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Local scam artist
dupes the Queen’s
Royal Art Collection
Steve Kretzmann
If you want to make money off
art and don’t have the patience to
invest in promising up-and-coming
artists and then possibly waiting
decades for them to make a name
for themselves, you could just buy
an unknown dead artist’s work.
With photographs of work in
hand (and any diaries, clippings
or other documents gleaned from
the bargain lot you’ve bought)
you can then fabricate a biography
which explains why the artist was
so great, yet reclusive (hints of
mental, emotional or sexual abuse
explain a lot).
Drop several names of calibre and
high profile collections which are
difficult to check up on and, voila!
You can now make thousands
of Pounds buy putting a limited
number of the works on auction
through a reputable auction house.
It’s easier than forgery or theft,
and it is what a local entrepreneur
known as Glenn Strutt is accused
of having done with the works of
unknown and recently deceased
artist Helen Anne Petrie.
The TimesOnline in London
reported that he recently coined
£15,000 when the Queen’s art
collection bought four of Petrie’s
works on a Bonham’s of London
auction.
The subsequent discovery that
Petrie’s work is mediocre and her
biography inflated has put a lot of
noses out of joint, although some
have been delighted by the esca-
pade, pointing out it out as proof
of the fallibility of art speculators
who put references above artistic
talent.
Biographies to be found on the
internet say she was born in 1933
and died in 2006, and all appear to
stem from the same source, outlin-
ing a modest character of substan-
tial independent means who was
HELEN ANNE PETRIE
Friday, 27 June 2008
ANNE (HELEN) PETRIE
1933 – 2006
Introduction Biographical Overview
Her parents kept their rather comfortable
“Summer House” in Fish Hoek (The
“Hamptons” equivalent in USA) and were
Johannesburg socialites of the day, regular
guests at Admiralty House when in the
Cape or attending luncheons with Count
Labia. Simonstown, the neighbouring
village was the Naval Headquarters for the
British Navy and at that time South Africa
was a jewel Colony of The Empire.
In 1938 a relative, who noted the great
potential Anne had shown already at a
tender age of 5, cut out an article from
the Huisgenoot, a local magazine, dated
18 August, entitled” Hoekom ek skilder”
(”Why I Paint”) by now renowned artist
Maggie Loubser, on a particularly hot
summers day while on holiday from
Boarding School this article was translated
from Afrikaans into English for Anne
by her multilingual nanny. A diary entry
records Anne was truly mesmerised at the
contents and thus her eventual admira-
tion for Maggie and passion to paint was
unknowingly (or unwittingly) set.
Anne had a privileged education and
completed High School with excellent
results, merits and awards; she went on to
study further.
During this tertiary period Anne made 2
trips to Europe touring the leading gal-
leries of Europe, taking down some 2300
pages of handwritten notes. Florence was
her favourite, then Rome. Returning to
South Africa she began painting oils on
her own, and with tuition soon began to
SEPTEMBER 2009 | Supplement to The South African Art Times | E-mail: subs@arttimes.co.za | Member of the Global Art Information Group
most upset at the activities of the
apartheid government.
There are numerous factual errors
though.
She was supposed to have met the
artist Jan Vermeiren in Antwerp in
1954 ‘who assisted her in master-
ing her least favourite mediums,
acrylics and pastels’.
But Vermeiren said he would have
been six years old at the time.
He said Petrie’s work was sold on
auction in Fish Hoek “for nothing”
- which is where Strutt could have
picked it up – and was “amateur-
ish”.
“As far as I know I never met that
woman,” he said. The biographies
cite her works as being housed
in numerous galleries, as well
as in the private collections of
celebrities such as Madonna, the
Beckhams, Mike Myers, and in
the estates of Frank Sinatra, John
F Kennedy, Dr Christiaan Barnard
amongst others, and in various
European Royal Houses.
Terry Flynn, assistant curator at
the Anne Bryant art gallery, says
he can state “categorically” that
the gallery has none of her works.
“I don’t even know her,” said
Flynn.
And in 1961 Petrie apparently
‘spent a few weeks in private tui-
tion with Gillian Ayres at the Bath
Academy of Art’.
But Ayres was quoted by Times-
Online as saying: “I never gave
private tuition to any pupil and I
don’t know her.”
It appears Strutt, who has been fin-
gered as the man behind the scam,
may have hit upon a clever way of
manipulating the arts business.
And the best thing is, while it may
be unethical, the jury seems to be
out on whether it’s illegal or not.
Good Morning from Genève, Switzerland, I have just completed 3 years of research on a leading philanthropist and Anti Apartheid female South African artist.
How do I submit a biography for you to review and consider adding to your website? Please see the attached biography Many Thanks Sebastian L.S Schwagele – Fan Moniz
lay the foundation of what was to mature
distinctive into her own style.
Anne felt that at the time the taste of small
art-public was extremely backward and
that there were too few discerning collec-
tors and buyers, especially in South Africa,
at that point still an Empire Colony.
In 1954 she spent a short period of time
sitting in on lectures at the Kunsakedemie
van Mechelen, Sint Niklaas and Antwerp,
where she met artist Jan
Vermeiren who assisted her in mastering
her least favourite mediums, acrylic and
pastels.
During her many foreign travels especially
during the early years of her life after
finishing school many important people of
the day sat for portraits for which she was
well paid… funding further visits to galler-
ies and the odd art class at the Byam Shaw
Goldsmith’s School of Art in London and
under Sickert’s (Royal Academy School)
own school in Camden Town.
Here she struck up a friendship with Cecil
Higgs.
At the same time Anne met Mary (May)
Ellen Hillhouse, who like Anne had
Scottish Heritage (and acquaintance to her
parents), together they consulted on what
they both declared was “soul destroy-
ing commercial work” also resulting in
Anne becoming (like May) an illustrator
for various local and foreign compa-
nies, excelling in her graphic design for
pottery, pattern design for Garlicks and
Greatermans and Butterick Dress patterns,
to name just a few.
At the same time she made, thanks to her
Fathers intervention, occasional visits to
the “Platteland” farm of Maggie Loubser
father in at Klipheuwel near Malmesbury.
Anne spent many hours brooding over
the vision Maggie had acquired during
The opening of Harold Voigt and Reshada Crouse Exhibition, at the impressive White River Gallery, Mpumalanga
Staff writer:
The begining of hi tech art fraud
has started feuled by the fast rising
prices in SA art.
Although Helen Anne Patrie did
exist as a small time Fish Hoek
artist, those who don’t know their
art history, and rely on lax art and
history website editors for their
information, - for them things can
go horribly wrong, when ficti-
cious seed profiling of artists gets
scattered throughout web pages,
facebook and professional profile
The Big Dupe, written by a certain: Sebastian L.S Schwagele – Fan Moniz
her trip to London, so, just Like Maggie,
Anne spent some time in Germany where
she experienced the works of Marc and
Nolde. The bud of interest, observing and
consulting had slowly germinated and
soon blossomed spectacularly.
In 1955 upon meeting Marjorie Wallace
and husband Jan Rabie they ended up in
a heated debate on politics and thus was
cemented her lifelong interest in humani-
tarian causes in South Africa.
Anne could be very opinionated and
outspoken.
In 1960 Anne was infuriated by the
countrywide protests, demonstrations and
strikes against the Pass Laws and Police
brutality in response to the anti-Pass Laws
campaign that she wished to return to
Scotland, her Ancestral home indefinitely.
This fase passed.
In 1961 Anne spent a few weeks in private
tuition with Gillian Ayres at the Bath
Academy of Art, Corsham and again at St.
Martin’s School of art in London.
In the few surviving works by Anne of this
period one can clearly note that she did not
look to the raw expressionism of the New
York School but to the school of Paris with
its painterly cuisine and basic figuration.
A year later Anne wrote to Gillian indicat-
ing that in her opinion there was still a
continent left to explore in the direction
of colour when it came to painting and
that although proportion and balance are
essential aspects to remember, both artist
and viewer have to experience it.
For Anne it appeared that in general
amongst her British contemporaries the
size of their canvass was increasing,
the paint was fattening and forms were
becoming more and more abstract.
Though in many of Anne’s work of this
period one notes disciplined serene,
contenmplative work in hard-edge
idioms. Her work in this faze of artistic
prints by the following important South African artists: Jane Alexander | Willem Boshoff | Lisa Brice | Nontsikelelo ‘Lolo’ Veleko | Guy Tillim | Mikhael
Subotzky | Peet Pienaar | Penny Siopis | David Goldblatt | Hentie vd Merwe | Tracey Rose | William Kentridge | Robert Hodgins | Zwelethu Mthethwa. In ad-
dition, we will be launching a brand new print by Robert Hodgins. Hot off the presses at Mark Attwood’s studio
For more info see Artthrob: www.artthrob.co.za Or The South African Print Gallery: www.printgallery.co.za
websites. In this regard most art
dealers locally are careful in taking
on unfamiliar artists and art pieces.
Strauss and Co are the first Auction
house to stand by their guarantee
for a full year on all their sales (see
page 7 Auction Page)
But what about the poor dead
artist, the real Helen Anne Petrie,
perhaps she may be the biggest
victim, an artist who enjoyed mak-
ing paintings, only to live into
eternity associated with a scam.
experimentation is very much concerned
with balance, harmony, tension, pleasure,
movement, beauty and mental fragility.
In 1965 during a brief encounter at Stel-
lenbosch University while attending a
lesson on graphic design at the department
of Creative Art she briefly met Jogen
Bergen and took hand written notes…
describing him in her diary as a man with”
limited talents”.
In 1967 Mr. Albert Wert (Then Curator
of the Pretoria Art Museum) together
with Matthys Bokhorst (Director of the
S.A.National Gallery) enquired to Anne
Petrie being willing to participate in the
SANLAM Art Collection Exhibition,
which at that point contained in excess of
166 works of art, she declined to partici-
pate as the collection did not possess that
degree of inner unity it would have had if
the collection had from the beginning been
built up for the purpose of exhibition, and
that the initial intention of the SANLAM
collection was merely to build up a collec-
tion of attractive South African paintings
and sketches to hang in the offices of the
Directors and staff and to let the public
only share in the collection by means of
printing the paintings (Including hers) on
SANLAM’S CALENDARS.
Diary entries indicate that she also
declined an offer from Rembrandt Van
Rijn Art Foundation to purchase her works
privately.
Anne did however exhibit in South Africa
twice in 1967, the most important exhibi-
tion being from 30th October till 11th
November at the South African Associa-
tion of Artists Annual Exhibition at 63
Burg Street, Cape Town, where leading art
Critic of the day, Johan van Rooyen stated
her 3 works titled – Indian Girl, Bantu
Boy and Late Afternoon, Kommetjie
The South African Print Gallery
is proud to present in collaboration with:
Artthrob Editions
Until 28 September 2009.
Websites containing The Helen
Anne Patrie profile include:
South African Websites:
www.southafricanartists.com
www.sahistory.org.za
www.arcyart.com
International Websites:
Incredible Art News, www.askart.
com, wikibin.org, www.the-art-
world.com, ilovesouthafrica.org
www.scribd.com, www.hubpages.
com, www.the-art-world.com
should be hailed as proving the standard
that is expected at an exhibition of this
calibre, which included works by fellow
artists I.Roworth, S.Butler, V.Volschenk
and L. Mears.
In 1971 Anne declined an invitation
from Gunther van der Reis to participate
in the “1971 Republic Festival Exhi-
bition” which was organised by the
S.A.Association of Artists, however
decided to exhibit in Tel Aviv that year
instead.
Anne’s works were exhibited in the late
60’s early 70’s at various galleries in
RSA where she obtained critical acclaim
(often relenting and allowing a portrait or
landscape to be exhibited without a credit
being published on the Program), how-
ever, shy and disillusioned at the politics
involved in favouritism towards Afrikaans
artists, predominantly males she stopped
exhibiting at most major galleries of the
day, and rudely declined many invitations
to sell her art to Insurance or Banking
related Institutions on many occasions.
Anne noted in her personal diary in 1972
that 2 major schools of thought were
apparent in the South African art world
amongst contemporary artists. One, where
they identified themselves with various
aspects of their Social and Geographi-
cal environmental conditions. The other
identify in itself with International trends
which could often be related to Colonial-
ism and the Empire environment.
Both trends appeared at that time to be
the natural result of a “Nation” maturing
and divorcing itself from its old rural and
Colonial character.
Anne felt that Nations were becoming
more and more involved, inter-active and
demanded greater effort from the viewer.
Scam in a nutshell:
1. Purchase a deceased artist estate,
with paintings and documents for
next to nothing.
2. Together with a semi literate art
writer create highly inflated profile
that includes associations with long
dead important artists, as well as
claim work in important collections.
3. For over two years, upload in
flated profile/s and associations onto
During the 1970’s 80’s and 1990’s Anne
never tried to idealise her subjects. S
he always strove for the accurate repre-
sentation of everyday, apparently casual or
overlooked subjects.
Her devotion to her art, especially during
her latter years was so great that she also
infected her fellow artists, resulting in anti
- art people being able to view art with
greater respect and admiration and she
mentally and emotionally lived in many
worlds. By this time Anne was mentally
very fragile to the point of institutionalisa-
tion.
She never managed to deal mentally with
the death of her Parents.
In the Transvaal and in the Western Cape
she discovered the destruction caused
by the introduction of the Group Areas
Act that stimulated her imagination. In
In Europe; mainly Italy and Scotland she
sought the dream world for which she
deeply yearned.
Finally, there was her own private inner
world, to which very few were ever
admitted, but, from which she derived her
wonderful creative and inspired powers.
Of these worlds for Anne Cape Town was
certainly not the most important. Anne’s
works already belong to the Art history
of South Africa, Royal Courts of Europe
and Asia , Private Collectors and various
Museums globally.
Even so it meant much to her, not only be-
cause she found relief there for her bodily
ills, but in the autumns and winters there
she re-discovered her homeland and thus
her identity. Amongst her friends, fellow
artists and local Inhabitants especially the
Cape Coloured and Cape Malay people
Anne felt she could be who she truly felt
she was, a woman who seldom made
preparatory cause of her impulsive nature.
See our Global Art Information family at:
The SA Art Times: www.arttimes.co.za
SA Art Info Directory: wwww.saaid.co.za
Global Art Jobs: wwwglobalartjobs.com
numerous lax, public edited artist
and history profile websites
4. Get work onto an auction, push up
the price on auction - maybe pay this
hefty price yourself (or better still in
this case dupe The Queen’s art col-
lection into accepting paintings from
an unknown South African, giving
the artist the credibility to fetch up
to £15,000 at auction say Richard
Brooks and Georgia Warren from the
Times of London.) in order to push
up the overall value of your stock.
This was Anne Petrie, the woman, the
benefactor, the pacifist, the friend… The
TRUE Matriarch of South African Female
Artists
Anne’s works exhibited in the following
Solo and Group Exhibitions
· Anne Bryant Gallery, East London
(1958)
· Lidchi Gallery, Durban (1962)
· Martin Melck Gallery, Cape Town
(1963)
· Belgium, Paris and Scotland (1965)
· Gallery 21, Johannesburg, (1966)
· Belgium and Paris(1969)
· Israel (1971)
· Athens (1974)
· London and Paris (1976)
· Frenchmen, West Germany (1978)
· Seoul (1984)
· Athens (1987)
· Norway (1989)
· New York (1994)
Private Collectors / Patrons include (d)
· Estate Wallace Simpson
· Estate P.W. Botha
· Estate John F. Kennedy
· Estate David Botha
· Estate Frank Sinatra
· Estate Dr.Christiaan Barnard
· Estate Maria Callas
· Bill Clinton
· Madonna
· Mike Myers
· David & Victoria Beckham
· Mariah Carey
· Carmen Elektra
· James Brown
· Vanessa Redgrave… to name just a few.
Various European Royal Courts owning
works by Anne in their Private Collections
· Her Majesty Queen Elizabeth II &
H.R.H. Phillip, the Prince Consort of The
Photo: Gavin Smithdorp
5. Get inflated prices published on
auction results sites
6. Sell remaining work quickly for a
fortune, before scam breaks
For further reading see
www.paarlpost.com
entertainment.timesonline.co.uk
Further careful searching Google:
Helen Anne Petrie
United Kingdom
· H.M. King Juan Carlos I & Queen Sofia
of Spain
· H.M. Kong Harald & H.M. Dronning
Sonja of Norway
· H.M. King Carl XVI Gustaf & H.M.
Queen Silvia of Sweden
· Her Majesty Queen Anne-Marie &
H.R.H. Henrik, the Prince Consort of
Denmark
· Emperor Akihito and Empress Michiko
of Japan
· Her Majesty Queen Beatrix of The
Netherlands
· H.R.H King Constantine & H.M. Queen
Anne-Marie of Greece
· H.R.H Charles, Prince of Wales & Duch-
ess of Cornwall
Represented in the following Public
National / International Collections
· National Museum of Art, Architecture
and Design, Oslo
· TATE Modern, London
· National Gallery, Denmark
· National Museum of Western Art, Tokyo
· The Smithsonian Institute, Washington
DC
· Singapore Art Museum, Singapore
· National Gallery, Finland
· The Rijksmuseum, Amsterdam
· The Guggenheim, Bilbao
· The Museum Moderner Kunst Stiftung
Ludwig, Vienna
· National Portrait Gallery, London
· Dr. Shirley Sherwood Collection
Posted by The Mayfair Colletion (Suisse)
SA at 08:27 0 comments

