027.
GordArt Gallery The Art Place, Gallery & Art Guy Tillim and Cedric Nunn. Vaughan-Evans & Deanne Don- 160 Sir Lowry Road, Cape Town,
Until 9 May, WTF?, 12 paintings Centre Theo van Wijk Building, Gold- aldson. T. 021 462 1500
Free State by Debbie Cloete. 16 May-6 Jun, The World of fields entrance, 5th floor. Unisa 63 Shortmarket Street, Cape Town Stellenbosch
Cape Town
GordArt Project Room Pamela Prendini, Classical oils, Campus, Pretoria. T.012 429 6823 T. 021 422 2762
(Upstairs)Until 9 May, Life is Jazz, drawings and sculptures in the Raw Vision Gallery Dorp Straat Gallery
Bloemfontein 34 Long
drawings and collages by Stompie footsteps of the Italian Masters For May, Messages from the 12-31 May, Anya Adendorff,
Until 16 May, MIXIT, compilation
Selebi. 144 Milner Ave,Roosevelt Park, Everard Read Gallery - CT Future, digital prints by Mike Madelein Marincowitz and An-
Oliewenhuis Art Museum of works in various media by sev-
16 May–6 Jun, paintings by Severa T 011 888-9120 KwaZulu-Natal Until 13 May, Kerri Evans Fisher 89 Sir Lowry Road, Wood- thony Sherratt
Until 15 May, Transitions, Travel- enteen artists, including MOTEL7,
Rech Casserino. Portswood Rd, V&A Waterfront stock. 144 Dorp Street, Stellenbosch
ling Exhibition and film, by Faith47, Black Koki, Kentridge,
Shop 1 Parkwood Mansions, University of Johannesburg Arts T. 021 887 2256
Paul Emmanuel. Until 24 May, Dumas, Bester, Murakami,
144 Jan Smuts Ave, Parkwood, Centre Gallery T. 021 418 4527 Muti Gallery
Decade, Highlights from 10 years D*Face, Blek le Rat, Matthew
T/F 011 880 5928 6–20 May, Coração,(heart), 25 Durban Until 4 Jun, Solo exhibition by
of collecting from the Sanlam Art Hindley and Asha Zero. Until 16 art works by South African and Focus Contemporary, Fine Gabrielle Raaff. Red Black and White
Collection. May, Prehistoric idols, works by
international artists, will be exhib- Art Space - DBN Young Art 3 Vredehoek Avenue, Oranjezicht, 14-30 May, South-African Ceram-
16 Harry Smith Street, Paul du Toit.
Graham Fine Art Gallery ited with 10 works by Canadians; Until 9 May, Obsessive Urge to For May, O Sumo San, Photogra- T. 021 465 3551 ics: Linnware, Kalahari, Rorke’s
Bloemfontein T. 051 447 9609 34 Long Street, Cape Town
South African Investment Art, Hendrikus Bervoets, renowned Categorize: an exhibition of paint- phy by Philippe Marinig. Drift & Anglo-Oriental Ceramics.
From the permanent collection; collage artist and award winning T. 021 426 4594, 2 Long Street Cape Town, Until 09 May, Brotherhood 2009
ing, mixed media and video by
Auction of the Brett Kebble art photographer, Dave Chidley also Nic Crooks; Masterful Conversa- T. 021 419 8888, Rust-en-Vrede curated by Johann du Plessis.
Clarens Alex Hamiltion Art Studio
collection: viewing: 4-6 May. on show. tions by Lee Scott Hempson; In 5-28 May, On the surface, by 5a Distillery Road, Bosman’s
Auction at Summerplace, 7 May. University of Johannesburg, Auck- Until 8 May, Afrotize, is a new se- Mervyn Gers. Crossing, Stellenbosch.
Johan Smith Art Gallery the Front Room: Hole in the Wall ries of pop art, stenciled works by
Shop 31, Broadacres Lifestyle land Park Kingsway campus cnr. an exhibition of mixed media Gallery F 10 Wellington Road, Durbanville. T. 021 886 6281
Glass, Bronze, Ceramics, Old Mas- Cape Town artist, Alex Hamilton.
Centre, Cnr. Valley & Cedar Roads Kingsway and Universiteits Rd, works by Jacki Bruniquel, 11-30 8 May-end Jun, The spirit of Dis- T. 021 976 4691
ters, Contemporary works. Unit B203, 2nd floor, Woodstock
Fourways, Johannesburg. Auckland Park May, Responses, paper-works and trict 6 collection, photography by
Windmill Centre Main Street Cla- Industrial Centre, 66-68 Albert
T.011 465 9192 www.grahamsgal- T. 011 559 2099/2556 oil paintings by Roz Cryer. 1–20 Cloete Breytenbach. Sasol Art Museum
rens T. 058 256 1620 Road, Woodstock, T. 021 447 2396 Jun, Signature Works on Paper 221 Long Street, Cape Town, Salon 91 Contemporary Until 13 Jun, Johann Louw, a mid-
(SWOP,Travelling Exhibition from T. 021 422 5246 Until 10 May, Through the looking career retrospective.
Johannesburg Art Gallery Warren Siebrits Modern & Inky Cuttlefish Studios; Inkanyezi, glass, Mixed Media paintings by 52 Ryneveld Street, Stellenbosch.
Blou Donki Art Gallery Art B Gallery
10 May-03 Jul, Journey on a Tight- Contemporary Art Anna Alcock. Dagmar Sissolak. Until 20 May, T. 021 808 3695
Contemporary Art, Steel Sculp- From 20 May, b.lettered exhibition
rope an Albert Adams Retrospec- Until 8 May, Main Gallery, Joburg 3 Millar Road, Durban. Gallery Odes Lorenzo Nassimbeni’s latest wall-
tures, Functional Art, Photography, a traditional application of the
tive. Until 7 Jun, For Tshepo, Ten Art Fair exhibition. T.031 312 0793 For May, The Unbearable likeness paper/fabric designs, illustrations
Ceramics. Windmill Centre Main Calligraphic art form, includ-
Years Later, Mphapho “Ra” Hlas- 140 Jan Smuts Avenue, Parkwood, of seeing; by Gordon Clark and original drawings. University of Stellenbosch Art
Street Clarens T. 058 256 1757 ing handmade books, citations,
ane, Artist at the Nando’s Project Johannesburg, T. 011 327 0000 The Old Biscuit Mill, 357 Albert 91 Kloof Street, Gardens, Gallery special awards and metal mobiles,
Room #4. Until 3 Jul, Portraiture Bank Gallery Road, Woodstock, Cape Town Cape Town 021 424 6930 7-30 May, SRC Photo & Art
through Photography, curated by jewellery and examples of beach T. 021 423 4687 Competition.
Until 28 May, Situation, works by calligraphy. Work of international
Khwezi Gule, in the Basement Vaughn Sadie at the Bank Gallery. Stellenbosch University, cnr of
Gauteng Gallery. On 19 May 2009, Inter- Pretoria Bank Gallery, Morningside, Dur-
calligraphers will also be exhibited These Four Walls Fine Art Bird and Dorp Streets,
national Museums Day, including On display will be the tools of the Goodman Gallery, Cape Galley Stellenbosch T. 021 808 3489
ban T. 031 312 6911, trade and materials.
work by the late Cecil Skotnes. Alette Wessels Kunskamer For May, Thomas Mulcaire, The Until 9 May,Lifeboat, works by
Johannesburg King George Street, Joubert Park, Exhibition of Old Masters and Library Centre, Carel van Aswegen exhibition establishes relationships Maya Marshak
Johannesburg T. 011 725 3180 selected leading contemporary Street, Bellville T. 021 918 2301, between objects, images, curatorial 169 Lower Main Road, Observa- SMAC Art Gallery
Durban Art Gallery
Artspace - JHB artists. projects and institutional works. tory, T. 021 447 7393. Until 10 May, Locations, works
13 May-28 Jun, Sacred Legacy,
6-30 May, Walking the line, group Maroelana Centre, Maroelana. 3rd Floor, Fairweather House, 176 by Jonathan Guaitamacchi; Until
Reproductions of historical photo- Association for Visual Arts
exhibition featuring printmaking Market Photo Workshop GPS : S25º 46.748 EO28º 15.615 Sir Lowry Road Woodstock, 10 May, Echoes, paintings by Jake
graphs of Native North Americans (AVA)
and drawing by Toni Ballenden, Until 13 May 2009, Reunion Chro- T. 012 346 0728 Cape Town T. 021 462 7573/4, Urban Contemporary Art Aikman.
by legendary photographer/eth- Until 08-21 May, Out of Sight,
Elizabeth Gunter, Ernest Korkie, niques, explores the landscape, C. 084 589 0711 06 May-27 Jun, Nuance, work by De Wet Centre, Church Street,
nographer Edward Curtis. 3 drawings, watercolours and pho-
Ian Marley, Jody Olen, Craig culture, and identity of Réunion four painters and a sculptor, Cath- Stellenbosch T. 021 887 3607
Jun-19 Jul, Roger Ballen: Boarding tography, solo exhibition by Justin
Smith, Colijn Strydom, Jaco van Island. Photographers include Infin Art Gallery erine Ochulla, Maricel Albertyn,
House. Until 17 May, Not Alone, Brett.
der Heever and Judy Woodborne François-Louis Athenas, Raymond Fried Contemporary Art Gallery Wolfe Street Chelsea Wynberg T. Lionel Smit, Varenka Paschke and
an international project of Make 35 Church Street, Cape Town,
Chester Court, 142 Jan Smuts Barthes, Thierry Fontaine, Yo-Yo Until 16 May, Four women and 021 761 2816 and Buitengracht St Jonathan Munnik. Stellenbosch Art Gallery
Art-Stop Aids, curated by Carol T. 021 424 7436,
Avenue, Parkwood, Johannesburg. Gonthier, Line Leclerc, Edgar a man, Ruhan Janse van Vuuren, Cape Town T. 021 423 2090 46 Lower Main Road, Observatory, Permanent exhibition of Conrad
