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The South African Art Times | October 2010 | Free


Stefan Hundt
After building up Sanlam’s R 128M Art Collection
Sanlam Private Investments (SPI) now has
launched SA’s first art advisory service Page 72

Photo: Jenny Altschuler

Publisher: Global Art Information (SA) | Editor : Gabriel Clark-Brown | Bastienne Klein : Subscriptions | Sales: Eugene Fisher :
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J.H. Pierneef (1886-1957), Leadwood trees, Bushveld, 1944, oil on canvas, Sanlam Art Collection.


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

Sanlam Art Gallery

2 Strand Road, Bellville

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

Telephone 021 947 3359 • Catalogue on sale • Entry Free
Scats_ArtTimes_70x297 9/17/10 9:30 AM Page 1

Rare Treasures : Botanical Art at Kirstenbosch

Lynda de Wet - Protea cynaroides

Vicki Thomas

South African plants have been carefully recorded for slightly nutty about plants! Often they are people
science for centuries, most of the artwork rarely seen who love the beauty and colour of the flower, but
outside of journals in university libraries and botanical are also fascinated by the structure and the minute
garden archives around the world. Locally, there is details. The accurate recording of the true beauty of
a long tradition of competent artists, mostly women, a plant is uppermost in the artist’s mind and the aim
who were scientific illustrators, carefully measuring is to produce an artwork that appeals from a distance
and recording the diagnostic features of plants. They and continues to draw the viewer in to examine the
usually worked alone, were under-valued and under- fine work and structure of the plant close up, in much
paid, but they truly loved plants and painting them, the same way as a good portrait. It is this aspect of
and so they continued their work. the paintings, the combination of art and science that
In the 1990s, Dr Shirley Sherwood, an English keeps the viewer occupied and interested.
botanist who was fascinated with botanical illustra- The process of painting a plant is usually time
tion, started a collection of contemporary botanical consuming. The artist often has to get permission to
artworks. She found she had no talent for painting access the plant and then has to keep it alive long
herself, and as she has considerable resources and enough to finish the work, which can take several
travels extensively, she set about collecting artworks days to several weeks. Most artists work directly
from around the world. Dr Sherwood, through her from life, starting with pencil sketches to get to know
friendship with Prof. Brian Huntley, then curator of the structure, then dissecting and measuring for
Kirstenbosch Botanical Gardens in Cape Town, careful drawing. Photographs are occasionaly used
brought a large collection of contemporary botanical simply for reference as no photo can capture all parts
paintings from England for exhibition at Kirstenbosch. of the plant in focus at the same time and botanical
These paintings depicted all sorts of plants and artists really need to see the finer details very clearly.
styles, some grand and eye- catching, others delicate The works are generally done in watercolour on hot-
and minutely detailed. The exhibition caused a pressed archival paper using kolinsky sable brushes.
sensation. It also showed local botanical illustrators On the exhibition though, there were several types of
that they could successfully take the leap from rather media including pencil crayon, ink, oils and scraper
cramped confined drawings for scientific journals to board. The Kirstenbosch Biennale 2010 which
works of art made specifically to be hung on walls. took place in September, showed about 50 artists
The Kirstenbosch Biennale, dedicated to images of exhibiting four works each, which were judged by a
indigenous South African flora, was inspired by this panel consisting of representatives of both the art and
Sherwood exhibition, and began in 2000 under the botany fields. All agreed the standard was very high;
guidance of Merle Huntley. This year’s version of the 4 gold medals, 6 silver medals and 7 bronze medals
Biennale, with its emphasis on Rare, Endangered were awarded. It has been an extremely popular
& Narrow Endemic southern African plants, had a exhibition with a loyal following, good sales and many
remarkable range of artworks on display. The stand- new visitors.
ard has improved hugely over the years and South KIRSTENBOSCH BIENNALE AWARDS 2010
African botanical artists are now very well respected Life Time Achievement Award: Thalia Lincoln
and collected world-wide. Gold : Gillian Condy, Lynda de Wet, Jennifer John-
Why has botanical art improved and become more ston Davidson, Kim Squire Johnston
popular? The answer is collaboration. The Botanical Silver: Sibonela Chiliza, Margaret De Villiers, Wilna
Artists’ Association of SA was formed as a remark- Eloff, Eric Judd, Jenny Malcolm, Carol Reddick
able self-help group to share information, techniques, Bronze : Linda Hampson, Farat Iqbal, Elbe Domrose
teachers and equipment. It has had the effect of Joubert, Daleen Roodt, Willie Schlechter, Ann Sch-
improving and broadening the skills base and as a weizer, Louise Twiggs
result brought in new converts. Two teachers, Katie
Lee from USA and Jenny Phillips from Australia, ini- Vicki Thomas, one of the judges of the Kirstenbosch
tially gave local artists new insight, but inspired local Biennale, is a botanical artist and teacher who has
teachers have subsequently developed classes that works in collections around the world, including the
have added to that knowledge. It is a sign of good Highgrove Florilegium depicting plants in HRH Prince
instruction that there is no recognisable South African Charles’s garden, and the Shirley Sherwood collection
“style” and the artworks retain a very personal view of at Kew. Her scientific drawings have been published in
the plants depicted. many journals. She is a guest lecturer at Stellenbosch
Current botanical artists are, like their predecessors, University and the UCT Summer School.
06 SA Art Times | October 2010
Durban decides to destroy artworks ...
and spend even more cash replacing them with
brand-new sculptures
First Published in The Sunday Times were the symbol of the IFP. But Mchunu denied this,
saying an ANC ward councillor had raised the alarm.
By Bongani Mthethwa
Earlier this year, city manager Mike Sutcliffe ap-
The city of Durban is to “put down” elephant sculp- pealed to the ANC caucus to resolve the matter
tures that cost ratepayers a whopping R1.5-million. urgently and asked them to consider the possibility
of changing the project to include the Big Five to
The city fathers have decided to demolish the save the city political embarrassment.
six-ton artworks - which earlier this year caused a
political storm - and will now spend more money The elephants are positioned near Warwick
replacing them with other animal sculptures. Avenue, one of the city’s busiest points. But after
A spokesman for the Ethekwini municipality, Thabo the controversy broke, the unfinished elephants,
Mofokeng, told the Sunday Times that the decision made of metal, stone and wire, were shielded from
to destroy two of the three elephants was taken at a public view with green shade cloth and now stand
full council meeting two months ago. abandoned alongside a freeway.
He said it was decided that the elephants would be The sculptures, part of Botha’s Human Elephants
replaced with the animals that comprise the “Big Foundation, were commissioned by the city as it
Five”, as this was a more “appropriate” symbol for wanted his work - which appears in cities all over the
the city. But world-renowned artist Andries Botha, world - to be displayed in his home town.
who was initially commissioned to sculpt the
elephants, said he was “seething at the decision” DA caucus leader Tex Collins described the decision
to demolish his work. “I can’t accept this kind of to demolish the elephants as an “act of vandalism
altering of the intellectual property of an existing and a breathtaking degree of political immaturity”.
artwork to another work. I can’t have the work simply “If the ANC thinks for one second that those
changed, because I was never trained as a Big Five elephants represent nothing more than art, they are
sculptor,” he said. “I offered a compromise, which I sadly mistaken,” he said.
thought was a reasonable one - to say that, if it was
the number of elephants that appeared to be the “I’m disgusted by that decision and I’m ashamed to
problem, then let’s make an additional elephant, but be part of a council that could take a decision like
I haven’t received a response from the city.” that.”

A political spat erupted in the ANC-led city council The IFP’s caucus leader, Thembi Nzuza, said the
in February after Botha and his team were abruptly demolition was a waste of ratepayers’ money.
ordered to stop work on the elephants by an irate
ANC politician who had deemed them politically “We’re not against the Big Five. But demolish-
incorrect. ing work that has already been done is wasteful
expenditure and we are totally against it. We thought
The official, believed to be the chairman of the they would take the two elephants and put them
ANC’s eThekwini region and MPL, John Mchunu, elsewhere, rather than demolish them,” she said.
allegedly told the artist’s team that the elephants

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SA Art Times | October 2010 07

and reedswamp connected to the sea by a small
estuary. Situated amid dramatic topography, the lake
is approximately 13.5 km long and 1.4 km wide and
occurs in the zone of transition between the karroid
and fynbos vegetation types. This results in the
region displaying a high species diversity typical of an
ecotone area. Rare plants that have been recorded
from this area include Ferraria foliosa, F. densepunc-
tulata, Cerycium venoum (presumed extinct) and
Cullumia floccosa.

The wetland is regarded as one of the ten most

important wetlands for wading birds in the south-
western Cape, being a particularly important feeding
area for the white pelican Pelecanus onocrotalus
and supporting a number of threatened bird species.
It supports over one thousand waders of more than
eleven different species, mainly migrants from the
Art as a cultural weapon to save our environment northern hemisphere and provides further feeding,
nesting and resting facilities to over 75 other species.
Just as artists were mobalised to assist in democtrotise SA, so artists could assist in saving Verlorenvlei The lake is a type locality for several species, includ-
ing the whitebacked duck Thalassomis leuconotus.
From a letter from AntheA Delmotte The only indigenous freshwater fish species occurring
in the lake are the Cape galaxia Galaxias zebratus
The Piketberg art scene is joining hands to create will be opening a group exhibition called “portraying and the rare Barus burgi. Certain rare and threat-
awareness to a very important environmental issue. the beauty of Verlorenvlei”. Piketberg a scenic small ened mammals such as Cape clawless otter Anonyx
We want to protect the massive and beautiful Ver- town is home to a very big art community of which capensis have been recorded in the area.”
lorenvlei that is running all the way from the Piketberg some is well known national and international. During
mountain range to Elands bay. It’s mentionable fresh this period various accommodating and supporting The third Bongani Minerals Prospecting
water source, rich bird, animal, plant life (that contains galleries will sell a work donated by an artist for this Application – where we stand
many rare, threatened and presumed extinct species) cause. These works will be on show along with an
, people, towns dependant on it and clean air from the informative write-up about Verlorenvlei and if so wish The Verlorenvlei Coalition has been dedicated in
very real, already long term threat of mining. We also a petition against mining in the verlorenvlei area can their resistance to the third prospecting application in
want to raise funds to assist the organisation that is be signed. the Verlorenvlei catchment area, made by Bongani
working so hard to protect what is every human’s best From the 30 th till 31 October the streets of Piketberg Minerals earlier this year. Thank you to everyone who
interest becoming alarmingly scares- fresh water and will come to life with various artists opening their submitted their objection to the application and who
rich animal and plant life. studios to the public. Artists from elsewhere will show commented on our website.
at various venues in and around Piketberg. Maps will
According to Wikipedia more than half the world’s be supplied and markers around town will show the The Department of Mineral Resources apparently
wetlands have been lost along with their valuable way to the various open studios. received hundreds of formal objections. There was
environmental services. And by 2025 South Africa will a long waiting period when the relevant commenting
be one of the countries which will face very severe We would sincerely appreciate your assistance. authorities reviewed our objections, culminating in
water shortages due to physical scarcity and a condi- a Regional Mining Development and Environmental
tion of overpopulation relative to their carrying capac- For more information contact AntheA Delmotte at: Committee meeting (RMDEC), which was finally held
ity with respect to water supply and as we know we 0732817273 or on 28 July 2010. We are still awaiting the outcome of
already have to deal with water restrictions from time For more information about the open studios contact this meeting. Based on the application, the objections
to time. So somewhere we have to draw the line and Clare Menck at 0832250059 or and the presentations made at this meeting, the
preserve what we have and what our children need Western Cape Regional Manager of the Department
in the future. Underneath more information applicable of Mineral Resources (DMR) will make his recom-
more specifically to Verlorenvlei’s unique situation. Verlorenvlei - About the site mendation to the national office of the DMR, who are
still in a position to overrule such recommendation.
We are thus appealing to the media to help us in our “Verlorenvlei is one of the most important estuarine Despite our repeated request to present our objec-
efforts by doing what is your speciality- informing the systems in the Western Cape and one of the largest tions at the RMDEC meeting, the RMDEC secretariat
public about this issue and our efforts. natural wetlands along the west coast of South Africa. elected not to allow either the applicant (BonganiMin-
It is also one of the few coastal fresh water lakes in erals) or the objector(s), which include the Verlorenv-
On 29 Casa
October at 19:00
Labia the AntheA
Art Times 70X210Delmotte gallery
Ad FA.pdf 1 the country.2:15
2010/09/16 The system
PM comprises a coastal lake lei Coalition, to present their submissions.
piqued my interest enough to make a pilgrimage.
But post-visit, this manifesto seems so much like an

Peter Machen artist’s statement written retrospectively to cover the

flaws in the work. And the relationship between the
Cecil Higgs
Art Cowboy gallery, the art and the viewer is not so much shifted
as broken.

Only in the two temporary exhibition spaces, which

resemble standard gallerial white cubes, was there
any adherence to the conventions of curation. And
So I took some time off from my daily irresponsibili- it bears mentioning that these conventions exist for
ties and headed to Europe for a few weeks. The very good reason; apart from anything else, they
trip was catalysed by the image – purloined from allow us to occupy a consensual reality across cul-
the song Tonight in Bilbao by Sun Kil Moon – of tures and language. The result is that the two bodies
drinking in a late-night bar in the Spanish city with of work – by the Italian Gino De Dominicis and the
Frank Gehry’s Guggenheim in the distance, and ac- Turkish Kutlug Ataman – were made memorable.
celerated by photographs of the new Maxxi Museum I can still clearly recall most of the works and their
of 21st Century Art in Rome which I had decided I contexts with little effort, unlike my memories of the
wanted to see with my own eyes and feet. With the rest of the museum.
added incentive of joining a friend on her way to
Zurich, I evaporated my rands into Euros and soon Thinking about it , the gallery’s rejection of non-
found myself thousands of kilometres away from the linearity is hardly revolutionary. Most large museums
teeny-weeny galleries of Durban, approaching Italy’s and galleries allow the free-flow of movement
brand new cathedral to contemporary art, filled with through their spaces. It’s just that in the Maxxi the
excitement. visitors all seem tired, lost and overwhelmed, as
one exhibition segues into another with very little
Designed by renegade architect Zaha Hadid, the visible indication that something has ended and
Maxxi, which took ten years to complete, is currently something else has begun. Most frustratingly, it was Conrad Theys
more famous as a building than as a museum. often impossible to determine which exhibition label
Based on an series of abstract paintings by Hadid, it related to which exhibit. (And this wasn’t just my
offers a spectacular collection of spiralling concrete experience, I saw everybody doing it, traipsing back
curvatures intersecting with more familiar modern- and forth, trying to piece it all together, like a giant
ist shapes and an existing neoclassical structure. game of Cluedo).
When the building was opened to the public in
November last year as an empty space, discussions In Rome, I noticed two constants. One is that the
centred around whether the art would manage to order of events seems both central and sacred to
compete with the building. But when it opened Italian culture; the other is the premium placed on
properly in February, replete with a smorgasbord of design in terms of functionality and finishings. Set
international contemporary work, no-one seemed against these cultural premises, the Maxxi reminded
willing to provide an answer to that question. me of art terrorist Jubal Brown, who in the late
Perhaps because the truth is so self-evident. In 90s went around vomiting coloured ink on famous
the battle between building and art, architects and artworks. Except the situation is reversed and the
curators, no-one wins at the Maxxi, at least not in its gallery seems to be vomiting art on to its viewers.
current messily curated incarnation Tinus De Jongh
Normally I come away from large scale exhibition
Shop 43 Willowbridge
Like so many celebrities, the Maxxi is much more spaces feeling exhilarated. With the Maxxi, I felt
attractive in photographs. Which is not to say that exhausted, overwhelmed and a little frustrated. I Lifestyle Centre,
it’s not interesting or worth a visit. It’s the kind of never felt any sense of curatorial narrative, precisely Carl Cronje Drive,
building that is difficult to write off even if you really because there didn’t seem to be one. Which doesn’t Tyger Valley,
don’t like it, precisely because of its structural and mean that the museum isn’t themed according to
aesthetic ambitions. And from the right angles, it concepts and categories, it just that the theming Bellville, Cape Town
possesses a powerful beauty. But as a museum seemed arbitrary, was almost invisible and entirely Gallery : 021 914 2846
space, in its current curatorial form, it fails almost unmemorable. Gerrit Jr : 072 699 5918
So I made it to Rome but I never got to Bilboa,
Email :
The Maxxi markets itself as a non-linear space spending a week instead with some dear friends in
that is difficult to negotiate, a space in which walls, London and drinking and sleeping a lot. But the Bil-
floors and ceilings are indistinct from each other, boa bar and the late-night drink remain in my head,
and in which the traditional relationship between the along with Gehry’s Guggenheim. And if I never visit
art object and the gallery has shifted. All of which it, it will never disappoint me.

SA Art Times | October 2010 09

The secret is out: just what do famous artists really talk about amoungst each other
It’s a myth that when famous artists meet they chat about art, it’s Latin American Dancing, Chillies, Tortillas and Growing your own Veggies is what
you need to know in order to be taken really seriously. Mark Attwood reports back to us about his successful trip to The Tamarind Institute

was started by June Wayne in Los Angeles and something new and exciting to the international print
moved to New Mexico in 1970. Tamarind is both a world.
educational facility as well as a professional print After the serious stuff of panel discussions, awards
studio, having published prints over the years with and talks the rest of the programme focused on
many of the worlds leading artists including Joseph dancing (the director of Tamarind Marge Devon, is
Albers, Judy Chicago, Elaine de Kooning, Leon a keen Latin American dancer), a barbeque and op-
Golub, David Hockney, and Kiki Smith. portunities to indulge in New Mexican cuisine (lots
of chillies, tortilla and salsa). The talk among the
Mark Attwood from The Artists’ Press in Mpuma- artists and printers focussed not on ink and paper
langa was invited to take part in a four-person panel but on vegetable gardening. Jim Dine is a fanatical
discussion with other Tamarind master gardener and favours tomatoes (on trips around the
printers from Mexico, Germany and Finland. One globe, whenever he eats a particularly good tomato,
Mark Attwood with hand on press, the bold guy with of the primary aims of Tamarind has been to revive he saves some of the seeds by squirting them onto
the beard on Mark’s left is Jim Dine lithography as a print medium and to expand the a paper napkin to dry and then takes them home to
medium across the globe, both of which it has done plant). Bill Lagatutta (The Institute’s master printer
Fabulous at Fifty with aplomb. In the audience were luminaries of the and professional workshop manager) impressed
American art world including artists Jim Dine and all with his Jerusalem artichokes and a water wise
The Tamarind Institute (the worlds premier school Ed Ruscha and the curator of Special Projects at irrigation system (a porous hose that
of Lithography) celebrated its fiftieth anniversary the National Gallery in Washington DC, Ruth Fine. slowly oozes water).
in September with the opening of its purpose built Mark Attwood facilitated the only demonstration On his return Mark Attwood’s commitment to the
and stunningly designed new building. Part of the held at the festivities, which was his monoprint press and his veggie garden has been confirmed,
University of New Mexico (USA) the programme transfer technique. A chance for South Africa to offer satisfied that he is part of an international trend.

Bettie Cilliers-Barnard dies at 95

said although he had expected his mother’s death, it Nelspruit.
was still a big blow. Cilliers-Barnard started painting in the late 1930s and
“We are grateful for her rich life and for the time she over the years kept experimenting with colour, lines,
always spent with other people.” abstraction and figurative abstractions.
Her daughter, actress Jana Cilliers, said she had In the 1970s, birds unexpectedly started appearing
secretly thought that her mother “would never die, but in her work – which could be described as part of her
would just become smaller on the horizon”. earthly symbolism. She referred to this work as her
“I will remember her for always putting beauty and “flights of the spirit”. In 2004, she exhibited new work
harmony above anything else. That remains a strong for the last time at Colour as Language, an exhibition
memory,” she said. which also included older work (1937 to 1961) from
“What she passed on to me – in fact, it was what I her family’s private collection.
had always experienced of her – was her sense of The small woman with the great art work still spoke
Flight towards Unity things.” on her 90th birthday about how she would paint on a
big canvass by standing with each leg on a separate
Published in Die Beeld Her work bench. She worked especially at night – “because the
night doesn’t have shadows”, she maintained.
Johan Myburg Cilliers-Barnard had been honoured several times for Stephan Welz, art expert and executive director of
her contribution to South African painting. Last year, Strauss & Co, believes Cilliers-Barnard’s work doesn’t
Artist Bettie Cilliers-Barnard died early on Wednesday she was the festival artist at the Innibos Festival in fetch very high prices currently “because she is part
morning in her home in Menlo Park, Pretoria. She Nelspruit and earlier this year, a retrospective exhibi- of the forgotten generation who experienced the
was 95.Cilliers-Barnard had recently become frail and tion was held at the University of Pretoria where she worst of the cultural isolation during apartheid.”“She
was confined to her bed. Her son, Wimcar Cilliers, studied. She was too weak to attend the exhibition in didn’t enjoy the support in her prime.”

the loop
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art foundry R15000 casting grant up for
t 27(0)13 7582409 f 27(0)11 5075747 grabs. Entries open 1 Oct 2010 and close 28 Feb 2011. & All the details @
striving in our passion towards excellence
But, overall, one cannot say that art patronage on Profile of Arts Patron: SA born Abe Bailey
a grand scale is a magnanimous tradition in South
Africa. (Those who have worked with sponsors on
art projects will testify how commercial brands tap
every last drop of exposure. Real benefaction usu-
ally only requests acknowledgement.)