Ross Douglas respnds to Mary Corrigall’s August letter
It is time once again to respond to
Corrigall.
Corrigall’s writings on the art fair are
naïve, vindictive and often factu-
ally incorrect to our detriment. In the
absence of editors she has been able
to continue unchecked. Corrigall
consistently slates the fair in her
writings for the Sunday Independent.
Only when you understand the state
of the paper does it make sense why
no alternative views or opinions have
been sought. As media analyst Prof.
Anton Harber explains, “O’Reilly’s
local newspapers are mostly thinner
than Michael Jackson in his last days.
Most tragic is the flagship Sunday
Independent, which has not even had
a full-time editor for years, and is down
to a staff of about two people. O’Reilly
has wreaked havoc and destruction on
South African journalism”.
The local SA Art Times has taken to
re-publishing her pieces from the Inde-
pendent in addition to commissioning
new work. Corrigall’s response to my
letter and subsequent article is once
again confused and I would like to use
this opportunity to clear up what has
become a boring debate.
1. Joburg Art Fair verse Cape Africa
Platform
Corrigall is correct when she states
that we denied Mirjam Asmal-Dik of
C.A.P. a stand at the art fair. While
Artlogic is supportive of the idea of
a biennale in this country, our art
fair, as with every other in the world
has stands for galleries and curated
special projects - not for booths for
the promotion of other art events. Did
Corrigall see a booth for a biennale
during her recent visit to Frieze?
2. The Art Fair as a commercial
enterprise
Corrigall claims that I attempt to hide
the commercial nature of the fair and
that the fair has no educational value
as it is commercial. We openly sell
branding rights to sponsors, space to
galleries and tickets at R100.00 per
visitors (not R200.00 as stated by
Corrigall in The Sunday Independent).
In addition I publish the annual sales
figures of the galleries and openly
state that the fair has to give galleries
and sponsors a commercial return to
survive.
I believe the fair, in the absence of a
biennale or contemporary museum in
this country plays a major educational
and development role. The BMW art
talks are free to visitors, we raised
R100 000.00 for Soweto based art
school FUNDA to participate, gave
Artist’s Proof Studios and Artthrob free
spaces and the Gordon Schachat Col-
lection shipped out Jane Alexander’s
biennale piece, “Security” at major ex-
pense for no direct commercial return.
My sense is that Corrigall’s opinion “art
fairs do not make ideal environments
for viewing or appraising art. Nor are
they, as Douglas proposes opportuni-
ties for the South African public to be
educated about contemporary art”,
applies only to our fair.
3. Commercial Viability or Sustain-
ability
Corrigall seems to battle with my claim
that Art Fairs are more commercially
viable than biennales as they require
less capital and have more sources
of income. Biennales require upward
of R25 million to get out the starting
blocks – mainly from government
making them difficult events to sustain.
Her confused response that “ the
Joburg Art Fair has proved not to be
the economically viable model that
Douglas proposed… because “if Art-
logic’s model is so sustainable why is
it that their survival depends on FNB’S
sponsorship” misses the point. What
makes art fairs viable is sponsorship,
gallery rentals and ticket sales. Frieze
is sponsored by Deutsche Bank and
Basel by UBS, without sponsors, they
too would not survive.
But what is it about Mary that really
irritates me?
From the JAF disscussion held at the Narina Trogon resturant in July 09
It is the fact that she is exactly the type
of person that keeps this country stuck
in the twilight zone by telling the world
how bad things from here are and tell-
ing those of us that are here how good
it is over there.
When writing for a South African audi-
ence in the Sunday Independent about
her recent visit to London’s Frieze art
fair she clearly does not believe her
statement “art fairs do not make ideal
environments for viewing or appraising
art”. The article reminds me of Alice
in Wonderland; “devotees queued”,
“the buzz” “the frisson of excitement”.
It goes on to describe a bunch of art
happenings including a bobby doing
yoga moves and finishes with “the
most notable moment was when Kris
Martin affected his intangible artwork,
dubbed One Minute Silence (2007)
which demanded that everyone in the
fair remain quite for one minute”.
We were not so lucky in that same
article. Jane Alexander’s Security
received this cynical copy; “Even
Jane Alexander’s Installation, Security
(2006) with its barbed wire borders
that hemmed in a rectangle of artificial
grass, seemed to conform to the con-
trolled spatial dynamics of the art fair.
Nevertheless it was commissioned
for the 27th Sao Paulo Biennale, but
perhaps its neat boxlike configuration
appealed to the organizers”.
When writing for a foreign audience
in the important Art Review owned
by London based ex South African
Dennis Hotz , Corrigall uses stere-
otypes of Africa to paint a picture of
crooked fair organizers trying to pull
a fast one on the crowd. “With the
failure of the Joburg Biennale still fresh
in everyone’s minds, the organizers
didn’t’ want to fiddle with a template
that has supposedly been successful
at promoting African art. The Joburg
Art Fair cashing in on exotic notions
about the continent by employing the
“African” rubric didn’t faze organiz-
ers… Of Course it didn’t take long for
visitors to the Joburg Art Fair to realize
LETTERS TO THE EDITOR
they had been hoodwinked”. She then
came up with her own facts to give her
angle credibility “by the close of the art
extravaganza all sales at the fair to-
taled a meager R13 million (our press
release which she received stated R27
million for that year)”. And finished
with the punishing line “perhaps the
Africa brand isn’t as sellable as every-
one thought”. This was the very same
Joburg Art Fair that Karel Ankerman,
of the Financial Times, Holland gave a
great revue having reported on15 fairs
and biennales that year alone.
Why would Corrigall purposely trash
this country’s only fair to its most im-
portant world market? It is clear from
her reporting of Frieze, that Corrigall
is not necessarily anti art fairs. She
is also smart enough to understand
that fairs take time to grow, London’s
Frieze has the luxury of the world’s
biggest art economy behind it and the
Joburg Art Fair is not obstructing a
biennale or any less commercial art
enterprise from happening here.
When it comes to the Joburg Art Fair
why does she think “the money would
be put to better use for an exhibition
which contributes to art historical
discourses, is more inclusive of artists
who are not represented by galler-
ies and audiences who are at a loss
in a giant supermarket”. Imagine
Corrigall suggesting that Frieze, Basel
or Shanghai Art Fairs be replaced by
such events? It would never happen.
The contemporary arts in South Africa
will always be difficult. It is highly
unlikely that we will get a contempo-
rary museum, a biennale or a decent
arts education programme. We will
have to keep working on ways of
growing the audience. The art fair has
its challenges and limitations but it is
one of the components that grows the
audience as demonstrated by visitors
increasing from 6500 to 10 000 in the
second year. Constructive criticism is
welcome. Corrigall’s writing to date
has been anything but that.
Evelyn Cohen’s letter to Iziko’s Bredekamp
Dear Sir/Madam,
It is time that Iziko Museums of Cape
Town and its sister museum organisa-
tion, the Northern Flagship Institution
in Gauteng, were reviewed by the
Government. As a person familiar with
the National Gallery over some 33
years, I wish to express concern about
its future under the management of
Iziko. Letters have already appeared
in the Press from Count Labia and Clr.
Owen Kinahan on the blatant ingrati-
tude of Iziko in handling its benefac-
tors. The closure of the Natale Labia
Museum and the loss of its collection
stands in a long line of official blunders
that have diminished our Gallery. This
caps the refusal of the National Party
government to purchase the entire
Labia Collection for the nation in the
1960s.
Another loss in 1991 was Dr Anton
Rupert’s patronage of the Cape
Town Triennale. It made the Gallery
a national focal point for our con-
temporary art. Its loss relegated the
Gallery to provincial status and with it
Cape Town’s cultural standing. Why
benefactions to the Gallery fall foul of
poor diplomacy, political expedience
or lack of vision needs attention. Such
cases (and these are but two) indicate
the way in which petty politics override
Iziko’s HC Bredekamp’s reply to Evelyn Cohen
LETTER TO THE EDITOR
We welcome the opportunity to
respond to Ms Cohen’s letter.
It should be noted that Ms Cohen’s
letter to the SA Art Times is in fact
an extended version of a letter that
appeared in the Business Day on
10 August 2009 under the heading
‘Philistines Rule at Iziko’ and raises
similar allegations to those made by
her in a series of letters recently pub-
lished in the Cape Times. One has to
question what drives such a sustained
onslaught and why at this time?
Ms Cohen has argued that the amal-
gamation of heritage institutions in
1999, as result of the Cultural Institu-
artistic excellence and retard our as-
pirations for a world-class national art
museum. The concept of a ‘national’
gallery has never been a serious
consideration with any South African
government. We find billions for 2010,
but our artistic heritage and growth are
grudgingly funded.
The purpose of amalgamating the
Gallery into Iziko was to save money
by eliminating the duplication of func-
tions and centralising administration.
That, we were told, would rectify the
Gallery’s long-standing problems, such
as its limited space, its lack of storage
and its pitiful acquisitions fund. Eight
years after the fantastic scenarios
envisaged by Iziko’s first CEO, that
master-of-spin Jack Lohman, these
never materialised. Hired at vast
expense, he never completed his
contract. That of his successor Henry
Bredekamp has been marked by
non-delivery on a promised revision of
the San diorama (once a major tourist
drawcard at the SA Museum), a loss of
qualified staff, increased expenditure
on management, low morale and little
realisation of funding from non-State
sources. The knowledge-base of
Iziko’s functionaries is in steep decline.
My recent call for advice on obtaining
a copy of the Iziko Annual Report baf-
fled several librarians there.
Iziko’s visitor figures in 2008/9
increased to 493 559 from 456 079
for 2007/8, an increase of 8.2%, and
the South African National Gallery
in fact shows an increase of 19%
for the same period. In 2007/2008
some 20 exhibitions were hosted at
the National Gallery, including the
acclaimed Marlene Dumas exhibition.
Similarly in 2008/9 some 18 exhibition
where delivered. The highlights of last
year included I am me, the horse is
not mine, the multi-channel projec-
tion of 8 films by William Kentridge,
Voices of the Ancestors, a unique and
interactive exhibition of African musical
instruments from Iziko’s collections,
and a review of more than 25 years’
work of the architect Pancho Guedes.
The most recent Annual Report
(published on Iziko’s website as I
discovered) shows that conflict is rife
at the top, with one director being paid
out R196,677 of taxpayer’s money in
a CCMA settlement of a botched ap-
pointment procedure.That could have
been better spent on purchases for the
Gallery’s collection. Shorn of former in-
dependence, the Gallery’s director has
diminished prestige. He now functions
as a compliant, lower-tier manager in
an overpaid, bureaucratic and, by all
accounts, inefficient top management.
Appointments at this level show that
‘transformation’ is pursued for its own
sake, with little or no weight given to
qualifications and museum experience.
Shackled to Iziko, the Gallery has no
chance of being ‘turned around’, for
the whole conglomerate would have to
be dragged with it. This is Mbeki-style
centralisation of administration at its
worst. The ‘Iziko’ concept was only, it
appears, a good excuse not to fund
the Gallery – or any of our museums-
properly. The name ‘Iziko’, translated
as ‘a hearth’, turns out be a very cold
place indeed. Iziko does present a
picture of fiscal rectitude compared
to the disasters on Robben Island.
However, its compliance with financial
regulations and employment equity
12 museums on a limited subsidy from
the Department of Art and Culture.
Iziko supplemented this by generating
an additional 29% of its total budget
in 2008/9 from alternative revenue
streams (an increase from 24.4% in
2007/8) of which 13.9% came from
donor funding (an increase from 9.8%
in the previous year).
Cohen’s ill-informed references to
Iziko’s relationship with the Natale
Labia Museum and illogical comment
on the demise of the Cape Town Trien-
nale in 1991 to substantiate her claim
of poor handling of benefactors reveal
her nostalgia for a bygone era and
are best ignored. Iziko does, however,
acknowledge the need for increased
funding to build a truly representa-
seem the only things in which Govern-
ment takes any interest. What about
unquantifiables like creativity, courtesy,
diplomacy, vision, professionalism and
intellectual rigour? Who audits these?
As Einstein said, ‘not everything that
can be counted is important, and not
everything that is important can be
counted.’
The former Board of Trustees of the
National Gallery with its collective and
specialist art expertise has gone. It
has been replaced by the Iziko Coun-
cil, none of whose present members
are qualified to make an informed
contribution on the visual arts. Greater
public participation, accountability and
transparency on governance was the
motivation for establishing Iziko in the
first place, yet with the National Gal-
lery there is now virtually zero public
participation. There is little passion
about these issues in parochial Cape
Town, and this city deserves what
it gets. Henry Bredekamp may feel
flattered that he has been asked by
the Minister to rescue Robben Island,
but he has too much unfinished work
to do at Iziko.
E. COHEN
the nation.
Our 2007/8 annual report is available
on our website www.iziko.org.za and
our 2008/9 report will be delivered to
the Minister of Art and Culture on the
31 August 2009 and available online
shortly thereafter. Both reports reveal
the untenability of Ms Cohen’s allega-
tions of decline and mismanagement.
What is the sub-text of Ms Cohen’s
campaign? This is best left to the
intelligent reader to discern. Change
will always have its detractors but for
those willing to embrace the new, it
can hold exciting possibilities. We
encourage Ms Cohen to engage with
us directly, participate in future events