Brown and David Gere. Until Dec
T. 011 880 8802 Marsy, René-Paul Savignan, and Anna Gous, Jackie Schoombie, Cape Town T. 021 447 4132, Theys, John Kramer, Gregoire
2009, Pic(k) Of The DAG, South Atlantic Art Gallery Laurent Zitte. Marina Aucamp, Esme Kruger. Boonzaier, Adriaan Boshoff and
African works from the gallery’s A permanent display showcas-
Until 10 May, CéTàVOIR – Image 430 Charles Str, Brooklyn, Pretoria Permanent Collection. Irma Stern Museum other artists.
Brodie/Stevenson Singuliéres, a body of work by T. 012 346 0158 ing leading contemporary South Until 9 May, Exodus, works by The South African Print Gallery 34 Ryneveld Street, Stellenbosch
Second Floor, City Hall, Anton African artists.
Until 30 May, The frontier is never eight students at a photo festival Roxandra Dardagan Britz. Until 23 May, Tributes: Sam Nh- T. 021-8878343
Lembede Street, Durban 25 Wale Street Cape Town,
somewhere else, a solo exhibition in Sète, France alongside work by 12 -30 May, Themes and Vari- lengethwa and Friends, showcases
T. 031 311 2268 T. 021 423 5775
of paintings by Mary Wafer. Until David Goldblatt. From 20 May, Glass Forming Academy ations; earth, water, ice, mixed Nhlengethwa’s Tribute Series
30 May, Project 004: Sibusiso Tierney Fellowship Exhibition, A 30 May, 2009, Featuring interna- media works on canvas by Ursula in dialogue with works by Peter Hermanus
cover/museums/dag Bell-Roberts Contemporary
Duma. solo show by Tracy Edser. tional glass artists: PETER BREM- Niblett Zeller. Clarke, Marlene Dumas, William
373 Jan Smuts Avenue, T. 011 834 1444 ERS (Holland) + TIM SHAW Art Gallery Cecil Road, Rosebank, Cape Town Kentridge, David Koloane and Abalone Gallery
Durban University of Technology Until 16 May, In Black and White,
Johannesburg T. 011 326 0034, (Australia. Glass Forming Events T. 021 685 5686 Judith Mason. Until 8 May, Anthology, Lien
(DUT) Gallery group exhibition features works by and Exhibits from 15h00 till 20h00 107 Sir Lowry Road, Woodstock, Botha.
Until 18 May, Andrew Verster Pierre Fouché, Carol Ann Gainer,
Museum Africa Shop 11, Greenlyn Centre Cnr. Steve Biko Campus, Cecil Renaud Cape Town, T. 021 462 6851 2 Harbour Rd, The Courtyard,
Art on Paper 25 May-24 Dec 2010, l’Afrique: Thomas Edison & 13th Ave, Nigel Mullins, Cameron Platter, Iziko South African National Hermanus. T. 028 313 2935
Theatre 2nd floor,Durban Kevin Brand, Wayne Barker, Mx-
Until 16 May, Drawings by Walter A Tribute to Maria Stein-Lessing Menlopark Pretoria 083 530 2800 Gallery or olisi Sithole, Stuart Bird, Dianne
Battis. and Leopold Spiegel; Co-curated Until 14 Jun, The Tropics, Views What if the World…
031 373 2207 Victor, Cara vd Westhuizen, Justin
44 Stanley Ave, Braamfontein by Nessa Leibhammer and Natalie from the middle of the globe; 05-24 May, Sing into my mouth, Philip Harper Galleries
Werf (Milpark), T. 011 726 2234 Knight. Magpie Gallery Fiske, Donovan Ward, Minnette Until Jul 09, Scratches on the Works by Bridget Baker, Emma Specialising in South African old
KZNSA Gallery Vari, Jane Eppel, David Brown and 121 Bree Street, Newtown, 02-14 May; Justified Jotting: Face. Until 10 May, Wonderland: Coleman, Sue Clark, Tom masters and select contemporary
Until 10 May, Big Night Out, Lynette Bester.
Johannesburg, T. 011 833 5624 Drawn out; An exhibition of drawn Group Exhibition. Until 10 May, In Nontsikelelo Veleko, Standard Cullberg, Anja de Klerk, Barend artists.
David Krut Projects out jottings by more than 25 artists. Until 16 May, Tales from the Bank Young Artist 2008; de Wet, Peter Eastman, Teboho Oudehof Mall, 167 Main Rod,
the Cinema, Mlu Zondi, Despotica: Mantelpiece, an exhibition of
7 May-13 Jun, Into the Spine, Shop 21B, Southdowns Shopping Until end May, What We See. Edkins, Gus Ferguson, Gimberg & Hermanus T. 028 312 4836 www.
performance art video. Until 10 small-scale sculpture by three con-
paintings and prints by Maja National School of the Arts Centre, Centurion T. 012 665 1832 Voice, Image and Versioning, at Nerf, Douglas Gimberg, Matthew
May, KZNSA Members profes- temporary artist jewelers, Philippe
Maljevic. 11-16 May, 8th Annual Festival the Iziko Slave Lodge; Until 28 Hindley, Pieter Hugo, Mandy
sional practice course exhibition, Bousquet, Geraldine Fenn and
142 Jan Smuts Avenue, Parkwood, of Fame, Jun, ‘Dis-ease’, a collection of Lee Jandrell, John Nankin, Sarah
Liam Lynch. Until 20 May, ‘Not Marchand van Tonder
Johannesburg T. 011 447 0627 17 Hoofd Street, Braamfontein, Naude Modern recent video art drawn from the Nankin, Cameron Platter, Andrew
Alone - An international project 176 Sir Lowry Road, Woodstock, T. 011 339 6539 Until 27 May, Chimera, exhibition Rijksakademie archives, curated Putter, Gregg Smith, Doreen
of Make Art/Stop Aids’ includes T. 021 465 9108 by Paul Boulitreau, works by artists from Brazil, the by Greg Streak. Southwood, James Webb, Ed
Everard Read Gallery Jhb 254a St Patrick’s Road, Government Avenue, Company’s Young.
USA, India and South Africa in a
Until 17 May, Paintings by Peter
Obert Contemporary at
Muckleneuk Ridge, Pretoria,
T. 012 440 2201
variety of media including paint-
ing, sculpture, photography and
Blank Projects
Garden T. The 021 467 4660,
Curated by Julia Rosa Clark.
First floor, 208 Albert Road Please
Trifecta, a project in three parts by
6 Jellicoe Avenue, Rosebank,
Johannesburg T. 011 788 4805
Current show, Untitled, by Mark
Erasmus embroidery.
166 Bulwer Road, Glenwood,
Deadheat (Dorothee Kreutzfeldt João Ferreira Gallery
Woodstock T. 021 448 1438 www. E-mail us
& Bettina Malcomess: Image, 14 The High Street, Melrose Arch,
T. 011 684 1214
Pretoria Art Museum T. 031 2023686,
opening 6 May; Voice, opening
6-29 May, Two men and their dogs
and other works, sculptures by your art gallery
13 May, Screen, opening 21 May.
Gallery MOMO
Until 11 May, group show. 14 PAM - North Gallery, Until Jul, an
interesting selection of artworks Tatham Art Gallery
198 Buitengracht Street, Bo-Kaap,
David Brown.
70 Loop Street,Cape Town,
Franschoek listings at
May-8 Jun, Solace of a Migrant, Origins Centre from the Museum’s permanent Cape Town, T.072 1989 221, T. 021 423 5403
Schreiner Gallery: Until 3 May,
Paintings by Zambian artist Stary 28 May-24 Jul, Exposition, Solo collection.
Zotha Shange, Rolling Ball Sculp- Gallery Grande Provence
exhibition by Fiona Couldridge. PAM – South Gallery, Until 1 Dec, ture exhibition; Ceramics Room: Until 27 May, Relate: A duo
52 7th Avenue, Parktown North, Cnr Yale and Enoch Santonga Str. A selection of artworks tells a brief Cape Gallery Johans Borman Fine Art Gallery
Curriculum Curricula exhibition Until 09 May, recent paintings, exhibition featuring the works of
Johannesburg T.011 327 3247 University of the Witwatersrand story of South African art from SA Master Paintings; By Irma
- Ceramics and Applied arts, exhi- watercolours and etchings by a father and son, a sculptor and T. 011 717 4700 the time of the first San artists, in- Stern, Maggie Laubser, JH Piern-
bition extended. Until 7 May, Main Marilyn Southey and paintings painter, Anton Smit + Lionel Smit. cludes early 20th century painters, Exhibition Room, KZN Matric Art eef, Hugo Naudé, Ruth Prowse, Main Road Franschoek,
Gallery on the Square Resistance artists and artists of the by Jenny Northard; Until 30 May, Gerard Sekoto, George Pemba
Exhibition. From 7 May, Schreiner New paintings in oil and etchings T. 021 876 8600
6–20 May, Nelson Makamo, A Resolution Gallery 21st century. and Gregoire Boonzaier, as well
Gallery: Settling In, a solo exhibi- by Diane Johnson-Ackerman.
Place I Call Home. Until 17 June, Disasters, Angel PAM - Albert Werth Hall, 14 May- as contemporary works by Walter
tion by Vulindlela Nyoni. 60 Church Street, Cape Town,
32 Maude Street, Nelson Mandela Haro, Michael Wille, Vulindlela 16 Aug, Mbongeni Buthelezi’s Meyer, Jacobus Kloppers, Hussein
Cnr. Of Chief Albert Luthuli T. 021 423 5309
Square at Sandton City, Sandton, Nyoni. first touring national exhibition of Salim, Ben Coutouvidis, Hen-
(Commercial) Rd. and Church
Johanesburg. T. 011 784 2847 142 Jan Smuts Avenue, Parkwood, “plastic painting”. nie Niemann Jnr, Philip Barlow,