Tax-breaks are ways in which modern capital-

ist society contrives and manipulates the rich to
spent their money for the public good. Yet, in both
Melvyn Minnaar’s apartheid and post-apartheid South Africa, the
government has steadfastly refused to engage with
The Artful Viewer this. (The democratic government did create some
bureaucratic space for supporting the arts, but we all
know what a mess that is.)
Absent Art Patrons
Nevertheless, whether a question of personal vanity
The ultra-rich Sainsbury UK grocer brothers recently
or simple passion, or their real moral commitment,
gave the British Museum 25 million pounds for a
generous, rich benefactors and supporters create
new gallery. Meanwhile, Charles Saatchi is trying to
public spaces for ordinary citizens to encounter the
hand over his London gallery and some of his col- Art Patron as a young man: Sir Abraham (Abe)
arts and curators to sharpen their skills.
lection, also estimated at 25 million pounds, to the Bailey was born in Cradock in the Cape 1864.
British people. (To the UK government, actually, but
Over the years, there has, from time to time, been In his lifetime, Abe Bailey, a South African born
they don’t seem to know how to deal with it).
talk of Cape Town’s need for a professional space Randlord made some important public benefactions. In
for contemporary art. Visitors often find it surprising 1936, he donated 10 000 pounds to foster the devel-
In the USA a number of mega wealthy art collec-
that a highly-charged cultural city like ours doesn’t opment of aviation in South Africa. On a larger scale, in
tors are taking their contemporary art public, even
have a modern museum. 1925 he presented the Fairbridge Collection of some
building grand museums to house and show-off their
‘cultural investment’. These parvenu patrons follow 15 000 volumes of Africana to the South African Library
With the ghost of Bailey and his founding patron- and provided a special wing in which to house it, and
a long American tradition that lists hallowed names
age still lingering after all the decades, the Iziko in the early twenties gave 100 000 pounds to the Royal
such as Mellon, Getty and Frick.
SA National Gallery has made various efforts over Institute of International Affairs in London to secure
years to find another big patron. One to finance an its future. In 1923, it moved into Chatham House and
Public art benefaction on this scale, the cynic will
extension, or help towards a brand-new building five years later Bailey promised the institute another
say, is usually tainted by hubris. (Certainly this could
for contemporary art. It has never happened. And 5000 pounds per annum (then half its total running
be argued in the case of ex-adman Saatchi, who
so the SANG has had to take up the role of being costs) in perpetuity. Meanwhile, in his will he provided
single-handedly conceived contemporary art as
current showcase, in additional to its other duties. for the creation in South Africa of the Abe Bailey Trust,
currency and status for the new rich.) (It was smartly
This has not always been greatly successful, its (see image of winners below) the aim of which was to
picked up here in South Africa by Brett Kebble when
mandate remaining murky, and sometimes stymied finance initiatives by which British and Afrikaans South
his image needed polishing.)
by political correctness. Africans might “work together wholeheartedly in devo-
Yet, as the long history of western art shows,
Is it an incurable condition of Slaapstad that no tion to the interests of their [sic] common country.” He
patronage of public access to art, facilitated by rich
voices sound up for a Cape Town Contemporary also bequeathed to the South African National Gallery
individuals outside of government, is an acceptable
Art Museum? Don’t artists need it? Don’t art lovers his large art collection.
and even necessary cultural construct. Patronage
and visitors want it? Is it inconceivable that a patron
on this scale, of this nature, may have a dark side,
- his or her more-than-enough fortune safely made,
even ulterior motives, but it didactic public effect is
- will stand up and say: come let’s support the arts in
a dynamic way. And build a gallery.
The question is why this is not so in South Africa.
The felling of the landmark Athlone towers has, of
course, exposed the most obvious place for this
Yes, there has been benefactors who, and private
space. If the Tate Modern can be the most-visited
institutions that spent money on important visual art
art space in the world, shouldn’t we try with our own
causes. The Ruperts have done great work. (The
empty powerhouse along the N2?
magnificent Pierneef station panels to be seen at
the Rupert museum in Stellenbosch right now repre-
If only there was a real art patron out there. The patronage of Abe Bailey is still active today
sent a generous and important private intervention.)
with the sponsorship of numerous art and social
And someone like Dick Einthoven, though Spier, has
advancement projects
keenly gave his money towards the arts.
Conrad Theys 70th birthday and Book launch, Stellenbosch
Conrad Theys’ 70th birthday was celebrated on 8th
September with the opening of a retrospective of this
celebrated artists’ work at the Sasol Art Museum in
Stellenbosch, held in conjunction with the Stellen-
bosch Art Gallery.
The exhibition, was opened by Prof. Russell Botman,
coincided with the launch of the richly illustrated book,
The Art of Conrad Theys – Soul of the Land, written
by Prof Alexander Duffey and compiled by Meyer
Grobbelaar. Seventy leather-bound Collector’s edition
volumes, as well as the standard edition, was pre-
sented at this occasion where books were signed by
the artist. Apart from the book launch and retrospec-
tive, an exhibition of selected works are available at
the Stellenbosch Art Gallery.
Theys was born in the town of Montagu on the 9th
of September 1940 and he describes himself as a
child of nature, recalling with fondness the days of his
youth spent wandering the veldt, studying and collect-
ing the stones found in the landscapes of the Klein
Karroo and later Namaqualand.
Trained as a teacher, his instruction in the arts
commenced in 1969 when he sought guidance from
artist Gregoire Boonzaier, under whose mentorship
he worked until 1972. In 1974 Theys embarked on
a full-time artistic career, and augmented his studies
under Edwine Simon at the Ruth Prowse School of
Art in Cape Town between 1981 and 1982. Described
as one of the last ‘Cape Impressionists’,
In 2004 the University of South Africa awarded him
with an honorary doctorate for his contribution to the
arts and this year he was awarded a Medal of Honour
for the Visual Arts by the South African Academy of
Science and Arts.

Images: (Top:) AWK Professor WJ Pienaar presents Conrad Theys with an award, (Below left) Visitor walks past Theys’s well loved klappertijes, (Below right):
Professor Alex Duffy looks on as Conrad Theys signs a book for a collector. (Below left and right) a birds eye-view of the ceremony held at The SASOL Art Museum

Purchase the richly illustrated book,

The Art of Conrad Theys – Soul of the Land

written by Professor Alexander Duffey and compiled by Meyer Grobbelaar of
The Stellenbosch Art Gallery

A limited leather-bound Collector’s edition volumes, as well as the standard edition are
available from The Stellenbosch Art Gallery Tel. 021 887 8343
A quality selection of SA old masters and
selected contemporary art


150 X 150 CM

Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729
Visit the Alette Wessels Kunskamer at the Maroelana Centre
27 Maroelana Street, Maroelana, Pretoria
OPEN: Mon to Fri 09h00 - 16h00
Saturday 09h00 - 13h00
Alette 082 652 6663 Gerrie 084 589 0711
Port Elizabeth artist wins the 2010 Sasol New Signatures, Pretoria Association of Arts
Sasol, together with the Association of Arts Pretoria, top five winners are from P.E. My future plans are well as Nastassja Hewitt’s installation, “Let Them Eat
has announced “Royal Visit” as the R60 000 first simply to make art,” said Laue, whose advice to other Cake”, also received merit awards.
prize winner of this year’s Sasol New Signatures Art aspiring artists is to not conform to other peoples “There has been a very high standard of work again
Competition. standards. The Sasol New Signatures runner-up prize this year and the technical competence of the 2010
Laue’s winning sculpture was selected from 664 of R15 000 was awarded to Pretoria based Daandrey entries far surpass the benchmark set and expected
entries and was created using an old rowing boat Steyn and his video installation entitled, “Skeumorph.” by the national selection panels,” he said.
along with ceramic pieces of a lavatory. The work Merit awards, to the value of R5000 each, went to
was praised for being innovative, conceptual and Gerrit van der Walt’s digital installation, “Change,” Images: Left: Royal Visit by Laue, Top: Gerhardt
flawlessly executed, with a high regard for detail and Zane Wesley Lange’s sculpture, ‘Joystick’ and Ger- Coetzee- Becoming Dereliction, Below: Gerrit van
finish. “I was extremely surprised to have won. I hardt Coetzee’s photographs. “Bridge Becoming” and der Walt’s Change, Below: Let them eat cake by
was not expecting it at all. I am happy to represent ‘Becoming Dereliction’’. Lorinda Samantha Pretorius’ Nastassja Hewitt, below Truth Ostructed by Lorinda
Port Elizabeth (P.E) and am ecstatic that four of the glass and oxide installation, “Truth Obstructed”, as Samantha Pretorius, Joystick by Zane Wesley Lange.

The largest selection of paintings, sculpture and glass

by renowned South African artists.
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Visit our new branch in Tygervalley Shopping Centre,
Robert Slingsby opening 1 November 2010 Jan Vermeiren
Vuleka Art Exhibition, Artb Gallery, Cape Town
This year, the prestigious national competition drew Cloth and Room with Mirror and Curtains. high standard of current works on show, indicating
over 240 entries from across South Africa of which Alessandro Pappada’s Mechanical Head, a ceramic that the Vuleka Art Competition has become nation-
43 works were chosen and exhibited art Artb Gallery, sculpture won the Cellar Gallery Prize for the best ally recognised as a respected platform for both
Bellville. three-dimensional work (R5000.00), while photogra- emerging and established artists.
pher and lecturer Tiaan van Deventer’s work Fallen The Vuleka Art Competition is currently ranked third in
A wooden and plastic sculptural installation with was awarded the Cellar Gallery Prize for the best stature and prestige in national competitions, after the
sound technology, titled I Long for You, by Haidee work in another medium (R5000.00). Sasol New Signitures and the Absa L’Atelier.
Nel was judged as the best overall art work and has This year there were also merit awards of R2000.00 See Artb’s website at or
landed her the R20 000.00 Conrad Theys Prize. Nel each. The Cold Press Media merit award was for more information.
has a Fine Art Honours degree from the University of awarded to Mari Claase for her fibre work piece titled
Cape Town and is currently an artist and a sculpture. Global Message. The Vernon John Design merit Images Top to Bottom: (Top left) Relocated by Janna
The prize winner of the Cellar Gallery best oil painting award was awarded to Janna Prinsloo for her oil Prinsloo, I long for you by Haidee Nel, Grahamstown
award (R5000.00) was awarded to Dr Andries Gouws painting titled Relocated. Residence Room by Andries Gouws, (Below) Wave
for his three oil paintings of everyday objects and in- Nikita Campbell, the gallery co-ordinator at Art.b is by Alessandro Pappada, Global Message by Mari
teriors titled Grahamstown Residence Room, Painting pleased at the number of entries received and the Claase and Fallen by Tiaan van Deventer.


i A R T G A L L E R Y W E M B L E Y : A P R O J E C T R O O M F O R C O N T E M P O R A R Y A R T / + 2 7 ( 0 ) 2 1 4 2 4 5 1 5 0 / I N F O @ I A R T. C O. ZA / W W W. I A R T. C O. ZA
MTN New Contemporaries Art Award 2010 at The KZNSA Gallery, Durban

Top: Winners work by Kemang Wa Lehulere : Remembering the Future of a Hole as a Verb (Below left) Curator, Nontobeko and winner Kemang Wa Lehulere, Guest
curator Nontobeko Ntombela. Winner- Kemang Wa Lehulere , Deputy Minister of Arts and Culture Paul Mashatile , Donna Kukama ( Runner up), Mohau Modisakeng
(Runner up), MTN SA Foundation Head, Eunice Maluleke and Stuart Bird (runner up).

At a prestigious event held Wednesday 15 September One of the MTN Foundation’s most renowned projects, tice beyond this the MTN New Contemporaries Award.
at the KZNSA Gallery, Kemang Wa Lehulere was the the MTN New Contemporaries Award is a competition
overall winner. Staged every two years since 2001, designed to promote talented, cutting-edge artists who As judges we unanimously arrived at the conclusion
and for the first time in Durban, this much celebrated have not yet received critical acclaim but who are posi- that what was vital here was the vision shared by
art competition identifies four emerging South African tioned to be the next leaders in the art field. It is also an the four artists – the interplay of the artists with one
artists as the new stars of the South African art world, art competition that has inspired robust debate, infusing another; their collective vision rather than the sum of
and elects a winner among them. the art-world discourse with fresh narratives. the parts. But the current structure of the MTN New
Eunice Maluleke, Head of MTN Foundation says: Contemporaries Award required us to recognize an
Wa Lehulere’s award of seventy thousand rands was “MTN New Contemporaries Award affirms our individual artistic achievement. Thus, we chose as win-
presented by the Deputy Minister of Arts and Culture, responsibility to encourage creative thinking outside the ner Kemang Wa Lehulere, an artist who best embodies
Paul Mashatile. The three runners-up received five business arena and allows the opportunity for young the overall narrative, and a creative practitioner who
thousand rands each, state-of-the-art cell phones and South Africans to be heard. These awards are also is most open to the idea of collective sharing and
art-book hampers, inter alia. aimed at promoting young artists who have not yet had developing. This we wanted to foreground as the
the opportunity for appropriate exposure.” most laudable achievement: not the artist as individual
The finalists were Donna Kukama; Kemang Wa genius but as catalyst for larger creative change.”
Luhelere; Mohau Modisakeng and Stuart Bird, but The adjudicators for the award issued the following
although these are impressive contenders there could statement: “Competition winners function as markers to The announcement of the award was met with
only be one winner. other practicing artists; to be validated by a jury of one’s sustained applause from an unusually large gallery
peers sets goals for conceptual thinking. We feel that audience. Whether winner or finalist, all four of these
Says Nontobeko Ntombela, the 2010 MTN New these young voices offer a turning point in what has, rising stars of the art world are set to enjoy a career
Contemporaries Award guest curator: “This year’s final- in recent history, been the full stops and exclamation trajectory, as the achievements of previous recipients,
ists were an exciting line-up. Their work consisted of marks of creative thinking; theoretical illustration rather such as Michael McGarry, Mlungisi Zonde, and Nan-
diverse [practices] that mix traditional and new media than fresh hypotheses. These artists instead tell stories dipha Mntando, have shown.
within a contemporary context, and that might variously that play off one another, whole sentences with no finite
be described as critical, socially-engaged or ironic”. conclusions. This bodes well for their continued prac-
16 SA Art Times | October 2010
(Above) Mohau Modisaken piece at the opening, Middle: Stuart Bird’s performance, Below: Donna Kukama’s in front of her piece, Donna Kukama’s Work

SA Art Times | October 2010 17

Artspace Mentorship Programme.
Free State 27 October-17 November, Solo Exhibition of prints by
Gallery AOP
11 September-02 October, “...And to that Sea Return”
Judy Woodborne. 1 Chester Court, 142 Jan Smuts by Richard Penn
Bloemfontein Ave., Parkwood, Johannesburg T. 011 880 8802 09-30 October, “Draw links” contemporary drawing 44 Stanley Ave., Braamfontein Werf (Milpark),
Oliewenhuis Art Museum Artspace Warehouse T. 011 726 2234
16 September-31 October, “Twenty Years” Until 02 October, “Unnatural Selection” butterfly prints
by Claire Menck (In the Main Building) by Henning Ludeke. Gallery MOMO
16 Harry Smith Street, Bloemfontein 10 October-06 November, “Skins” a group exhibition. 30 September-25 October, “African Metropolitan
T.051 447 9609 3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 Architecture” a photographic journey by David Adjaye 21 October-08 November, OKHA Design.
Clarens 52 7th Avenue, Parktown North, Johannesburg
Bailey Seippel Gallery T. 011 327 3247
Johan Smith Art Gallery 22 August-22 October, “A Life Behind the Lens”
25 September-04 October, Johan Smith presents his by Ranjith Kally. A Durban Perspective on Gertrude Posel Gallery
16th Annual Exhibition in oil depicting typical Eastern South Africa 1946-1982. This gallery has a permanent exhibition of traditional
Free State Landscapes. Preview Friday 24 Septem- Until 03 October, “Mbongeni Buthelezi Abstracts” southern, central and West African art.
ber 3pm-7pm. Official opening (by Pierre van Pletzen by Mbongeni Buthelezi. Address: University of the Witwatersrand, Senate
[Oubaas from 7de Laan]) at 11am on Saturday 25 Arts on Main, 260 Cnr Fox and Berea, House, Jorissen Street, Braamfontein
September. Preview again from 09am- 10:45am. CBD Johannesburg. T. 071 227 0910 Tel: 011 717 1365
Windmill Centre Main Street Clarens
T. 058 256 1620 GoetheonMain
Brodie/Stevenson Until 09 October, “Feedingspace” by
Blou Donki Art Gallery 4 November-10 December, New works by Hannah Le Roux.
Contemporary Art, Steel Sculptures, Wim Botha. Opening on 04 November from 6:30 to GoetheonMain, 245 Main Street, City & Suburban,
Functional Art, Photography and Ceramics. 9:00 pm. Botha will be presenting new sculptural Johannesburg T. 011 4423232
Windmill Centre Main Street Clarens works, drawings and a site specific installation. Bro-
T. 058 256 1757 die/Stevenson is pleased to announce the opening of Goodman Gallery
its new gallery space at 62 Juta Street, Braamfontein, 26 August-20 October, “Kind of Blue” by
Johannesburg. T. 011 326 0034, Sam Nhlengethwa
Gauteng Until 16 October, A Perfect Kind of Love by
Joël Andrianomearisoa. (Project Space)
Johannesburg CIRCA on Jellicoe 163 Jan Smuts Ave., Parkwood, Johannesburg
09 September - 03 October, Mixed media New Works T. 011 788 1113
ABSA Art Gallery by Gavin Younge.
06-29 October, “Hartland” an exhibition of prints and 07-28 October, “The Mystery of the Elements” Graham Fine Art Gallery
artist’s books by Stephan Erasmus. Opening Speaker featuring works by the Spanish artist Enric Pladevall. 07-30 October, “The Transient Landscape. Through
David Paton on Wednesday 6 October @ 6pm. 4 November - 16 Dec, Mixed media, bronze sculpture Small Spaces and In-Between Places.” By Scats
Absa Towers North, 161 Main Street, Johannesburg. by Deborah Bell. Esterhuyse. From the new collection of landscape
T. 011 350 5139 2 Jellicoe Ave. T. 011 788 4805 paintings by Scats Esterhuyse, Graham’s Fine Art
www. Gallery will be auctioning one painting: ‘Backs to the
Afronova Gallery Wind: Muizenberg’ on the exhibitions opening night,
17 September-16 October, Afronova invites you Cool Art Space the proceeds of which will be donated to the Kidney
to the Launch of its new Gallery space with a solo Until 05 October, “Let there be Light” by Beanz Trust, a foundation that provides support to
photographic exhibition by Musa Nxumalo. Pamela Prenidni. children with severe kidney disease.
155 Smit Street, Braamfontein, Johannesburg. 17 6th Street, Parkhurst. T. 011 422 6469 Shop 31, Broadacres Lifestyle centre, Cnr. Valley &
C. 083 726 5906 Cedar Rd’s Fourways, Johannesburg. CO-OP T.011 465 9192
Until 09 October, “Insideout” by Joe Paine. “Insideout”
Alliance Française of Johannesburg is a furniture and product exhibition that crosses the 16 Halifax
19-23 October, Photographic exhibition by threshold between what goes in and what goes out. Works by Michael Heyns can now also be viewed by
Hugh Mdlalose. 68 Juta Street, Braamfontein T. 011 023 0336 appointment in Johannesburg at 16 Halifax Street
10-15 November, “Memory stains” by Bryanston.
Cathy Abraham. Paintings and drawings. Dana MacFarlane 082 784 6695
17, Lower park Drive, Corner Kerry Road, Parkview David Krut Projects
T. 011 646 1169 During October, A Group monotype exhibition. 140 Jan Smuts Ave., Parkwood, Johannesburg Henry Taylor Gallery
T. 011 447 0627 The Henry Taylor Gallery specializes in South African
Artist Proof Studio Investment art; hence, it is not uncommon to find Old
28 August-09 October, “Layer upon Layer” prints by Everard Read Gallery Jhb Master paintings by Errol Boyley and J.H. Pienreff,
Bronwen Findlay. In collaboration with Tim’s Print 09 September-03 October, “Stage” pastel on paper by hanging alongside up and coming artists such as
studio and Artists Proof Studio. Haneke Benade, “An Accumulation of Change” Claire Denaire or Gian. P. Garizio.
Opening Saturday 28 August @ 12am. oil paintings by Rina Strutzer. 29 October, Celebrity Art Auction & Cheese and
The Bus Factory, 3 President Street, West Entrance, 07-31 October, Works by Leon Vermeulen. Wine. On Friday 29 October @ 7:00pm - 11:00pm. To
Newtown Cultural Precinct, Newtown. 04-25 November, Oil on canvas by Paul Augustinus. reserve tickets for this event visit
T. 011 492 1278 6 Jellicoe Ave., Rosebank, Johannesburg or call Natalie on 082 7992079.Shop No G 7.2 Cnr. T. 011 788 4805 Cedar Rd. and Witkoppen Rd. Fourways
T. 011 70-53194
Artspace –Jhb Gallery 2
04 September-23 October, Mentorship Programme 11 September-02 October, “Position in Space” www.henrytaylor
Exhibitions by Karin Daymond.
Three different exhibitions of the participants of the 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98
18 SA Art Times | October 2010
Niklas Zimmer combines modern and kitsch in his
interpretation of Tretchikoff’s ‘Birth of Venus’ on DIASEC

‘Tretchikoff + Me’ exhibition held at Salon91 photographer: Niklas Zimmer

printed by The Prophotolab at Orms: Photographic prints on Fuji Crystal Archive Paper, mounted by Framed by ORMS: DIASEC process

Salon91 on Kloof Street, Cape Town recently played host to the

‘Tretchikoff & Me’ exhibition. This exciting exhibition featured
vintage Tretchikoff prints, juxtaposed against the contemporary
responses of local South African artists. One artist that stood
out was Niklas Zimmer – a German-South African artist,
photographer and musician. This was not only due to his unique
interpretation of the subject matter, but also the technique he
used to frame and mount his exhibition.
Zimmer approached Framed by ORMS to mount his prints
through a process called DIASEC. DIASEC is a patented method
of face-mounting the image side of a photographic print to A side view of a DIASEC print.
transparent perspex (acrylic glass), while the back of the print
is mounted on aluminium. In other words the print is sandwiched
between perspex and aluminium resulting in a perfectly flat, high DIASEC has on the colour, contrast and sharpness of my work is
gloss finish that doesn’t require a traditional frame thanks to a startling. Because I make very tight compositions, I am delighted
hanging mechanism attached directly to the aluminium backing to be able to have the images float freely on the wall without any
that hangs the artwork 3cm from the wall. Framed by ORMS borders or frames. All in all, the DIASEC process really ‘made’ my
is the sole agent of DIASEC in the Southern Hemisphere, with photos on this show.”
South Africa one of only eight countries in the world licensed to
perform this exclusive face-mounting procedure. Images for DIASEC can either be sent in digital format to the
Prophotolab at ORMS for printing, or directly to Framed by ORMS
Niklas explains further, “For a long time I have been waiting for an in print form. The finished product will be delivered anywhere
opportunity to see my photographs presented in DIASEC. When in South Africa. ORMS also specialises in large format digital
the process became available here [South Africa] I was excited to printing, as well as archival photographic hand prints for gallery
give it a try. My expectations were certainly exceeded. The effect exhibitions.