Joburg Art Fair, presented by FNB, - a sponsors view
By Robert Keip
The sponsorship of the Joburg Art fair
was not entered into as an act of char-
ity. FirstRand annually donates 1% of
its after tax profits to Corporate Social
Investments.
For the 2009 financial year this
amounted to R87.9 million with major
allocations from the FNB Fund being
made to Early Childhood Development
(R4.9m); Community Care ( R6.6m);
FNB’s Bursary Programme (R 8,1m)
and HIV Aids/Hospice programme
(R6.8m) and The Secondary School
Outreach Programmes (R1,7m).
Through the RMB Fund there was also
a R6,3million donation to Arts, Culture
and Heritage, and focuses mainly
support on development and training
in the key sectors of music, dance and
heritage supporting and celebrating
South Africa’s diversity .
You will note, however, that there was
no category for allocations to Atlantic
Seaboard Galleries or internationally
acclaimed local artists. Sponsorships
are business investments and not acts
of charity.
The reason companies get into spon-
sorships is for three main reasons:
1) Association with the event
2) Marketing opportunities
3) Entertainment opportunities
1) Associate with the event
Companies want to be associated with
events that they believe their custom-
ers also like associating with. They
want to be seen to be “hanging” with
the “in crowd”. A lot of our competitors
like to be seen “hanging” with specific
sport events. FNB currently “hangs”
out with 2010 World Cup TM. ..
But FNB recognises that not all our
customers are sports mad and we also
want to be seen to be “hanging” with
people who like art.
2) Marketing opportunities
Sponsorships give an opportunity for
you to leverage your brand. It is for
this reason that sponsors have very
visible signage at the events Just
consider the giant logos spray painted
onto sports fields; the attachment of
names to events; changing names
of stadiums; and billboards at the
venues. Some even go as far as to
prevent competitors products even
being sold at the events or handing out
free products.
The actual sponsorship amount is usu-
ally only a small part of the expense.
The sponsors need to advertise their
sponsorship and this can easily double
the cost of their involvement.
Media coverage is very important
for sponsors – we look to the media
to include our name in the articles
they write about the event. Although
the coverage of the Joburg ArtFair,
presented by FNB, has been great,
as a sponsor it was disappointing to
find articles when we were not even
mentioned, not even in the name of
the event. In one magazine they ran
a seven page article and didn’t credit
FNB once.
3) Entertainment opportunity
Sponsorships usually also have events
or opening nights to which sponsors
can invite guests. FNB hosted 600
clients at the last ArtFair, which cost
hundreds of thousands of Rands for
access to the Art Fair, food and drinks,
and catalogues.
In addition, over the past two years
FNB has as part of their allocation
of tickets invited 150 non-customer
guests, “Mavens and Connectors”
who we hoped would either be early
adopters who would buy art or speak
to people who would buy art and help
develop the concept
Economics of sponsorships
Marketing budgets in most businesses
are currently very tight because
the economic crisis. Ultimately the
effectiveness of sponsorships are
measured by the acquisition of new
business. At some events it is possi-
ble to measure accurate sales/acquisi-
tion. (E.g. exhibitors at the ArtFair can
measure sales form the event). With
more general sponsorships it is much
more difficult to know if any gallery or
artist or buyer changed banks because
of our sponsorship. But we hope to
build an affinity with the visitors who
may one day think FNB when they get
annoyed with their current bank.
Events like the Jo burg ArtFair,
presented by FNB, help make Johan-
nesburg a more interesting city. The
Directors of ArtLogic need to be con-
gratulated on their vision, courage and
conviction to get the event up and run-
ning. FNB has been delighted to part
of the journey over the past four years
and to have worked with ArtLogic on
the development of the concept
28 July 2009
tions Act (No. 119 of 1998), with a view
to streamlining management, central-
izing certain functions, reducing costs
and driving a transformation agenda
was ill-conceived and has failed to
deliver. Moreover, she alleges that far
from resolving long-standing problems
of limited space, lack of storage and
inadequate funds for acquisitions at
Iziko South African National Gallery
things have deteriorated further.
However, in essence Ms Cohen offers
little evidence to substantiate her
views. Her allegations are best refuted
by hard facts.
Significantly, Iziko’s Social History
Collections Department worked in
collaboration with the Department of
Arts and Culture to deliver to South
African audiences in Cape Town,
Durban, Bloemfontein, Johannesburg
and Pretoria a unique exhibition of
40 rare manuscripts from the Ahmed
Baba Institute in Timbuktu, creating an
awareness of the history of the written
word in sub-Saharan Africa.
These achievements are made more
impressive when viewed against the
backdrop of the challenge of operating
tive national art collection and we are
working proactively on a medium-term
and experience the many positive
aspects of Iziko.
strategy to secure increased donor
funding for acquisitions and to attract Professor HC Bredekamp
the support of new benefactors.
CEO Iziko Museums of Cape Town
The process of transformation at Iziko
is not without its challenges. We have Pamela Court
come a long way since amalgamation Media Officer
and we are fully aware of the long road Institutional Advancement
ahead. Iziko is committed to becoming Iziko Museums of Cape Town
a heritage institution that serves all
sectors of the South African public,
and to building a national art collection
that reflects the artistic production of
I wish to submit my objection in the strongest possible
terms the publication of the Battiss orgy 3 screenprint!!!
I am fully aware that these days “anything goes....” as so
called “art”in the perception of freethinkers,anti conserva-
tive Calvinists etc. I am a professional artist and the fact
of the matter is this: How must I explain this orgy print
to my grand children (teenagers) as “art” when they find
your magazine on my coffee table?!
I am fedup and sickened by arrogant,self righteous ,self
appointed art critics who feels obviously very sofisticated
to present “art” as creation of “something new!” by digging
up all objects of horror, filth,evil etc. We have enough of
this via the media.I don’t have to “claim and frame” it on
my wall! Ironically,you state ito your”news paper rights?”
to reject ANY material that COULD be found offensive by
its readers? Well....? Manie Weber.
Orgy 3, screenprint. Walter Battiss

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 ART LEADER | PEOPLE IN THE SPOTLIGHT | ART BUSINESS SEPTEMBER 09 | BUSINESS ART 03

Art Leader : Christopher Till

Photo: www.nelsonmandela.org
By Michael Coulson
Running just one museum would be
demanding enough for most people;
running two would seem to be a
superhuman task. To make matters
worse, the Apartheid Museum at Gold
Reef City and Gold of Africa Museum
in Cape Town are 1 500 km apart; but
Christopher Till seems to take it all in
his stride. Complicating matters yet
further, ask him where he lives, and
the answer is neither Cape Town nor
Jo’burg, but Nottingham Road, in the
KZN Midlands.
I decide not to go there, but to concen-
trate on his working arrangements.
“It’s not as difficult as you might think. I
have full support systems at both sites.
With the telephone and e-mail, which-
ever I’m at, I’m continually in touch
with what’s going on at the other. But I
do spend more time in Jo’burg, as the
Apartheid Museum is much the larger
and more complex organisation.”
Like most people in the art world, Till’s
interest started in childhood and was
fostered at school, at Hilton College,
where the art master was ex-Royal
Army and also in charge of shooting,
obviating the common schoolboy
scorn that art is for cissies. He went
on to a BA (Fine Arts) at Rhodes, ma-
joring in painting, and wrote a master’s
thesis on African art and mythology.
Research on that topic took him to the
then Rhodesia, where he was offered
the directorship of the National Gal-
lery in Salisbury. That he describes as
a “baptism of fire in political transition.
It was a society under siege which was
then reintegrated into the world.”
After eight years, he was offered a
post in Perth, Western Australia, and
was about to go over there to have
a look when then Jo’burg Art Gallery
director Pat Senior was killed in a road
accident. “We had some talks, but I
didn’t want to go through that transition
process again. I went back to Harare
[as Salisbury had then become]
undecided, only to find that the Jo’burg
City Council had already announced
my appointment at JAG! So I decided
to stick with it.”
Till, then 32, was and remains by a
short head the youngest person ap-
pointed to head JAG.
“It was an amazing time. JAG had
completely abrogated responsibility for
setting trends in the art world, or schol-
arship. It published few catalogues,
and most of its exhibitions were simply
borrowed from other institutions. I set
out to surround myself with capable
people. Alan Crump was on our com-
mittee, and that gave me the entrée to
hire bright young people from Wits as
curators.
“One of our first exhibitions was The
Neglected Tradition, which signaled
our intention to explore and document
African art. I was appalled by the Euro-
centricity of the historic collection. The
SA art may have been contemporary,
but was hardly representative, with few
black artists.
“In Zimbabwe I’d repositioned the ge-
nerically misnamed ‘Shona’ sculpture
to credit the individual artists, and also
built up a collection of ethnographic
art, but JAG had nothing of that.”
After Till’s responsibility was extended
to all the city’s museums, he was able
to fill these gaps. When the city, then
under sway of the arch-conservative
councillor J F “Obie” Oberholzer, re-
fused to finance such acquisitions, he
persuaded Harry Oppenheimer to buy
what became known as the Brenthurst
Collection, and lend it to JAG.
Later, Till persuaded Anglo American
to set up its eponymous fund, now
virtually JAG’s only source of finance
for acquisitions, to mark Jo’burg’s
centenary. Further promotion saw him
named Jo’burg’s Cultural Director, in
which capacity he promoted the two
Jo’burg Biennales and Arts Alive. He
also got permission from the Council
to launch Ubuntu 2000 and allied
projects to promote African art, but in
his words “By then the city admin-
istration was in chaos and nothing
happened.”
Frustrated, he approached the Krok
brothers, whose licence to develop
Gold Reef City required them to set up
an apartheid museum, with a proposal,
and sent another to AngloGold (now
AngloGold Ashanti) for a gold museum
in Cape Town. No doubt somewhat to
his surprise, both were accepted, and
the two opened within seven days of
each other in 2001 – which even Till
admits was a bit hectic.
Apart from both being museums,
they’re very different kinds of institu-
tion. The Apartheid Museum is in a
custom-built modern building, and
attracts about 100 000 visitors a year,
half of them schoolchildren. Though
it’s supported by Gold Reef City, it’s
governed by an independent trust.
Gold of Africa, in effect part of Anglo-
Gold Ashanti’s marketing programme,
is in the restored 17th-century Martin
Melck house, right in the CBD, and
attracts barely half as many visitors,
most of them foreign tourists.
And the winner is... 2009 Tierney Fellowship results
The winners of the 2009 Tierney
Fellowship are out, and this year it
is Monique Pelser (Wits), Ariane
Questiaux (UCT) and Simangele
Kalisa (Market Photo Workshop)
who will take home the R40 000
grant. Cape audiences may remem-
ber Pelser’s work from her 2007
‘Roles’ exhibition at, in which
she swapped places with various
South African blue collar workers,
posing in their clothes, make-up
and jewellery. “[T]here is a degree
of theatricality in nearly all portrait
photography,” says Pelser in her
MFA thesis, which she completed
at Rhodes in 2006.
Pelser currently lectures at Wits,
and continues to use performance
and quotation in her photographs,
something she sees as a means to
grapple with the troubled history
of the medium.
Theatricality is also present in the
work of UCT recipient, Ariane
Questiaux, who exhibited a series
of photographs re-enacting old
family photos taken in the Belgian
Congo, for her graduate exhibi-
tion last December. “It didn’t even
cross my mind that I would win”,
said Questiaux, who is considering
using her grant to head off to the
DRC to continue her work.
Johannesburg audiences mean-
while will be more familiar with
Market Photo Workshop winner,
Simangele Kalisa, who partici-
pated in the 2007 ‘Face Her’, ex-
hibition at the Workshop. Kalisa’s
latest body of work includes a
series of portraits.
The Tierney Fellowship is de-
signed to help emerging South
African photographers produce
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offers mentorship, through a series
of group ‘crits’, with notable South
African photographers.
An exhibition of 2008 Tierney fel-
lowship winners, Rob Watermeyer
(UCT), Tracey Edser and Francki
Burger, was held in June at the
Michaelis School of Fine Art in
Cape Town earlier this year. Standard insurance policies aren’t
enough protection
Image: from Questiaux’s student
show, which dealt with her fami- for owners of high value art,
ly’s connections to what was then antiques & memorabilia
the Belgian Congo, colonisation
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Underwritten by Hollard Insurance

Customs woes for International

exhibition organisers
By Janine Stephen
Bringing valuable international
exhibitions into South Africa has
become that little bit more difficult for
beleaguered art lovers and institutions.
The South African Revenue Service
has cracked down on a loophole that
helped sponsors like Standard Bank
bring top-notch shows like 2006’s Pi-
casso in Africa or the Marlene Dumas
show Intimate Relations to poverty-
stricken institutions like the South
African National Gallery.
Gallery directors and sponsors are
concerned that tightening of customs
requirements could have negative
implications for holding future interna-
tional shows.
SARS assistant to customs opera-
tional support, Gideon Lourens, told
Business Day Art that embassies
could no longer bring in work for
temporary exhibition purposes using
a customs clearance ‘Certificate A’,
as was the case in the past. This
certificate exempted the work from any
customs charges. The Department of
Foreign Affairs notified embassies of
the change last year.
Mandie van der Spuy of Standard
Bank says a ‘Certificate A’ was used
to bring in work for the Picasso and
Dumas shows, as well as the Jean
Miro and Marc Chagall exhibitions.
“All were organised in conjunction with
the respective embassies through
documentation that exempts the pay-
ment of import duty or VAT. We did not
need to make a provisional payment,”
she said.
“This gap has now closed,” Lourens
clarified. Instead, exhibition organizers
would have to go the route of apply-
ing for temporary import under item
480.10 of the Customs and Excise
Act of 1964, which refers to “goods
for display or use in exhibitions, fairs,
meetings or similar events”.
The problem is these temporary
imports require money. As Lourens, a
shipping agent and a customs clearing
agent explained, a provisional pay-
ment must be made upfront as surety.
Normally, this payment is calculated by
taking the import value, adding 10%,
and then calculating 14% of that total.
For an exhibition with a value of count-
less millions, such as the Picasso
show, this is not peanuts.
The payment is returned once the
work is re-exported, but it takes at
least six months – and no interest is
payable. So if a show is in the country
for six months, it could take at least a
year for any organisation or sponsor to
get its money back.
An alternative route can be even more
expensive: an ATA carnet requires the
bond or surety to be paid to the home
country; percentages vary, but it can
be as much as 50% of the value of
the consignment. Again, the money
is returned once the goods are back
safely.
Lourens does however point out that
SARS and customs are flexible, and
the laws “allow for discretion” in terms
of the provisional payment. Organisa-
tions can approach SARS to bring
down, or even waive, the amount.
“People must not be scared,” he says.
“Each case is assessed on merit. The
secret is communication.”
Embassies can also help by agreeing
that they will be responsible for any
duties and taxes if the work isn’t re-
exported within a reasonable period,
but this is a serious commitment.
Alex Leite-Pinheiro of Elliott Interna-
tional agrees better payment rates can
be negotiated; for one consignment
where the surety could have been
many millions, he managed to bring it
down to R100,000.
But the change has sent shivers
through sectors of the art world. Clive
Kellner, previous director of the Johan-
nesburg Art Gallery, questions why
South Africa requires any upfront pay-
ment for cultural heritage items enter-
ing the country for exhibition purposes
only. ‘Customs applies commercial
rules to work that is entering the coun-
try for educational or cultural heritage
purposes,’ he says. ‘If JAG had to put
up a bond [of even R100,000] for an
exhibition, it’s very simple: it can’t.
There is just no money… It’s critical to
the development of the cultural sector
in South Africa that policies [that ex-
empt customs requirements on cultural
heritage shows] are put in place. ”
Kellner says that the Africa Remix
show at JAG was valued at around
R200-million. In that case, neither the
gallery, nor the first shipping agent
they approached could raise the
payment, but a second shipping agent
managed to help (it was worth it to
them for the business). ‘It’s mystifying
that there is not one single clear policy
or rule to exempt exhibitions like this,”
Kellner says.
JAG did not use the certificate A
loophole to bring work into the country,
but Kellner said it was sad that others
could no longer utilise it.
Riason Naidoo, director of the SANG,
says if the reason for the change was
simply to make sure the loophole
wasn’t being abused, and if it didn’t
“get in the way of artistic exchange”
by preventing museums from being
granted waivers, then it could simply
mean more paperwork.
However, he noted that considering
South Africa’s years of isolation under
Apartheid, “the country needed to
be more open to cultural production
beyond our borders. We should be
assisting the exchange of artistic
practices rather than creating more
barriers.”
Marilyn Martin, previous director of
the SANG says the change would be
a “disaster” if it made it more difficult
for museums to host major exhibitions.
“It will be a deterrent, she said. “It’s a
shame to cut the cord of such wonder-
ful international co-operation between
institutions and embassies.” She
understands that it’s possible to apply
for waivers, but also calls for a clear
policy of exemption for museums.
“Otherwise you’re at the mercy of a
particular SARS officer to make the
decision.”
Van der Spuy also believes that when
an exhibition travels to South Africa
“as a cultural exchange between insti-
tutions”, a payment should not have to
be made – and large sums of money
tied up for months would be impos-
sible for corporate entities, never mind
public institutions, to afford.
“If a payment had been necessary
for the Picasso show, the bank would
have had to think twice about the
sponsorship,” she said.
Antoinette Murdoch, now chief curator
at JAG, was also sorry to hear about
any tightening up of requirements.
Provisional payments would not be
affordable for JAG, Murdoch said.
“Cash flow is not a luxury that art and
government institutions have.”
This article first appeared in
The Weekender
Marijke van Velden on winning the Sasol New Signatures 09
Katharine Jacobs supawood the viewer is then free
to engage with the work and ‘con-
‘I like making things that excite struct their own landscapes’.
me and that aren’t necessarily
only accessible to visual literate Firmly entrenched in the canon
people’. Pierneef has recently come to
be the subject of much renewed
On hearing the news that she had criticial examination. Van Velden
been selected in the top 10 finalists remarks that her interpretation
of the Sasol New Signatures com- ‘speaks about the way we have
petition, this years winner Marijke come to reconsider landscape
van Velden was overwhelmed. ‘I painting’ and the ‘owning the right
was very proud that I was nomi- to appropriate’ such traditions.
nated as I’ve never really seen
myself as a serious artist’.
Currently she is enrolled for an
MPhil in illustration at the Uni- Images: Top to bottem:
versity of Stellenbosch where she Marijke van Velden recieving her
completed a degree in Fine Arts. award, Cement artwork by Peter
Campbell, Pierneef goes Dulux
Reflecting on the process of mak- by Marijke van Velden, Follow
ing her winning piece ‘Pierneef up prize; My Mother by Amita
goes Dulux’, the Maties graduate Makan, Still 1 by Abri de Swardt
Marijke van Velden
says that she has a strong leaning
towards participatory art making
processes that actively involves
the viewer.
Started some two years ago, her
winning entry embodies this
interactive philosophy of making
art. ‘I want people to take out the
pieces and to make their own land-
scape’. This process of play is very
important to van Velden and can
be seen in the way she developed
the work.
Putting a colour by numbers ver-
sion of the image together with a
list of colours up in the residency
where she lives in Stellenbosch,
van Velden says that random peo-
ple were encouraged to choose the
final outcome of the painting.
Yet the final product was to be a
mystery. ‘I didn’t want the hills to
be green and the sky blue, that’s
boring’. Here the significance of
‘Dulux’ in the title comes into
conceptual play. ‘I wanted to move
away from peoples normative
ideas about landscape, so I deliber-
ately chose colours whose names
where absolutely arbitrary’.
The result is a technicolour take
on a landscape by the acclaimed
painter J.H.Pierneef, thereby desta-
bilising the ‘conventional high-art
notion of landscape painting’. With
the final sections cut out of 12mm