Johannesburg viewing at Stephan Welz and Company, in association with Sotheby’s

Henry White and Michael Goodman, avid art collectors, Mr & Mrs Jansenns, Bevan Rees, of Saronsberg Wine
with the William Kentridge “The Highveld Style Masked Estate, Thandi Puren & Karen-Leigh Devaux de Marigny
Ball” in the background. of Stephan Welz and Company

Work from the “Nothing new” exhibition, George, Western Cape

Drip Series 2, 120 x 120cm, Oil on Canvas, 2009, Lionel Smit. Nuance,
opening at UCA Gallery on 6 May, contains work by four painters and
a sculptor – Catherine Ochulla, Maricel Albertyn, Lionel Smit, Varenka
Paschke and Jonathan Munnik – who speak to the body as a site of social
and emotional politics. Cooperatively, the work suggests that beauty lies
rather in a body’s subtle deviations from the physical ideal than in the
ideal itself.

Work from the show “Nothing new” held at The Strydom Galery, George in April. This jewel of an art gal-
lery in the platterland has just celebrated its 40th birthday and is growing from strenth to strength. for more
infrmation se

Fiona Ewan Rowett

Having used natural form as a starting point
Fiona Ewan Rowett is presently drawn to the
fundamental, more challenging abstract com-
position. Working intuitively, she searches for
that elusive combination of subconscious mark
National School Of The Arts: ITNERACTIVE making and the pulling and pushing of elements
‘Chess’ Learners taking their positions on the board to find a sense of closure.
The School with have its opening day on the 6 May Her passion is not to describe the world as she
sees it but to delve into the invisible world of
sensation, dreams - that space between.