Shop 4, Roeland Square, Canterbury Street, Cape Town

South Africa
T +27 21 465 1221 F +27 21 465 2928
Experience the abundance of
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by prominent South African Artists.


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Tel/fax: 058 256 1298

Cell: 082 341 8161
279 Main Road, Clarens

UNISA Kim Berman

Permanent Collection new lithographs

Manfred Zylla ‘At the pool1’, mixed media 2007

Stripped, Lowveld Plantation I, hand-printed lithograph, 57 x 76 cm. Edition 30.

UNISA Art Gallery

Theo Van Wijk Building
B5-02, Goldfields Entrance, Main Campus
Tel: 012 429 6823 /
The Artists’ Press
Box 1236, White River, 1240 • Tel 013 751 3225 •

Art Times Kim Sept 2010.indd 1 17/9/10 10:05:53

Captions: Train station : Which black train to take is matter of guesswork. They have no destination signs and no announcement of arrivals is made. Head car may be numbered to show
its route, but number is often wrong. In confusion, passengers sometimes jump across track, and some are killed by express trains. Mine recruition: During group medical examination the
nude men are herded through a string of doctors’ offices. School class : Cole’s caption unknown. (According to Struan Robertson and others, this photograph reflects the eagerness of black
children to learn, in spite of the terrible handicaps under which they laboured, a subject to which Cole devoted much attention.) Child and nanny: Servants are not forbidden to love. Woman
holding child said, “I love this child, though she’ll grow up to treat me just like her mother does. Now she is innocent.” Riverside : Cole’s caption unknown.(This is almost certainly from a
shebeen in Pretoria’s Riverside, just outside Eersterust from which pictures of the same people were published in Drum, May 1962.

Ernest Cole : A photographic exhibition at the Johannesburg Art Gallery

Ernest Cole believed passionately in his mission to Bondage. He never returned to South Africa and died veal the complex interaction of the strength, subtlety
use photographs to tell the world what it was like, in New York in 1990 after more than 23 years away and elegance of Cole’s photographic ‘seeing’.
and what it meant, to be black under Apartheid. from the country of his birth. He left no known nega- In honour of Ernest Cole and his family, the Has-
These photographs, of unsurpassed strength and tives and few prints of his monumental life’s work. selblad Foundation has chosen the Johannesburg
gravitas, reflect Cole’s intimate identification with his During the years 1969 – 1975 he lived in Stockholm, Art Gallery, South Africa as the opening venue for this
own people. With courage and compassion, his lens Sweden. Here, Cole was cared for by a photographer unique world tour. Other venues will include the South
penetrated the depth and extent of the insanity of who received a collection of prints from him. This set African National Gallery, Cape Town; Red Location
Apartheid and how its racist laws oppressed the lives of extremely rare prints, most of them made by Cole Museum, Port Elizabeth; Durban Art Gallery and the
of black people. House of Bondage, a collection of himself, were subsequently donated to the Hassel- library at Mamelodi Campus, University of Pretoria.
Cole’s photographs was banned in South Africa soon blad Foundation.
after it was published in 1967. This major critique of The exhibition will be opened by the Ambassador of
apartheid has hardly been seen in this country. Never exhibited internationally before, this set of Sweden, Mr. Peter Teljer at the Johannesburg Art
prints can now be seen in this major exhibition. Many Gallery on Sunday 19 September at 4 pm.
Cole went into exile in order to publish House of are uncropped and, individually presented, they re-

One Hundred Years of Collecting Art: The Johannesburg Art Gallery

This publication serves as a summary of 100 years of collection history and focus on the three
main areas of the collection: Historical Works, Contemporary Works and the Southern African
Collection. It includes comprehensive essays accompanied by selected artworks from the dif-
ferent collections. The book is scheduled to launch in late November 2010.
Bob Gosani, Treason Trial, End of round One, Mandela boxing on the roof top of a newspaper building in Johannesburg, 1957, c

Johannesburg Art Gallery : SA Photography – 1950 - 2010 Apartheid – Struggle - Freedom

This summer, we put on a large photography exhibi- G.R. Naidoo, Cedric Nunn, Mikhael Subotzky, speech and, also, of art.
tion showing the history of South Africa as well as the Andrew Tshabangu, Paul Weinberg, Gille de Vlieg
country’s culture and lifestyle from the 1950s up until and unknown photographers from DRUM Magazine, Working in close co-operation with the BAHA Archive
now. In mostly black and white images the exhibition give us each an individual insight into the life in and South African Photographers, the exhibition
gives an insight into the social, political and cultural South Africa throughout these past 60 years. The opened in Germany at the Willy-Brandt-Haus Berlin
aspects as well as the economic situation of South Af- photographs from the 50s and 60s published in on the 27th of May, followed by the Museum Goch,
rica in its development in time, as well as the modern DRUM magazine tell the stories of life in the period opening on the 30th of May, and Stadthaus Ulm,
South Africa of today. of Apartheid, showing the naked truth of segregation, opening on the 18th of June. The exhibition will then
as well as documenting life as it continued to happen be shown in South Africa at the Pretoria Art Museum
The exhibition is divided chronologically into three with sports events, football stars and a night life full and Johannesburg Art Gallery.
main time periods, giving it a comprehensive over- of jazz and dancing. Then, in the 80s and 90s the
view of its development in history: beginning of brutal murders, the demonstrations, It is the largest photography exhibition ever to show a
the violence and brutality of living imprisonment and broad overview of the country’s history, the culture, as
1950-1976 Apartheid , 1976-1994 Struggle the fight for freedom. Finally, in the 21st century the well as sport, the struggle and the daily life or survival
1994-2010 Freedom photographers show a South Africa of recovery and in the mega cities in this important time of change.
immense development. Always with history in mind
The photographers such as Bonile Bam, Jodie Bie- and the knowledge that there is still much more to The exhibition is accompanied by a German/English
ber, Pierre Crocquet, David Goldblatt, Bob Gosani, come and so many more steps to take, we see a catalogue (160 pages), published by Hatje Cantz,
George Hallett, Alf Kumalo, Ranjith Kally, Peter modern South Africa of democracy, where everyone editor Delia Klask, Ralf Seippel, articles by Andries
Magubane, Gedeon Mendel, Santu Mofokeng, can vote, strong women can be, the freedom of Oliphant, Luli Callinicos and Wiebke Ratzeburg.

SA Art Times | October 2010 23

Tel: 011 292 7113
Address: U45 – Level 4
Legacy Corner
Cnr. Fifth & Maude Street

 offers a unique Art Tour at our new

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that can be done under one roof.
While enjoying an informative talk, take a tour of over
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October Artist:
Art Afrique is proud
to announce the
arrival of several
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Westcott from his
recent collection.

   , you will receive a

free art tour (valued @ R 100.00) as well as meet the
Moses Kottler “Meidjie”, 1926 Wood 1570 x 280 x 339 mm,
owner of Art Afrique while enjoying a glass of wine. Collection of the Johannesburg Art Gallery

26 SA Art Times | October 2010

Johannesburg Art Gallery | | as well as paintings by Pauline Gutter and digital
09 August-December, “Transformations: woman’s art za/culture | prints by Daandrey Steyn.
from the late 19th century to 2010” artists taken from 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158
JAG’s Collection. Resolution Gallery
19 September-21 November, Photography by Until 11 January 2011, “Public Perception”
Ernest Cole. a poster show by Andy Robertson.
03 October-11 January 2011, “South African 142 Jan Smuts Ave., Parkwood, Johannesburg Gallery Michael Heyns
Photography 1950-2010” Opening 03 October T. 011 880 4054 21 September-31 October, Works on canvas, board &
King George Str., Joubert Park, Johannesburg paper by Michael Heyns, including pieces previously
T. 011 725 3130 Right on the Rim (Arts On main) in his own collection. Until 02 October, “Binary Beauty” a solo 351 Lynnwood Road Menlo Park Pretoria
exhibition by Robyn Field T.012 460 3698, Cell.082 451 5584
Kim Sacks Gallery Cnr Main Street and Berea Street, Johannesburg
19 September-06 October, Ceramics by Rooke Gallery
Clementine van der Walt. 28 October-15 December, “Study of Trees” Kunsuniek
153 Jan Smuts Av. Parkwood. 011 447 5804 photography by Garth Meyer. 06 October-14 November, Experience a stimulating
Cell: 083 377 9076 The Newtown, 37 Quinn Street, Newtown, Jhb variety of well-known South African artwork uniquely
C. 072 658 0762 exhibited in a superb dwelling atmosphere.
Manor Gallery 331 Chappies Rd, Lynnwood, Pretoria
07 October-02 November, “The 84th National Open Seippel Gallery Marie Spruyt 012 361 6927
Exhibition of the Watercolour Society of South Africa” 14 August-09 October, Recent Works by
Top South African watercolourists participating Mbongeni Buthelezi. Platform on 18th
include: Sue Orpen, Zanne Bezuidenhoudt, From 10 October, Water paintings by Jill Trappler. 01-17 October, “Con Artists” Sculpture and ceramics
Cherelee Powell and Ingrid Kolzing. Opening Arts on Main, Cnr of Fox and Berea, Johannesburg by Corne Joubert, Ruan Hoffman.
Thursday 7th October @ 6.30pm. T. 011 401 1421 21 October-13 November, Group Show of paintings,
Norscot Manor Centre, Penguin Drive. photography and mixed media by Leanie Mentz,
T. 011 465 7934 Spaza Art Gallery Liebet Marie, Marcia Moon. From 19 September, “Spring Exhibition” 18 november-04 December, Solo exhibition of
various artists including music and poetry. paintings and mixed media by David Smuts.
Market Photo Workshop 19 Wilhelmina Street, Troyville. 232 18th Street Rietondale, Pretoria. T. 084 7644 258
06 October-01 November, “Working the City, T. 011 614 9354 C. 082 494 3275
Experiences of Migrant Women in Johannesburg”
a group student project in Poster form. Standard Bank Gallery Pandora Art Gallery
2 President Street, Newtown, Johannesburg. 12 October-04 December, “People, 03 September-17 October, “Tanti Piccoli Robot” a
T. 011 834 1444 Prints and Process-Twenty five years at Caversham” group exhibition. Cnr of Simmonds & Frederick Str.’s, Johannesburg, Opening 03 September by art critic and journalist T. 011 631 1889 Johan Myburg. The exhibition, complemented by a
performance by the Rynier Prins Jazz Trio.
Miele 621 Berea Street, Muckleneuk, Pretoria.
30 September-30 October, “Women in Motion” Pretoria C. 084 997 3903
Solo Exhibition by Ilze Coetzee.
Miele, Gallery of Fine Living, 63 Peter Place, Alette Wessels Kunskamer
Bryanston, Johannesburg. Exhibition of Old Masters and selected Pretoria Art Museum
Contact Christina Wiese 083 611 3508 leading contemporary artists. 15 September-29 October, “Neo-Emergence” a group Maroelana Centre, Maroelana. exhibition, curated by Nthabiseng Rachel Montshiwa.
GPS : S25º 46.748 EO28º 15.615 Until December, A selection of ceramics, representing
Museum Africa T. 012 346 0728 the development of studio ceramics and the work of
Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein- C. 084 589 0711 traditional rural potters of South Africa over the past
Lessing and Leopold Spiegel” co-curated by thirty years, is on display.
Nessa Leibhammer and Natalie Knight. North Gallery and Preiss Hall, T.012 344 1807/8 art.
121 Bree Str., Newtown, Johannesburg
T. 011 833 5624 Association of Arts Pretoria
19 September-20 October, “In a Nutshell on Wheels”
Nirox Foundation (Arts on Main) by Craig Muller. Trent Gallery
Until 09 October, Pre-Green by Barend de Wet. 16 173 Mackie Street, Nieuw Muckleneuk, Pretoria. 02-14 October, Otta klar
October-07 November, “What do we know about T. 012 346 3100 16-28 October, Annette Pretorius Exhibition.
Landscape?” by French photographer Éric Bourret. 29 October-11 November, Group show including
French walking photographer Eric Bourret surveyed Angus Taylor and Judith Mason.
the Cradle of Humankind during a six-week residency Brooklyn Theatre in association with Trent Gallery Opening 29 October at 6:30pm, closing 11 November.
at the Nirox Foundation, Gauteng, in 2009. During 28 August-15 October, “Collections” featuring Anna Curated by Marijke de Kock.
this period of introspection, he contemplated the Vorster, Ernest Rood, Joel Tsepho Sebothoma and 198 Long Street, Waterkloof, Pretoria.
presence of 21st century clues on a ground of 4 Renier Oosthuizen. T. 012 460 5497.
million years’ worth of human activities. His meditative Greenlyn Village Shopping Centre,
experience resulted in two photographic installations. Thomas Edison Street, Menlo Park.
The exhibition asks: what do we know about the
landscape surrounding us, its heritage and the marks
Stuart @ 082 923 2551,,

we leave behind us in our environment?
09 October-15 December, ‘The Mystery of the Ele- White River
ments’ featuring works by the Spanish artist Enric Fried Contemporary
Pladevall (Nirox Sculpture Park) 02 September-03 October, Works by Paula Louw. The Loop Art Foundry & Sculpture Gallery
Cnr Berea and Main str, City and Suburban, 06-28 October, “Passage” a group show that includes Casterbridge Complex Corner R40 and Numbi Roads
Johannesburg. www. drawings by Maria van Rooyen and Amos Letsoalo White River
T. 013 751 2435
SA Art Times | October 2010 27
SOLO EXHIBITION BY MARIA VAN ROOYEN | Image: Steve Biko [Detail]. Mixed Media.

91 Kloof Street | CPT

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28 SA Art Times | October 2010

3rd October 2010 at 4.30 p.m. Raquel and Colin are
Western Cape a husband and wife team. They work together on
The Donald Greig Bronze Foundry and Gallery
Donald Greig is a specialized wildlife sculptor and his
various photographic bodies of work that express sculptures ranging in size from life-size to paper-
Cape Town their passion for nature and the conservation thereof.
24 October-13 November, “Desert Abstractions and
weights will be on display at the gallery. The foundry
will do a bronze pour on most days and the entire
Photo Impressionism” Photographs (Giclée Prints on ‘Lost Wax Casting Process’ can be viewed by the
Artvark Gallery
Canvas) by Robert Müller. To be opened by Nicole public through special glass windows.
Until 30 November, Paintings by
Palmer (Artist Photographer, Stellenbosch)On Sun- The Nautilus Building, No.14 West Quay Road,
Lolly Hahn-Page and Tammy Griffin.
day 24th October 2010 at 4.30 p.m. V&A Waterfront, Cape Town T. 021 418 4515
During September, New work of the well-acclaimed
From 14 November, “Natures & Patterns” recent work
Zimbabwean Artist Wendy Roselli.
by Christopher Langley.
48 Main Road Kalk Bay, T. 021 788 5584
60 Church Street, Cape Town. T. 021 423 5309. Erdmann Contemporary /Photographers Gallery
Artvark now also at the Cape Quarter, on the 1st floor 25 September-30 October, “Doppelgänger” a solo
Alliance Française of Cape Town exhibition for artist Mark Hipper. This exhibition was
Cape Quarter Lifestyle Village planned and scheduled one year ago. Hipper’s
Until 02 October, “Fleshy Wasteland” by
27-31 October, “Design Now! The décor and design sudden and tragic death on 12 August 2010 did not
Retha Ferguson.
week” The Piazza: 72 Waterkant Street, The Square: change these plans. He had already completed two
155 Loop Street, Cape Town. T. 021 423 5699
27 Somerset Road, Green Point. of the three large paintings. Hipper had titled these
T. 021 421 1111 paintings, Unfinished I, II & III. Opening Wednesday
/A Word Of Art 29 September @ 6 pm with Opening Speaker
Carmel Art Wilma Cruise.
will be closed for the next few months to work
Dealers in Fine art, exclusive distributers of Pieter 63 Shortmarket Str., Cape Town T. 021 422 2762
towards the next big group show and on the www.
van der Westhuizen etchings. project
Relocation of their Claremont and Constantia
66 Albert rd, Woodstock Industrial Centre.
galleries is now complete visit the new gallery at
T. 021 448 7889
the Cape Quarter Square –Cape Town’s newest Everard Read Gallery
upmarket and trendy shopping mall where Leonard Until 31 Jan 2011, “Untamed”, an installation by
Schneider and Beila are available to assist you. Dylan Lewis at Kirstenbosch Gardens.
The Arts Association of Bellville
Cape Quarter Square, 27 Somerset Road 16 September-15 October, “Bronzes 1980-1990”
29 September-21 October, a solo exhibition by Johan
Green Point (on the first floor above the Piazza & Percy Konqobe Everard Read, Cape Town and Rose
Coetzee, and a Jewellery exhibition by Marlize Meyer,
restaurant level) T. 021 4213333 Korber Art, in association with the Dreyer Founda-
Jolene Kritzinger, Isabel Pfaff, Liz Dunstan- Deacon, tion, Germany, present an exhibition of major bronze
Nadja Bossmann and Diana Ferreira.
The Arts Association of Bellville, The Library centre, sculptures by noted Gauteng artist and
Casa Labia Sangoma, Percy Konqobe.
Carel van Aswegan Street, Bellville. T. 021 918 2301
06 October-11 November, 18 November-02 December, “Never & Always”
“Florence Years” by Kim Meyerson. by Mark Sheilds.
192 Main Rd, Muizenberg. T. 021 788 6067 3 Portswood Road, Victoria and Alfred Waterfront,
Atlantic Art Gallery Cape Town. T. 021 418 4527
A permanent display showcasing leading
contemporary South African artists.
Cedar Tree Gallery
25 Wale Street, Cape Town. T. 021 423 5775
Until end October, “The Palette and the Palate” 34 Fine Art
A wine-centric exhibition, with works of vineyards, 17 August-09 October, “New” a group exhibition
events inspired by wine, perhaps works while under celebrating 34FineArt’s new gallery as well as some
Until 14 October, “Situation” by Vaughn Sadie
the influence of wine and works using wine as a refreshing new works from the current inventory
18 October-12 November, Main Gallery:
medium. sourced from a fact finding mission to
Lynette Bester / Long Gallery: Tracey Derrick /
Rodwell House, Rodwell Road, St James, Europe and the UK.
Artstrip: Elsabe Milandri
Cape Town. T. 021 787 9880 12 October-06 November, “Submerge”
Association for Visual Arts, 35 Church Street, a solo exhibition by Lionel Smit. C. 082 354 1500
Cape Town. T.021 424 7436 /
Centre for African Studies Gallery Focus Contemporary
Barnard Gallery
Until 18 December, “Juggling with the Familiar II : Until 19 October, “The Century so Far”, new works by
29 September-19 November,
Exhibition of Works in Progress” The exhibition brings Karin Miller
“CC-Unlimited Power” by Robert Slingsby.
together photographic and mixed media projects 28 October-25 November, “Pretending to be Flesh”
55 Main Street, Newlands.
by South African female artists who utilise extreme by Christian Diedericks.
subjectivity and intimacy within their methodology and 26 November-26 December, “Spot” by Helen Sear.
style in one way or another. 67 Long Street, Cape Town. T. 021 419 8888
Blank Projects.
Artists included are: Ingrid Masonda, Tracey Derrick,
Until 02 October, “The Menippean Uprising” a group
Suzanne Duncan, Sophia Claassens,
exhibition curated by Pierre Fouché &
Siona O’ Connell and Jenny Altschuler.
Hentie van der Merwe.
On 2nd October there will be a walkabout and pres- The Framery Art Gallery
07-30 October, Painting & Installation by Trasi Henen.
entation of performances dealing with privacy and 23 September-06 November, Patrick Mokhuane and
113-115 Sir Lowry Rd, Woodstock, Cape Town.
public also in the CAS Gallery. Timothy Zantsi. Opening 23 September @ 7pm.
T.072 1989 221
Harry Openheimer Building, Engineering Mall, 67g Regent Road, Sea Point. T. 021 4345022
Upper Campus, UCT. T. 021 650 2308
Cape Gallery G2 Art
David Porter Antiques 13-27 October, “A Place, A Feeling, A Memory” an
22 August-02 October, “Borders” the Cape Gallery
Buyers and sellers of South African art. exhibition of mixed media artworks and ceramics by
annual Wildlife Exhibition.
T. 021 6830580/083 452 5862 Diane Harper. Opening 13 October @ 6pm-8pm.
03-23 October, “Ephemeral” and “In Pursuit of Eden” 61 Shortmarket Street, Cape Town. T.021 424 7169
an exhibition capturing the beauty and majesty of
the Outeniqua Mountain Range by Raquel de Castro
Maia and Colin Stephenson to be opened on Sunday