Eastern Cape 142 Jan Smuts Avenue, Parkwood,
East London Gallery MOMO leading contemporary artists.
Ann Bryant Art Gallery 52 7th Avenue, Parktown North,
27 Aug-12 Sep, Santam Child Exhibi-
tion, paintings and sculptures.
17 Sep-4 Oct, paintings by Stella Wills
9 St Marks Road, Southernwood, East
London T. 043 722 4044
Annbryant@intekom.co.za
Port Elizabeth 32 Maude Street, Nelson Mandela
Alliance Francaise Port Elizabeth
For Sep, sound, video, stop-motion
animation and public interventions by
Nina Barnett
17 MacKay Street, Richmond Hill,
T. 041 585 7889
www.alliance.org.za
Nelson Mandela Metropolitan Art
Museum com
30 Jul-20 Sep, sculpture by 2009
Standard Bank Young Artist Award
Winner, Nicholas Hlobo. 15 Aug-25
Nov, Poking Fun, works from the Art
Museum’s permanent collection explor-
ing humour, biting commentary and
satire. 1 Park Drive, Port Elizabeth,
T. 041 506 2000
www.artmuseum.co.za Magpie Gallery
Free State Johannesburg T. 011 788 4805
Bloemfontein 16 Jul-16 Sep, Imaging and Imagining:
Oliewenhuis Art Museum Shop 31, Broadacres Lifestyle Centre,
29 Sep-18 Oct, Freshford House
Museum, Photographic Competition
Exhibition
16 Harry Smith Street, Bloemfontein
T. 051 447 9609
Johan Smith Art Gallery
From 26 Sep, 15th Annual Exhibition,
with invited artists, Alain Nortje, Elga
Rabe, Hennie Meyer, Llewellyn Davies,
Elbe van Rooyen
Windmill Centre Main Street Clarens
T. 058 256 1620
www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel Sculptures,
Functional Art, Photography,
Ceramics.
Windmill Centre Main Street Clarens
T. 058 256 1757 www.bloudonki.co.za
Gauteng www.wssa.org.za
Johannesburg
Alliance Française of Johannesburg,
Gallery Gerard Sekoto
7-12 Sep, Together. Ensemble, by
Véronique Tadjo
17 Lower Park Drive corner Kerry
Road, Parkview – opp. Zoo Lake
T. 011 646 1169
culture.jhb@alliance.org.za
Artist’s Proof Studio
From 25 Aug, Fragments, prints and
drawings by Belmiro Jemusse
Bus Factory (c/o Henry Nxumalo,
3 President Street, P.O. BOX 664,
Newtown)
T. 011 492 1278 f. 011 833 1882
apsgallery@mweb.co.za
www.artistproofstudio.org.za
Arts on Main
20 Sep-6 Oct, ‘Us’, curated by Simon
Njami and Bettina Malcolmess, exam-
ines notions of nation, culture, class,
gender, sexuality and race.
Fox St, Johannesburg
www.artsonmain.co.za
artsonmain@gmail.com
Art on Paper
15 Aug-12 Sep, prints and watercolours
by Fiona Pole www.origins.org.za
44 Stanley Ave, Braamfontein Werf
(Milpark), T. 011 726 2234
www.artonpaper.co.za For Sep, The Wealth of No Nations,
Artspace – JHB
27 Aug-16 Sep, In Arms by Dylan
Graham, paintings dealing with the
ambiguities of people and phenomena.
Chester Court, 142 Jan Smuts Avenue,
Parkwood, Johannesburg.
T. 011 880 8802
www.artspace-jhb.co.za ries’: painted narratives from India.
The Bag Factory Artists’ Studios
9-16 Sep, Axis Mundi, works by Lau-
rence Bonvin (Switzerland), Alejandro
Contreras Moiraghi (Argentina), Myer
Taub (Cape Town) and guests
10 Mahlatini St, Fordsburg,
Johannesburg T. 011 834 9181
info@bagfactoryart.org.za
www.bagfactoryart.org.za
The Bus Factory
From 23 Sep, ‘Urban Eyes’ Children’s
Art Project, mural design competition
for schoolchildren.
3 President St, Newtown, Johannes-
burg. T. 011 688 7851
info@jda.org.za
Brodie/Stevenson
13 Aug–5 Sep, solo shows by Conrad
Botes and Lauren van Gogh. 10 Sep-10
Oct, sculpture by Nandipha Mntambo
373 Jan Smuts Avenue, Johannesburg
T. 011 326 0034,
http://www.brodiestevenson.com
David Brown Fine Art
Until 19 Sep, Ephemera, mixed media,
photo montages and found objects and
collage, by Aidon Westcott
39 Keyes Ave,off Jellicoe, Rosebank,
Johannesburg. T. 011 788 4435
www.davidbrownfineart.co.za
David Krut Projects
5-29 Sep, dry points, lithographs
and sculpture, by Diane Victor, Jacki
McInnes & Dorothee Kreutzfeldt
Johannesburg T. 011 447 0627
www.davidkrutpublishing.com
3-28 Sep, Group Exhibition
Johannesburg T.011 327 3247
www.gallerymomo.com
Gallery on the Square
For Sep, contemporary South African
artists, including: Paul Blomkamp,
Wilma Cruise, John Kramer, Colbert
Mashile, Hermann Niebuhr, Carl Rob-
erts, Jenny Stadler among others
Square at Sandton City, Sandton, Jo-
hanesburg. T. 011 784 2847
www.galleryonthesquare.co.za
Gold of Africa Museum Gallery
30 Jun-30 Sep, Headgear, drawings by
Jeannette Unite.
Turbine Hall, Jeppe Street, Johannes-
burg T. 07829251834
www.goldofafrica.com
Goodman Gallery 2009, Pic(k) Of The DAG, South Afri-
27 Aug-3 Oct, Sue Williamson
163 Jan Smuts Avenue, Parkwood,
Johannesburg, T. 011 788 1113
www.goodman-gallery.com
Everard Read Gallery Jhb
Until 3 Sep, Umuzi photograps, Uva
Mira Magnums Auction. 11-25 Sep,
sculptures by Dylan Lewis
6 Jellicoe Avenue, Rosebank,
http://www.everard-read.co.za
Grahams Fine Art Gallery
South African Art circa 1896-2008
Cnr. Valley & Cedar Roads Fourways,
Johannesburg. T.011 465 9192
www.grahamsgallery.co.za
GordArt Gallery in all media.
5-26 Sep, Main space: John Moore,
Last Rites, etchings and drawings.
Upstairs: paintings and ceramics by
Afrobot. From 3 Oct, Main space:
Treasure! Sculptures and painting by
Colin Payne. Upstairs: paintings by
Craig Smith
Shop 1 Parkwood Mansions, 144 Jan
Smuts Ave, Parkwood, T 011 880 5928
www.gordartgallery.com
gordon@gordartgallery.com
Manor Gallery
10-15 Sep, Desperate Housewives, a
group show, in mixed media
Norscot Manor Centre, Penguin Drive
T. 011 465 7934
Email: gallery@wssa.org.za
Johannesburg Art Gallery
30 Jun-27 Sep, Musha Neluheni:
Vantage, in the artist’s project room
#5. 26 Jul-1 Nov, Vik Muniz, Stephen
Shore and Janaina Tschape. From 20
Sep, ‘Us’, curated by Simon Njami and
Bettina Malcolmess
King George Street, Joubert Park,
Johannesburg T. 011 725 3180
www.joburg.org.za
Market Photo Workshop
12 Aug-11 Sep, Residues, photography
by Juan Orrantia
2 President Street, Newtown, Johan-
nesburg, 2000 T. 011 834 1444
www.marketphotoworkshop.co.za
Museum Africa
25 May-24 Dec 2010, l’Afrique: A
Tribute to Maria Stein-Lessing and
Leopold Spiegel; co-curated by Nessa
Leibhammer and Natalie Knight.
121 Bree Street, Newtown,
Johannesburg, T. 011 833 5624
www.knightgalleries.net
Origins Centre
5 Aug-10 Oct, From Abidjan to Joburg,
Veronique Tadjo
Cnr Yale and Enoch Santonga Str.
University of the Witwatersrand
T. 011 717 4700
Resolution Gallery
works by Pat Mautloa and Godfried
Donkor.
142 Jan Smuts Avenue, Parkwood,
Johannesburg T. 011 880 4054
www.resolutiongallery.com
Sandton Civic Art Gallery
15 Sep-5 Oct, Indian ‘Shared Histo-
Nelson Mandela Square, corner Maude
and Fifth Streets, Sandton T. 011 881
6430/32
Sally Thompson Gallery
2 Sep-10 Oct, Jo’burg Gini, photogra-
phy by Sally Gaule
78 Third Avenue, Melville,
T. 011 482 9719
www.thompsongallery.co.za
Standard Bank Gallery
4 Aug-19 Sep, SBYA 25th Anniversary
exhibition.
Cnr. Simmonds & Frederick Streets,
Johannesburg, 2001
Tel: 011 631 1889 www.standardbank-
gallery.co.za
The Art Place, Gallery & Art Centre
12 Sep-3 Oct, Enchantment, fine
porcelain by Dale Lambert and paint-
ings by Maureen Rugani. 10 Oct-31
Oct, Introducing TAG, quilts and wall
hangings.
144 Milner Ave, Roosevelt Park,
T 011 888 9120
University of Johannesburg Arts
Centre Gallery
2 Sep-14 Oct, Retrospective of oil
paintings by Braam Kruger
University of Johannesburg, Auckland
Park Kingsway campus cnr. Kingsway
and Universiteits Rd, Auckland Park
T. 011 559 2099/2556
www.uj.ac.za/artsacademy
SOUTH AFRICAN ART GALERY SHOW LISTINGS SEPTEMBER 2009
Pretoria KwaZulu-Natal 35 Church Street, Cape Town
Alette Wessels Kunskamer
Exhibition of Old Masters and selected
Maroelana Centre, Maroelana.
GPS : S25º 46.748 EO28º 15.615
T. 012 346 0728
C. 084 589 0711
www.artwessels.co.za
Cameo Framers and Gallery
2-22 Sep, works by Noria Mabasa,
Jackson Hlungwani, Johannes Mas-
wanganyi, Dr Seoka Phutuma and
Fanoni ‘Chickenman’ Mkhize.
198 Long Street, Waterkloof, Pretoria
T. 082 923 2551
trent.art@gmail.com
Fried Contemporary Art Gallery
8 Aug-26 Sep, Recent work by Johann
Moolman, Diane Victor and Rossouw
van der Walt
430 Charles Str, Brooklyn, Pretoria T.
012 346 0158 www.friedcontemporary.
Kraal Studio
29 Aug-10 Oct, Solitude and Things
Collected.
364 Milner Road, Waterkloof, Pretoria
T. 082 464 6767
hanlieandclive@kraalstudio.co.za
8 Aug-17 Sep, If I were a girl it is,
works by male artists, curated by
Debbie Cloete. 29 Aug-24 Sep,
Candy Coated, works by Thelma van
Rensburg, Adelle van Zyl, Marisa
Mare, Cecily Pohl, Debbie Cloete,
Annelie le Hannie, Anita Booyens-bod-
enstein, Griet van der Meulen, Megan
Mackway-Wilson, Karen Liechti, Anna-
Lynne Marais, Rozan Cochrane, Masa
Milovanovic and Julie Rochford.
Shop 21B, Southdowns Shopping
Centre, Centurion T. 012 665 1832
www.magpie.co.za
Michael Heyns Gallery
19-26 Sep, 800below, Studio clearance
sale by Pretoria artists, including Mimi
van der Merwe, Michael Heyns, Cecily
Pohl and Jennifer Snyman.
116 Kate Ave Rietondale Pretoria
T. 082 451 5584
Naude Modern
5-26 Sep, Tête-à-Tête, Pasqual Terra-
zona and Andre Naude in conversation,
mixed media works
254a St Patrick’s Road, Muckleneuk
Ridge, Pretoria, T. 012 440 2201
www.art.co.za/andrenaude
Northern Flagship Institution, Na-
tional Cultural History Museum
1-30 Sep, Mphophole, paintings by
Lefifi Tladi
149 Visagie street (between Bosman
and Schubart), Pretoria
T. 012 324 6082 Fax: 012 328 5173
tebogo@nfi.museum/
mantshadi@vodamail.co.za
Platform on 18th
20 Aug-5 Sep, Narrative Video art,
paintings and sculpture by 22 Open
Windows students. 10 Sep-3 Oct,
Sketchboek Spaza, works by Heleen
Schroder, Nicolene Louw, John Murray
and Leonora van Staden,
www.platform18th.co.za
232 18th Street, Rietondale, Pretoria
T. 084 764 4258
Pretoria Art Museum T. 021 419 8888
27 Aug-20 Sep, Sasol New Signatures
Art Competition, Until 1 Dec, A selec-
tion of artworks tells a brief story of
South African art from the time of the
first San artists, includes early 20th
century painters, Resistance artists
and artists of the 21st century. Also on
show until Dec, the Corobrik Collec-
tion, showcasing the development of
ceramics in South Africa in the past
thirty years.
T.012 344 1807/8
www.pretoriaartmuseum.co.za
Pretoria Association of Arts
14 Aug- 2 Sep, etchings, monoprints
and mixed media works by Gerda
Scholtemeijer. 6-23 Sep, mixed media
works by Lottie Mischa, Ella van Vu-
uren. 4-22 Sep, mixed media works by
Jahni Wasserfall. 13 Sep-1 Oct, mixed
media works by Willie van Rensburg.
27 Sep-15 Oct, Marinus Wiechers,
Monica Zaayman, Riette Vorster
173 Mackie Street, New Muckleneuk,
Pretoria, Gauteng, 0181,
T. 012 346 3100
www.artsassociationpta.co.za
Tessa Teixeira’s Fine Art Studio
From 10 Oct, Should I go or should I
stay: reflecting on the South African
Diaspora. Paintings and installation
by Tessa Teixeira
2 Escombe Avenue, Parktown West,
Johannesburg, (cnr Westcliff drive)
T.082 339 4848
Email: info@tessateixeira.com
St Lorient Fashion & Art Gallery
30 Aug-26 Sep, Rooftop, outdoor
sculpture exhibition curated by Gordon
Froud
492 Fehrsen Str, Brooklyn Circle,
Pretoria. T. 012 460 0284
www.stlorient.com
UNISA Art Gallery
15 Aug-11 Sep, New Acquisitions exhi-
bition. 24 Sep-16 Oct, Amasiko eSintu
Craft Exhibition
Theo van Wijk Building, Goldfields
entrance, 5th floor. Unisa Campus,
Pretoria. T.012 429 6823
www.unisa.ac.za/gallery
University of Pretoria, Van Wouw
Museum
3 Aug-30 Sep,
Arts Unlimited Exhibition
299 cnr Clark and Rupert St
Durban A permanent display showcasing lead-
Artisan Contemporary
10 Aug-20 Sep, Vista, a collection of
fibre art by Fibreworks, and beaded
sculpture by Ceasar Mkize and Thase
Dlamini
344 Florida Rd, Morningside,
T. 031 312 4364
Email: sue@artisan.co.za
ArtSpace - DBN
24 Aug–12 Sep, mixed media works
by Martin Burnett and Life Journey by
Di van Wik. In the front room: Vega
Student Logos for the relaunch of the
Stable Thearte
3 Millar Road, Durban.
T.031 312 0793
www.artspace-durban.co.za
Durban Art Gallery
12 Aug- end Oct, PAST/PRESENT,
works by Andrew Verster. Until Dec
can works from the gallery’s Perma-
nent Collection.
Second Floor, City Hall, Anton Lem-
bede Street, Durban
T. 031 311 2268
strettonj@durban.gov.za
www.durban.gov.za/durban/discover/
museums/dag
Elizabeth Gordon Gallery
A variety of new South African art-
works, including paintings by Hugh
Mbayiwa, Scott Bredin and Ezequeil
Mabote.
120 Florida Road, Durban
T. 031 303 8133
eqqart@iafrica.com
Imbizo
13 Aug-23 Sep, Black and White, a
show including black and white works
Shop 7A, Ballito Lifestyle Centre,
Ballito 4418 T. 032 946 1937
info@imbizogallery.co.za
Light, virtual reality, the atom and chakra, series no 4,
Nicholas Hales, UCA Gallery, Cape Town
KZNSA Gallery
11 Aug-5 Sep, Structures: Avenues and
Barriers of Power in the work of Jer-
emy Wafer 8-27 Sep, sculpture, prints
and films, Panoply: a joint exhibition
by Walter Oltmann & Hentie van der
Merwe, Durban Revisited: an exhibi-
tion of paintings by Jenny Parsons,
Intersections: exhibition of works from
the KZNSA Young Artist Project.
166 Bulwer Road, Glenwood, T. 031
2023686, www.kznsagallery.co.za
Tatham Art Gallery
25 Jun-6 Sep, Into the Light, work by
KZN women artists of the early part of
the 20th Century. 9 Jul-13 Sep, Heath
Family Retrospective, paintings by
Jack, Jane and Jinny Heath.
Cnr. Of Chief Albert Luthuli (Commer-
cial) Rd. and Church Street (Opposite
City Hall) Pietermaritzburg.
T. 033 342 1804
www.tatham.org.za
Northern Cape Avital Lang. Personally – Political.
Kimberley
William Humphreys Art Gallery
From 30 Jul, David Walters and
Friends, an exhibition of top South
African ceramicists.
Civic Centre, Cullinan Crescent, Kim-
berley, T. 053 831 1724,
www.museumsnc.co.za paintings and sculptures by various
Mpumalanga
The Loop Art Foundry & Sculpture
Gallery
Casterbridge Complex Corner R40 and
Numbi Roads White River
T. 013 751 2435 www.tlafoundry.co.za
Western Cape 47-49 Greatmore St, Woodstock, Cape
Cape Town info@greatmore.org.
3RD i Gallery
19 Aug-25 Sep, paintings, drawings
and sculptures by Liliyane Mendel