See more of Fiona Rowett’s work at :

Kunst House, 62 Kloof Street, Gardens,

T. 021 422 1255,

Niel Jonker celebrates the

Baardskerersbos Art Route with good spirits

Dr Elfriede Dreyer, the artist Paul Boulitrean and

Andre Naude at the new Naude Art Gallery

David Brown: Two men and their dog and other works
João Ferreira Gallery. 6 - 29 May 2009
I made my first dog as a ‘dog of war’ in 1979 it was carved in wood and parts, like muzzles and collars, were clad in steel. Subsequently I had my second exhibition at the Goodman Gallery in Johannesburg in 1980. The theme of the dog had then evolved into a series called One man and his dog. These
were monumental two-piece sculptures showing maimed figures on wheeled structures drawn by dogs. My first studio was situated on the edge of District 6 in a derelict building in Canterbury Street. Life in this area was raw and hard. District Six was crumbling and meths drinking street people lived out-
side my studio window. The stories they told were of desperate lives, but with fondly conjured memories of homes that once existed and the pleasure of family once experienced. The sculptures I made at that time reflected this a microcosm of bizarre paradoxes made more stark by the ruthless oppression of
the apartheid state. Humour, too, however dark, has always been part of my iconography. After that time I never made another dog until a collector asked me in 2004 to make a large sculpture for him with two men and a dog. The 6 small dogs were maquettes for him to choose from. Enjoying revisiting an
old theme I made a few more resulting in this small exhibition. Dogs are our closest companion species, but they can also go feral and become dangerous in ways not unlike their human masters.- David Brown. Gallery Hours: Tues - Fri: 10am - 5pm Sat: 10am - 2pm. 70 Loop Street Cape Town 8001 South Africa

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Contents of titles include in depth coverage of the SA artworld, art news,
Special ends 1 June 2009
interviews with both artists and art market professionals, listings, art auction
and a whole lot more.