SA Art Times | October 2010 29

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30 SA Art Times | October 2010

Gallery F exchange project between Australia and South Africa. Journal and an exhibition of artwork by the Staff of
Contemporary and archival South African Art. Leading Australian sound artist Philip Samartzis will the Michaelis School of Fine Art, University of Cape
221 Long Str., Cape Town T. 021 422 5246 travel to Cape Town to produce a surround-sound Town. installation at the Iziko South African National Gallery. University of Cape Town, 31-35 Orange Street,
In 2009, Echoes saw South African artist James Gardens. Cell: 083 367 7168
Gill Allderman Gallery Webb travel to Melbourne, Australia to produce a
Continuous Exhibition, “Exhibition # 36” A Group new work in collaboration with the City of Melbourne
exhibition featuring abstract art, graffiti, paintings, and the Melbourne International Arts Festival. There Raw Vision Gallery
drawings. will be a walkabout of Echoes by Philip Samartzis at Until 19 October, “Colours of the Sun” by
278 on Main Road, Kenilworth. 10:30am on Sunday 10 October. Jocelyn Jacobson Cole. 26 October-30 January 2011, Borders presents a 89 Sir Lowry Rd, Woodstock, T. 076 581 9468
C. 083 556 2540 distillation of work from the Bamako Encounters
8th African Photographic Biennale, 2009. Mali’s
Goodman Gallery, Cape pan-African exhibition is travelling for the first time to
02 September-04 October, “All Things being Equal” Sub-Saharan Africa, providing South Africans with Rose Korber Art
by Hank Willis Thomas. a unique opportunity to engage with contemporary 20 October-20 November,
16 October-15 November, Painting show, a group photographic production from across the continent “Abstraction and Meaning” by J P Meyer.
exhibition featuring Minnette Vari, Lisa Brice, and its diaspora. The show is curated by Michket 48 Sedgemoor Rd, Camps Bay, Cape Town
David Koloane, Tom Cullberg and more. Krifa and Laura Serani. T. 021 438 9152
21 October: Book Launch, Kudzanai Chiurai 25 Queen Victoria Street, Cape Town
20 November-09 January 2011, T. 021 481 3934
Season Show featuring Brett Murray. Rust-en-Vrede Gallery
3rd Floor, Fairweather House, Joao Ferreira Gallery 05 October-04 November, “Sandveld Compositions”
176 Sir Lowry Rd., Woodstock, 29 September-30 October, “A New beginning” by by Annelie Venter;
Cape Town T. 021 462 7573/4, Araminta de Clermont “Sensus – The landscape of stolen moments”, 70 Loop Street, Cape Town. T. 021 423 5403 Sculptures in wood by Loni Drager; “Breathing Lessons” by Leoni Uys;
Greatmore Studios In the Cube in the Clay Museum:
Artist in Residence Kim Myerson will be exhibiting at Rice Bowls by various potters
Casa Labia from 06 October-11 November with an Kalk Bay Modern 10 Wellington Rd, Durbanville.
exhibition entitled “Florence Years” 15 August-31 October, “Point of Focus” photogra- T.021 976 4691
47-49 Greatmore Street, Woodstock. T. 021 447 9699 phy exhibition. Pinhole Photography with selected conventional photography. Jenny Altschuler, Glen
Green, Nic Bothma, Gavin Foley, Geoff Kirby, Dave Salon 91
iArt Gallery Robertson, Leanette Botha and Kevin Factor are 04 September-02 October, “Whitespace” a group
15 October-13 November, “Mad Art Moments” some of the photographers featured in the exhibition. exhibition of sculpture, drawings, print and mixed me-
An exhibition in in support of the Make a Difference 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. dia featuring Lee-Ann Boulter, Mareliza Nel, Cara van
Foundation. Featuring Sheena Rose. T.021 788 6571 der Westhuizen, Zelda Weber and Bianca Weingartz.
71 Loop Street, Cape Town. T. 021 424 5150 06-30 October, “The Long Way Home” a solo exhibition by Maria van Rooyen. Opening
iArt Gallery Wembley Lindy van Niekerk Art Gallery Wednesday 06 October @ 7:30pm.
29 September-06 November, 10-17 October, The Lindy van Niekerk Art Gallery’s 03-27 November, “Unrequited Love: Under a Sickle
“Patmos and the war at sea” by Alistair Whitton. Annual October Art Exhibition. Moon” group exhibition of mixed media, drawing,
Wembley Square, Gardens, Cape Town 31 Kommandeur Road, Welgemoed, Bellville. furniture, sculpture and painting. Featured artists in-
T. 021 424 5150 T. 021 913 7204/5 clude: Coba Vermaak, Cornelis Dumas, Lorenzo Nas-
simbeni, Lourens Joubert, Ndikhumbule Ngqinambi,
Infin Art Gallery Michael Stevenson Contemporary Niklas Wittenberg, Paul Senyol and Sue Dall.
A gallery of work by local artists. Until 16 October, Solo exhibition of new paintings, 91 Kloof Street, Gardens, Cape Town.
Wolfe Street Chelsea Wynberg T. 021 761 2816 and drawings and photos by Zander Blom. T 021 424 6930.
Buitengracht Str. Cape Town T. 021 423 2090 Until 16 October, DJ Spooky (As part of the FOREX project series)
until 16 October, Featuring Simplicity as an Irrational Serialworks
Institute for Democracy in Africa (IDASA) Fear by Donna Kukama, Nastio Mosquito and Until 09 October, “Forgotten”,
Until 30 November, “Arch” by Ed Young. A super-real Nathalie Bikoro. Donna Kukama, Nastio Mosquito a solo project by William Scarbrough.
sculpture of the Archbishop Emeritus Desmond Tutu and Nathalie Bikoro (Side Gallery) ZEB (Brendon Bussy, Niklas Zimmer and Garth
swinging from a chandelier. 21 October-27 November, Erasmus) will perform a once-off studio concert the
6 Spin Street, Cape Town. T. 021 467 7600 “As Terras do Fim do Mundo” by Jo Ractliffe third week of October. 21 October-27 November, “4 for Four” a four-screen Unit F404, Woodstock Industrial Centre
video installation by Simon Gush. 66 Albert Road Woodstock, Cape Town
Irma Stern Gallery 21 October-27 November, “Fishermen (Études no 1)”
26 October-13 November, a short film by the renowned Finnish artist Eija-Liisa
Ceramics by Melanie Hillerbrand. Ahtila as part of the FOREX series South Gallery
Cecil Rd, Rosebank, Cape Town. T. 021 685 5686 Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Showcasing creativity from KwaZulu-Natal including Cape Town. T. 021 462 1500 Ardmore Ceramic Art. Fairweather House, 176 Sir Lowry Rd, Woodstock,
Iziko SA National Gallery Ground Floor.
Until 03 October, “1910-2010: From Pierneef to T. 021 465 4672
Gugulective” a re-hang of the entire gallery is being Michaelis Art Gallery
curated to showcase the very best of South African 09 September-02 October, “Blissful Disturbance”
art. a group exhibition by WITS Masters in Fine Arts
Until 03 October, “US” students.
08-31 October, “Echoes” a sound art cultural 16 September-06 October, “Artworks in Progress”
Launch of the Volume 10 of the Artwork in Progress
SA Art Times | October 2010 31
South African Print Gallery Youngblackman Gallery 107 Baron van Reede Oudtshoorn, T. 044 279 1093
Until 30 September, “Memory, Myth & Ritual” works Until 15 October, “Eye” by Charles Maggs.
by Eunice Geustyn. 69 Roeland Street, Cape Town. T. 083 383 0656
107 Sir Lowry Rd, Woodstock, Cape Town.
T. 021 462 6851 Paarl
Franschhoek Hout Street Gallery
23 September-30 October, “Rondomtalie”
These Four Walls Fine Art illustrations by Rosalind Stockhall.
Galerie L’ Art
23 September-08 October, “Somebody Suit” 270 Main Street, Paarl. T. 021 872 5030
A permanent exhibition of old masters.
Paintings and drawings by Jane Henderson.
Shop no 3, The Ivy, Kruger Str., Franschhoek
Opening Thursday 23 September @ 6pm.
T. 021 876 2497
T. 021 447 7393 Cell. 079 302 8073
The Gallery at Grande Provence
Piketberg (West Coast)
29 August-06 October,”andWhatnow?” the third part AntheA Delmotte Gallery
of its trilogy of exhibitions. Ave Brits will be the first ex- 29 October-20 November, “Portraying the beauty of
Waterkant Gallery
hibiting artist in The Project Room and our two guest Verlorenvlei” This exhibition is to draw attention to
09 September-20 October,
artists are Graeme Williams and Andries Botha. a very important wetland close to Piketberg that is
“Die Dam and Other New Work” by
10-27 October, “The CSA 2010 National exhibition”, under threat by a proposed mine.
Cirkine Roussouw.
will showcase some of the finest contemporary 29 – 31 October, Piketberg Art Weekend. With
21 October-08 December,
ceramics being produced by South African Potters. amongst others an open studios route.
“African Archival Photography”
There are two categories: Ceramics for Use and 47 Voortrekker Street, The Old Bioscope, Piketberg
123 Waterkant Street, Cape Town. T. 021 421 1505
Ceramics for Expression; thus a wide spectrum of 073 281 7273,
ceramics will be on show - from dinner services to
clay sculpture; form tea pots to figurative art .
Wessel Snyman Creative
Opening 10 October @ 11 am. Stellenbosch
31 October-01 December, “Painters who Print-Art
23 September-13 October, “Dare to Dream in Silent
on Paper” an exhibition that celebrates some of the Art on 5
Moments” An exhibition of painting, drawing, installa-
artists who have worked at The Artists Press. Permanent exhibition of paintings and ceramics by
tion, performance art and mixed media by Lucy Skin-
Main Road, Franschoek. T. 021 876 8600. Maryna de Witt, Pera Schillings, and Karen Kieviet.
ner, Janet Botes & Roxi Bredenkamp. Performance 7b Andringa Str., Stellenbosch T. 021 887 7234
art on the opening night at 8pm. Also featuring jewelry
by Inkheart Design. Opening September 23 @7pm.
Glen Carlou Estate
17 Bree Street, Cape Town. T. 021 418 0980.
On exhibition is The Hess Art Collection, including Hermanus works by Deryck Healey, Ouattara Watts and
Andy Goldsworthy.
Abalone Gallery Simondium Rd, Klapmuts T. 021 875 5314
01-31 October, “Printed” - An exhibition of selected
graphic and photographic works by Titia Ballot, Lien
Botha, Bettie Cilliers-Barnard, Tadeus Jaroszynski, SMAC Art Gallery
Pat Mautloa, Dirk Meerkotter, Cecil and 02 September–10 October, “Pre-Green” by Barend
Pippa Skotnes, Diane Victor. De Wet at Nirox Foundation Project Space (Arts on
Main gallery: Group exhibition with works by Main Cnr Main & Berea Street, Johannesburg.)
Christo Coetzee, Elzaby Laubscher, 30 September–28 November, “Green” by Barend
Leonard Matsoso, Carl Roberts, Fred Schimmel, De Wet. At Smac. (1st Floor, De Wet Centre, Stel-
Larry Scully, Susanna Swart, Lynette ten Krooden. lenbosch) The exhibition will feature a combination
2 Harbour Rd, The Courtyard, Hermanus. of recent and older works; sculpture, painting and
T.028 313 2935 performance. De Wet centre, Church Street, Stellenbosch.
“Life is Short” solo exhibition by Peter T. 021 887 3607
Eastman to be seen at Whatiftheworld Knysna
Gallery, Woodstock. Tokara
Knysna Fine Art From 15 October, Tokara winery will launch its fifth
Knysna Fine Art is relocating to larger premises: annual Wine Made Art series at the National Art Gal-
The new address is Thesen House, 6 Long Street, lery in Cape Town, featuring works by young artists
Knysna. The Gallery will be trading from 01 October from the Cape – all students from the Fine Arts Divi-
2010, and the Official Gallery Opening Event will be sion of the Visual Arts Department at the University of
What if the World…
held towards the end of October. The first exhibition Stellenbosch. The public can view the artworks at the
02 September-02 October, “Life is Short” solo
will be in mid November. winery after the launch where they will be exhibited
exhibition by Peter Eastman.
T.044 382 5107 C. 082 5527262 until the end of December 2010
06 October-20 November, “Teeth are the only Bones Crest of Helshoogte pass on the R310 between
that Show…” by Athi Patra Ruga.
Stellenbosch and Franschoek. T. 021 808 5900
Opening 06 October @ 6-9pm.
10 November-04 December, Oudstshoorn
Solo Exhibition by Andrzej Nowicki.
US Art Museum
First floor, 208 Albert Rd, Woodstock, T.021 448 1438 Artkaroo Gallery 16 September–01 October, Le Spectacle de Terroir. 26 September-03 October, “Maak Jouself Tuis” an 22 October, “2010 Le Vin de François auction”
expression of the artistic soul through the medium of 26 October-20 November, “Self” a solo exhibition of
Worldart Gallery the chair; functional & funky art by Karoo artists. Also contemporary art jewellery by Angela Tölken.
18 October–08 November, “Un-mute my tongue” A featuring fine Karoo art in landscapes, figurative and
solo exhibition of new paintings by Ayanda Mabulu abstract. Exhibition opens 26 September @ 4 PM. Cnr of Dorp and Bird Streets, Stellenbosch
54 Church Street, Cape Town. T.021 423 3075 This exhibition coincides with Klein Karoo Klassique T. 021 808 3524/3489 Festival.

32 SA Art Times | October 2010

Pierneef comes to The Rupert Museum, Stellenbosch


From 2nd September 2010 South African art lovers have the rare opportunity to
view the thirty two large paintings of the Johannesburg Station Panel Collection,
on loan from Transnet Foundation, at the Rupert Museum in Stellenbosch.

Pierneef is probably South Africa’s best-known and best-loved painter.

There must be few South Africans who do not know at least something about his
paintings and his name has spread beyond the borders of this country.
The Johannesburg Station Panels played a major role in his creative life. The
duration of the exhibition is until end April 2011.

About the station panels

In 1929 Pierneef received his first major public commission: thirty two panels for
the new Johannesburg Station, which had replaced the original Zuid-Afrikaanse
Republiek Park Station. Coincidentally, one of the consulting architects for the
station, was Pierneef’s old friend, Gordon Leith.

Pierneef travelled extensively throughout southern Africa to find subjects

for the paintings, on which he worked from 1930 to 1932. The thirty two
panels and the numerous smaller works related to them (the Johannesburg Art
Gallery’s Karibib, a view of the town being one of these) are considered amongst
the finest works Pierneef ever painted.

The scenes Pierneef chose to depict are: twelve landscapes from the
Transvaal, nine from the Cape, three from Natal, one of the Orange Free
State, two from Namibia, one from Lesotho and four scenes of trees.

In recent years the panels have been lent out at various times, in particular
to the Pretoria Art Museum during August and September 1986 for a major
Pierneef memorial exhibition. The Johannesburg Art Gallery was given the
panels on permanent loan in September 1987. In October 2002 Transnet
Foundation gave the collection on permanent loan to the Rupert Art
Foundation who brought it to Graaff-Reinet for exhibition and now to

Exhibition Details:

Venue: Rupert Museum, Stellenbosch

Tel: 021 888 3344
Opening times: Mon – Fri: 09:30 – 13:00; 14:00 – 16:00
Sat: 10:00 – 13:00
Closed on Sundays and Public holidays

SA Art Times | October 2010 33

The Black Hole Universe: Chapter 02 Scene 029

Zander Blom : Black Hole Universe: Michael Stevenson Gallery

Lloyd Pollok the assemblages even occur in Zander’s vast oils.
The lean, abbreviated UNTITLED 1.17 consists of THE BLACK HOLE UNIVERSE, CHAPTER 2,
Zander Blom has hitherto worked in the mediums agglomerations of blue and white pigment which SCENE 013 is a three dimensional cardboard
of photography, drawing, collage and sculptural the artist floats on the canvas. Three thin, straight construction which would look pretty unimpressive
assemblage, and this, the self-taught artist’s first penciled lines create a ‘Y’-shaped configuration in reality, as it is merely a flimsy cardboard, tape
exhibition of painting, is undeniably impressive. evocative of the intersection between two walls and and paper maquette of makeshift appearance. In
The wunderkind has filled four vast galleries and the the ceiling of a room. The lines forms a rudimen- the photographs, Zander’s cardboard sculptures
corridor of Michael Stevenson Contemporary - the tary perspectival grid and the scabs of paint appear become detached from the architectural surround,
largest gallery in the country - with a huge corpus of to be suspended in space in front of it, introducing and appear to materialize out of a black void and
paintings, drawings, and photographs. the third dimension, and stressing the umbilical cord hover in space. By disembodying them, Zander
that unites the artist’s paintings to his relief construc- eliminates all associations with himself, his studio,
On first contact the impact is so overwhelming as tions. and everything that might help one identify the
to paralyze the critical faculty. When my friend, the In UNTITLED 1.15 frugal scatters of abstract materials, scale and construction. The sculptures
artist Pierre Fouché whispered “Ek is stom geslaan”, biomorphic forms create a hypnotic vibrating pattern are thus projected into a beyond where they loose
I shared his awed reaction. “Where does all this superimposed over ruler-drawn lines delineating a all particularity, and become generic and abstract,
stuff come from?” I asked myself. rectilinear structure of fractured Cubist planes that asserting an absolute, rather than a contingent
hint at a studio. quality, and resonating the grandeur and integrity of
In 2004 Zander started filling his Brixton home with Collage and assemblage are the core of Zander’s Platonic archetypes.
a mass of paper and cardboard constructions that practice in every medium, and even his paintings Untitled 1.28, a typical example of Zander’s paint-
accreted to every surface. He then photographed rely on them. The artist works with bits and pieces ings, clearly indicates that his goal is to interrogate
them and exhibited the results at his penultimate in both the literal and the figurative sense, for even the Abstract movements of 20th century Modern-
solo, the Drain of Progress (2007). The photo- his monumental oils are essentially cut-and-paste ism, particularly those like Biomorphic Surrealism,
graphs comprising Scene 022 of the Black Hole jobs knocked up from episodes in the grand narra- American Abstract Expressionism and European Art
Universe, Chapter One and Scenes 003, 005, 006, tive of modernism. The artist takes the rubble of Informel and Tachisme, which are founded on the
029 and 041 of Chapter 2 closely resemble this art history and attempts to fashion it into something belief that through free and spontaneous automa-
earlier work, and demonstrate how his sculptural as- new and exciting. tism, the surrender of conscious control and the re-
semblages tended to grow out of the meeting point Zander’s photography provides the clearest insight cruitment of accident and chance, the unconscious
between walls, or ceiling and walls. into his work. The artist makes three-dimensional mind would take over, collaborate with the artist and
Take away the three-dimensionality, and the dense paper and cardboard sculptures of strictly rectilinear, produce a work of art. This reckless painting com-
tangle of black lines forming fish-scale patterns geometric character loosely inspired by the Dada bines wild gestural streaks, splashes and spills at its
in Scene O16 of Chapter One, looks exactly like prototype furnished by Kurt Schwitters’ Merzbau. summit; abrupt, staccato directional strokes riddled
Zander’s paintings, suggesting that his large ab- He then photographs them, using lighting and cam- with ridges and crevices; zones of flat monochrome
stract paintings evolved from his relief constructions. era angles to transform their appearance, so that paint and, at base, a heaving thrash of clotted swirls
Allusions to the architectural fabric that supported they are effectively assigned a fresh identity. of black, white and grey pigment.
34 SA Art Times | October 2010
Paintings: 1.20 Untitled , 1.28 Untitled, 1.10 Untitled, 1.17 Untitled