95 Waterkant Street, De Waterkant. T.
021 425 2266
Alliance Française
From 3 Sep, Overbrim the East, paint-
ings by four contemporary artists from
China
155 Loop Street, Cape Town.
T. 021 4235699
www.alliance.org.za
Art B Gallery www.infinart.co.za
9-30 Sep, Vuleka Collected
Library Centre, Carel van Aswegen
Street, Bellville T. 021 918 2301,
www.artb.co.za
Association for Visual Arts (AVA)
17 Aug-4 Sep, Flatlands, photography
by Marc Shoul. 7-25 Sep, Word! Cu-
rated by Kirsty Cockerill and Ashleigh
McLean and works by Mandla Vanyaza
and Shakes Tembani.
T. 021 424 7436 www.ava.co.za
Atlantic Art Gallery
ing contemporary South African artists.
25 Wale Street Cape Town,
T. 021 423 5775
Cape Gallery From 14 Jul, The Art of Relief Print-
16 Aug-26 Sep, Annual Wildlife exhibi-
tion, including painting, sculptures and
mixed media
60 Church Street, Cape Town,
T. 021 423 5309
www.capegallery.co.za
Carmel Art
Dealers in Fine art, exclusive distrib-
uters of Pieter van der Westhuizen
etchings
66 Vineyard Road, corner Cavendish
St, Clarement T.021 671 6601
Constantia Village Shopping Centre,
Main Road, Constantia T. 021 794
6262
Christopher MǾller Art
Dealers in South African contemporary
art and South African masters.
82 Church Street, Cape Town,
T. 021 439 3517
www.christophermollerart.co.za
David Porter Antiques
Buyers and sellers of South African art
T. 021 683 0580/083 452 5862
david@davidporterantiques.com
Erdmann Contemporary /
Photographers Gallery Main Road Kalk Bay.
9-26 Sep, The Hero Within, photogra-
phy by Melanie Cleary
63 Shortmarket Street, Cape Town
T. 021 422 2762
www.erdmanncontemporary.co.za
Exposure Gallery
27 Aug-24 Sep, The Spirit of Ubuntu,
photography by Angie Joseph, Clare
Louise Thomas, Dave Robertson,
Duane Howard, Gideon Van Der Watt,
Michael Prochnik, Steve Wilson &
Theo Klompje.
The Old Biscuit Mill, 373 Albert Road,
Woodstock. T. 021 447 4124
www.exposuregallery.co.za
Focus Contemporary,
Fine Young Art
24 Jul-4 Sep, Works by Christiaan
Diedericks, Chad Barber, Ian Cattan-
ach, Mark Stanes, Glen Green, Philip
Marinig, Aphelele Sikwebu and Karin
Miller. 5 Sep-2 Oct, Om Shanti Om,
group show
2 Long Street Cape Town,
www.focuscontemporary.co.za
Gallery F
Contemporary and archival South
African Art
221 Long Street, Cape Town, T. 021
422 5246
www.galleryf.co.za
Gallery M
26 Aug-16 Sep, From Berlin to Cape
Town, a photographic exhibition by
Shop 9, Piazza Da Luz, 94 Regent
Road, Sea Point 8005
T.021 434 8264
www.gallerym.co.za
info@gallerym.co.za
Gill Allderman Gallery
For Sep, works on paper by Dathini
Mzayiya, as well as a selection of
artists.
278 Main Road, Kenilworth, Cape
Town T. 083 556 2540
www.gillalldermangallery.co.za
Greatmore Art Studios
27 Aug-2 Sep, Five Seasons, the fine
art mentorship exhibition. Works by
Sam Macholo, Kilford Telcie, Tess
Metcalf, Khaya Sineyile, Hendrick van
Heide
Town www.greatmoreart.org
T. 021 447 9699
Goodman Gallery, Cape Showcasing creativity from Kwazulu-
20 Aug-12 Sep, figuring II: Heiseb
works by Hentie van der Merwe.
17 Sep-17 Oct, Bili Bidjocka
3rd Floor, Fairweather House,
176 Sir Lowry Road Woodstock,
Cape Town
T. 021 462 7573/4,
www.goodmangallerycape.com
Infin Art Gallery
Wolfe Street Chelsea Wynberg
T. 021 761 2816
and Buitengracht St Cape Town
T. 021 423 2090
Irma Stern Museum 14 Aug-5 Sep, an exhibition of sculp-
8-26 Sep, Textiles and jewellery by Sue
Robinson
Cecil Road, Rosebank, Cape Town
T. 021 685 5686
www.irmastern.co.za
South African National Gallery Editions Exhibition, works by Jane
9 Sep-30 Nov, The Everyday and the
Extraordinary, three decades of archi-
tectural design by Jo Noero.
9 Jun-25 Oct, Cross-Pollination, South
African artists working from 1930-50.
Includes work by Laubser, Stern, Kibel,
Pierneef, Sekoto and Lipshitz.
30 Jun-25 Oct, Choices 2008, showcas-
ing new artworks acquired in 2008 by
the Acquisitions Committee.
ing, an exhibition demystifying print
processes. Includes woodcuts, wood,
engravings and linocuts.
Government Avenue, Company’s
Garden T. The 021 467 4660,
www.iziko.org.za
João Ferreira Gallery works by Wayne Barker, Maria van
2 Sep-3 Oct, ‘Before Life’, photogra-
phy by Araminta de Clermont
70 Loop Street,Cape Town,
T. 021 423 5403
www.joaoferreiragallery.com
Johans Borman Fine Art Gallery
15 Aug-12 Sep, 10-20 Anniversary
Exhibition: Art That Inspires
In-Fin-Art Building, Upper Buiten-
gracht Street, Cape Town,
T. 021 423 6075/082 5664631
www.johansborman.co.za
Kalk Bay Modern
Winter Showcase: art works on paper
by Cecil Skotnes, Penny Siopis, Colbert
Mashile, Michele Tabor, Jane Eppel,
Lyn Smuts, Rory Botha, Nat Mokgosi.
1st Floor, Olympia Buildings, 136
T.021 788 6571
kbmodern@iafrica.com
Kunst House www.worldart.co.za
24 Sep-17 Oct, Thelma van Rensburg,
Seductress in Distress
62 Kloof Street, Gardens,
T. 021 422 1255
www.kunsthouse.co.za
Lindy van Niekerk Art Gallery
Exhibition of SA’s leading artists.
31 Kommandeur Road, Welgemoed,
Belville T. 021 913 7204/5
www.artpro.co.za
Michael Stevenson Contemporary
6 Aug-26 Sep, Wim Botha, ‘Sidestep’
by Simon Gush and ‘Middlesea’, a
video work by Zineb Sedira.
1 Oct-21 Nov, ‘The Street’, sculpture
by Meschac Gaba and ‘Subtropicalia’,
video, sculpture and a short story by
Paul Edmonds
Ground Floor, Buchanan Building,
160 Sir Lowry Road, Cape Town, T.
021 462 1500
www.michaelstevenson.com
Michaelis School of Fine Art
25 Aug-13 Sep, A Life’s Work, photog-
raphy by Rodney Barnett
31-37 Orange st, Gardens, Cape Town
T. 021 480 7147
Raw Vision Gallery
3 Aug-30 Sep, Weiffeling, a multimedia
exhibition by Koos Prinsloo
89 Sir Lowry Road, Woodstock.
T. 076 581 9468 fishermike@mac.com
Rose Korber
new charcoal and pastel drawings by
Richard Smith, as well as recent works
on paper by William Kentridge,
Deborah Bell and Ryan Arenson.
48 Sedgemoor Road, Camps Bay,
Cape Town T. 021 438 9152
roskorb@icon.co.za
www.rosekorberart.com
Rust-en-Vrede
25 Aug-17 Sep, Judy Woodborne, Paul
Birchall and Chris Diedericks
10 Wellington Road, Durbanville.
T. 021 976 4691
www.rust-en-vrede.com
Salon91 Contemporary
1 Sep-15 Sep, Revelating Now, draw-
ings videos and digital prints by nileru
(Neil le Roux collaborating with
the World); 18 Sep-10 Oct, Abdica-
tion, paintings, sculpture, animation,
drawings and a performance piece by
Lourens Joubert.
91 Kloof Street, Gardens, Cape Town
021 424 6930
www.salon91art.co.za
Samsara Artefacts & Interiors
17-23 Sep, She is the Masterpiece,
an exhibition of paintings by women
artists
Shop 5, The Palms Lifestyle Centre,
145 Sir Lowry Road
T. 021 462 6688
South African Museum
25 Jul-Mar 2010, Subtle Thresholds,
the representational taxonomies of
disease, a mixed media show curated
by Fritha Langerman.
25 Queen Victoria Street, Cape Town
T. 021 481 3800
http://www.iziko.org.za/sam/index.html
South Gallery
Natal including Ardmore Ceramic Art.
Fairweather House, 176 Sir Lowry
Road Woodstock, Ground Floor.
T. 021 465 4672
info@southgallery.co.za
The Artists’ Gallery
23 Aug-13 Sep, CranioSacral Art:
visual studies of elements and treat-
ment protocols in the art of CranioSac-
ral Therapy.
136 Saint George’s St, Simon’s Town
T. 021 786 5952
www.craniosacral-art.com
These Four Walls Fine Art Galley
tures and paintings by P L Anderson
169 Lower Main Road, Observatory,
T. 021 447 7393.
www.thesefourwalls.co.za
The South African Print Gallery
29 Aug-28 Sep, ArtThrob Print
Alexander, Willem Boshoff, Lisa Brice,
Nontsikelelo ‘Lolo’ Veleko, Guy Tillim,
Mikhael Subotzky, Peet Pienaar, Penny
Siopis, David Goldblatt, Hentie vd
Merwe, Tracey Rose, William Ken-
tridge and Zwelethu Mthethwa, as well
as a new Robert Hodgins print, hot off
the press.
107 Sir Lowry Road, Woodstock,
Cape Town, T. 021 462 6851
www.printgallery.co.za
UCA Gallery
26 Aug-18 Sep, Elysian Fields, group
show featuring work by Nicholas
Hales, Katharine Jacobs, Liezel Prins,
Marlise Keith, Colleen Alborough, Rat
Western. 23 Sep-16 Oct, History(n),
Rooyen, Alan Taylor, Catherine Ochol-
la, Charles Maggs, Lauren Palte and
others. Curated by Andrew Lamprecht
46 Lower Main Road, Observatory,
Cape Town T. 021 447 4132
www.ucagallery.co.za
VEO Gallery
From 1 Sep, The Concept, group
exhibition
Jarvis Road, De Waterkant,
Cape Town.
T. 021 421 3278
www.veo.co.za
What if the World… Event by Strijdom van der Merwe
2-26 Sep, solo show by Rowan Smith
First floor, 208 Albert Road Woodstock
T. 021 448 1438 www.whatiftheworld.
com
Worldart
23 Sep-12 Oct, Cityscapes, paintings
by Gavin Rain
54 Church Street Cape Town CBD,
T. 021 423 3075
38 Special
2-23 Sep, Works by Tamarind Schultz
38 Buitenkant St, Gardens, Cape Town
CBD
Franschoek Sasol Art Museum, Stellenbosch
Galerie L’ Art
A permanent exhibition of old masters
Shop no 3, The Ivy, Krugerstreet,
Franschoek
T. 021 876 2497
www.galart.co.za
Gallery Grande Provence
6 Sep-7 Oct, painting by Cornelia
Snook, objets d’art by Nanette Nel and
flowers by Okasie
Main Road Franschoek,
T. 021 876 8600
www.grandeprovence.co.za
George
George Museum
19 Sep-23 Oct, Decade, highlights from
10 Years of Collecting for the Sanlam
Art Collection
9 Courtenay St, George.
T. 044 873 5343
Strydom Gallery
For Sep, General exhibition
Marklaan Centre, 79 Market Street,
George,
T. 044 874 4027.
www.artaffair.co.za
Oudtshoorn tions, group show
ArtKaroo Gallery
17 Sep-17 Oct, Janet Dickson, a solo
show of paintings
107 Baron van Reede Str, Oudtshoorn
Tel/Fax: (044) 279 1093
janet@artkaroo.co.za
www.artkaroo.co.za
Paarl
Afrikaans Language Museum,
Historium
24-27 Sep, Representative exhibition,
bronze sculpture by
Stephen Rautenbach
Paarl Mountain, Paarl, 7646
T. 021 863 4809
admin@taalmuseum.co.za
www.taalmuseum.co.za/
Café Juno
24-27 Sep, works by Tertia du Toit
Paarl Main Road, Paarl T. 021 872
0697
oliver@junowines.com
www.junowines.com
De Kraal Gallery
24-27 Sep, Portraits, by Sarah Rich-
ards, Peter (Abbo) Hall, Niel Jonker,
Kim Goodwin, Helena Vogelzang,
Sarah Lovejoy, Michael Mawdsley
123 Main St, Paarl
T. 021 863 2207
www.dekraalgallery.com
Jane se Kunshuis
24-27 Sep, exhibition
17 Pastorie Ave, Paarl, 7646
T. 021 872 2492
The Hout Street Gallery
30 Jul-20 Sep, the 34th annual Winter
Gala, including paintings by 25 South
African artists, as well as sculptures,
glass work and ceramics.
270 Main Street Paarl
T. 021 872 5030
The Orange Mill Art Gallery
23-27 Sep, sculptures and paintings by
Frans Boekooi, Sally Smook and Pat
van der Merwe
28 Mill Street Paarl
T. 021 872 8612
www.orangemill.co.za
info@orangemill.co.za
Off the Wall Contemporary
24-27 Sep, Drawing Exhibition
171 Main Road, Paarl
T. 021 872 8648
www.offthewallcontemporary.com/
info@offthewallcontemporary.co.za
Stellenbosch
Art on 5
Permanent exhibition of paintings and
ceramics by Maryna de Witt, Pera
Schillings, Karen Kieviet.
7b Andringa Street, Stellenbosch.
T. 021 887 7234
Boezaart Bauermeister
3-4 Oct, Jewellery exhibition
Andmar building, Cnr Ryneveld and
Church St, T. 021 886 7569 www.
boezaartbauermeister.com
Delaire Graaff Estate Art Collection
3-4 Oct, Guided tours of Delaire Graff
Estate Art Collection
R310 Helshoogte Pass T. 021 808 5900
www.delaire.co.za
Dorp Straat Gallery
3-4 Oct, Hang in there, works by Nigel
Mullins and Kobus La Grange
144 Dorp Street, Stellenbosch
T. 021 887 2256
www.dorpstraatgalery.co.za
Glen Carlou Estate
3-4 Oct, Guided Tours of the Hess Art
Collection
Simondium Road, Klapmuts
T. 021 875 5314 www.glencarlou.co.za
Pier Rabe Antiques, Art and Con-
temporary Design
3-4 Oct, Conceptual Installation and
143 Dorp St, Stellenbosch T. 021 883
9730 www.pierrabe.co.za
Red Black and White
3-4 Oct, Creative Blocks, curated by
Jeanetta Blignaut
5a Distillery Road, Bosman’s Crossing,
Stellenbosch.
T. 021 886 6281
www.redblackandwhite.co.za
Rupert Museum
3-4 Oct, Rodin, bronze sculptures;
permanent collection of 20th Century
South African Art
Stellentia Ave,
T. 021 888 3344
www.rupertmuseum.org
University
16 Sep-24 Oct, Mbongeni Buthelezi
52 Ryneveld St, Stellenbosch T. 021
808 3691
SMAC Art Gallery
1-30 Sep, new sculptures by Herman
van Nazareth. From 3 Oct, paintings
and photographic installations by An-
ton Karstel, portraits by Nel Erasmus
and performances by Barend de Wet
and Tracey Rose
De Wet Centre, Church Street,
Stellenbosch
T. 021 887 3607
www.smacgallery.com
Stellenbosch Art Gallery
Permanent exhibition of Conrad Theys,
John Kramer, Gregoire Boonzaier,
Adriaan Boshoff and other artists.
34 Ryneveld Street, Stellenbosch
T. 021-8878343
www.stellenboschartgallery.co.za
Tokara Winery
3-4 Oct, Art at Tokara exhibition
R310 Helshoogte Pass
T. 021 808 5314 www.tokara.co.za
University of Stellenbosch
Art Gallery
3 Sep-10 Oct, 10 Philosophical Ques-
cnr Dorp & Bird Street, Stellenbosch
T.021 808-3524/3489
us.max.09@gmail.com
Knysna
Knysna Fine Art
For Sep, Ethiopian Portraits, photogra-
phy by Glen Green
8 Grey Street Knysna,
T.044 382 5107
www.finearts.co.za
Elgin
Oudebrug Gallery
Showcasing oil paintings, pastels and
sculptures in the sculpture garden
Grabouw, Elgin
T. 021 859 2595
www.ridley.co.za
Hermanus
Abalone Gallery
For Sep, a mixed exhibition of well-
known South African artists, including
works by Cecil Skotnes, Pippa Skotnes,
Hannes Hars, Raymond Andrews, Titia
Ballot, Elzaby Laubscher and Alta
Botha.
2 Harbour Rd, The Courtyard,
Hermanus.
T. 028 313 2935
www.abalonegallery.co.za
The Old Harbour Gallery
An exhibition of art and sculpture
No.4 Warrington Place, Harbour
Road, Hermanus T. 028 313 2751 /
0822595515
www.oldharbourgallery.co.za
Philip Harper Galleries
Specialising in South African old mas-
ters and select contemporary artists.
Oudehof Mall, 167 Main Road,
Hermanus
T. 028 312 4836
www.philipharpergalleries.co.za
Agulhas
Red Corridor Gallery
Sculpture by Rudi Neuland, paintings
by Leszek Skurski and textile objects by
Joanna Skurska
4 Main Road, L’Agulhas 7287
T. 028 435 7503
www.capeagulhas-arthouse.com
www.redcorridor-RSA.com
info@capeagulhas-arthouse.com
 ART LEADER | PEOPLE IN THE SPOTLIGHT | ART BUSINESS SEPTEMBER 09 | BUSINESS ART 03