But is it an investment?
By Michael Thorne, Alfred Bester stock market or the art market. their horse gets in on the deal. This straight on auction. as an investment and as a store of any interest in the collection and to minimise the impact your art as an investment asset because
and Andrew Bradley Sometimes you will get it right but is not as technical as when you wealth, there is no CGT because may simply dispose of it. collection will have on your estate they do not generate any invest-
more often than not, you will lose analyse a company in which you If you buy from a gallery, about 30 art is a movable asset. Although for estate duty purposes. This can ment returns. Property and shares,
This article was first published in money on costs and be out of the want to invest. Basically, you are percent to 40 percent of the cost of your collection needs to be It is important to appoint an execu- be achieved by subjecting the for example, do meet the criteria
Personal Finance magazine, 2nd market at the wrong time. trying to anticipate what the future the artwork will go to the gallery included as an asset in your estate tor who understands art, its value collection to a notarial lease (a in that they generate rental income
Quarter 2008. sentiment around an artist and a as commission and on top of that that is calculable for estate duty in and the ultimate benefit it could lease drawn up and executed by a or dividends. Based on these they
If you have to put some time frame piece of work will be. you will pay value-added tax. Most the event of your death, your estate serve, not only to the family but notary) for a period of not less than could also generate capital growth.
to an art investment, it seems serious buyers build up a relation- would not need to pay CGT on the also to the public. 30 years, during which period the Art is therefore not in the arena of
Investing in art is – or should be like three to five years is a good Andries Loots, of Vgallery (a ship with a gallery owner or two. profit of a sale of the art. owner’s death occurs (meaning the an investment. So, where does that
– like investing in the stock mar- horizon with which to work. What South African online gallery), There are definite benefits in going It might seem odd that deceased owner has to die during the period leave it?
ket. If your time and willingness to is of more importance, however, is suggests that a would-be inves- this route. With a bit of prodding, estate practitioners seldom encoun- of the lease).
learn are limited, you should find to ascertain whether the particular tor does some cross-checking and the gallery ought to reduce its ter art collections or objects of art Well, if you are a dealer who buys
an expert to buy on your behalf. If work or works in which you are consults at least three different commission on sales. The gallerist One of the big pros of selling art- in deceased estates in South Africa. The lease could, for example, be and sells art, taking a commission
you want to do it yourself, you’ll interested are overpriced and, more galleries. Some galleries might will recommend up-and-com- work through a gallery is that the This might lead to the conclusion in favour of Iziko South African from these activities could make it
have to build up your knowledge specifically, whether there is a well punt “their” own artists and ing artists and, when it comes to gallery will have a buyer list and that these collections are disposed National Gallery or an association, a business. If this is the case, there
about artists and the art market in bubble in the market ... too much it is vital to get a broad view of resale, the gallery will offer advice if the artist is well known it should of prior to death, but often they are such as The Friends of the South are significant other implications
order to separate the hype from the cash pushing up the prices and the market. Loots also suggests and/or wall space. Galleries are be a fairly straightforward process, simply not declared to executors. African National Gallery, as long that do not apply to most art lov-
truly talented. We provide these then FFZZZZst as major collectors going to exhibitions and auctions, obviously very keen to build up a although you stand to lose a chunk as the lessee retains the status of a ers.
pointers. offload their work and the bubble reading and doing online research. long-term relationship and will not in commission. The fact that there is no centralised public benefit organisation (PBO)
deflates. This is a period of building “visual be too impressed by a hit-and-run record of art in South Africa has in terms of the Income Tax Act and Art can be a lifestyle asset you
Once upon a time, as a pacing literacy”, which continues until the speculator. On the auction front, the South led in many cases to art collec- related legislation. The total value enjoy and from which you gain
bachelor, I bought an erotic paint- Alfred Bester, of international pro- day you die. African public seem to be laggards tions becoming a “secret store of of the collection would therefore fulfilment, just like a motor car
ing. It was well executed by an ac- fessional services firm Maitland, Many people also buy artwork but this appears to be changing. wealth” that passes silently from not only escape CGT, but would or boat. The fact that you may
complished artist, an excellent in- in Cape Town, advises clients on Separating substance from spin online. However, this can be very Auctions are attractive to buy- one generation to the next without also be exempt from estate duty. At ultimately make some money from
vestment in my fantasy world and the benefits of fine art investment There was a fairly unanimous difficult because art is so tactile, ers and sellers alike because of being disclosed. This could be an the end of the notarial lease period, these assets is purely incidental to
it led to a life-changing meeting where appropriate in estate plan- agreement among the experts to and textures and to a lesser extent the likelihood of getting a better oversight but it could equally be to the collection would merely pass the lifestyle and aesthetic benefits
in a crowded gallery. Financially, ning. whom I spoke about what you colours can never be captured price and the reduced commission escape estate duty and donations to the lessor’s beneficiaries, which you derive from them.
however, it was a damp squib. The should look for in a potential win- properly at the low resolution payable. tax. could be a suitable family trust.
paint peeled off and the artist hung He points to the slump in the art ner. demanded by the internet. Art can also be a speculative or
up his brushes. market between the late 1980s and A note of caution, however: costs The South African Revenue Should Iziko South African Na- philanthropic asset. If you are buy-
early 1990s. The Japanese, cash in Estelle Jacobs, a former director of According to Jacobs, opportunities need to be checked out pretty Service (SARS) is becoming more tional Gallery elect not to take con- ing art to support a budding artist,
Needless to say, there are a number hand, climbed into the art market, the Association for Visual Arts, one do arise when the work of a well- carefully. For example, in the event sophisticated, and at some stage it trol and possession of an art col- your art purchases could have a
of points that can be teased from and when their equity and property of Cape Town’s oldest non-profit known South African artist is sold that your work is not sold, you is likely that a centralised record of lection after the death of the lessor, very strong philanthropic slant to
my experience. markets retracted, they were net art art galleries, notes the following online in the United States, for one need to determine whether you, as art sales will be established. another recognised state institution them. You expect nothing in return
sellers. Prices slumped internation- important traits you should look reason or another, cheaper than it the would-be seller, will be saddled or PBO, such as The Friends of the except the emotional fulfilment
The blue lady (for want of a better ally, and it is only in the past two for: commitment, professionalism can be acquired here. with “hidden” costs. With the introduction of the South African National Gallery, as from the gesture you are making.
title) was retail therapy and sexual to three years that art values glo- (artists who deliver when they say Financial Intelligence Centre Act, a quasi “art ombudsman”, could be
fantasy, but definitely not part of a bally have recovered to the levels they will), ambition (whether it is The work is “repatriated”, held for Bester has the final say on auc- any suspicious transaction must be appointed to have effective control, If you are buying because you
broader financial plan or an invest- they were at 10 years ago. for fame and/or fortune), the en- a couple of years and then sold at tions: “There are a lot of artists out reported by any suspecting party to while the benefactor’s estate would believe the artist or the piece will
ment strategy. I wanted to hang it ergy to create and have exhibitions a handsome profit. Well, that’s the there who are overvalued, based on the Financial Intelligence Centre. still be able to enjoy estate duty in time receive greater recognition
on my wall, not put it away in a Bester observes: “There is not a every couple of years, and a solid idea anyway. the marketing practices of certain This could have a direct effect on relief. than is currently the case, you are
safe. I paid no thought to selling it direct correlation but a similarity track record of past exhibitions. galleries. They create the hype, the auction industry, which could speculating – not investing. Your
on – although I could have made in movement between the art and It is worth noting that the offshore but if you analyse it and compare be compelled to declare details of Other opportunities exist where the gamble may well pay off, or it
a quick buck when it turned out the share markets, with ups and Loots suggests that a fine art art market is highly sophisticated the price at the gallery against buyers and sellers of art through collection could flow through to a might not. The artist may not fulfil
someone else at the exhibition downs you need a crystal ball to degree is viewed as a sign of seri- and there are a range of indices what you might realistically get auction houses. This “big brother” specialist trust, which looks after his or her potential, or the piece
desperately wanted it! predict, but obviously driven by ous intention and commitment, that you can follow. on auction, it’s like being the concept already directly affects the collection in perpetuity. The may not receive any interest from
sentiment.” certainly in some circles. manager of a boxer: you talk up the banking, financial, fiduciary founder of the trust could appoint anyone other than you. In these
I knew a bit about the artist but Two websites that track fine art as your guy until he gets into the ring and property sectors. It would not family members and the nominees instances, the odds on the gamble
didn’t know how many exhibitions Having said this, Bester believes However, what might overshadow an investment are www.artasanas- and gets smacked. The litmus test be unreasonable to expect tighter of, say, The Friends of the South will be too high.
he had had and where, nor how that the quality of good South Afri- all of the above and what can never and for most of our artists is how well controls in other sectors of the African National Gallery or a
serious and/or prolific he was. And can art is now starting to compare be underestimated is the power Big auction houses also track they do on public auction, where economy, forcing the ultimate dis- similar institution as trustees under It is therefore crucial that you
the peeling paint? Well, that is akin favourably with top international of spin – which artists are getting individual artists just as you might you haven’t got the intervention closure on death of art, art objects, conditions stipulated by the trust understand where any purchase fits
to buying a flat and having the art, and he does not think there airtime and who is being punted track a share. of galleries. There are a range of book collections and the like for deed. The founder of the trust may into your overall portfolio. If it is
walls cave in. is a bubble in the local market, by the galleries? None of us wants individuals and dealers, and that is the purposes of estate duty and also be a trustee of the trust. art, make sure that, from the start,
although recent international sales to be the next naked emperor, so it When it comes to buying work where you will find the true value.” donations tax. you derive full enjoyment from
No doubt there are far better ways would indicate that the bull run is vital to ascertain what and how by one of the “big hitters”, the it. It is therefore a lifestyle asset,
of making money than investing in art prices may be coming to an much substance is behind the spin authenticity of the piece must be Fine art investments must surely Art acquired by way of purchase, Alfred Bester is the head of trust which may have some speculative
in fine art, but they might not be end. or if it is, in fact, just hot air. validated and the physical condi- fall under the banner of ethical inheritance or donation must be and corporate services of Mait- benefits. It is at no time an invest-
nearly as interesting. Antoinette tion of the work determined. If you investments. Dividends are paid in disclosed on your income tax land, in Cape Town. This article ment.
du Plessis, of 34 Long Fine Art, Until about 10 years ago, the As far as the building of an artist’s buy a stolen painting, the original every glance and in the satisfaction return, even if you regard the items was originally printed in InTouch,
a gallery in Cape Town, puts it South African art market, like the reputation goes, Loots refers to owner is entitled to reclaim it of knowing you are supporting a merely as personal-use items and Maitland’s quarterly newsletter. As you accumulate lifestyle assets
well: “The committed collector is financial markets, was pretty much the importance of the secondary and you will be left with empty creative person, challenging you part of your household furniture and speculative assets, remember
rewarded with a lifetime of won- off the map. By the mid-1990s, and tertiary markets for art – in pockets, so the provenance of a to look at the world in new ways. and effects. In terms of current Art and collectibles in your port- that your financial future will be
der, of living with loved objects it seems no South African artist other words, an artwork coming piece, its unique history (where it Shares you can feel excited about, legislation, art or art objects are not folio secured only by investments, with
and, sometimes, with a handsome had ever achieved more than R1 back onto the market for a second was exhibited and who has owned but a painting you can fall in love subject to capital gains tax (CGT) Andrew Bradley help from business assets. Until
financial return.” million on auction, whereas now or third time. Loots always knows it) will settle the authenticity of with. No doubt, had I invested that on disposal unless you are an art Over the past few years there has you have secured your financial
some good work is fetching prices when a particular artist has sold ownership. There are experts who money I spent on The blue lady in dealer, because they are regarded been a great deal of publicity about future through investment assets,
Just how much time do you have closer to R5 million. This increase well on auction: his telephone can assist with this, as well as with a good share, I would surely have as personal-use assets. (Interest- the phenomenal returns achieved you should keep your speculation
and how interested are you in in value has been driven by two doesn’t stop ringing as buyers try the valuing of a painting. made some decent money, but then ingly, neither the Income Tax Act by art and other collectibles. These and lifestyle assets to a minimum,
investing in art? Your answer to factors. First, and most dramatic, to find the availability of other ... I might not have met my wife! nor the Estate Duty Act actually reports are a reflection of reality. otherwise you are gambling with
these questions will dictate your has been the extended bull run works by that artist. Taxes and commissions defines an art object.) your future well-being.
investment strategy. in our share market, and addi- Owning art is one thing, but how However, it is inappropriate to
tional markets have been created How to buy do you look after it once you have Michael Thorne is a dabbler in the Should you leave your art assets to extrapolate these cases as a general As a sobriety-check, also ask your-
One way of doing things is to hand as people turn to find other stores Once you have identified an artist, it? Will you put it into a trust vehi- arts and the managing director of your spouse, they will be exempt rule, because it is impossible to self where the money comes from
over your cash and decision-mak- of value. Second, South African art there are a number of ways that cle or keep it in your own name? Sparx Media Illustration Agency. from estate duty in terms of sec- determine how far down the value to bid up the prices of art and col-
ing to a gallerist or an art dealer, or has also become inter-nationally you can go about buying his or her Do you want to ring-fence your tion 4(q) of the Estate Duty Act. chain these remarkable returns lectibles. The only conclusion can
to invest offshore in a hedge fund recognised, especially many of the work. Artists often have exhibi- collection to protect it from busi- The art of reducing estate duty However, on the death of the last- have permeated. be from business and investment
that includes fine art. If, however, dead artists: Irma Stern, JH Piern- tions or open days at their studios, ness risk or from unappreciative Alfred Bester discusses how art dying of you and your spouse and assets. So when these two areas of
you want to get your hands dirty, eef, Gregoire Boonzaier, Maggie are part of an “art route” – for family members? owners can organise their affairs to assuming you have left the assets As human beings, we have a nasty the economy are buoyant, you will
you will have to put in the time, Laubser, and other “big hitters” example, the Midlands Meander minimise estate duty and donations to your children or their offspring, habit of over-simplifying matters find that they fuel the prices of life-
because, as in all investing – as such as Gerard Sekoto, Gladys or False Bay art route – or will set Bester says: “If, in your will, you tax. the market value of the assets will and creating rules of thumb. We style and speculative assets. Even
opposed to gambling – knowledge Mgudlandlu, Francois Krige and aside time to show you their work. leave your art collection to a fam- contribute to the dutiable value of also have a selective short-term then you should have your money
and research are fundamental. George Pemba. ily trust and during your lifetime Art is usually acquired out of your estate. Estate duty is charged memory when we do not properly tied up in the engine room of eco-
Auctions are also exciting places you enter into a lease agreement a love for art rather than as an at a flat rate of 20 percent on the understand what it is we are deal- nomic growth and prosperity. Only
Assuming you would like to be a The international recognition of to buy, but you need to know what with, for example, the National investment. However, the market net dutiable estate. The net dutiable ing with. surplus assets should be allocated
hands-on investor, the first thing South African artists is not without you are after and to know your Gallery, the gallery will have the value of art assets may well con- estate is determined after deducting to art and collectibles that can give
would be to decide how much you some dangers for art lovers. Bester ceiling. There is often bidding up right to exhibit it publicly (rather tribute substantially to the dutiable the primary rebate of R3.5 million, To avoid being caught up in you a speculative gain.
are prepared to invest and over feels strongly about the possible (people getting carried away in the than the collection being hidden value of your estate when you die. administration expenses and credi- hysteria, it is important to create a
what term. Du Plessis says: “Like loss of good South African art moment) and the ensuing feed- away in your home), and after 30 tors’ claims, as well as any further proper framework for making any
all investing, [investing in art] has to overseas investors. He feels ing frenzy is great for the auction years it reverts to the family trust Should there be insufficient liquid- deductions in terms of section four investment decisions. Firstly, you Andrew Bradley is the chief execu-
an edge of unpredictability and it would be a sin for a beautiful house and seller, but after a few without incurring either estate duty ity in your estate, the executors of the Estate Duty Act. need to understand the different tive of acsis, a financial planning
always some risk ... outcome is de- painting to be secreted in some seconds of glory you will be left or capital gains tax (CGT).” may be compelled to realise the kinds of assets you may own. company.
termined by information, risk-tak- bank vault, lost to appreciative holding the baby. It is a sobering art assets to pay administration There are perfectly legal ways of There can be business assets, life-
ing, patience and passion. Timing eyes and hearts. thought that, according to Loots, Another important point raised by expenses, creditors’ claims and minimising estate duty, notably style assets, investment assets and
can be crucial.” paintings go for more on auction Bester is that if you are a dealer estate duty. The collection might through the opportunity afforded philanthropic or speculative assets.
Positing the obvious, value for than they do in galleries, and it is buying and selling art, you will be divided among a multitude of by art assets. The Estate Duty
But everyone knows how difficult money is crucial, as is trying to tempting for speculators to buy be subject to income tax, but if beneficiaries. Worse yet is the case Act creates the mechanism by Art and collectibles do not meet
it is to time the market, be it the spot a winner before everyone and from galleries and put the work you are a collector and doing it where none of the beneficiaries has which you can create a structure any of the criteria to be classified