The Black Hole Universe: Chapter 02 Scene 006 The Black Hole Universe: Chapter 01 Scene 022

The Black Hole Universe: Chapter 01 Scene 016 The Black Hole Universe: Chapter 01 Scene 13

At first glance we take the painting to be an extem- construction, while the other is based on haste, of Bacon. He then cobbles all this flotsam and
pore ejaculation, and then we remark the painstak- spontaneity and haphazard composition that jetsam together, grafting different historical methods
ingly deliberate patches of black linear patterning emerges organically in the course of the painting’s of pictorial construction onto each other to produce
that disrupt the rhythms of the surrounding fluid execution. What can this possibly mean? irrational hybrids riddled with inconsistency and
strokes. The jagged, curvilinear lines that judder and Zander orchestrates a clash of incompatible styles, contradiction.
shudder so insistently are obviously executed in a so that geometric abstraction, Cubism and action Although Zander’s huge canvases achieve concep-
studied and methodical manner as opposed to the painting slug it out on canvas in proclamation of the tual excellence his handling of paint is so lacking in
rest of the canvas, which presents an appearance fact that Zander’s sole obligation is to puzzle, startle elegance, sensuality and grace, that the work has
of untrammeled spontaneity consistent with Abstract and amaze. His is the intoxicating freedom of the scant decorative value. Not only does his brush-
Expressionist methods of picture-making. Post- Modernist artist who can reproduce, twist, work possess a catbox laxative splatter and squirt,
UNTITLED 1.20 is another paradoxical combination transform, subvert and re-invent the myriad different but many paintings like UNTITLED 1.5, 1.6, 1.10
of two very different idioms. The first is hard-edged styles thrown up by modernism between 1905 and and 1.24 are mechanical, repetitive and formulaic.
Post Painterly Abstraction which manifests itself about 1970. By simultaneously improvising on vari- All too often the artist descends into superficiality,
in the thin graphite lines that define a Frank Stella ous -isms whilst divesting them of their raison d’être, and his work becomes showy and meretricious.
pinstriped structure of rectangles within rectangles. Zander cheerfully ballasts ideology and any specific The drawings, which are in fact, far superior to
Zander overlays this with a pure gestural abstrac- goal or meaning, and transforms his work into a most of the oils, avoid these dangers, and remain
tion consisting of hectic, flurried brushwork, drips, purely self-reflexive, formal statement in which style idiosyncratic and distinctive. Quantity is not quality,
spatters, swipes and streaks in white, black, grey becomes the only subject matter. and a far smaller and far more rigorously selective
and red all seemingly executed at a recklessly ac- The principles of collage and assemblage are show would have been far more impressive than
celerated pace. applied to painting. Zander rummages amidst the this mass-produced merchandise from the Michael
In the forgoing paintings two warring styles of picto- debris of the spent Modern movement, and collects Stevenson assembly line.
rial construction combine: one implies discipline, fragments of outsider art, shards of Op, bits of
control and meticulous, pre-determined geometric Kandinsky, chunks of Willem de Kooning and scraps All works Courtesy of Michael Stevenson, Cape Town
SA Art Times | October 2010 35
South African
National Gallery

Above: Kader Attia [Algeria-France]. Square Rocks (2009)

© courtesy Kader Attia and Christian Nagel Gallery (Berlin and Cologne).

Borders, an exhibition from the 8th
Bamako Encounters, the African
Photographic Biennale, is travelling
for the first time to Sub-Saharan
Africa, providing local audiences with

26.10.2010 -
a unique opportunity to engage with
contemporary photographic and video
production from across the continent and
its Diaspora.

Borders, be they geographic, political,
social, aesthetic or metaphysical, are
at the centre of various narratives
presented in this exhibition. Enriched by
a multiplicity of perceptions and visions,
these tales restore multi-dimensional
realities where photographers and
artists, veritable nomads, leave the
beaten path and by-pass the arbitrary
lines of separation.

Curated by Michket Krifa and Laura


Produced by Culturesfrance and Ministry

of Culture, Mali

The exhibition’s presentation in South

Africa is facilitated by the French
Institute of South Africa (IFAS)

Enquiries: Pam Warne, Tel. 021 481 3956

or email
Ninetta Steer. (Lower Gallery) and Japanese collections.)
Eastern Cape 18-29 October, Print, ceramics and mixed media by 1 Park Drive, Port Elizabeth. T. 041 506 2000
Lydia Holmes and Janice Mendelowitz.
East London 36 Bird Street, P.E. T. 041 585 3641
Ron Belling Art Gallery
Ann Bryant Gallery Montage Gallery 21 September-08 October, “Face to face: intimate
The Main Gallery Mid October-Mid November, “fine art sale”, in the conversations with 25 PE(ople)” photography and
07-23 October, “Space” by Lynette ten Krooden. run-up to the end of the year period, as an early boost interview by Sandy Coffey.
Oil paintings on canvas, gold leaf and hand- made for art lovers. The idea is to entice artists to clear out 12-29 October, “Children of PE.”
paper and a new series of sand and resin on canvas. their studio’s by offering their work at reduced prices, 30 Park drive, Port Elizabeth. T. 041-586 3973
Opening 07 October @ 6:30pm. and a number of well-known names have already
02-12 November, Walter Sisulu University B-tech pledged their support.
degree Graduation exhibition, Group exhibition of oil 59 Main Road, Walmer, Port Elizabeth. T. 041 581
paintings, and mixed media works by students from 2893
Northern Cape
Walter Sisulu University.
Opening 2 November @ 6:30pm. Kimberly
The Coach House Nelson Mandela Metropolitan Art Museum
30 September-16 October, A Solo Exhibition by Permanent exhibition, “Art in Mind” William Humphreys Art Gallery
Chanelle Staude. Exhibition of oil paintings of Until 10 October, “Ubuhle bentsimbi: 14-24 October, Works by Grade 12 learners from the
Eastern Cape landscapes The beauty of beads” Kimberley Art Centre.
21 October- 06 November, Solo Exhibition by 15 October-05 December, “RE.SPONSE” Lecturers, 21–24 October, Travelling exhibition and outreach
Liz Sanchez. Paper Mache Sculpture, Oil painting, students and Alumni from the Nelson Mandela Met- project – Richmond Book Festival.
Ceramics and Fibre Art. ropolitan University School of Music, Art and Design 27 October–15 November, Exhibition of works by
Opening 21 October @ 6:30pm. were challenged to produce artworks in response to lecturers of the University of KwaZulu Natal.
11-27 November, Solo exhibition of mainly woodblock selected works from the Art Museum’s Permanent Work on display from the William Humphreys Art
prints with the original woodblock by Jeff Rankin. Collection. This exhibition showcases these interpre- Gallery Collection: Peter Clarke; New acquisitions
Opening Thursday 11 November @ 6:30pm. tations together with the original artworks. from the Eastern Cape; Alan Grobler – linocut prints
9 St. Marks Rd, Southernwood, East London. 23 October-12 December, “Fauna and Flora” Images from Port Elizabeth; Contemporary South African
T. 043 722 4044 and ceramics. (Artworks include a selection from the Ceramics. print portfolio “Art meets science: flowers as images” Civic Centre, Cullinan Crescent, Kimberley.
produced at The Caversham Press. Artists selected T. 053 831 1724
Port Elizabeth include Vusimusi (Derek) Nxumalo, Douglas Goode,
John Manning and famous early South African 20th
Epsac Gallery Century artists Hugo Naude and Irma Stern, will be
17 September-01 October, a solo exhibition by featured together with ceramics produced at Ardmore
Jennifer Crooks. (Lower Gallery) Studio and a selection of Hilton Nel’s ceramic cats.
05-15 October, Retrospective solo exhibition by Textiles from the Art Museum’s Chinese collection will
also be displayed, alongside prints from the Indian

Art Review

Jennifer Crooks - Fabric Works

activity, the construction of fabric based art works are also internal aspects of her emotional life. She recalls
a labour- intensive activity. In itself, it is a meditative collecting seed pods and vegetal shapes to use as
act requiring many hours to structure, arrange and subjects to be placed in the context of her landscape
complete each piece. paintings.
Male sexuality is visual and literal. The female equiva-
Jennifer Crooks is a Port Elizabeth artist who has re- lent tends to be more comfortably expressed in nar-
examined the way in which conventional approaches rative form, so over a period of years she developed
more suited to painting can be translated into images a painting language which translated as textures,
made from fabric, lace, beads and sequins. Her im- opulent colour and soft and hard forms used contra-
ages are a fusion of her practical skills with her main puntally forming a coded personal erotic lexicography
activity as a landscape painter in which she develops of metaphors for sexuality. In the Rhodes library, as
single themes, placing them in a new dimension a student, she discovered an 18th century portfolio
which is neither painting nor artifact. The process is of botanical illustrators which was to inspire and form
the continuation of a life-long interest in plant form her approach to plant forms as erotic subject matter
Jeanne Wright which she has always used as basic subject matter in landscape. The subjects she chooses are simple
from the time she was a Rhodes University student themes of flowers, plant forms, birds and animals as
Images constructed from fabric and embellished in the late 1960’s. Trained at the height of the Gra- well as autobiographical fragments from incidents in
with needlework have always been considered to be hamstown Group (of which she is a founder member) her own life.
women’s work. There are many traditional female she was one of a handful of women who fought to
textile arts which include quilt making, beading, establish her female identity at a school which was Abjuring to the concept which author Linda Grant hu-
weaving, sewing and embroidery, most of which have dominated by strong male personalities. Early oils morously declaims as … “being integrated above and
their origins lodged in the domestic arts rather than and water colours show that she used flowers and below the waistline”, Crooks approaches her work
the pure fine arts. However, in modern times with art organic plant forms in an intuitive attempt to explore with the minimum of fuss and intellectualization and
works like Judy Chicago’s 1979 feminist statement the sensuous aspect of not only the paint medium but the images are simple and forma. Large and small
“The Dinner Party” and recently, Tracey Emin’s also as subject matter which could provide a vehicle beads are used everywhere to define shapes, and as
notorious bed images with their intimate revelations for her need to express sensual aspects of her embellishment detail and every surface in her works
of sexuality and private matters, the boundaries have personality. Her sensibilities were that of a romantic coruscates with the shimmering textures of sequins,
blurred and textiles as an art form have entered the in search of a tactile visual language which would iridescence and opalescence, the gauziness of sheer
arena of high art. Essentially a pragmatic hands-on express not only external aspects of landscape but fabrics, crisp lace and matt and intense velvets.

38 SA Art Times | October 2010

Stuart Bird gets busy at the KZNSA Gallery as part of the MTN art awards

Kwazulu- Natal ArtSPACE Durban

13 September–02 October, “Adornment in Border-
land” by Roz Cryer; “Urban Angel” by Caroline Birch Imbizo Gallery
Durban 04–16 October, “Local Obsession” by Steve Mandy 09 September-30 October, “Spring Splashes” featur-
(Main and Middle Gallery) ing Matt Donaldson, Natasha Barnes, Leona Sykes
The African Art Centre Durban 18-30 October, “(in)different” by Faye Spencer and Jenny Meyer.
Until 17 October, A solo exhibition of landscape Vulindlela Nyoni (Main Gallery); Early Learning Imbizo Gallery, Shop 7a, LifeStyle Centre, Ballito.
drawings and paintings by Mduduzi Xakaza. (fairytales and urban myths) by Next to Beira Alta T. 032-9461937
19 October–15 November, “An African Christmas” Bronwen Vaughan-Evans (Middle Gallery)
The exhibition will showcase a large selection of 3 Millar Road, Stamford Hill, Durban. T.031 312 0793
skillfully beaded and telephone wire Christmas orna-
ments and decorations, colourfully beaded tableware, Margate
hand-built ceramic created by crafters supported by
the African Art Centre. Durban Art Gallery Margate Art Museum
94 Florida, Durban. T. 31 312 3804/5 15 September-07 November, Standard Bank Young Museums art collection on display. Artist 2010: Michael MacGarry. T.039 312 8392 C.072 316 8094 2nd Floor City Hall, Anton Lembede St
(former Smith St) Durban
Alliance Française of Durban T. 031 311 2264 Pietermaritzburg
During October, “Réunion Chroniques”
a photographic exhibition from Reunion Island. Durban University of Technology Art Gallery The Blue Caterpillar Art Gallery
Featuring François-Louis Athenas, Raymond Barthes, 06-22 October, Photographic exhibition by 01-30 October, oil paintings of Midlands farms and
Thierry Fontaine, Yo-Yo Gonthier, Line Leclerc, Edgar inal year art students. rural settings by Charmaine Eastment.
Marsy, René Paul Savignan and Laurent Zitte. Durban University of Technology (DUT) Gallery, The Blue Caterpillar art gallery at Butterflies for Africa
Steve Biko Campus. T. 031 373 2207 37 Willowton Road, Pietermaritzburg.
Artisan Contemporary T. 033 387 1356
22 September-16 October, “Amangwevu” by or
Ceasar Mkhize and Thafa Dlamini. Ceaser Mkhize KZNSA Gallery
and Thafa Dlamini’s mystical and whimsical wire- 14 September-09 October, all Galleries:
armature beaded creatures will be opened by Bona MTN new contemporaries award Tatham Art Gallery
Nyawosa, assistant, director at Natal Museums at nominated artists are Donna Kukama, Kemang Wa Until 26 November, “Jabulisa 2010 The art and craft
6pm on Wednesday 22 September. Luhelere, Stuart Bird and Mohau Modisakeng with of Kwazulu-Natal.”
344 Florida Rd, Morningside, Durban. appointed curator Nontobeko Ntombela. Cnr of Chief Albert Luthuli (Commercial) Rd. and
T. 031 312 4364 12- 31 October, Works by Conrad Botes Church Str. (Opposite City Hall) Pietermaritzburg
(main, mezzanine, and park galleries) T. 033 342 1804
166 Bulwer Rd., Glenwood. T. 031 2023686
SA Art Times | October 2010 39
Important British, Continental
and South African Paintings
and Sculpture
Auction in Johannesburg
Monday 1 November 2010
The Country Club Johannesburg, Woodmead

Walkabout by Stephan Welz on

Sunday 31 October at 11 am

Enquiries: (01 1) 728 8246

Jacob Hendrik Pierneef, Baobab Tree

signed and dated 46, oil on canvas, 75 by 100,5cm
R5 000 000 – 7 000 000
Patrick Mokhuane & Timothy Zantsi
23 September to 5 November

The Framery Art Gallery

67G Regent Road, Seapoint
Tel 021 434 5022 / 078 122 7793

The Loop Art Foundry New Sculptor Competition

The Loop Art Foundry knows how difficult it is to get your first works cast in bronze with the costs involved and we also know that there is some awesome talent out
their so we have created this competition for you to have the opportunity to make it happen. R15000 casting grant up for grabs. Entries open 1 Oct 2010 and close
28 Feb 2011. All the information on

9. Works may not be altered after the photos have been submitted and will be
Conditions of entry disqualified. Works maybe reentered if altered but must accompany a letter
stating which of the entries must be used.
1. Works sculpted out of any medium may be entered. 10. Artworks must not be older than one year. Sculptors may not have had a
2. Sculpture dimensions must not exceed 500mm H x 500mm L x 500mm W. solo exhibition in the past.
3. Artists entering the competition must be 18 years and older, must be a South 11. Your artist profile (CV) and contact details (tel, cel, email) must accompany
African citizen and live in South Africa. your entry photos.
4. A maximum of two artworks per artist may be submitted. 12. Winning sculptor may incur a collection and delivery surcharge if living
5. A casting ready artwork must be entered. outside of Gauteng or Mpumalanga
6. Only original artworks will be accepted. 13. The competition runs from 1 Oct 2010 and entries close on 28 Feb 201114. A
7. Entries will be taken by email. A maximum of 5 photos can be entered per winner will be announced in March 2011
piece (2 of angles 3 of detail and 1 for scale - please stand alongside this 15. The casting grant of R15000 is a market value of casting.
photo). A proposal letter must accompany each entry. Email size may not be 16. Email entries must be sent to
bigger than 3 megabytes.
8. Each of the maximum of 2 entries must be entered In a separate email. happy sculpting..

42 SA Art Times | October 2010


Largest SA sculpture Seven weeks before this magnificent sculpture group

would be installed and unveiled we were contacted by

group finished with the Arend Eloff, well known South African Equestrian
Sculptor. He had been approached by Golden Horse

ease by Loop Foundry Casino in Pietermaritzburg to do the almost impos-

sible. To sculpt, cast and install three 4,5m High
rearing Horses for their reopening. Something that
would normally take 4 to 6 months, the foundry had
only 5 weeks to complete. We worked intensely with
the artist moulding pieces of the horses as he finished
sculpting them. When the final piece was handed over
we had a total of 3 and a half weeks left to have the
finished product delivered and installed in KZN. Large
art casting like this one are divided into sections in the
wax stage of the process and then cast. Once all the
panels are cast the job of putting a three dimensional
jig-saw puzzle back together begins. The sculpture
then goes through metal chasing restoring it to its
original detail. 111 panels made up the three horses.
The Foundry commissioned a special gantry to be
made to lift and move the horses around and special
cradle beds were made out of wood to fit the horses
exactly for transport. Once complete each horse
weigh 750kg and took on the 950km journey to their
new home. The sculpture group is one of the largest
sculpture groups in South Africa and is the largest
sculpture group cast by our foundry. The sculpture
was unveiled at the re launch of the Casino on the 11th
of September.

SA Art Life | October 2010 43


Scatter series, oil on canvas, 165 x 230cm Malay Girl Submerged, bronze,
70cm high

Reportedly ‘fascinated by the structure of the stoicism, [and] fortitude with the tribulations of
artwork’, Lionel Smit is a painter who’s oeuvre oppression and struggle.’ Repeatedly singled out
is informed by the processes of sculpture. This for the explicit manner in which they portray the
twenty-eight year-old artist has been described as human situation, his subjects ‘… are not idealised
‘constructing’ his paintings ‘… from large but deftly or romanticised, but rather [they are] characters
placed brushstrokes and a bold palette’. Painting from our daily lives.’ More than depictions of specific
only large-scale portrait heads, Smit applies his individuals, they represent something beyond the
brushstrokes almost as though they were pieces individual, with details like race and ethnicity fading
of clay that he vigorously adds on and adds on away in deference to the depiction of the sitter’s
to build up and model the image. In this way, he vulnerability and inner-strength. As one writer noted,
creates an image with an exceptionally powerful Smit’s ‘… portraits are about a universal message’.
presence that is especially well suited for the
monumental dimensions of his canvases. His unique Charged with psychological complexities, Lionel
approach can be understood as part of a running Smit’s works explore a spectrum of personality
dialogue between sculpture and painting, a traits. For the artist, these traits and qualities, and
dialogue which he recently expanded by creating indeed the very portraits themselves are initially
a group of sculpted portrait heads – informed by submerged in the depths of his Pollockesque slashes
painting. and splashes arising from his first explosive burst of
creative energy. Then working methodically, Smit
This on-going exchange between sculpture and adds and adds strokes of paint until the image
painting is mirrored by a deeper, more subjective emerges, and his various running dialogues play out
dialogue in which the artist explores the tension on the canvas.
between human vulnerability and inner-strength.
As a result, the subjects in Smit’s portraits have
been described as displaying ‘… a mixture of pride, - Sanford S. Shaman

Lionel Smit’s Solo Exhibition
opens on 12 October, 18h30, at 34FineArt in Woodstock, Cape Town
and can be viewed until 6 November
see for more detail
Transparent variation #2, oil on canvas, Swath, oil on canvas, 200 x 150cm
230cm x 165cm

Divulge, resin and oil paint, 120cm high Scatter series #2, oil on canvas, 120cm x 120cm
Marina Clunie
...the West Coast has soul
Marina Clunie’s paintings adorn homes and seasons of the Berg River and wetlands,
businesses in all corners of the globe. transferring her impressionist fascination with
Marina took graphic art classes at the Cape light and movement onto canvas, using oil
Technikon, painting classes at Art B, and and sometimes a palette knife.
pottery classes, and has sat under the tutorship “My life here embraces space, freedom and
of various artists. She is a member of the SA the simplicity yet vastness of nature. Old boats
Society of Artists, the West Coast Art Guild and swaying against old jetties, never-ending
the Blaauwberg Art Society. beaches, a moody cloud-sky, characteristic
An ex-Capetonian, she has immersed herself West Coast buildings, the river and the
in the spirit and soul of the West Coast. A wetlands have all inspired me.“
hundred-year-old vishuis on the banks of the River Studio on Bokkomlaan attracts tourists,
Berg River on Bokkomlaan houses her studio, art lovers and journalists. Marina made her
River Studio, and she lives in Velddrif – at the first appearance in a publication in 2001
mouth of the Berg River. and since then has appeared in a variety
She is inspired by the flux of the moods and of publications (cultural, art, tourism) as

River Studio’s address: Bokkomlaan (off Waterkant Street), Velddrif, West Coast
Bokkomlaan is a river-road leading to historic Velddrif where visbakkies are tied to old
jetties, pelicans wait for scraps from the fishermen in their vishuise and bokkoms hang out
to dry along the ever-changing Berg River.

soul food
well as brief appearances on by her imaginative West Coast
TV programmes. She has also fare and hospitality. A class of
received several prizes from various school children found her unique
art competitions. personality and art style an
A recent trip to Paris included uplifting experience, and both
a visit to the Louvre and the tourists and visiting artists comment
house and studio of her favourite on the wonderful peaceful
impressionist artist, Claude Monet atmosphere of her studio.
– the lily pond being the highlight. “I cannot keep this atmosphere
She is currently engaged in a series and river view to myself. I need to
of paintings of the lily pond. share it. And I always have coffee,
The soul of the West Coast extends tea and condensed milk ready, so
beyond her paintbrush. Drop-in feel free to visit.” And they do.
guests take on the 120 km journey Marina Clunie, epitomizing the spirit
from Cape Town to visit, enticed and the soul of the West Coast. cell: 083 415 9524

Marina praat trots Afrikaans

Layout and text by Wilna Jensen

autumn splendour
Jonel Scholtz
I am an
artist. I live with
my husband
and daughter
on a farm in
the North West
region of South

My paintings
domestic scenes in hues conveying intensely
subjective and evocative interior spaces. My
works – dominated by reds, browns and yellows
– depict intimate rooms and worn furnishings
that seem to emerge from some eternal dream
of rural tranquility. My figurative work depicts the
fragility and femininity of the female form. Mostly
arising from the emotions women feel and
struggle through in the course of their lifes.