Conrad Botes: Crime and Punishment installation view at the At the opening of David Tlale & Charles Storr, Agony and Ecstasy at Gallery Momo, Johannesburg
Brodie/Stevenson Gallery, Johannesburg

Kim Stern
has been appointed as the new
Goodman Gallery Director
Arriving fresh from New York at the Goodman Gallery in Jo’burg is
Kim Stern. Taking on the position of new Managing Director, Stern’s
objective will be two fold, having both a curatorial and operational
impetus.

After graduating from Michaelis in 2000 with a major in photogra-

phy, Stern quickly started curating with projects like Soft Serve and
The Month of Photography (MOP) in 2002. She also started the suc-
Opening of the Albiert Adams: Journey On A Tightrope at the Johannesburg Art Gallery: (L-R) Albie Sachs, Antoinette Murdoch (Director: JAG) and friends, Roelien Brink (aka William Kentridge) cessful Bread and Butter concept store, which merged and solidified
her interest in art and business.

From there she was selected for a residency at the (International

Studio Curatorial Project) ISCP in New York. It was however her ex-
perience at the Miami-Basel Art Fair that seems to have had a major
influence on Stern. ‘Coming from South Africa, I was amazed at the
infrastructure, we just didn’t have anything like that at the time’.

‘It’s a really exciting time for art in South Africa and for the Good-
man Gallery’ says Stern who aims to strengthen and forge new and
existing relationships internationally. ‘The Goodman has a long his-
tory and I believe that (together with owner Lisa Essers), we have the
right energy to bring to the gallery’.

Reflecting on the state of the current art market, Stern optimistically

says that the economy is ‘flourishing’. Approached six weeks ago by
Essers in New York, Stern relocated and has been in the position just
three weeks. Already she has made her presence felt with oversee-
ing the launching of the new Goodman project space in downtown
Jo’burg on the corner of Main and Berea

From the UNISA Art Gallery’s New Acquisitions Exhibition: Opening of Harold Voigt and Reshada Crouse Exhibition, at the impressive White River Gallery, Mpumalanga
Jacob Lebeko (Assistant Curator), Gwen Miller (Unisa’s Visual Arts
section head) and Bongani Mkhonza (Unisa’ new Curator)

EPSAC 90th Annual Exhibition: Following on from there recent renovations and re-launch event, at which leading Eastern Cape artists were invited to set a benchmark for future exhibitions. The following floating trophies were awarded: (Left to right) Merit award winner Jimmy Ndlovu and his wife, Stella Londt Trophy: Merit Senzo Ndlovu,
The President’s cup: Most promising- Mphumezi, McGregor Cup: Best on Show- Frans Mulder

The artb Gallery, Bellville hosted a calligraphy exhibition ‘b lettered’ in collabora-