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Terence McCaw Kalk Bay, Cape Town

Profile: Terence McCaw

Founder member of the New Group Garden, Hout Bay (Estimate R120 000 – R150 000) one of six works by the artist on the Cape Town Swelco auction 26 May 2009

and created appeal for Cape Impressionism

South African Art Auction May update
Terence McCaw (1913 – 1978) some respite from the ideals of the Michael Coulson The only two lots to top GBP10 gross of R5.36m was well short of 000, was bid up to R123 200.
was awarded a scholarship to New Group in order to capture the 000 in this section were two the low estimate of R8.10m. How-
study at the Witwatersrand Techni- landscape of warfare in a fairly The two most recent auctions in- Kentridge graphics, lots 33 and 42, ever, the final result may beat this, Swelco notes that artist records
cal Art School, where he was realistic manner. The spontane- volving SA art confirm two trends: at GBP15 600 (GBP8 000-GBP12 as several lots on the auctioneer’s were set for landscapes by Cath-
enrolled from 1930 to 1933 and ity, directness and strong visual firstly, that the market for SA art 000) and GBP20 400 (GBP20 000- price list are marked TBA (to be cart Methven landscape, at R201
studied under Sydney Carter and appeal of Cape Impressionism was is in SA; and secondly, that, no GBP30 000) respectively. advised), implying that the con- 600 (R80 000-R120 000) and Ger-
Emily Fern – the influence of Cart- well-suited to this purpose as “his doubt in part as a result of tough signors may accept below-reserve hard Batha, at R67 200 (R20 000-
economic conditions, buyers are Given these failures, the surprising bids after the event. R30 0000), the latter reportedly
Profile: Dumile Feni:
er on his work endured throughout pictorial account of people, places
his artistic career. McCaw and and events along the battlefront shying away from some artists that top price went to an acrylic and greeted by “applause and amused
Walter Battiss met and became won him further acclaim.” After have been commanding the highest watercolour painting by Nigeria’s These included the top estimate reaction.” Battiss and Boonzaaier

1968 Drawings close friends while studying to-

gether; with Battiss declaring him
“without doubt the best painter
the War he returned to South
Africa and settled in Hout Bay. In
1948 four works were included in

Bonham’s sale of African Con-

Benedict Enwonwu, estimated
at just GBP20 000-GBP30 000,
which was bid up to GBP66 000,
work, the Irma Stern double
portrait (R800 000-R1.2m) and a
clutch of five Adriaan Boshoffs
were also well supported.