The warm interior scenes always include a

frame of some sort, often doors and windows,
occasionally picture frames. This recurring
theme calls attention to rites of passage and
socialization (many paintings include young
children) and the gendered organization of
space – the homes in my works are distinctly
feminine, with women and young girls often
gazing out windows and through doorways.
These visual cues also draw your eye to light, as
it passes across thresholds and over surfaces,
casting an inviting glow. While clearly figurative,
my paintings’ expressive qualities evoke the
safety and comfort of the ideal home in our
collective imagination.

My paintings come from a simple life as a

mother and wife and develops into all the
complicated aspects that makes up a soul. In a
painting feelings are not static - they move. The
viewer must feel something when they look at
my work. Then I know it’s magic. You can not lie
on a canvas. If you do - the whole world will see
it. Therefore to be totally honest about who you
are, must be one of the most essential qualities of
an artist. No pretence can survive on a canvas.

My painting gives me solace, reason and

energy. Together with the ones I love my life is an
amazing complete experience.

Mobile: +27 82 853 8621 Home: +27 18 673 0023 2
3 4 5

1 These Battles of Mine

76 x 91 cm, oil on canvas

2 The Writer
20 x 30 cm, oil on canvas

3 Have I ever Crossed your Mind

76 x 91 cm, oil on canvas

4 Mallorca
20 x 30 cm, oil on Canvas

5 In Love with a Gypsy

75 x 90 cm, oil on canvas

6 Hey Jude
61 x 45 cm, oil on canvas

7 Strong Enough
56 x 71 cm, oil on canvas

8 Radiostories
68 x 77cm, oil on canvas

9 Chasing Pirates
76 x 101 cm, oil on canvas

7 8 9
To me, a sheet of newsprint or the pasted-together
pages of old journals, documents and hand written
letters, presents both the physical base and conceptual
starting point for one of my mixed media artworks. My
collages are filled with symbolic imagery aimed at
awaking stifled memories out of the echo chambers of
the subconscious mind.
The imagery is build up in layers of antique packaging
and selected ephemera which I collect from antique
stores. The found objects carry a reality of their own
which owe their presence to human action and
purpose. They are the remains of a past, broken-down
system or culture. These materials are deeply rooted in
the collective conscious.
The fish symbol is rendered in oil paint and symbolises
the psyche in contrast with the body: the unconscious

Poor Me Erases Dirt Like Magic

Unwelcome Situation Madame Favart

Au Bon Marche Hide and Seek

Departure at Noon Zen of East and West

rather than the ordinary conscious. They act experienced as a child yet reminded of the
as reminders allowing you to look beneath headwind of emotions and reality of adult life.
the surface of your emotions to discover what I graduated cum laude (BTech Degree: Fine
truly motivates your feelings and interests and Art – Painting) from PE Technikon (now Nelson
by lifting the veil to the subconscious allowing Mandela Metropolitan University) in 2003.
you to examine and understand hidden truths To date I’ve held 12 solo exhibitions and regularly
within. The fish symbol becomes productive of exhibit my work at Knysna Fine Art, David Brown
the human predicament depicting patterns in Fine Art, The Cape Gallery, Strydom Gallery, Art
the psyche in the cycle of life and in a forever Afrique, Rossouw Modern Art Gallery, Rainbow
changing world. Experience and The National Arts Festival and
My work explores fragments of a former culture have participated in numerous group shows.
through the use of found objects which invests Some of my personal highlights include the
new and continually shifting meaning and group exhibition of Eastern Cape Artists titled “Art
interpretations for people. Viewed in full context, it from the Ground Up” at the Legislate Buildings in
explores the psychological realm through which Hannover, Germany; and a Collage workshop
you perceive the exterior world and neglect held for Top Billing, which was in their lifestyle
your true inner self. Acting as a portal to the past, magazine and website. I also work closely with
connected through memory you are transported the South African Institute for Aquatic Biodiversity
to the innocents, fantasy and misadventure and do regular commissions for them.

E-mail: /

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returns by paying a visit to one of the two branches of the the
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083 377 1470
Portchie is an unusual if not unique phenomenon Germany, the United Kingdom or South Africa,” he
in South African contemporary art. He is extremely says.“It is not difficult to understand or appreciate.”
prolific when he paints, and each piece is But there is more to Portchie’s work than an easy
snapped up. He’s unassuming, articulate to the understandability. Now that he is widely known
point when he speaks with a staccato burst of around the world he has an easy tolerance for
words and – just plain plucky. For Portchie is that others who, he concedes, may have tried as hard
rarest of people, a man who discovered his calling but have not met with his astonishing success. A
fairly late in life and then there was no holding painting by Portchie is always intensely colourful
him back. He is arguably the most successful - he seems to see the world in terms of warm
contemporary artist in South Africa. There’s a yellows, vivid blues, bright reds, and intense greens.
saying that the test of courage comes when you He says that part of the secret is that he uses
are in the minority, the test of tolerance comes Grumbacher acrylics – “the finest pigments of all
when you are in the majority. Portchie took his paints in the world”. What is equally true is that
courage in both hands in 1992 when he decided his equable nature seems to have no room for
to stake his name on his quick and undisputed twilights, for half-shades or for shadow tones. For
ability with a brush and canvas. Why was he so Portchie the world is a bright, cheerful place and
confident? “I paint universal themes; children this contagion communicates itself immediately
hop-scotching, people riding bicycles, people with the viewer. It is very obviously a universal
reading – my art doesn’t know any languages appeal and Portchie has known success ever since
and this means it is equally as popular in America, he started painting.

Come celebrate Portchie’s birthday with us

on 20 & 21 November 2010
The 13th Annual BASA Award winners announced

Deputy Minister of Arts and Culture Paul Mashatile with some of the performers in the Giant Match show >| BASA Award winner Carola Ross and Gail Walters
(Hollard) >| Basa Chairman Sikkie Kajee, Business Day Editor Peter Bruce, Deputy Minister of Arts and Culture Paul Mashatile, Adi Enthoven (Son of winner Patrick
Enthoven) and Anglo American Head of Public Affairs Premilla Hamid. >|Gordon Massie (Art Insure), Jeanetta Blignaut (Jeanetta Blignaut Art Consultancy) and Lucy
Rayner (Jeanetta Blignaut Art Consultancy) who curated the National Treasures exhibition.

The 13th BASA Awards took place at the Villa Arcadia, Johannesburg
Thirteen innovative business and arts partnerships were acclaimed at the 13th and we are immensely proud of our partnership with BASA. Through this project we
Annual Business Day BASA Awards, supported by Anglo American; while are able to provide an ideal platform that recognises those champions that make a
successful businessman Dick Enthoven was named the recipient of the first Art difference to the lives of extraordinary people who are equally committed to contributing
Champion Award, for his philanthropic contribution to the arts. to the development of South Africa. To this end, we have realised immense value with
supporting the BASA awards over the years, and is a reflection of a real partnership
The winners of South Africa’s most prestigious business/arts awards, were announced between business and the arts.
at an event held at the historic Villa Arcadia. Speaker on the night was the Deputy This year’s winners were selected by a prestigious panel of judges - head of Vega
Minister of Arts and Culture, Mr Paul Mashatile and performances by renowned mime School of Advertising, Gordon Cook; arts consultant Nicky du Plessis; Loerie Awards
artist Andrew Buckland, the Big People Puppets, as well as Standard Bank Young MD, Dr Andrew Human; marketing consultant Dr Ivan May; co-founder and co-owner of
Artists Melanie Scholtz and Samson Diamond celebrated the evening. multi-disciplinary design firm INK Lisebo Mokhesi and Artistic Director of Siwela Sonke,
The BASA Award function at Hollard’s Villa Arcadia also served as the official opening and academic Jay Pather. The Awards were audited by Grant Thornton.
of the historic National Treasures Exhibition, a celebration of the 100-year old collection
of the Johannesburg Art Gallery (JAG) which will be now be open to the public on The full list of 2010 winners:
certain days in September. Completed in 1910 Villa Arcadia was the Sir Herbert Baker
designed residence of Randlord Lionel Phillips and his wife Florence. A leader herself - Innovation : The BRT Station Public Art Project
in Johannesburg society, Florrie Phillips was personally responsible for establishing the (sponsor Johannesburg Development Agency)
Johannesburg Art Gallery. - First Time Sponsor : Mo-bil-ity: Artists in Residence
(sponsor Kwelapele Investments (Pty) Ltd t/a Modern Autohaus BMW)
“Even as the Recession impacts on the local economy, we were delighted at the growth
- Increasing Access to the Arts : Africa meets Africa: Ndebele women painting in the city (sponsor
and excellent quality of the entries, a sign of business’s continued support of the arts. Plascon Paints SA(Pty) Ltd
This year we focused on the importance of sustainability and our thanks go to our - International Sponsorship : Rendezvous Art Project (sponsor Air Liquide Pty)
sponsors, and all the businesses who recognise the value of a country with a cultural Sustainable Partnership : Standard Bank Young Artist Awards
backbone,” said Business and Arts South Africa CEO, Michelle Constant. (sponsor Standard Bank of South Africa)
Commented Business Day Editor, Peter Bruce, “Without the arts we are not an au- - Media Sponsorship : The Witness Hilton Arts Festival
thentic society. Given that in South Africa, as in many much larger economies, the arts (sponsor The Witness Printing and Publishing Company)
require external funding, it is essential that business and government become involved (sponsor The Movers also known as Bakgat Movers)
- Youth Development : The UCT Clanwilliam Arts Development Project
– Government as a matter of duty and business because it is morally and commercially
(sponsor Fairheads)
the right thing to do. We at Business Day congratulate the winners and their projects - Mentor of the Year : Hilton Lawler - Origins Centre Association
and encourage even more companies to become involved in this wonderful project Art Champion : Dick Enthoven - Shareholder of Capricorn Group
next year.” (Nando’s, Spier, Hollard and Etana, amongst others)
Premilla Hamid, General Manager of Public Affairs at Anglo American said : “Anglo - Chairman’s Award: South African Schools’ Festivals
American is a proud and long-standing supporter of arts and culture in South Africa, (Grahamstown Foundation, Standard Bank, Sasol Ltd)

Business Art | October 2010 57

National Treasures Exhibition
Works from the Johannesburg Art Gallery at Hollard’s Villa Arcadia Until 15 October 2010

Irma Stern : Portrait of a young girl, 1944, Oil on canvas, 615 x 508 mm, Collection of the Johannesburg Art Gallery

Villa Arcadia attempts to provide such an occasion. Preller. Added to these are extensive holdings of tra-
An Introduction
The exhibition began with a conversation between ditional African art. In a different subterranean vault,
Charles Priebatsch, Harriet Hedley and Katherine works by modern heroes Joseph Beuys, Andy Warhol
Rarely is an institution presented with the opportunity
Baxter around what might be done in recognition of and Roy Lichtenstein are archived with floor-to-ceiling
to relocate part of its collection to the home of its origi-
the closing century that saw Lady Florence Phillips contemporary African works. In sum, this led to the
nator and founding patron. It is an equally exceptional
initiate the JAG’s Foundation Collection in 1910. The recognition that a relatively restricted framework was
occasion for an exhibition curator to be tasked with
idea for the exhibition to be hosted at the home of late in order. National Treasures thus aims to trace the
establishing a selection, fair in terms of scope and
Lionel Phillips and his wife Florence evolved through growth and expansion of the South African collection
variety, from a 100-year old collection of over nine
discussions between Hollard and the Jeanetta Blig- over the past 100 years.
thousand artworks. For practical reasons only about
naut Art Consultancy. As the project grew, Business
ten percent of works from the collection of the Johan-
and Arts South Africa (BASA), Artinsure and certainly This is with the exception of four European works
nesburg Art Gallery (JAG) can be regularly displayed,
JAG were quick to pledge their support. from the Foundation Collection. They include a por-
making way for large-scale, contemporary exhibitions,
trait of Sir Lionel Phillips by Giovanni Boldini (1903);
such as the Kentridge and Dumile Feni retrospec-
Any aspirations of presenting a genuinely compre- a portrait of Lady Phillips by Antonio Mancini (1909);
tives; the Deutsche Guggenheim Black Box; Africa
hensive account of the museum’s collection were a portrait of Sir Lionel Phillips’ sister, Lady Nicholson
Remix and the recent Without Masks Afro- Cuban
dashed on being ushered through the Phillips Gallery by Antonio Mancini (1909); and a curious painting
retrospective. During these exhibitions the remaining
and into the depths of the museum. Here 17th by British painter Philip Burne-Jones entitled Mr G F
ninety percent of works from the permanent collection
century Dutch and 19th century French and British Watts R.A. working on “Physical Energy” (1861). As
are stored away, carefully preserved, researched,
paintings by giants such as Camille Pissarro, Claude the most fashionable portrait painter in Paris in the
published, and exhibited internationally.
Monet, Edgar Degas live alongside the sculptures, late 19th century, it was a triumph for Lionel Phillips to
drawings, prints and paintings of local masters Moses have had himself handsomely realised by the Italian
Acutely aware of how little chance the public has
Kottler, Ezrom Legae, Gerard Sekoto and Alexis artist Giovanni Boldini.
to engage with these works, National Treasures at

58 Business Art | October 2010

Nicolas Hlobo, Iggirha lendlela. Moses Kottler : Meidjie, 1926, Wood, 1570 x 280 x 339 mm, Collection of the Johannesburg Art Gallery

Similarly, for Lady Phillips to have been painted works by audacious devotee Irma Stern together on to trace a shift in sentiment that took place in
by the Italian child prodigy Antonio Mancini was of with later abstract paintings by Maud Sumner and the 1960’s. Anguished drawings and paintings by
great consequence. It is for historical, and perhaps a Louis Maqhubela. While most of the works produced Dumile Feni and Mmakgabo Helen Sebidi replace the
measure of nostalgic relevance that these works have during the early years of apartheid were inevitably but realist Sekoto-type depictions of township life. As the
been loaned from JAG and temporarily returned to regrettably produced by white artists, the selection on apartheid state became more repressive in the 1970s
their former home. display serves also to show an evolving awareness and 1980s, artistic production became more clearly
With limited access to some works, a number of for the African form. defined by a discourse of activism and resistance.
which were out on loan and some too fragile to travel, Belgian-born Maurice van Essche, for example, The lithographs of Azaria Mbatha and Ezrom Legae
inevitably there have been some unfortunate exclu- painted various African subjects with the modernist are intended to emphasise the important role of print-
sions. Significant artists were not overlooked so much techniques of his teacher Matisse, while Alexis Preller making as an accessible medium used by many as a
as subordinated in order to limit inclusions to approxi- combined the influences of European Surrealism in means of circulating political and social commentary.
mately fifty artworks. The chronological framework of rendering imagery from the Democratic Republic of Likewise, the photography of David Goldblatt provides
the exhibition is intended as both a convenient means the Congo and Swaziland. Likewise, San inspired poignant documentation of the vast socio- economic
of organising a considerable body of material into a figures and motifs populate the semi-abstract, semi- and political disparities that existed. Even as there
coherent exhibition as well as a loosely illustrative pop language of the idiosyncratic Walter Battiss. were parallel stories in rural parts of the country of
method of relating a story of South African art. While contemplating a woodcut by Cecil Skotnes, artists such as religious sculptor Jackson Hlungwane
one is reminded of Picasso taking much of his formal working outside the political realm, the majority of
It begins in first decades of the 20th century with the inspiration from the African mask. As an influence artists working at this time were concerned with the
sensitive portraiture of Moses Kottler and Gerard subsequently denied by Picasso, this practice led to vast inequalities of South African life. Several of the
Sekoto providing relief to a preceding era of austere complex debates around representation and applying fictionalised protagonists that we have come to know
South African landscape painting. Navigating its the notion of “primitivism” to non- Western art. in the animated films, installations, drawings, prints
way through the influences of 1930s Post-impres- and tapestries of William Kentridge were born during
sionism and Expressionism, the exhibition includes In a different part of the house, the exhibition goes these perilous years.

Business Art | October 2010 59

(Top) Brett Murray : Heritage: Corruption, 1992. Mild steel, found objects (knife and coins) 300 x 920 x 180 mm. Collection of the Johannesburg Art Gallery (Below
left) Walter Battiss : Artist’s Hand (A bird in the hand...), Ca. 1968-71, Oil and wood on board 927 x 1254 mm, Collection of the Johannesburg Art Gallery, William
Kentridge : Johannesburg: 2nd Greatest City after Paris, 1992 : Video Installation, Dimensions variable, Collection of the Johannesburg Art Gallery. Robin Rhode:
He Got Game, 2004: Video Installation, Edition 5/5, Dimensions variable, Collection of the Johannesburg Art Gallery

With the end of apartheid in 1994, South African and social violence, to racial anxiety. Conrad Botes rated with the intention of provoking new responses
art was presented with a chance for a fresh start. explores his Afrikaner identity and the many Calvinist to significant works within the museum’s holdings.
International currents in new media – coupled with ideas indoctrinated into him as a young boy by the From the vantage point of the culmination of over
seminal events like the Johannesburg biennales of Dutch Reformed Church. In a revised feminist slant, 100 years of South African art, we are now able to
1995 and 1997, saw conceptual art come of age in Mary Sibande focuses her practice on South African pose questions that may guide our thinking about
the 1990s. Interrogating the various processes of art domestic workers as the victims of a skewed social the contemporary art in the next century. For JAG,
making, works by Sue Williamson, Jeremy Wafer and and political system, while Nandipha Mntambo em- collaborations such as these allow the institution to
Kendell Geers are dispersed throughout the rooms ploys the imagery and hides of cows to explore and periodically re-evaluate itself, in a tradition of open-
at Villa Arcadia. Moshekwa Langa’s collage created challenge current stereotypes of African femininity. ness and willingness, to evolve and to change. An
from discarded waste materials address his own Correspondingly, installation artist Nicholas Hlobo exhibition like National Treasures is testament to the
diasporic identity, while Steven Cohen’s upholstered refers to Xhosa rituals in his examination of homo- fact that we can play an active role in the preserva-
chair offers an interesting surprise from the artist who sexual identity, masculinity and ethnicity. Seemingly tion of this vital institution.
catapulted South African performance art into recog- less personal, photographer Pieter Hugo documents
nition. Free to explore new subtleties and nuances a range of issues from people afflicted with albinism Lucy Rayner, Curator
outside the binary realm of apartheid, an explosion of to Rwandan victims of genocide. In the same vein,
micro-narratives has emerged in recent years. Works but more interrogative in terms of re-interpretation,
by artists that are concerned with complex issues Michael MacGarry creates sculptures, drawings References
relating to individual identity, cultural diversity, social and films in response to the ongoing implications of De Waal, S. 2010. South African Art. MediaClub-
cohesion and the intellectual underpinning of past Western Imperialism on the African continent. http://www.mediaclubsouthafrica.
imbalances are exhibited together in Villa Arcadia’s com, downloaded on 2010/08/07.
Great Hall. In summary, National Treasures neither proposes Perryer, S. (ed.) 2004. 10 years 100 Artists. Cape
an inclusive survey of the collection’s century-long Town: Bell-Roberts Publishing.
In her drawing and printmaking Diane Victor tackles span, nor makes overarching or definitive state- Williamson, S. 1989. Resistance Art in South Africa.
a range of issues; from sexual repression to personal ments about the history of South African art. It is cu- Cape Town: David Philip Publishers.
60 Business Art | October 2010
Hollard’s Villa Arcadia,
Parktown, Johannesburg
Villa Arcadia: A building of unique beauty and artistry since 1910
Hollard preserves heritage and art for the future