Carol Brown, Justice Cameron, Alice Brown and family at Ros and Malcolm Christian, Ann Pretorius (current Director of WHAG) tion with the Cape Friends of Calligraphy and the City of Cape Town. This City Book launch from Kizo Gallery KZN entitled: Burning Bright: Extraordinary
“Not Alone” held at Museum Africa Johannesburg awareness initiative project, run by Mrs Maxie Oosthuizen’s, aim was to donate women of KwaZulu Natal, Book launch and Exhibition. (left) Leona Theron,
the proceeds to various charities. The amount of R5 000 was donated to Food- (middle) Pippa Hetherington and (right) Peggy-Sue Khumalo
bank Cape Town. Mr Patrick Andries, managing director of Cape Town Foodbank
received the cheque handed over by Mrs Maxie Oosthuizen
Don’t miss the Spring
Baardskeerdersbos Art Route
art (and artists) lovers both from Cape
Town and surrounding Overberg.
The core group of a dozen solo artists
are now being joined by visiting artists
work, this year includes Hanneke
Benade’s pastel portraits in the gallery
venue opposite the village winkel.
Enjoy the one on one meeting of
interesting artists in a most outstanding
of rural Cape destinations.
Three venues will be serving food, while
free drinks are available at all the artists’
home venues. Access from Stanford is
The beautiful Baardskeerdersbos Art via Grootbos or Pearly Beach, or from
Route will take place on Saturday 26 Bredasdorp via Elim.
– Sunday 27 September For more information, call 028-3819636
A contemplative patron at Shui-Lyn White’s exhibition opening at Salon91 Meyer Grobbelaar at the opening of his new gallery Galerie L’Art in Knysna Art Gallery’s annual ‘Young Artists Exhibition’opening.
Contemporary Art Collection Cape Town
The B’Bos Art Route is no ordinary art / 083 444 2613, or simply take the road
Franschoek The exhibition includes local junior and senior schools from Knysna
route, this event only takes place three toward Gansbaai and look out for the
(13 schools took part this year).
times a year and eagerly sought after by silver signs.
06 BUSINESS ART | SEPTEMBER 09
Peter Machen
I have mentioned before in this col-
umn my love for the post-human archi-
tecture of freeway interchanges and
water towers, and how their size and
structural formality pose an unenviable
challenge to contemporary sculpture.
On a smaller scale, I find my feelings
remain the same as I survey a small
copper pipe that has been sitting in a
kitchen drawer for the past few years,
and which was originally purchased for
an outside shower but forgotten when
the shower was being installed. It sits
in the drawer and every few months
– when I am searching for something
else – my hands and my eyes find
this small piece of industrial magic.
It’s beautiful, perfectly fashioned but
still bearing the marks of fashioning
as to allow subtle imperfections on its
surface. Every time I come across the
pipe, shaped in a flat U so as to allow
one pipe to cross over another like a
freeway bridge, I am drawn to it.
Like William Carlos Williams’ Red
Wheelbarrow, the small copper pipe
accounts for so much, but its essence
– the thing that moves me – remains
unidentified and wordless. I feel much
the same way about the work of
Jeremy Wafer who captures this – and
infinitely more – in the body of work
he has accumulated over the last few
decades, work in which the industrial
and the classical, modernity and post-
modernity and many other strands
of conversation intersect, building
strangely familiar shapes: things that
often seem to be simulacrum of other
unplaceable, unknowable objects. In
the retrospective show Structure, cur-
rently on show at the KZNSA Gallery,
and curated by Brenton Maart, many
of the pieces remind me of my feelings
for the copper pipe. There is much to
write about Wafer’s work – it just asks
to be written about – but at the same
time the essence of the work remains
elusive, even as it seems so physically
contained. And perhaps that is part of
the artist’s genius.
Jeremy Wafer lives in Johannesburg
now, but his oeuvre continue to retain
some quintessence of Durban. It is
linked to the aesthetic shiver of delight
that runs through me every time I drive
past the gravel-works on the way to
the airport, probably my strongest
visual memory between Durban and
Designer
PC Adobe InDesign 2 | Newspaper design, Some online design knowledge | must be able to keep deadlines, keep ontop of traffic flow and have at least 2-3 years in a publishing house.
Art Data Networkers
a good telephone manner, knowledge of Microsoft Excel spreadsheets, Internet savvy | Function is to constantly expand our visual arts network by means of calls, emails & postage. Need to compile comprehensive gallery opening listings
Art News Room Writers
a command of English, preferably a BAFA, write 4-6 short stories per day, 2 feature art/ art leader profiles| good telephone manner, knowledge of the SA art market, internet savvy, must have the ability to see the world in both an inspired and factual way.
CV’s sent to editor@arttimes.co.za by the 15 September 09. A shortlist will be compiled by the 20th and those on the shortlist will be informed that they are on this list.
Jeremy Wafer
the South Coast, or the massive flour
silos that lie between the end of the
ridge and the harbour, both of which
are documented in ‘Structure’.
Wafer is not the only internationally
recognised Durban artist currently
having a retrospective in his home
town. Andrew Verster’s Post-1994
work is on display in Past/Present,
which opened a few weeks ago at the
Durban Art Gallery, and it says much
about the diversity of the city that two
such influential artists, whose work
is so radically different to each other,
both manage to produce work that
embodies the spirit of Durban in visual
and emotional echoes.
While Wafer’s work often seems to
be reducing something to its simplest
form and aesthetic essence, Verster’s
work is about the other end of the
telescope, looking to the place where
everything resides. The opening of
Past/Present, beautifully curated
by Carol Brown – and dedicated to
Verster’s recently deceased partner
Aidan Walsh – represented in a
very tangible sense, the exhibition’s
homecoming as a visual cornucopia.
Starting at the National Arts Festival
in Grahamstown, the exhibition has
moved around the country before be-
ing installed in two of the DAG’s gen-
erous – and potentially overwhelming
– gallery spaces.
Verster’s work looked wonderful
against the building’s genteel baroque,
and also a very happy beneficiary of
the gallery’s new and long awaited
lighting system. I didn’t see the exhibi-
tion at any of its other venues but I
would be surprised if the body of work
looked more resonant elsewhere.
Overflowing with colour and continual
experiments in new direction, the work
showcased an artist constantly on the
move, trying new things, new colours,
new ways of seeing, but never forget-
ting the road that he has travelled.
I was privileged enough to see a
recent Verster work made earlier
this year (and not part of the show
which began its tour last year) which
seamlessly combined much of the
spirit and technique of Past/Present
and the decades before it into a single
breath-taking drawing. Verster’s next
exhibition promises to dazzle.
Conrad Botes, Job’s Demise, 2009. Image courtesy of Brodie/Stevenson
Alex Dodd
From the first known Ukiyo-e wood-
block paintings that emerged in Kyoto
and Osaka in the early 1600s, to
the flat two-dimensional forms of the
French Post-Impressionist painters
and the propagandistic Soviet film
and political posters of Vladimir and
Georgii Stenberg, I’ve always had a
soft spot for graphic art.
Ever since I first drank in the lush
colour of Henri Toulouse-Lautrec’s oh-
so-sexy posters for the Moulin Rouge,
I’ve been a sucker for the ‘take that’
confidence of intense flat colour, hard
lines and clear shapes. The infectious
immediacy and direct, economical
language of posters and prints shouts
out to the metropolitan Joe Soap in
me. And certain contemporary images
hold inside them a formal heritage that
stems back to the late 19th century
when the lithographic poster turned
the streets of Paris, Milan and Berlin
into galleries for the masses, ushering
in the modern age of advertising.
For someone so taken with strong
lines and unequivocal shapes it’s
been a bumper month in Joburg, with
Conrad Botes’ Crime and Punishment
opening at Brodie/Stevenson and
Fiona Pole’s Heartland/Heartlines
gently wooing passersby into Art on
Paper Gallery. The moods of these
two shows couldn’t be more different.
Whereas Pole’s show is whimsical,
nostalgic, gently pensive, slightly torn,
Botes’ solo is a take-no-prisoners
The SA Art Times
Due to the nature of our rapid growth we are looking for the following full time positions:
ART COLUMNISTS & SHOW REVIEW
Forensic Theatre show at MOMO,
and this current solo is all Joburg
audiences will need to convince them
of why he has been hitting the big time
in recent years. Apart from being the
invited artist at this year’s Aardklop
festival, Botes participated in the 2009
Festival international de la bande
dessinee de Angoulême in France.
Other group exhibitions include the
third Guangzhou Triennial, China
(2008) and Apartheid: The South
African Mirror at the Centre de Cultura
Contemporania de Barcelona (2007)
amongst others.
This show is evidence of an artist in
full grasp of his powers. If you look
around, there’s a sad lack of good
draftsmanship on the contemporary
scene – particularly amongst younger
emerging artists. Here is a deliciously
satisfying antidote, with Botes’ easy
formal accomplishment being a tonic
before you’ve even got started on
the depth of his content and overall
unity of effect in terms of metaphoric
language. Works on the exhibition take
the form of wall drawings, large-scale
reverse glass paintings, sculpture
and installation, each rendered with
the kind of formal authority you can
trust. That, however, is where the easy
emotion ends.
A master of provocation since the
early 90s, Botes was the co-founder of
the Bitterkomix series, and this show
continues in the healthy tradition of
plentiful depictions of exposed male
genitalia. More than that though, it
lives up to its epic title, being a heady
tussle with the whole notion of being
tried and tested in the full blown, guilt
soaked, Old Testament, Dostoyevs-
kian sense of things.
His is a hell and brimstone, tattoos and
Melvyn Minnaar
The Dealer’s Big Deal
The sad demise of the Bell Roberts
Gallery and the tenth anniversary of
Johans Borman’s outfit in Upper-
exploration of the spiritual and physical
Buitengracht provide a space to reflect
torments that plague this mortal coil.
on the function, if that is the right
What they have common is a tight
word, of the commercial art dealer.
graphic quality that punches straight.
Pole, who was born in Benoni in 1974,
While many in the capitalist-infected
now lives and works in Paris. This
modern world we live in has been
show captures that achey-breakey
moving heaven and earth to turn the
emigré sense of duality in relation
artwork, as we know it, into a com-
to the notion of place or home. But
modity, the truth is, of course, that it
it does so simply and cleanly with
will never just be such. Money may be
a carefully chosen vocabulary of
the simple language that most people
simple iconic shapes: a suitcase, an
understand best when discussing al-
aeroplane, a bicycle, a red dress, a
most anything these days, but it can’t
map, a picnic blanket… In many ways,
quite contain all matters of esoteric
Pole’s prints evoke the writing of that
culture.
other South African Parisian, Denis
Hirson, whose I Remember King Kong
Nevertheless, artists have to live,
the Boxer, is an all-time classic text
and hence have to make some kind
grappling with notions of absence and
of devil’s deal with the superficial
memory in relation to that lost child-
world in which the currency of art is
hood sense of place.
exchanged for that of money. It is in
this uneasy in-between where the art
In keeping with the simplicity of her
dealer and/or gallerist (a fairly recent
figurative silhouettes, Pole works with
appellation, invented for our times)
a reduced palette of ivory, charcoal
functions. It’s also the space where
and red. Her minimalist hues are
the professional art auctioneer oper-
delightfully, elegantly Parisian in their
ates, of course.
pared down authenticity. As simple
and delicious as a freshly-baked
A third party comes into this paradigm
croissant on a Saturday morning in
when the dealer starts dealing not only
Le Marais. For me Pole’s paintings
with artist clients, but customers: the
function like quietly haunting haikus.
collector and, more importantly, the
They’re the kind of images a person
professional museum curator.
can live with.
It is in this interloper role that the
art dealer’s job becomes of greater
But it’s not summertime and the living
significance - far more so than simply
is not always easy. So on to Crime and
acting as broker for the artist and
Punishment at Brodie/Stevenson. It’s
his/her daily/homely needs.
been five long years since Botes’ 2004
& Business Art Times
rings of fire kind of odyssey across the
desert plains of selfhood – the kind of
show Johnny Cash could have written
songs about.
On the surface it might seem like
you’re dealing with a comic book, but
there’s nothing linear about the But
Botes’ style remains paradoxically
2-D and pop. So there’s this bouncy
tension between his flat, linear, naïve
figurative renderings and the complex
metaphorical soup in which they’re
swimming.
narratives these images evoke. From
biblical palm trees and fish to desert
plains, skulls, crosses, snakes and
ladders, branded flesh and the flames
of damnation, Botes depicts man’s
struggle with his own conscience,
an inability to come to terms with the
heinousness of his own actions and
thoughts.
In a narrative panel of small framed
drawings, entitled The Stolen Shadow
Story, a man wrestles with a wolf-like
beast, then liberates another trapped
being from inside the bowels of the
beast. Who is the man inside the
beast? And who is his rescuer? The
gallery is a maze of doppelgang-
ers and doubles. Twins? Ego and
id? As you like it. This is a distinctly
postmodern world in which Biblical
characters inhabit the same plane as
Anubis, the jackal-headed Egyptian
god of the afterlife. Tidy chronological
narratives give way to a more chaotic
kind of zombie logic that is liberating
and scary all at once. But even in this
abject neverland, the stain of morality
still looms large. Not even the wildest
dog of a man seems to be capable of
escaping the flea-ridden kennel of his
own blasted conscience.
In the grander scheme of contempo-
rary cultural things, art dealers of note
have had a major impact on the way
we engage with art. If influence and
fashion have shifted to the power-
ful curators of biennales and other
such events, it has been the great
art dealers of Paris, New York, etc
who, in the past, set the tone. Those
dealers’ relationships with the formal
art institutions, which acquire art for
their collections (handing out society’s
seals of approval, in a manner of
speaking), have been vital. More often
than not, art museums took their cue
from dealers - people whose critical
eyes, and up-to-date suss they could
and did trust.
In the UK, as we speak, the famous
art dealer, Anthony d’Offay’s name
is on the lips of every art lover, cul-
tural commentator and critic. He is no
longer dealing in art, but the present
acclaim is for what he had done as
dealer and collector.
D’Offay, arguably the top British art
gallerist of his time, surprised the
world when he abruptly shut down his
thriving business in 2001. It was well
known that he was a master collector
of art as well, often selecting the finest
pieces from exhibitions by the top-
notch, new-wave artists in his gallery.
Then the dealer, once nicknamed ‘the
vampire’, flummoxed the art world by
an amazing act of philanthropy: he
donated most of his collection of 725
art pieces to the National Galleries of
Scotland and the Tate.
Valued at some £125 million, d’Offay
asked only to be paid what he had
originally spent on the work: £26.5
million. This summer, these artworks
are being shown all over the UK at
18 regional museums and galleries.
Altogether 30 ‘Artist Rooms’, compris-
ing the astonishing pieces that d’Offay
had acquired directly from the artists
he once ‘stabled’, are on show. Critics
and ordinary art lovers have been
bowled-over by the shows.
It has become clear how remarkable
Mr d’Offay’s eye was in identifying
some of the masterpieces of modern
and later-last century art while dealing.
(One critic pointed out that the great
art museums sometimes only got their
hands on the ‘second best’ - after
d’Offay.) His role in advancing both
artists’ careers, invention and imagina-
tion, as well as acting as go-between
with collectors, museums and now, in
particular, the art public, is that of a
heroic culture worker.
Dr Elza Miles and Johans Borman
Johans Borman at 20/10:
Celebrating ‘Art Heroes’ Review
Melvyn Minnaar
In the dynamic world of big-deal art,
talent, of course, is vital. Make that
art-marketing and deal-making, and
that talent includes talk - convincing
buyer and provider that it’s all for the
good. Talk, naturally, in this business
also requires what is known as ‘the
sure eye’. A sussed eye for smart art
is what propels good art dealers (and,
of course, the fortune of the artists in
their stable), as well as the up-the-
ladder careers of curators, and the
passions of collectors.
Talk is as necessary for deal-making
as the intelligent, experienced eye is
essential for indentifying the proper
goods and their value. (This is a key
element in matters such as art auc-
tions, where a largely unknown person
puts an ‘estimated’ price against a
catalogued artwork.) All this implies a
certain self-assurance, an aesthetic
confidence.
Johans Borman is nothing if not
confident and the present exhibition
in his Upper-Buitengracht gallery,
offered under the title Art that Inspires
as a special anniversary event (on
until September 15), is a bright visual
demonstration of how far this dealer
has come. (Writing on his website, he
frequently reflects on the ways and
means of the art market.)
The exhibition celebrates 20 years of
dealing in art, as well as the founding
of the Cape Town space in 1999.
Borman’s gallery has established a
reputation for a particular kind of art.
Not entirely easy to sum up and label,
South African art, of course, is a differ-
ent place, but we’ve had our dealers
of note too. Their performances in our
visual culture have also been signifi-
cant. One would, for example, not be
able to talk about art in Cape Town
without mentioning Joe Wolpe. His
eye is still legendary. (And his connec-
tions and input when the SA National
Gallery decided on acquisitions in the
1980s and 1990s led to fine pieces in
the collection.)
Questions about an art dealer’s job
here and now in Cape Town are as
relevant as the degree of importance
that we ascribe to the contemporary
visual culture that we have and want
to live with. We need to encourage
them act like Anthony d’Offay. Like
The Telegraph’s critic Richard Dor-
ment wrote: “D’Offay’s taste was sure.
He didn’t do duff shows; he didn’t
show mediocre artists.”
Photo: GP C Brown
one could say that its South African
art that runs along the well-travelled,
comfortable middle road. In many
ways, focusing on what one would
loosely describe as local old (and
recent) ‘masters’ has helped to forge
a reputation. In the art business world
where large, sometime very large
cheques are written, the latter matters
a lot.
This is where talk - after the good eye
- comes into play.
Describing the present exhibition,
which has work from a number of
artists, ranging from Maggie Laubser,
Pierneef and Battiss to Walter Meyer
and Ben Coutouvidis, Borman says it
pays homage to, what he calls, our art
heroes in celebrating their courage,
boldness, commitment and creative
spirit.
His says the exhibition reflects on the
remarkable commitment and perse-
verance evident in the lives of many
of artists who were often alienated
and ridiculed. A case in point is that of
Hugo Naudé. “Born on a farm near the
Boland town of Worcester, to which he
returned after his European studies,
and where he spent the rest of his
life in the quest to add as much as
possible to the cultural life of his com-
munity. He had to adapt his training as
a portrait artist to suit the very different
challenges of landscape painting in
the African light.”
The exhibition is viewable on the
website http://www.johansborman.
co.za and a fine printed catalogue is
available.
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Spring Auction in Johannesburg
Monday 7 September 2009
Important British, Continental and South African Paintings, Drawings, Prints and Sculpture
Country Club, Johannesburg, Woodmead
Frans Oerder’s Hydrangeas in a Bowl (lot 10, estimate R250 000 – 350 000)
View and download a catalogue at www.straussart.co.za
The second auction this year by
South Africa’s leading auction
house, Strauss & Co. includes
such early stalwarts of the 20th
century from William Methven,
Hugo Naude’, Frans Oerder, Jan
Volskenk and Anton Van Wouw to
contemporary South African artists
including Deborah Bell, Norman
Catherine, Keith Deitrich and
Peter Schütz. and if this were not
enough three cartoons by Zapiro.
Stephan Welz, Managing Director
of Strauss & Co. feels strongly that
cartoonists too are artists. Strauss
& Co saw it fit to publish two
catalogues for this 365 lot auction,
with an afternoon session and an
evening session for the important
works. Likely to attract the most
attention among collectors is the
large number of paintings by the
Everard Group and the broad span
of sculpture by the nonagenarian
Edoardo Villa (see separate press
release).
Probably the work that most per-
sonifies an artist’s style and period
is the Maggie Laubsher Compos-
tion with Head, Foliage and Huts
which is also featured on the front
cover of the main catalogue of the
sale (lot 74, estimate R700 000
– 900 000). This stylised portrait
is particularly powerful and was
executed when the artist was at
the height of her career. Although
it leans heavily on her continental
training, it has a very definite iden-
tity of her own and also of being
South African.
Other works which are of high
standing include Frans Oerders
Hydrangeas in a Bowl (lot 10,
estimate R250 000 – 350 000), an
important Kitchen Interior with a
Red Carpet by Frieda Lock (lot
15, estimate R500 000 – 700
000), an early view of Cape Town
Harbour by Gregoire Boonzaier
lot 25, estimate R150 000 – 200
000), Gwelo Goodman’s a view of
The Bay of Natal from Berea (lot
39, estimate R200 000 – 300 000),
Horse and Rider by Gerard Sekoto
Strauss & Co.
offers one-year
guarantee on sold
works
In the light of the recent Britz,
Tretchikoff saga, which saw a
work returned to the auction-
eer after inconsistencies were
discovered between the catalogue
and the painting, Stephan Welz of
Strauss & Co have announced that
they offer a guarantee of one year
on all works bought in their sales.
Stephan Welz reiterated the fact at
a media lunch two weeks ago in
Johannesburg.
Mary Jane Darroll of Strauss &
Co explains that the guarantee
is set up to “cover the buyer for
a period of 365 days should the
work be declared a forgery, and
not as many other auction houses
say, for a period of 21 days only.
Further should there have been
any misrepresentation, the client is
covered. By guaranteeing authen-
ticity the client can be assured of
our expertise.”
Strauss & Co
(lot 42, estimate R200 000- 300
000), a rare Namibian landscape
by Adolph Jentsch (lot 44, estimate
R400 000 – 700 000), a Lucas
Sithole bronze of a Mother and
Child (lot 62, estimate 62 R300
000 – 500 000), Alexis Preller’s
Primvera Profile (lot 66, R400
000 – 600 000) a work featured
on his retrospective exhibition,
a rare Italian cast of Anton van
Wouw’s The Coffee Drinker (lot
68, estimate R120 000 – 160 000)
and a large colourful Lucky Sibiya
Tales from the Past made up of 47
individual panels (lot 96, estimate
R160 000 – 200 000).
The earliest work on the auction, is
a view of the Point Wharves, Dur-
ban Harbour by Cathcart William
Methven (lot 23, estimate R90 000
– 120 000). Methven has in recent
time been increasingly respected
as an artist of great merit and what
makes this painting of particularly
high quality is perhaps the fact
that Methven served as Engineer
in Chief for Natal Harbour Works
in the late 19th Century and the
harbour thus played an important
part in his life. Another early
work of importance which will
be sold in part I of the sale is a
particularly fine drawing by Frans
Oerder of four men resting in a
landscape. This work is rare as it
dates from Oerder’s first period
in South Africa (1890-1908) (lot
83, R50 000 – 80 000). Another
work of unusual interest is Ruins
of Foggia by Francois Krige (lot
76, estimate R60 000 – 90 000)
which he would have executed
while serving as South African war
artist. Although it obviously relates
to the war it nevertheless conveys
the same pathos in the figures to
be found in Krige’s later work. A
first in the art auction world are
three original cartoons by Zapiro
(Jonathan Shapiro) relating to
recent political events (part I, lots
13-15, estimate R10 000 – 12 000
respectively).
This is by far one of the biggest
Spier
Contemporary
announce new
curators
Spier Contemporary have an-
nounced their list of curators for
2010’s exhibition. Clive van den
Berg and Jay Pather remain on the
team from 2007, while Zambian
Mwenya Mabwe, Ethiopian an-
thropologist and curator, Mesk-
erem Assegued and Africa Centre
visual arts manager, Farzanah
Badsha add some fresh blood.
The team will fill the roomy
shoes of 2007 curators, who also
included UCT lecturer, Vir-
ginia MacKenny, Wits lecturer
Thembinkosi Goniwe, as well as
Churchill Madikida (Outreach Of-
ficer) and Kadiatou Diallo (Project
Manager).
The Spier Contemporary Exhibi-
tion will open at The City Hall in
Cape Town on 13th March 2010.
Entries to the exhibition remain
open until the 31st October 2009.
sales of South African art this year
with a presale estimate of R23-33
million. According to Stephan
Welz, although the sale does not
include really high value works
such as those sold by the company
in their March sale (Irma Stern’s
Magnolias in an Earthenware
Pot, sold for R7 150 000 setting a
world record for a still life by the
artist,
Old Oyster Woman by Dorothy
Kay, sold for R1 400 000, a
world record for the artist, and
Jean Welz’s Still Life with Three
Vessels and Checked Tablecloth,
which sold for R1 210 000 also
a world record for the artist), but
nevertheless includes important
works by highly respected artists
often overshadowed by the current
art market favourites. Also, so
confident is the company in their
expertise that they are the only fine
art auction house in South Africa
to guarantee everything they sell
for a period of a year.
Venue:
Country Club, Johannesburg,
Woodmead Corner Lincoln Road
& Woodlands Drive, Woodmead,
Johannesburg
On view:
Friday 4 September,
Saturday 5 September and
Sunday 6 September
10.00 am to 6.00 pm
Auction:
Part I at 3.30pm
South African Paintings,
Drawings, Prints and Sculpture
Lots 1-222
Part II at 8.00pm
Important British, Continental and
South African Paintings and
Sculpture Lots 1-143
For enquiries and images,
bina@straussart.co.za
Telephone: 087 806 8780
Johannesburg
galleries fall prey to
scam artists
Scam artists posing as respectable
businessmen have been targeting
Johannesburg galleries according
to an article by Taryn Cohn on
Artslink. According to Cohn, the
men have claimed to be buying
art for the President’s office or for
an exclusive bed and breakfast
establishment, but then make off
with gallery equipment including
laptops, projectors and anything
else they can walk out with.
“They are very skilled and the
theft is usually only noticed long
after they have left; while one has
engaged the gallery assistant or
gallerist in conversation, the other
has removed the artists articles.”
SOUTH AFRICAN ART AUCTIONS
Stephan Weltz & Co
To auction: The Homage portfolio
20 & 21 October
auction of Decorative and Fine Art, Cape Town
The proceeds from the sale of the portfolio are being used to establish
a scholarship in Cecil Skotnes’ memory.
Work in this portfolio includes a Kentridge cat
Stephan Welz and Co is proud
to announce the sale at auction
of a copy of the Homage portfo-
lio (numbered six of fifty). This
portfolio will be coming under the
hammer at their 20 & 21 October
auction of Decorative and Fine Art
to be held in Cape Town. Con-
ceptualised by Pippa Skotnes and
Stephen Inggs, Homage (estimate
R40 000 – 60 000) was executed
by twelve well-known South Af-
rican artist’s: Willie Bester, David
Brown, Norman Catherine, Peter
Clark, Stephen Inggs, William
Kentridge, David Kolane, Fritha
Langerman, Louis Maqhubela,
Malcolm Payne, Pippa Skotnes
and Gavin Younge.
The proceeds from the sale of the
portfolio are being used to estab-
lish a scholarship in Cecil Skotnes’
memory.
The foreword below, written by
John Skotnes, is included in the
portfolio:
I have a warm childhood memory
of my father sitting on a chair with
a tray on his lap engraving upon
a dark red, wooden parquet floor
tile. I stood fascinated because a
thin slither of wood had curled
up into a spiral, as the engraving
tool moved forward. In my mind,
mingled with this image, are the
squeaking sounds of the small
hand-roller inking the block, the
smell of the oil-based ink and tur-
pentine, my being allowed to help
place the rice paper on the inked
surface, the silver spoon with the
flat handle used to gently lift the
image and the never-ending sur-
prise that followed the paper being
taken off the block; revealing the
picture, no longer in reverse.
Anyone who has etched, engraved,
Nude model arrested at
Metropolitan Museum of Art
New York’s Metropolitan Museum
of Art has come under fire after a
decision to call the police and have
arrested, a woman who was posing
nude for an artist in the gallery.
The Guardian reports that while
the piece, by photographer Zach
Hyman, was not sanctioned by the
museum, Hyman has questioned
the validity of the charges laid on
the model, 26 year old Kathleen
Neill. “It’s just ridiculous,” said
the 22 year old photographer
“There are sculptures of nude men
and women in there. There are
paintings of nude men and women
made a monotype, a silkscreen, or
a lithograph will understand the
thrill or disappointment of that
moment when the image is trans-
ferred to the paper and revealed.
It is magical, something quite
alchemical and transformative.
Cecil’s life was informed by the
constant wonder of these creative
moments and he sought to share
them. I think there burned deep
inside him a fire from his child-
hood that was never extinguished
by an adult world fearful of giving
up its trade secrets: a world which
hoarded ideas, was clouded by
jealousies of the success of others
and in which life was measured by
material recompense. He believed
everyone who wanted to make art
should have access to training. He
believed totally in the right to free
expression. He loved the world of
art and pictures and admired its
practitioners. Cecil, I know, would
have understood perfectly what
Stephen Greenblatt meant when
he said
‘The rest of human life can only
gaze longingly at the condition of
the art object, which is the mani-
festation of unalienated labour, the
perfect articulation and realization
of human energy. The art object,
ideally self enclosed, is freed not
only from the necessities of the
surrounding world (necessities that
it transforms miraculously into
play) but also from the intention of
the maker.’
Cecil was a great teacher and influ-
enced so many artists because he
simply gave of Cecil; the una-
bridged version!
Enquiries: Stephan Welz & Co
Cape Town office, 021-794-6461
in there. They’re talking about
children in there and seeing this
happen and how awful it is. Then
don’t bring your kids to the Met.”
The LA Times report that Neill
has been charged with two crimes:
endangering the welfare of a minor
and public lewdness.
Image: A work from Hyman’s
‘Decent Exposures’ project, which,
the photographer tells the Guard-
ian, was inspired by the nudes at
the Met.
On Stephan Weltz & Co Auction 20-21 October 09
Helmut Starcke EXIGENCY R 50 000 - 70 000
Log onto www.swelco.co.za for a catalogue
So long, Sotheby’s
No longer called Stephan Weltz & Co in association with Sotherby’s,
now a new era dawns for the auction house as: Stephan Weltz & Co
By Michael Coulson
Ending a decades-long association,
from today auction house Stephan
Welz & Co has dropped its link with
London’s Sotheby’s and, accord-
ingly, will drop the second half of its
name, the phrase “in association with
Sotheby’s.”
The company’s chairman, Mark Kret-
schmer, says “There were really only
two options, either change to Sotheby’s
branding or to change to the Stephan
Welz and Co. branding. We have
worked very well with Sotheby’s for
many years and will continue to do so,
but they are not in a position to offer us
the use of their name for single brand-
ing. So our legal entity, Stephan Welz
& Co (Pty) Ltd, will again become our
single brand name for all operational
and marketing purposes.”
Sotheby’s first opened a branch in SA
in 1969, run by writer Nadine Gordim-
er’s late husband, the well- respected
Reinhardt (Reinhold) Cassirer. In
1980 Cassirer left to set up his own
gallery and was succeeded by Welz,
a son of the artist Jean Welz. Over
the years Sotheby’s stake in the SA
firm has gradually shifted from 100%
ownership in the 1980s through to a
relatively informal relationship.
Though Kretschmer won’t enlarge on
Graham Britz set
to bounce back
Graham Britz, the auctioneer and
gallerist who had his reputation
tarnished by the recent contro-
versy over the authenticity of a
Tretchikoff work, is bouncing
back, according to an article by
Julius Bauman of the Weekender.
According to Baumann, Britz has
announced plans to hold “a glitzy
three-day sale” next year in May,
comprising late 19th-century, early
20th-century and contemporary
postwar works. “We are also
aiming to procure the very best
pieces from postwar artists such
as Karel Nel and Marlene Dumas
— true investment pieces,” said
Britz. Britz also announces that
his gallery will take a double stand
at next year’s Joburg Art Fair, to
showcase the works for the May
sale.
If you think that the
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SEPTEMBER 09 | BUSINESS ART 07
Upcoming
South African
art auctions
7 September 2009
Johannesburg
Strauss & Co
Important South African Paint-
ings, Watercolours and Sculpture
Venue: Country Club, Johannes-
burg, Woodmead at 8 pm
15 September 2009
Cape Town
54 lots of SA Art on Rudd’s
A fully illustrated catalogue is
available on
www.rudds.co.za
8 October 2009
Cape Town
Strauss & Co
Venue: The Vineyard Hotel,
Newlands
13 & 14 October 2009
London Bonhams
The South African Sale
20 & 21 October 2009
Cape Town
Stephan Welz & Co.
Fine & Decorative Arts, Furniture,
Silver, Ceramics & Jewellery
Venue: Kirstenbosch
1 February 2010
Cape Town, 8pm
Strauss & Co
this point, relinquishing the Sotheby’s Important Paintings, Furniture,
name will obviously save a lot of Silver and Ceramics
money. And both sides, as Sotheby’s (Entries open till 10 December
chairman Lord Poltimore confirms, 2009)
are committed to maintaining a broad Venue: The Vineyard Hotel,
co-operation. Stephan Welz & Co Newlands
will still consign British and European
art to Sotheby’s in London, and vice
versa.
The two firms have also been di-
verging in strategy. Since last year,
Auction Houses
Sotheby’s (like its rivals Christie’s and Contact details
Bonham’s) has reacted to the global
economic crisis by closing depart- Ashbey’s Galleries cc
ments, slashing staff and targeting the Antique & Fine Art Auctioneers-
hyper-wealthy. Stephan Welz & Co, Valuers & Appraisers
on the other hand, continues to broaden For an appointment please contact:
its base and is planning to expand from
Inge Beck
its existing Johannesburg and Cape
43 Church Street Cape Town
Town sites into Durban.
Tel: 021 423-8060
The latest move is replete with irony. It email: info@ashbeys.co.za
leaves the individual Stephan Welz in www.ashbeysgalleries.co.za
charge of the newcomer Strauss & Co,
soon to hold its second Johannesburg Bonhams
auction – which is bound to be rather Contact for SA Artwork:
more low-key than its first -- but un-
Hannah O’ Leary
able to capitalise fully on what is argu-
sapictures@bonhams.com
ably the best-known name in the SA art
market, – while the company bearing www.bonhams.com/southafrica
and using his name, which it rightly +44 (0) 20 7468 8213
considers a prime marketing asset, has
absolutely no connection with him. Stephan Welz & Co.
Johannesburg
13 Biermann Avenue, Rosebank,
Johannesburg
Telephone: +27 (11) 880-3125
Email: jhb@swelco.co.za
www.swelco.co.za
Cape Town
The Great Cellar, The Alphen
Hotel,
Alphen Farm Estate, Alphen Drive,
Constantia 7808
Tel: +27 (21) 794-6461
Email: ct@swelco.co.za
www.swelco.co.za
Strauss & Co
Johannesburg
89 Central Street, Houghton,
Gauteng, 2198
Tel: +27 11 728 8246
General Information
jhb@straussart.co.za
Cape Town
The Oval, 1st Floor Colinton
Baldinelli, Armando, Queen of House,1 Oakdale Road, Newlands,
Clubs, R 6000/8000 one of the 7700 General Information
54 lots of SA Art on Rudd’s 15 ct@straussart.co.za
September sale. A fully illustrated Tel: +27 87 806 8780
catalogue is available on
www.rudds.co.za
www.arttimes.co.za
 ART|Stellenbosch|09
3 - 4 OCTOBER 2009
D O R P S T R A AT G A L L E R Y
Grand Opening of New Premises
E x h i b i t i o n O p e n i n g : “ H a n g i n T h e r e ” f e a t u r i n g N i g e l M u l l i n s a n d Ko b u s L a G r a n g e
1 0 C h u r c h S t r e e t , O u d e B a n k B u i l d i n g | Te l : 0 2 1 8 8 7 2 2 5 6 | w w w. d o r p s t r a a t g a l e r y. c o . z a