Next major event is Graham

Johans Borman Fine Art Gallery at the school.” They maintained the Overseas Exhibition of South temporary Art in London on April followed by GBP30 000 for a (ranging from a low of R150 000 Britz’s auction of the Brett Kebble
a life-long friendship and went African Art. In 1950 he joined a 8 was nothing short of a disaster. sculpture by Ghana’s El Anatsui to a high of R900 000). collection, about which I can say
‘I am amazed by one thing that to a tribal reservation. Dumile in on several painting trips together. scientific expedition to Mozam- Overall, 50 of the 95 lots sold, or (GBP8 000-GBP12 000). little as Britz declined the normal
I’m glad never left me - that is the desperation returned to Johannes- Determined to earn his living as bique and Zimbabwe as official 53%, but as the highest estimate Others left on the shelf include professional courtesy of provid-
beauty of the lines, the fine lines’ burg and applied for a passport to a professional artist he worked artist to record newly discovered works failed to sell, the gross of Stephen Welz & Co in Association two Pierneefs (R300 000-R500 ing the media with copies of the
(Feni, 1987). leave the country. He had to wait in Cape Town for a year after his paintings of the ‘Bushmen’. This GBP352 000 (as always, including with Sotheby’s (Swelco)’s Johan- 000 and R200 000-R300 000), two catalogue. But I note that earlier
for a year before he was granted the studies before returning to Johan- trip resulted in a show in Harare buyer’s premium and Vat, where nesburg sale on April 20 went Ngatanes (R250 000-R350 000 suggestions that the gross could
In an interview with Eva Cockcroft passport (Ngakane, Lionel. Dumile: nesburg to work as a commercial and included landscapes of the applicable) fell under half the low better, especially the first session, and R100 000-R150 000) and two reach R100m have been moderated
for Art and Artists in 1983, titled A Profile. African Arts/Arts de artist. One can only guess that Zambezi area. Following this he estimate of GBP731 000. which as usual comprised minor Lucky Sibiya wood panels (R100 to R50m-R70m, while my main
I Come From a Long Tradition, Afrique 1970 volumeIII). this was a compromise brought spent a year painting in Zanzibar, works. Seventyone of the 90 works 000-R150 000 and R80 000-R120 impression of the preview was a
Dumile claimed that the most As a result of Bill Ainslie’s inter- on by the harsh reality of trying the artworks from this time he In terms of numbers, works by SA sold, or 79%, grossing R657 000, 000. wall full of overcleaned and gloss-
important influence in his artistic vention Dumile received an invita- to earn a living from his art while then exhibited in Nairobi. In 1952 artists matched the overall figure, well above the low estimate of ily varnished Sterns that looked as
development was his childhood vis- tion to exhibit at the Grosvenor he was yet to establish a reputa- he returned to visit Italy and lived 19 of 35 selling. But because the R455 000. Top prices were an ex- After the Bonham’s experience, if they had come off the easel that
its to the Bushman caves with his Gallery and eventually acquired a tion. In 1935 his extremely skilled on the island of Ischia for a year. two highest estimates were in this travagant R28 000 for a Christiaan there must have been smiles of morning.
mother, where he saw the paintings South African passport. draftsmanship saw him taking first While he returned to live in Hout category, and neither sold, the Nice landscape (R5 000-R8 000), relief all round when Kentridge’s
of his ancestors. The emotional turmoil he expe- prize in a South African Railways Bay he was to make many return gross was a dismal 27% of the low and R24 600 each for an Andre cover lot drawing The Highveld Swelco’s next auction is in Cape
The statement by Dumile quoted rienced in the first months after poster competition. Thereafter he visits to paint in Italy. The ‘50’s estimate: GBP105 000 of GBP391 de Beer genre scene R6 000-R9 Style Masked Ball reached Town on May 26 and 27. The
above comes from an article in SA his arrival in England, heightened was awarded with a travel bursary were not a particularly produc- 500. The two casualties were lot 000) and a Battiss Nude litho (R5 R560 000 (R500 000-R700 000). house says highlights include
New Writing, Photographs & Art by the birth of his child in South to study art abroad. He furthered tive time artistically for McCaw. 32, a Kentridge oil estimated at 000-R6 000). Another Pierneef did sell, at R392 a Stern portrait of Zoe Randall
(1987), in which he confirmed this Africa, is evident in the dramatic his training in London at Heath- He fell ill and seemed to struggle GBP100 000-GBP150 000, and lot 000, just under the estimate range (R1.8m-R2.4m) and landscapes
early influence, adding that the cave power of the work he produced erleys and the Central School of to regain his health. One may con- 39, a Marlene Dumas watercolour While the sales percentage was (R400 000-R600 000), while a by Hugo Naude (R250 000-R350
paintings still inspired the style and during this period. An inscription Art. While in London he exhibited jecture that he was perhaps floun- and pencil nude (GBP80 000- similar in the second session (101 Pieter Wenning landscape fetched 000) and Terrence McCaw (R120
sensibility of his work. on one of the drawings in the series with the London Group and Royal dering to find his way artistically, GBP120 000). of 126), here too some top-priced R560 000 (R500 000-R800 000). A 000-R160 000).
Dumile had started exploring of 5 starts with the question, “What Watercolour society. His talent having for so long painted to fulfill works fell short, so the reported Preller still life, est R40 000-R60
the Rotring™ fine pen medium shall we name the child: …”. His and skill was such that while still public demand and expectation of
shortly before his departure from daughter, Marriam, was born on 28 a student he had paintings hung his work. Consequently he painted
South Africa in 1968. This was a September 1968. in the Royal Academy, the Royal only sporadically which resulted
significant departure from his large Institute of Oil Painters, the Royal in works of varying degrees of
scale charcoal drawings exhibited When Dumile arrived in London British Association, the Royal quality during the 1950’s.
at Gallery 101 and the Durban Art he stayed with the exiled writer, Portrait Society and at Agnews of The 1960’s saw McCaw concen-
Gallery in 1966 and 1967. William “Bloke” Modisane, who Bond Street. He then spent six trating his creative energy into his
Fine lines were employed in part, provided him with studio space. He months traveling and painting in property at Hout Bay and his re-
in most of Dumile’s drawings to dedicated one of these early draw- Spain and Morocco before return- portedly magnificent garden. This
achieve various pictorial effects. ings, Theme for Bloke, later shown ing to South Africa in 1937, where nurturing of his surrounds bore
The works he completed on his at the Grosvenor Gallery, to him. after he returned once again to artistic fruit and a second wave of
arrival in London are particularly This collection of drawings consists Cape Town. renewed energy as McCaw went
significant as they are characterised mainly of figurative studies, pre- McCaw then became a founder on the have two highly successful
by the consistent use of fine lines dominantly of women in postures member and active protagonist one-man exhibitions in 1972 and
throughout the drawings. of anguish, ranging from a single of the New Group, established in 1975. He died at the age of 64 in
Four figures and the series of 5 female figure who appears to be 1938 with Battiss and Gregoire February 1978. “He had painted
drawings shown on this exhibition running out of the picture frame, Boonzaier. While working in close for over 40 years, exhibited
were among the first Rotring™ to a more complex composition of association with Boonzaier, Mc- throughout the world, and won the
pen drawings Dumile produced in nine figures. Caw would have been exposed to acclamation and respect of critics
London. Four figures was shown at The scale and positioning of the the work of first generation Cape and public alike both here and
his first London exhibition, Dumile figures fully utilize the large paper Impressionist - Pieter Wenning, overseas.”
Feni 37 drawings, at the Grosvenor format, where open space is used who had been a close friend of
Gallery from July 29 to Septem- for dramatic effect, emphasizing the Boonzaier family. Wenning’s Eds. Harmsen, F. & Cook, D. (1979) De Arte 23
April 1979, Unisa Journal of the Department of Art
ber 1 1969. The 5 drawing series the isolation of the figure or figures influence is discernible in Boonza- History and Fine Arts, Pretoria: Unisa, p. 48 quota-
was acquired by Eric Estorick, the in the composition. ier’s work but is much more tion from a letter by Walter Battiss.
Eds. Huntingford, N.P.C & Hardy, R.E. (1982) The
director of the Grosvenor Gallery. The empty spaces are devoid of strongly present in McCaw, even WWII Works of Terence MacCaw S.A. National
Dumile also contributed to the references to landscape or any other though McCaw states Cezanne as Gallery Catalogue 1983 Johannesburg: S.A. Na-
tional Museum of Military History.
landmark show; the Contemporary pictorial devices that define space, influence; this is more visible in Eds. Harmsen, F. & Cook, D. (1979) De Arte 23
African Arts exhibition at the Cam- much like the Bushman paintings Boonzaier’s work. Therefore these April 1979, Unisa Journal of the Department of
New blood at Stephan Welz and Company, in association with Sotheby’s, (left - right) Jennifer Schultz, Anton Welz, Karen Randle and Michael Chandler
Art History and Fine Arts, Pretoria: Unisa, p. 48
den Arts Centre, which took place in the caves that his mother showed two young artists seem to share quotation from a letter by Walter Battiss – italics
within weeks of the opening of the him as a child. much cross-pollination of inspira- his emphasis