Not only does Hollard’s Villa Arcadia remain one of initiatives for the cultural and social upliftment of Mines and chairman of the Central Mining and
Johannesburg’s enduring architectural jewels, it is Johannesburg society. In its restoration of the Villa Investment Corporation. He was also politically ac-
also of special significance by virtue of its commem- and its incorporation of this Heritage Building into tive and was elected a member of parliament in both
oration of Johannesburg’s pioneering history. the Holland Campus, Hollard has continued the South Africa and the UK at different times.
Phillipses’ legacy: memories of Johannesburg’s
The century-old Villa Arcadia mansion, home to tumultuous history are preserved while current For her part, Florence, born Dorothy Sarah Florence
Randlord Sir Lionel Phillips and his wife Lady day initiatives such as the compilation of Holland’s Alexander Ortlepp, and known fondly as Florrie,
Florence Phillips, was designed and built by important art collection and their partnership with concentrated on local arts and crafts initiatives and
master-architect Sir Herbert Baker in 1910. When Jeanetta Blignaut Art Consultancy’s Creative Block had a hand in the establishment of many institutions
the PhMlipses eventually sold the Villa to the South project sees local South African artists receiving and collections that serve to define our history. In
African Jewish Orphanage in 1922, it became home much-needed financial and mentoring support, while addition to her role in founding the Johannesburg
to 400 children but these numbers dwindled steadily also being offered a forum to showcase their work. Art Gallery, Florence negotiated the donation of
over the years until the orphanage was no longer the Michaelis Collection of Dutch masters to the
sustainable. The Phillipses were central to Johannesburg’s social nation and was a prominent member of a small
scene and Villa Arcadia regularly played host to committee tasked with selecting the Koopmans De
Hollard bought the Villa and surrounding 16-acre the who’s who of Johannesburg society. Prominent Wet Collection for Cape Town. She was also an
estate from the orphanage in 2003 and, in keeping guests included political figures such as Jan Smuts, ardent supporter of the pioneering bronze sculptor
with an entrenched business principle of balance Louis Botha and General de la Rey, while business Anton van Wouw, who was responsible for carving
and partnership, opted to develop the Hollard Cam- entrepreneurs and artists, such as Anton von Wouw, the intricate fanlights over Villa Arcadia’s double
pus as a carefully considered office environment were also familiar within the Villa’s walls. Business, doorways. Florence supported and promoted South
that would foregrounding both heritage and modern social change and politics would have been heartily African craftsmen, as is evidenced in the excep-
use. Villa Arcadia was extensively restored to its discussed and there is no question that the people tional handmade brass work of George Ness that
former glory and now takes pride of position within who shaped early Johannesburg would all have adorns Villa Arcadia.
the Hollard Campus. been wined, dined and entertained at the Villa at
some point. General Jan Smuts summed up Florence’s contribu-
Baker’s design concept for Villa Arcadia deftly incor- tion to South Africa at her funeral in 1940 when he
porated both European and Cape Dutch architec- dubbed her “No Ordinary Woman” and went on to
tural styles, while retaining his signature H-shape. An influential partnership add: “... she and her husband were among the most
The Villa’s enduring beauty and uniqueness can be prominent and outstanding personalities who built
attributed to Baker’s meticulous attention to detail: It is not surprising that it was during their years at up the Rand and the new South Africa, and she left
he trained local craftsmen, used local materials and Villa Arcadia that this influential duo became known behind her a great impression...”
encouraged the local production of materials usually as the ‘King and Queen of Johannesburg’. Although
not available in South Africa. In fact, the clay roof at times tempestuous, the Phillipses’ relationship
tiles that give Villa Arcadia its distinctive Spanish el- was a balanced partnership, where each was Villa Arcadia’s 30-year influence
egance were specially designed and commissioned individually powerful and passionate. They were
from Vereeniging Brick & Clay. The Villa still boasts also, as history has confirmed, trend-setters in many Florence Phillips was fascinated by Herbert Bakers’
its original Italian palazzo-style marble flooring, with meaningful ways. use of local materials and craftsmen and became a
Delft tiles adorning Lady Phillips’ original bathroom. passionate advocate herself. Indigenous construc-
Elsewhere, the restored craftmanship of masters The Phillipses were leading figures on the cultural tion materials used to build Villa Arcadia in 1909-10
George Ness and Anton van Wouw share the inte- front. Florence was instrumental in the founding were to have a far-reaching impact on local building
rior space with works from Hollard’s contemporary of the Johannesburg Art Gallery, for which Lionel practices for the next 30 years and were to influence
South African art collection. raised the initial funding amongst his Randlord con- other houses and public buildings built in South
temporaries. Lionel contributed further by becoming Africa until the beginning of the Second World War
One could argue that the incorporation of indig- a founding trustee of the Gallery and a donor of in 1939.
enous materials into the Villa’s construction set seven significant paintings and a Rodin sculpture
it apart as a building ecologically ahead of its to the foundation collection. Generally speaking During the Villa’s 18-month construction period,
time - and this point extends to the Villa’s garden. however, Lionel preferred to concentrate his cultural observers often noticed the diminutive Florence in
Originally developed under Florence’s direction, it energies on the preservation and accumulation of earnest conversation with the towering, 6-foot tall
combined a formal Italian garden and English rose knowledge about South Africa’s indigenous plant Sir Herbert Baker. She discussed every detail of the
and herb garden with a 26-acre site planted with life. He revived the Witwatersrand Agricultural Soci- building with him and insisted on her ideas being
trees and indigenous aloes, chosen specifically for ety, serving as its president from 1906 to 1924, and included. She was a very ‘hands-on’ client, which
their ability to attract the local birdlife. Although now was later to play an important role in the develop- some say frustrated Baker, who was not used to
much reduced in size, the Villa’s garden still retains ment of Kirstenbosch Gardens in Cape Town. Even such opinionated involvement from his clients!
a sense of the grace and tranquillity of its origins. the introduction of the SPCA into South Africa is
attributed to the Phillipses. During the construction of the Villa, the Phillipses
Hollard’s restoration of Villa Arcadia presents it, In addition, Lionel invested much time and energy in lived at nearby Hohenheim. This building too has
once again, as a dynamic gathering place of excep- the early educational structures of South Africa. He historical significance: not only was it at one time the
tional beauty for Hollard and its network of partners. served as the first president of the Council of Educa- home of Sir Percy Fitzpatrick-author of Jock of the
tion in the Transvaal, formed in 1895 and played a Bushveld but it was also to become the 30-acre site
prominent role in the establishment of the University on which the Charlotte Maxeke Hospital, formally
The impact of Villa Arcadia of Cape Town. Lionel fostered a spirit of public- the Johannesburg General Hospital, was built.
mindedness in the companies he controlled and his
In the time that the London-born Lionel and South personal causes and contributions were numerous.
African-born Florence Phillips lived at Villa Arcadia, He was a dynamic leader in the gold mining industry
it became the hub from which radiated many and later served as president of the Chamber of
62 Business Art | October 2010
Business Art | October 2010 63
64 Business Art | October 2010
Villa Arcadia’s real origins date back to 1897 dream house. It was completed in 1910 at a final brass, doors, stair case, windows and floor tiles
cost of £30 000 and it became the social centre for would all be carefully preserved.
The name Arcadia has its origins in 1897, when a Johannesburg’s decision makers.
large and charming Swiss-style timber chalet stood Conscious of the Heritage Site’s history, Hollard
where Villa Arcadia stands today. German-born Carl Love at first sight acquired the services of leading restoration experts
Rolfes, a successful importer in the earliest tent- so that the magic of the original Villa Arcadia build-
town days of Johannesburg, ordered a totally pre- Arcadia had been standing empty for about two ing could be rediscovered and revealed. Step by
fabricated timber chalet from Switzerland, erected it years when Hollard began searching for a new careful step the magnificent Villa was brought back
and named it Arcadia. In 1898 Rolfes moved into his home in 2003. The Hollard brief was to find a site to health, vitality and its former glory.
Arcadia and had the expansive grounds, with their that offered a large, central, expandable property to Specialist architects were assigned to design the
spectacular views, landscaped and terraced by a unite ‘Hollardites’ from seven divisions, operating new office buildings that would harmonise with the
Russian landscape architect. from four different locations in the Johannesburg elegant Sir Herbert Baker mansion. No less than 32
The picturesque home was purchased by The CBD and Randburg. sub-committees were formed to see that every de-
Corner House for the use of Lionel Phillips in 1906 tail of Hollard’s vision would be accurately translated
and the couple moved in for a short time. They soon It was love at first site for the team tasked to find into reality.
felt cramped however, no doubt a consequence
of Florence’s ambitious visions for a dwelling that Hollard a new home and restoration work began as In June 2005 Hollard moved onto the campus,
could amply entertain guests and become the seat soon as they became the proud new owners. The which in addition to Villa Arcadia, includes a state of
for their many social and political initiatives. The company loved the fact that there was so much the art Wellness Centre (originally the hospital in its
original Swiss Chalet was demolished and Sir Her- meaningful and important history imbedded in every orphanage days) surrounded by grounds suited to
bert Baker was commissioned to build the Phillipses’ rock and brick and pledged that original carvings, relaxing, walking and recharging.

Business Art | October 2010 65

The Hollard Art Collection
In Lady Phillips’ time, as now, art played an integral
role in the growth and development of society and it
is through Hollard’s founders, the Enthoven family,
that this legacy continues. The Enthovens started
Hollard’s Art Collection with the aim of merging
the historical with the contemporary - as well as
fostering unique and long-term partnerships. By way
of example, a number of contemporary artists were
commissioned to collaborate with skilled Xhosa
bead-workers, the Qubeka Bead Studio, to create
unique artworks. These are the first works of art
the visitor sees when entering the Villa through the
spacious foyer.

Another unique collection, born from an innovative

partnership sponsored by Hollard, is the collabora-
tive initiative where artists were paired with local
ceramicists to create impressive works in clay.
These creations were originally exhibited at the AVA
Gallery in Cape Town and a number of pieces were
acquired for display in the Villa.
In addition, the works of up-and-coming artists are
shown in an upstairs Gallery at the Villa, providing
these artists with much-needed exposure. Often
these artists are chosen through The Creative Block
project, where 180mm x 180mm blocks are bought
from a select group of artists. The Creative Block
exchanges artworks for immediate cash but goes
further than this, providing the artists with profes-
sional feedback on their work to assist them in build-
ing their careers in the arts. Creative Block works
are displayed and for sale in the foyers of Hollard
and Etana House.

Recently, the Villa had the honour of hosting the

historic “National Treasures” exhibition (September
2010). All works on this exhibition form part of the
Permanent Collection of the Johannesburg Art
Gallery and “National Treasures” represented the
unique opportunity to showcase this important col-
lection in the very home of its originator and found-
ing patron, Florence Phillips. The rationale behind
the exhibition was not only to draw attention to our
valuable artistic heritage but also to offer visitors to
the exhibition the opportunity to contribute towards
the maintenance and restoration of JAG’s Collection
by purchasing a Creative Block artwork from the
1000-artwork installation in the Music Room at Villa

Positive and Enduring Change

In its restoration of Villa Arcadia, Hollard strives to

be a catalyst for positive and enduring change in the
community. But their support is not only in the arena
of the arts, the Hollard Campus is also home to the
Hollard Foundation which provides orphans and
vulnerable children, primarily affected by HIV/AIDS,
with opportunities to achieve their full potential in
life. The Foundation’s work helps thousands of
South Africans at grass-roots level.

Hollard considers it a privilege to reclaim and pre-

serve the history and beauty of Villa Arcadia and the
company will be adding to that magic and influence
in the years to come as the proud residents of this
South African Heritage Site.

66 Business Art | October 2010

Melanie Hillebrand
Director of The Nelson Mandela Metropolitan Art Museum, Port Elizabeth

bility for either the aesthetic or the practical needs of mittees who are responsible for public funds”…. ”
her institution and if necessary to engage in what she When novices (people who know little about art) and
calls “vigorous tactical debate”. Acknowledging that insiders clash, their preferred battle ground is the
she has become somewhat of a political animal in art museum. The public feel rightly that they have a
recent years, she adds with a grin “I like a good fight!” say over how their taxes are spent. The art industry
She says that a sense of humour, integrity, a firm laments their ignorance and poor taste. Caught in
conviction of what is right for the local community and the middle are the museum curators and directors
the will to carry out structured policies are the key to who will be blamed by both parties for any perceived
running the institution successfully. She emphasizes lapses in judgment.”
that without clear policies and the will to carry them
through, you have no freedom to steer your ship in With her dedicated staff of specialists she has
the right direction. been able to expand and complement community
out-reach programmes for school children from
Reflecting on the dramatic changes which the previously disadvantaged communities as well as
museum has undergone in the year’s under her helm, mount informative in-house exhibitions and lectures
Jeanne Wright she recalls how difficult it was to convince both her for scholars. She started these projects long before it
board members and the public that what was local was politically acceptable. At one stage, she recalls “I
Melanie Hillebrand arrived in Port Elizabeth in 1987 was “lekker” and that whole sectors of the performing got hate mail”. Today, on any one day at the Museum,
to take up her post at what was then a rather fusty art community in the Province had been neglected there are hordes of children to be seen milling around
post-Colonial art Gallery called the King George VI for years and had had no forum for showcasing their the gallery spaces or actively engaged in developing
Art Gallery. With a PhD in Fine Art and a specialist work. Despite a limited budget at that time because their creative skills on specific courses in the activity
interest in ceramic art, she immediately dropped into the Museum was a civic gallery, she embarked on rooms.
a hornet’s nest of vested interests, an old garde and a an aggressive programme of selecting quality pieces
conservative art going public who saw both her youth, of contemporary Eastern Cape art for the Museum’s When asked what she’d like to see developed in
her gender and her qualifications as a threat to the holdings as well as building on the museum’s collec- the future for the Museum, she says that one of the
status quo. She smiles wryly as she says “It was a tion of national art works. She also overhauled the inhibiting factors is the lack of physical space which
place for the commemoration of dead artists!” exhibition system so that these holdings were shown the Museum occupies at present. The spaces in the
to the public frequently in an imaginative and unstuffy gallery are by modern Museum standards antiquated
She arrived during a period of general upheaval in the way. Currently, the museum changes its exhibitions and could do with better digital technology. However,
cultural world nationally with many of the traditional often and displays themes which can range from Dr Hillebrand acknowledges with a satisfied smile
systems and policy outlooks in the Museum world traditional Xhosa beadwork to the Young Artist of the “We know we do a good job with what we have, and
undergoing radical change, and co-incidentally, at Year, the Grahamstown Festival project which selects at the moment, there are far many other priorities
a time when many women were being appointed to cutting-edge art work for national exposure on an needed for the community. Culture is always way
management positions. This, she says was one of the annual basis. down on the list!”
main factors which has helped her to develop what
she calls “A female management style” – a somewhat Education of the public at all levels is a priority for Dr Her parting shot was “It has taken over 50 years for
different approach to running the complex business of Hillebrand and she says that although there are still our art museum to evolve to its current form. It took
a contemporary art institution where decision making wisps of resistance from conservative members of 15 years to promote Eastern Cape artists, 30 years to
is by debate and consensus rather than top-down the public who ‘want it all to go back to the old way’ or integrate the African collection and introduce Eastern
white male autocracy, which was endemic in South from others (who more often than not haven’t physi- Cape bead work, five more to accept that buying
African museums at the time. Women tend to sup- cally been to the Museum) who see the institution British art was not only politically unacceptable but
portive and inclusive rather than dictatorial. However, as a haven for elitist art, the museum is now being financially impossible, and another five to instigate a
she makes it clear that as the Director - the ‘someone’ taken seriously as a cultural centre by all sectors of long-overdue name change….. this is a art museum
who has to make the hard decisions – the onus rests the population. As she notes “Art museums founded which serves the Nelson Mandela Metropole – hence
with herself and that she’s not afraid to take responsi- by governments and municipalities are run by com- the Nelson Mandela Metropolitan Art Museum”

68 Business Art | October 2010

Art Leader:

Stefan Hundt
Art Times caught up to a busy Stefan Hundt, Oliewenhuis was an enormously enjoyable and frus- tions and were no longer active in the South African art
curator of the Sanlam Corporate Art Collection and trating, yet by the beginning of 1997 I had completed market. I think this to some extent reflects the change
specialist at Sanlam Private Investments (SPI) a series of projects at the museum and was about to in the way business is done today. Shareholders
and their new Art Advisory Service embark on some new development projects to expand have become more demanding than ever before and
the museum when I was made aware of the position the removal of non-core business activities that are a
1. Were did you study, how did you come into the on offer as curator of the Sanlam Art Collection. I didn’t drain on the company’s value has become a favourite
art community/ develop an interest for art? see myself as a likely candidate for such a job at the past time of the new age executive. No doubt the
time, however Sanlam made me a competitive offer Sanlam Art Collection has come under scrutiny and
My interest in art was fostered at home, while growing and the opportunity to work in corporate environment its value adding role within the company has come
up in Bloemfontein. In a city that was known to fold seemed to me to be a worthwhile challenge. up for discussion. After 13 years at the head of the
up its sidewalks at eight o’clock at night and before collection one ofcourse also looks to what manner one
television, entertainment was minimal. Surprisingly 3. Was making a switch from an Art Museum to can contribute more broadly to the company without
though a few galleries operated with some success. Corporate Collection easy, what interesting points compromising one’s position and what the collection
Whenever a new exhibition came to town these galler- of view did he have - did he have a strong mandate stands for. It was also a challenge set directly to me by
ies became central attractions and my parents would to collect a certain type of art pleasing to a corpo- the company’s board.
drag me along. Being often the only child around the rate environment? It seemed to some degree quite obvious to me. Over
gallery meant I had to occupy myself, and so looking at the last 10 years the art market has grown experi-
the artworks exhibited became a favourite occupation. The switch form Art Museum to Corporate Collection entially. Prices have climbed dramatically and there
At school, where art was fortunately, not offered as a proved not too difficult. I was fortunate that I was are more and more dealers opening galleries, agents
subject I had grand plans of erecting huge structures allowed the same freedom to develop the collection at canvassing clients and auctions houses offering art as
made of steel, brick and concrete, but a stay in Europe Sanlam as I was at the Oliewenhuis Art Museum. In an alternative investment. The discussion around art
and some time slaving in a laboratory finally convinced many ways the task at Sanlam was simpler. I didn’t as an asset class has matured considerably and the
me to study the Fine Arts. But not in Bloemfontein. I have to manage a building and staff and I had the development of art funds in Europe, United States and
completed a BA Fine Arts honours at the University of advantage of a huge corporate infrastructure to make India only underline the reality that art has become an
the Witwatersrand under the tutelage of amongst oth- things possible. The collecting mandate was very investable commodity. Up to R 200 million was spent
ers Alan Crump, Penny Siopis, Karel Nel, Neels broad and well established. Sanlam had the foresight last year on art on auction at two auction houses last
Coetzee, Paul Stopforth and a little bit of Robert Hodg- to appoint qualified external advisors to recommend year alone. How do these spenders decide on what
ins on the Fine Arts side, and Liz Rankin, Rory Doepel, suitable acquisitions since the inception of the col- to buy? Are they all experts in the field? Do they just
Anitra Nettleton and Cyril Coetzee on the History of Art lection in 1965. The core collection was solid yet the blindly follow the market? Do they just believe what the
side. Wits proved to be a hard learning experience and interpretation of the mandate had remained static. auctioneer, dealer or agent tells them? There appears
I soon realised that I was not to become a practising Fortunately there were no restrictive demands made by to be a need and demand for some form of independ-
artist. Yearning for some change and a stint near the the company directors as to what ought to be bought ent expert advice that is a little more than mere opinion.
sea I continued studying History of Art at UCT under and there were no requirements for prior approval. Over the years I have been consulted continuously
Michael Godby and Evelyn Cohen, completing a BA The company showed full confidence in the advice for advice. It just makes sense that a company such
Honours in History of Art. The art scene in Johannes- provided by its independent advisors. Sanlam must be Sanlam and in particular Sanlam Private Investments,
burg however still remained the most interesting and I unique amongst corporate collections in that there is no that deals with high net worth individuals, should be
was soon back there for further studies. It was during expectation from the company’s executives to have a able to provide its clients with appropriate advice on an
the brief interlude while studying that I worked in the say in what is acquired. alternative asset class such art. I have been doing this
Wits University Art Galleries and at the Johannesburg for years for the Sanlam Art Collection, why shouldn’t
Art Gallery and became to some degree familiar with 4. How has the shift of corporate collection I do this for its clients? I hope that the Sanlam Private
the workings of an Art Museum. changed from the 80’s to present day? Investments Art Advisory Service will introduce some-
thing new into the art market. I have always called the
I took up the position of Curator of the Oliewenhuis Art Up until the 1990s the South African corporate collec- South African art market the “Wild West” – everyone
Museum with mixed feelings. After all wasn’t this the tion was largely seen as a prestigious accoutrement just shoots from hip. Over the years we have seen
town I had wanted get away from? Oliewenhuis Art to the corporate regalia which promoted the image of dealers come and go, artists gallery hopping and deal-
Museum was a newly established Art Museum with a the company and elevated the standing of its directors. ers poaching. There are few consistently professional
small collection but an amazing location. Being part This is still to some extent the case today, but most dealers and agents and some of them are prone to ride
of the National Museum structure in Bloemfontein, companies with art collections today appreciate the the wave of popularity when the going is good and dis-
my colleagues were largely natural scientists whose role that art can play within the work place as a strong appear when the going gets tough. The art industry is
interests rarely accommodated much consideration for symbol of the company’s commitment to creative however showing signs of maturing, with more serious
the visual arts. The four years I spent at this museum thinking and it acknowledging the diversity within its collectors participating in the market. What is sorely
were highly instructive. I was fortunate to be able to workforce and the society it operates in. In this regard lacking in the market is an effective critical network and
operate largely at my own behest with the support of a corporate collections have become a lot more tuned museums sector, which would provide some perspec-
governing committee that facilitated the development into contemporary art and do not shy away from the tive on quality and the significance of certain artists’
of the museum. Like all art museums in this country, acquisition of works that confront the viewer with works in the context of history.
funds for acquisitions were minimal but with some inge- political and ethical questions of the day. Where not
nuity the museum was able to make some significant so long ago the acquisition of artwork for the company 6. What is the way forward for the Sanlam
acquisitions such as the entire letter A of was delegated to the chairman’s wife - this is rarely the collection - is it sharing with other collections and
Willem Boshoff’s Blind Alphabet (96 sculptures with case today. promoting the Sanlam collection with other venues
stands for a mere R59 000 including delivery), as well and galleries?
as the commissioning and completion of the African 5. In light of many corporate collections being
Caoursel Project involving 10 sculptors from across mothballed, or in the case of the Saachi Collection The future of the Sanlam Art Collection is secure and
South Africa. As far as I know it remains the only sur- being offered to the state, his revolutionary change we will continue adding to the collection within the
viving public sculpture commission funded by the then from arts curator to arts consultant is very interest- parameters we have been doing over the last few
Foundation for the Creative Arts, now the National Arts ing. How did this come about, what in his view years. We of course review our strategy on a regular
Council, and it still generates funds for the museum’s are the shifts of taking on a new role in addition to basis. I have always maintained an open approach to
acquisitions budget. It was at the Oliewenhuis Art curating for Sanlam? collaborative work with other institutions public as well
Museum that I got know how museums worked and as private. Bringing people in contact with Sanlam’s
how the state operated in funding them. In a paper presented to a conference last year I stated Art Collection throughout South Africa will remain one
that perhaps the golden age of the corporate art collec- of the key programmes.
2. How did you enjoy your time at Oliewenhuis? tion in South Africa was over. A number of prominent Photo: Jenny Altschuler
corporate art collections had ceased to make acquisi-