S M AC A RT GA L L E RY
main gallery
E x h i b i t i o n O p e n i n g : A n t o n K a r s t e l ~ Pa i n t i n g s a n d P h o t og ra p h i c I n s t a l l a t i o n s ( 1 9 8 9 – 2 0 0 9 )
smac space
Exhibition Opening: Nel Erasmus ~ Por traits (1949 – 2009)
A r t i s t P e r f o r m a n c e s : B a r e n d D e We t ; Tr a c e y R o s e
Poetr y reading by Peter E. Clarke
F i r s t F l o o r, D e We t C e n t r e , C h u r c h S t r e e t | Te l : 0 2 1 8 8 7 3 6 0 7 | w w w. s m a c g a l l e r y. c o m

RED BLACK AND WHITE GALLERY

Exhibition Opening: Creative Bloc ks – curated by Jeanetta Blignaut
5 A D i s t i l l e r y R o a d , B o s m a n ’s C r o s s i n g | Te l : 0 2 1 8 8 6 6 2 8 1 | w w w. r e d b l a c k a n d w h i t e . c o . z a

U S A R T G A L L E R Y, S T E L L E N B O S C H U N I V E R S I T Y
E x h i b i t i o n : Te n P h i l o s o p h e r s / Te n A r t i s t s / Te n I d e a s c u r a t e d b y H e n t i e Va n d e r M e r w e
C n r B i r d a n d D o r p S t r e e t | Te l : 0 2 1 8 0 8 3 4 8 9 | a d m i n . s u n . a c . z a / u s m u s e u m

S A S O L A RT M U S E U M , S T E L L E N B O S C H U N I V E R S I T Y
Exhibition: Mbongeni Buthelezi
Wo r k s h o p a n d Wa l k a b o u t w i t h M b o n g e n i B u t h e l e z i
5 2 R y n e v e l d S t r e e t | Te l : 0 2 1 8 0 8 3 6 9 1 / 5 | a d m i n . s u n . a c . z a / u s m u s e u m

RU P E RT M U S E U M
Exhibition: Rodin ~ Bronze Sculptures
Permanent Collection of 20th Centur y South African Ar t
S t e l l e n t i a A v e n u e | Te l : 0 2 1 8 8 8 3 3 4 4 | w w w. r u p e r t m u s e u m . o r g

P I E R R A B E A N T I Q U E S , A RT A N D CON T E M P O R A RY D E S I G N
Re-opening of Revamped and Refurbished Premises
Conceptual Installation and Event by Strijdom van der Merwe
1 4 3 D o r p S t r e e t | Te l : 0 2 1 8 8 3 9 7 3 0 | w w w. p i e r r a b e . c o . z a

B O E z A A RT BAU E R M E I S T E R
Jeweller y Exhibition
A n d m a r B u i l d i n g , C n r R y n e v e l d a n d C h u r c h S t r e e t | Te l : 0 2 1 8 8 6 7 5 6 9 | w w w. b o e z a a r t b a u e r m e i s t e r. c o m

D E L A I R E G R A f f E S TAT E
G u i d e d To u r s o f t h e D e l a i r e G r a f f E s t a t e A r t C o l l e c t i o n
R 3 1 0 H e l s h o o g t e P a s s | Te l : 0 2 1 8 8 5 8 1 6 0 | w w w. d e l a i r e . c o . z a

TO K A R A W I N E R Y
A r t a t To k a r a : E x h i b i t i o n t o b e a n n o u n c e d
R 3 1 0 H e l s h o o g t e P a s s | Te l : 0 2 1 8 0 8 5 9 0 0 | w w w. t o k a r a . c o . z a

G L E N C A R LO U E S TAT E
G u i d e d To u r s o f t h e H e s s A r t C o l l e c t i o n
S i m o n d i u m R o a d , K l a p m u t s | Te l : 0 2 1 8 7 5 5 3 1 4 | w w w. g l e n c a r l o u . c o . z a

Photo Credit: Charles Biggs

ART|Stellenbosch
Coinciding with the Spring Art Tour www.artstellenbosch.com
www.springarttour.co.za Tel: 021 887 7044
info@artstellenbosch.com