Grosvenor Gallery exhibition. He tion, intent and influence. Simi- Eds. Huntingford, N.P.C & Hardy, R.E. (1982) The
WWII Works of Terence MacCaw S.A. National Moving In and Up at Stephan Welz and Company, in association with Sotheby’s
received favourable reviews for his These drawings are minimalist in larly both artists were caught up in Gallery Catalogue 1983 Johannesburg: S.A. Na-
tional Museum of Military History
work at both these shows. composition, but not in execution, the same position. Starting off as Ibid. The start of 2009 saw a number of new faces crossing the threshold of Stephan Welz and Company, in association with Sotheby’s. The Silver Depart-
When researching the history of and some figures are more detailed highly talented, skilled and ambi- Ibid. ment gained the flair of Jennifer Schultz and Karen Randle, while the Furniture Department has been boosted two-fold with the passion of Michael
Werth, A.J. Bulletin, Pretoria Art Museum, Volume
these works and the circumstances than others. The contrast between tious; that which would have first 12 No. 3 July 1978. Quoted from the 1974 exhibi- Chandler and Anton Welz. Jennifer and Karen, with respective backgrounds in Jewellery and Fashion, have brought with them their keen sense of
under which they were produced, the intensely detailed figures, and been ‘new’ work, though hardly tion catalogue. detail. Jennifer is also a winner of the Anglo Gold Riches of Africa design competition. In the auction business many lifelong key members start at the
Eds. Huntingford, N.P.C & Hardy, R.E. (1982) The
it becomes apparent how important the open spaces, heightens the ten- avante garde especially as second WWII Works of Terence MacCaw S.A. National lowly level of intern and this is true for Karen and Michael. Michael worked as an intern in 2007 before leaving to complete his Honours in Art History
they are with respect to the personal sion in these unusual compositions. generation Cape Impressionists, as Gallery Catalogue 1983 Johannesburg: S.A. Na- and subsequently worked for both Deon Viljoen and the Everard Read Gallery before returning full time at the beginning of the year. Karen joined
tional Museum of Military History
upheaval he endured at the time. Some figures are static, while oth- the public received their styles fa- Stephan Welz and Co. as an intern mid-2008 and having proven her passion for the department was made full time at the end of 2008. Anton, sharing
Apart from being uprooted from ers are set in motion by the use of vorably they were then forced into a department and a famous surname, returned to Stephan Welz and Co. at the same time as Michael. Anton gained his History of Art degree in Cape
the land of his birth, he also had to fine lines ghosted onto the paper, a position of maintaining a course, Town before heading up to Johannesburg for two years to be mentored by his uncle, Stephan Welz. He then entered the corporate world before re-join-
leave behind his partner, Florence which suggest various stages of lest they lose their buying public. ing the company, this time in Cape Town. With their combined efforts and enthusiasm these new members of staff are on hand, together with the rest of
Dyali, who was seven months sequential movement. In contrast, Battiss did not depend the team, to carry on the respected services of Stephan Welz and Company, in association with Sotheby’s.
pregnant with their child. By 1969 Dumile’s approach to figu- on his art sales for his income, for See more McCaws
rative subjects had changed, and this he relied on teaching art. He at the
In South Africa, because of Apart- his figures did not have the same was therefore free to keep pushing
following Galleries
heid regulations, Dumile had been
unable to secure authorisation to
mass as in his earlier drawings. He
did, however, retain the use of fine
the boundaries of his artwork and
experiment freely – leaving the
other two behind in terms of stylis- Johans Borman
Gallery Administrator
live and work in Johannesburg de- lines to outline his subject matter
spite having a supply-contract with and convey movement. Thereafter, tic trends and thereby remaining at Fine Art Gallery
Gallery 101. Authorities threatened his drawings became progressively the forefront of South African art Cape Town
The South African Print Gallery
to move him to a tribal homeland, stylized, although he never relin- developments throughout his life.
which would effectively have end- quished his use of the fine lines. “Terence told me how doing Com- We are looking for an efficient, creative gallery administrator
ed his artistic career. This created This stylistic development included mercial Art for a living in Johan-
a moral dilemma for Dumile; if he a solidification of the outlines of nesburg had injured his creative Philip Harper Galleries
stayed until his child was born, he many of his figures. vision. Actually that’s what later Hermanus
Quality preferable
risked being arrested. undid him… I think with all his www.thephillipharpergalleries.
Lionel Ngakane notes: In the context of Dumile’s oeuvre, easy talent of elegant style Terence Knowledge of South African Art and Artists
… Dumile failed to convince the the dramatic emotional events of finally signed his artistic death BA Fine Arts (Hons)
authorities that being an artist was 1968 - his displacement to London warrant painting for a commercial Stellenbosch Art Gallery Computer and Internet literate
a profession and he was eventually and his absence from the birth of gallery and getting tied up, with no Stellenbosch Good manner and writing style
expelled from Johannesburg and his child - influenced his stylistic escape.” Ability to work with artists and good grasp of logistics
sent back to Cape Town. In Cape development during this transition-
Town he was given fourteen days al period. This resulted in a body He was appointed in November See Stephan Welz and Company, Please e-mail your CV to:
to leave and was endorsed to his of work which is unique, not only 1943 as one of the Official War in association with Sotheby’s,
town of birth, Worcester. Worcester in terms of the stylistic approach to Artists for the South African Closing date for applications 31 May 09.
upcoming Art Auction at
also refused him a resident’s permit volume and mass, but also because Defence Force to record the events
and in turn gave him fourteen days of its specific emotional content. of WWII, where he was mainly SA Print Gallery 107 Sir Lowry Road, Woodstock, Cape Town. Part of the new gallery strip.
to leave, or be arrested and sent (BCS). stationed in Italy. This allowed
Now available:

South African Art Information Directory

Now in its 6th edition The SAAID 09 provides the user with a wealth of art information - both in terms of size and access into the South African arts community- and is South Africa’s white and yellow pages of the South African art world.

“ (The) South African Art Information Directory is packed with all sorts of useful information. In many ways, it really starts to taper the long-standing rifts in the South African arts communication network “. Suzie Copperthwaite, Artthrob

Contents include 152 pages of: SA Art Infrastructure : Corporate Collections, Art Museums, Art Galleries, Art agents, Art Auctioneers, Art Material Shops, Media, Schools etc. Art Opportunities : South African Art Competitions, Events, Grants, Funders

Promotional special R 169,- including postage and packaging

See for more details