70 Business Art | October 2010

Appreciating art as an asset
The bold launching of the first South African Art Advisory Service part of the Sanlam
Private Investments (SPA) happened at the Circa Gallery last month AT takes a look
Opinion piece by Stefan Hundt, curator of the Sanlam of investing in art. With expert advice on buying of Irma Stern works and 89 Maggie Laubser pieces -
Corporate Art Collection and specialist at Sanlam and selling art, managing an art collection to best was insured for just under R6-million. Today its worth
Private Investments (SPI) Art Advisory Service preserve its value, and counsel on how art may fit into is conservatively estimated at R128-million.
an investor’s portfolio, it is a unique service offered to
Appreciating art takes on a whole new meaning when predominantly high net-worth individuals. Opportunities to buy value in South Africa’s art market
viewing it as an investment. Recently, a still life by abound, but they aren’t infinite. If you’re in the market
South African artist Irma Stern sold for a record R7.6- I believe the nearly R7.6 million recently paid for for art as an appreciated asset, as opposed to just
million. How does a painting appreciate to this value? Irma Stern’s ‘Still Life with Gladioli and Fruit’ was appreciating art, take the time to educate yourself and
Where are the opportunities in the South African excessive, but someone was slightly desperate to get secure objective advice about what is valuable and
market? How can art be part of a diversified invest- a Stern on the wall, and that led to the top price being has potential.
ment portfolio? When should I begin investing in art? paid at auction. On the upside, though, the chances
These are questions that are asked by those with the that the price of such a well-known artist will decline Stefan Hundt: Curator: Sanlam Art Collection
means and inclination to buy art as more than just are slim – good news for wealthy investors, who are
decorative pieces. able to afford these pieces. Stefan Hundt has been curator of the Sanlam Art
For part-time art aficionados and buyers, it is vital Collection since 1997. Since his appointment the
to understand that like any investment, timing is But what if you’re not wealthy enough to put a Stern collection has expanded with the addition of some
crucial; as is good advice. For one, the art market in your living room? Ideally you want to either find 500 artworks dating from late 19th Century to the
is not liquid. Selling a piece on the open market is an up-and-coming artist, or a forgotten artist. A present. The collection boasts a representative
not easy, particularly if you want to realise full value. young William Kentridge may have been counted as overview of South African art valued conservatively at
It is often a slow process and when considering a up-and-coming in the 1980s. In 1987, for example, R128-million.
purchase, thinking long-term has to be one of the first Sanlam bought two of his works for R1814 a piece. Over the past decade Hundt has been responsible
considerations. Now they’re valued at between R280 000 and R350 for the regular exhibition at the Sanlam Art Gallery,
000 each. Investors who bought the works of Robert as well as national travelling exhibitions that have
As a potential art investor, it is essential to thoroughly Hodgins up until the 1980s have also made a tidy showcased the Sanlam Art Collection and first time
research an artist and the art market in general. return. Willem Boshoff was also just being considered solo exhibitions by under-recognised artists.
Similar to developing financial literacy, it is vital to 10 years ago. Today he is one of the most successful Prior to his appointment at Sanlam, he served as
build up knowledge about the sort of art you would sculptors in the country. curator for the Oliewenhuis Art Museum, a satellite of
like to collect, including speaking to experts in the There are some real gems in the South African art the National Museum in Bloemfontein. He continues
field and artists themselves. Take your time, think market and finding them is the challenge. Some- to practise as an art historian publishing articles
beyond aesthetics and if you are only interested in times they are right in front of your eyes and in other on corporate collecting and catalogues featuring
the ‘marketability’ of a piece be careful not to become instances they may have been ‘buried’ for years. the Sanlam Art Collection and selected artists. For
too emotionally attached to it. Consider the longevity Take Gerard Bhengu, for example, an artist whose the past 17 years he has played an active role in
of a painting, how prolific an artist is currently and work was neglected over time, but who has gained the South African art world, 13 of which have been
what is unique about the art, the artist or the context fame more recently. One of his pieces cost just R700 dedicated to expanding Sanlam’s investment in its art
for the art. a decade ago, but today is worth around R15 000. collection.
Hundt holds a BA in Fine Arts with honours from the
Sanlam Private Investments (SPI) launched SA’s first Sanlam’s own portfolio is a good example of how art University of the Witwatersrand (WITS) and studied
art advisory service this month, to help aspiring and can appreciate if the right principles are followed. In History of Art at the University of Cape Town (UCT).
current art collectors negotiate the potential minefield 1997, the Sanlam Art Collection - including a number

Works included in the Sanlam Art Collection

Name of Artist Name of Work Year and Price Bought Current Estimated Value

Irma Stern Still Life of Flowers w ith African Sculpture R2700 (1974) R4.2-mln
Irma Stern Malay Girl R1250 (1968) R3.5-mln
Freida Lock Interior R550 (1972) R500 000
Hugo Naudé Malay Quarter R2055 (1972) R250 000
Walter Battiss African Night Market R575 (1967) R220 000
Diederick During Snoek Seller R3342 (2004) R 30 000

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Go to and click onto subscribe, or call us directly at 021 424 7733
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72 Business Art | October 2010

Top South African Paintings at Strauss & Co’s October Auction
he spent many years living in Morocco. In his Portrait of experiments in abstraction into this later style. Broad
Aisha (R60 000 – 90 000) his admiration of Modigliani is sweeping planes of subtle colour are contrasted with the
evident in the dark, almond eyes, the sensuous lips and intensely blue sky and punctuated with bright accents
the elegant curve of her neck. in the foreground. While it evokes all the sensuous
May Hillhouse, a still underrated artist associated with qualities of Matisse whom Pinker admired so much, its
the New Group, has been compared to Sonia Delaunay, bold abstraction makes it a thoroughly contemporary
the Russian-French artist who, along with others, de- landscape painting.
veloped the Orphism art movement, noted for its use of It’s obvious why Stanley Pinker has become a firm
strong colours and geometric shapes. Hillhouse’s early favourite at auction. The Wheel of Life (R700 000 – 1
colour-science research conducted in London provided 000 000) is a major painting that featured on his solo
the stimulus for ongoing investigations into colour and exhibition at the South African National Gallery in 1983.
form. Figures in an Archway (R500 000 – 600 000) is The artist is playing an amusing game on a number of
an outstanding example of her unique style that brings levels with the elements of art and with art history. The
together innovative combinations of glowing colours and circle, sprinkled with local icons, is also a circus arena
rhythmic design. The Synthetic Cubism of Picasso and in which Pinker produces a carnival of socio-political
Braque, with its overlapping planes of flat, bright colour, commentary, delivered with the most incisive intellect
is reinterpreted by Hillhouse with subtler colours like and consummate wit. Still life paintings by Cecil Skotnes
mauves and olives juxtaposed with delightful patterning. do not come to auction often. Two are included in
Three years before painting The Bull in 1956 (R300 000 Strauss & Co’s October sale. Still Life with Figs (R300
CAPE TOWN – 500 000), Alexis Preller had undertaken a study trip 000 – 500 000) was affectionately produced as a gift by
Important Paintings, Furniture, Silver and Ceramics to Italy and Egypt. The influence of the Quattrocento the artist and deemed so special that he surrounded it
frescoes of Piero della Francesca and the symbolism of with a hand-crafted frame. Interestingly, he has chosen
Monday 11 October 2010 at 3pm and 8pm ancient Egypt are noticeable in his subsequent work in to present the items in a stylish, horizontal arrangement
The Vineyard Hotel, Colinton Road, Newlands, CT which bulls are associated with the rituals and mytholo- rather than clustering them together. Still Life with a
On view: Friday 8 October 2.30pm to 4.30pm gies of African and European beliefs and practices. Bowl of Fruit and a Coffee Pot (R250 000 – 350 000)
Saturday 9 October 9am to 5pm Strauss & Co’s October sale features many paintings demonstrates the influences of Paul Cézanne’s Post-Im-
Sunday 10 October 9am to 5pm that trace the development of landscape painting in pressionist vision, especially in the treatment of the bowl
Walkabout: Conducted by Stephan Welz South Africa over almost a century. Pieter Wenning’s of fruit. Both are wonderful reminders of the hospitality
Saturday 9 and Sunday 10 October at 11am painting, Durban (R600 000 – 900 000), made in 1918, of Cecil and Thelma Skotnes and their love of sharing,
Enquiries: 021 683 6560 is a gem both for its rarity and for its exquisite painterli- with family and friends, delectable food, excellent wine, ness. Wenning was well informed and deeply influenced good coffee and stimulating conversation.Responding to
by the Orientalism so prevalent at the turn of the last the growing interest in South African art, Strauss & Co’s
century. He brings to this painting of sub-tropical luxuri- October auction offers a wide range of art and antiques.
The top lots coming up on Strauss & Co’s 11 October ance the glowing, jewel-like colours, strong contours From top lots to affordable acquisitions, there’s some-
sale at the Vineyard Hotel in Newlands are attracting and sinuous lines that are also reminiscent of the Art thing for everyone’s taste and pocket.
keen attention from prospective buyers. Amongst these, Nouveau movement.
punters are keeping a close watch on Irma Stern’s J H Pierneef’s Koringlande Agter Paarl (R2 500 000
Gladioli (R5 000 000 to R7 000 000) after a still life paint- – 3 500 000) is a rare example of the artist’s Boland
ing by the artist fetched R7 575 200 on the company’s landscapes. It was acquired directly from the artist and
Johannesburg auction earlier this year, breaking the has never come onto the market before. The Cape
record for the highest price achieved at auction for a Dutch homestead with its pioniershuis, nestling at the
South African still life. foot of the dramatic Simonsberg mountains must have
Yachts and Houses (R2 000 000 – 3 000 000) is a rare made an enormous impression on Pierneef and struck
example of Stern’s adventures into abstraction. Painted him as the very epitome of a typical Cape landscape. It
in 1950, the year in which she visited Madeira, it shows also represents a slice of history in that these rolling hills,
the characteristic ceramic-tiled rooves, a mill and yachts now covered in vineyards, were in the 1950s planted
in the bay. But rather than present a picturesque scene, with wheat and tobacco which was much more profitable
the artist has compressed the elements into a shallow then. History, heritage and nature are brought together
pictorial space, added dramatic diagonals and a circular in a magnificent breath-taking vision by one of South
rhythm to convey the excitement and passion she felt Africa’s top artists.
about Madeira and about the very act of painting. A striking pair of paintings represents Maggie Laubser
It’s not difficult to understand why a conceptually clever at her best. Flamingoes on the Beach (R700 000
work like Irma Stern’s Figure on a Beach (R800 000 – 900 000) and Landscape with Blue Crane (R600 000
– 1 200 000) would have appealed to the late Professor – 800 000) demonstrate her wonderful gift for distilling
Neville Dubow, former Director of the UCT Irma Stern the essence of a scene with strong drawing, simplified JOHANNESBURG
Museum and highly respected author of many texts shapes and bold colours. Both landscapes are so typi- Important British, Continental and South African
on the artist. In this late work, painted in 1962, Stern cally South African that we feel we know them and yet Paintings and Sculpture
depicts a woman, with an arch, over-the-shoulder ex- they are quite obviously ideal scenes conjured from her
pression indicating that she’s both aware of being looked imagination. Monday 1 November 2010 at 4pm and 8pm
at and that she’s looking right back. The painted frame Two paintings by Pinker on this auction offer insights into Country Club Johannesburg, Woodmead
draws attention to the painting as a conscious construc- the progressive development of abstraction in the South Corner Lincoln Road & Woodlands Drive,
tion, not a window through which to view the world. African landscape genre. An exquisite little painting of Woodmead
The South African-born Edward Wolfe settled in Castagniers (R30 000 – 40 000) was made when he On view
England and soon became a member of the celebrated was living in the south of France from the mid-50s to Friday 29 October 10am to 5pm
Bloomsbury set that gathered around artist and critic mid-60s. The village is not far from L’Estaque, where Saturday 30 October 10am to 5pm
Roger Fry, writer Virginia Woolf and her sister, the Cézanne, Braque and Picasso painted similar scenes Sunday 31 October 10am to 5pm
painter Vanessa Bell. He enjoyed considerable success that were to become the cornerstones of early Analyti- Walkabout
in Europe and his painting, The Spanish Girl, was well cal Cubism. Such a seminal painting that so clearly Conducted by Stephan Welz on Sunday 31
received at the Venice Biennale in 1923. As one of demonstrates the impact of Modernism on South African October at 11am
the first English painters to be influenced by Matisse, art belongs in a major collection. Enquiries: 011 728 8246
Wolfe’s dramatic palette of bright colours is infused with Lazing in the Sand Dunes (R300 000 – 500 000)
the light of his home country and of North Africa, where demonstrates how Pinker developed those early

Business Art | October 2010 73

Because you have money, and don’t buy our art, we have simply burnt it.

A novel approach to promote the plight of artists who struggle to sell buy art”. Whether their artwork gets sold is up to the public.
there work was illustrated by a Mexican born art curator Jaime Vasquez After the show, when it came to the unsold work being burnt “Some of
who curated a show with the title: “Catch 2010” at the 38 Special Gallery the exhibiting artists failed to pitch up with their work” commented Jaime
in downtown Cape Town. The show had a twist to it : if the exhibited Vasquez. Besides this much of the work was indeed burnt, photo-
work didn’t sell, it will be burnt, and it did. graphic records were made, and a documentary of this is to be found on
Youtube see:
The show’s curator Jaime Vasquez said that the show is a statement
that “artist put their hearts, and lives into making art and meaning for Artists that exhibited include: Ayanda Mabulu, Xolile Williams, Khaya
society, they sacrifice all for art, only to be dumped by it”. Vasquez went Sineyile, Roscoe R Masters, Cinga Samson, Adolf Tega, Aphelele
on to say that that “the fault of the artwork being destroyed is not the Mlaza, Zolani Siphungela, Godfrey M Ntakana, James Alcock,
fault of the artists, but the fault of people who have money but do not Jaime Vasquez.

74 Business Art | October 2010

The next Stephan Welz & Company Auction: 5 October 2010, Cape Town

Contemporary South African master, and arguably

South Africa’s most successful art export, William
Kentridge, is the face of the auction. A drawing from
a Stereoscope (pre-sale estimate R1 200 000 –
1 400 000), a still from Kentridge’s A drawing from
a Stereoscope film produced during 1998/9 is
the frontispiece of the auction catalogue. The film
Stereoscope and many other drawings formed the
cornerstone of Kentridge’s recent exhibition at the
Museum of Modern Art in New York.

“This auction is the most exciting and diverse sale in

which I have been involved. South African masters
vie for the spotlight alongside Contemporary artists,”
enthuses Phillippa Duncan, Senior Painting Specialist
and Auctioneer. “We have been fortunate enough
to have consigned major works by Irma Stern, Cecil
Skotnes, JH Pierneef, Conrad Botes, Erik Laubscher
and Edoardo Villa to name but a few,” continues
Duncan, personal favorites include the Kentridge,
a selection of three incised panels by Cecil Skotnes
(R600 000 – 900 000 each) and the finest Irma Stern
gouache Still Life to be offered at public auction in
recent history (R900 000 – 1 200 000).

“This is an exceptional spring sale for us. It includes

a wide array of beautiful and significant pieces across
a broad economic spectrum. This sale is a highlight
in the auction calendar for collectors of memorable
pieces,” says Ian Hunter, Head of Paintings in
Cape Town.
Catalogues for the auction are available from both the
Cape Town and Johannesburg offices.
For further details please call 021-794-6461,
E-mail or visit
Venue: The Great Cellar, Alphen Hotel, Alphen Drive

Friday 1 October 09h00 - 17h00
Saturday 2 October 09h00 - 15h00
Sunday 3 October 09h00 - 17h00

Tuesday 5 October 10h00, 14h30 & 19h00
Wednesday 6 October 10h00, 14h30 & 19h00

Enquiries & Catalogues: Cape Town Office

021 794 6461, ,
The next auction includes work from William Kentridge, Cecil Skotnes, Pierneef and Keith Alexander.
For further information please contact 021-794-6461 View the online catalogue at

Swelco opens new refurbished auction premises at The Alphen Hotel

Stephan Welz & Company, will be holding their spring and between auctions- we couldn’t resist.”
Decorative and Fine Arts Auction over two days, the
5th and 6th of October 2010. The auction will take It has been a labour of love undertaken by the Cape
place at their newly refurbished auction premises Town office and a team of heritage compliant builders
at The Great Cellar, housed on the Alphen Hotel and architects. “Not a nail was hammered before
grounds in Constantia. being passed through the heritage council. We were
made aware from the beginning that this was not
“The renovations have taken up much of the past going to be a case of a wrecking ball and a coat of
eighteen months,” says Shone Robie, Manager for paint,” she concludes.
the Cape Town office. “When we were first ap-
proached by the Cloete-Hopkins, who own the And as with any building project the final snags have
premises, regarding converting the entire cellar for been worked out in time for the auction.
our exclusive use, both as both a show room during
Business Art | October 2010 75
The South African Sale
Wednesday 27 October at 2pm
New Bond Street, London
Enquiries Irma Stern (1894-1966) Cecil Skotnes (1926-2009) Catalogue
Giles Peppiatt Bahora Girl, 1945 (detail) Three figures +44 (0) 1666 502 200
+44 (0) 20 7468 8355 within original Zanzibar frame incised and painted wood panel
Estimate: £600,000 - 900,000 £110,000-150,000
Hannah O’Leary (ZAR 6,800,000 - 10,200,000) (ZAR 1,212,000 - 1,652,000)
+44 (0) 20 7468 8213
Catherine Harrington Jacob Hendrik Pierneef
+44 (0) 20 7468 8216 (1886-1957) Bonhams
Bosveld (detail) 101 New Bond Street £200,000 - 300,000 London W1S 1SR
(ZAR 2,204,000 - 3,305,000)
Decorative and Fine Arts

Cecil Skotnes ICON 13 R 600 000 - 800 000

Conrad Botes MURDER AND MAYHEM R 35 000 - 45 000 Edoardo Villa UNTITLED I R 250 000 - 350 000


Cape Town Johannesburg
021 794 6461 011 880 3125
Cape Town | 5 & 6 October 2010
Johannesburg | 16 & 17 November 2010

Walter Battiss PRELUDE TO THE DANCE R 600 000 - 800 000

Irma Stern STILL LIFE WITH POPPIES AND FRUIT R 900 000 - 1 200 000

Edoardo Villa RECLINING FIGURE R 80 000 - 100 000

Erik Laubscher RED FRAGMENT R 200 000 - 300 000 Gerard Sekoto TOWNSHIP SCENE R 450 000 - 500 000
Robert Slingsby
C C - U N L I M I T E D P O W E R

‘At the game park’ 2010 Acrylic on canvas, 74 x 68 cm’s

2 9 t h S e p t e m b e r -
1 8 t h
N o v e m b e r 2 0 1 0

55 Main Street Newlands, Cape Town • Tel.: 021 671-1666 • •