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THE SOUTH AFRICAN

ART TIMES
www.arttimes.co.za • July 2008 • Issue 7 Vol 3 • SA Home subscription 180 p.a • July Print & Distrib. 11 000 copies • RSA free from select outlets. Available in Namibia & Zimbabwe

Rhodes trained artist clinches BP Portrait Award ‘09


By Patrick Burnett Painters in 2001 and 2nd in the
same award a year later.
Craig Wylie, a Zimbabwean- But the BP award is by far the
born artist who studied in South most prestigious, although having
Africa before moving to the won it he points out that he is “not
United Kingdom, has gone from really a portrait painter”, at least
obscurity to stardom after winning not in the sense that he only wants
the prestigious BP Portrait Award to do portrait commissions.
in London. He sees portraits as a platform
In what is considered to be the that he felt he could do well on
most prestigious portrait competi- and the BP prize as something “I
tion in the world that showcases always had a shot at”.
the best of contemporary portrait With being known a large part of
painting, Wylie, 35, walked away making it in the London art scene,
with top honours for a two-metre Wylie admits the publicity associ-
high oil on canvas study of his ated with the prize certainly hasn’t
girlfriend, Katherine Raw. done his career any harm, but is
In clinching the prize, Wylie beat modest about the achievement.
1,726 other entries and won “Whether I’m up there or not is
£25,000 and a commission from another question,” he says.
the National Portrait Gallery in The expression on the face of the
London worth a further £4,000. portrait which won him the prize,
Fifty-five of the 1,726 entries were known as K, was described by The
exhibited at the National Portrait Guardian in the following terms:
Gallery in London prior to the win- “I know you’re my boyfriend and
ners being announced on June 16, I love you very much and I know
with the exhibition hailed as being I agreed to sit for you and I think
of the highest quality ever. Wylie’s you’ll find I’m not moving but I’m
painting was tipped by some as a really not happy here and, frankly
clear winner even before the prize Craig, I’d rather be somewhere
was announced. else.” But Wylie, who was born
Speaking from London, where he in 1973 in Masvingo, Zimbabwe,
has a studio in Hackney Wick in rejects the description, saying he
east London, Wylie said the award tried to talk the journalist out of it.
was “excellent” from a personal “It’s quite a complicated painting
perspective, although he was still and it’s full of quite a few different
coming to grips with what it would messages. I’m not sure there is a
mean for his career. look of boredom and not wanting
Since moving to London in the late to be there. There is definitely a
1990s he has exhibited widely and challenge and I thought it was
placed 3rd in the Young Artists Craig Wylie holds the prestigious BP Portrait Award 2008, with his winning entry “K” (a portrait of his girlfriend). This is the second year running that a
Award of the Royal Institute of Oil Continued on page 2 South African trained artist has won the award. Last year Paul Emsley won the internationally sought after award. Photo credit: Katherine Tyrell

Fifth Sunday Times commissioned sculpture vandalised


Staff writer Buffalo City mayor Zintle Peter ex- been smashed nationwide.
pressed outrage over the incident.
Sunday Times reported that “I am both horrified and extremely In October last year, a sculpture
vandals smashed a sculpture that disappointed that a symbol of an of a black boy sitting on a bench
honours Archbishop Emeritus internationally respected icon of erected at Eastern Beach was
Desmond Tutu yesterday. the struggle and of human rights vandalised two days after being
can be desecrated in this way,” installed.
The sculpture by Anton Momberg she said.
was erected in front of the city hall The Sunday Times Heritage
in East London as part of the Sun- This is the second Sunday Times Project was part of the newspa-
day Times Heritage Project. The memorial to have been vandalised per’s 100 th birthday celebrations
vandals knocked off Tutu’s head. in the city, and a total of five have in 2006.

Win amazing prizes: SA Art Times Readers Survey


Be sure to take part in our national readers survey and win fabulous prizes.We would really enjoy your
An icon of peace destroyed: the head of Archbishop Emeritus Desmond Tutu lies in state. Photo: Gary Horlor input in order to continue to grow and provide a thrilling read ! For further details see Page 3
Page 2 South African Art Times. July 2008

Dear Editor
The South African
In response to the June edition of Art Times,

Art Times
pg 4, “Droopy moustaches over Stellenbosch
art gallery”, I want to add my voice to those
who had a bad experience with Barnard, the
gallery owner, because I am afraid he is the
July 2008
type of person who would regard the report
www.arttimes.co.za as advertisement for himself and his doings at
his gallery. He claimed there were only three
Published monthly by
unhappy artists. I felt obliged to write when I
Global Art Information read that he said “Artists are emotional” after
being confronted with the response of artists
PO Box 15881 Vlaeberg,
8018, Cape Town who have been treated badly by him. I think
Tel. 021 424 7733 most of us just do not take the trouble to tell
Fax. 021 424 7732 such a guy what we think of him, one simply
moves on – life is short. You could just as well
Editor say that artists are sensitive and trusting and
Gabriel Clark-Brown sharks abuse those qualities.
editor@arttimes.co.za
Craig Wylie continued from page 1
I have erased all of his details and only kept
one of his emails as a reminder of a bad
Advertising about vulnerability,” he says.
Leone Rouse experience which I would like to avoid in
future. Barnard originally phoned me; saying
In a statement on K issued after
leo@arttimes.co.za
he had seen some of my work on www. the award he explained that: “On a
Subscription subs@arttimes.co.za southafrican artists.com and told me that he formal level this work is about con-
News: press@arttimes.co.za would like to have three of my sculptures for an tradiction. I wanted to use a strictly
Shows: show@arttimes.co.za
Artwork: art@arttimes.co.za
art event. He also made promises of buying classical composition, formal, even
some of the work if we could negotiate about stiff, and then try to subvert the
Layout and Design: New Start the cost. I met him in Stellenbosch and left 3 stillness these tenets imply. This
sculptures with him for the art event. He was
internal friction between elements
very talkative. After I got home it bothered
Deadlines for news, articles and clas- me that he never mentioned buying the
in the painting give it its quiet
sifieds 20th of each month
work and I felt uneasy about having been too dynamism.”The size of the work
The Art Times is published in the first
was intentional: “Enlargement (Left) K, 2008. Oil on Canvas 210 x 165 cm. (Above) Naked Woman on chair, Oil on canvas 110 x 110 cm.
week of each month. News and ad- trusting. I replaced my work at his gallery with
vertising material need to be with the cheaper variations as soon as was possible creates for the viewer both a con-
news and marketing managers by the
15th- 20th of each month.
and decided to give it a 6 month trial period. frontational vortex and a sacrifice wasn’t too bad,” he says. The move to London was not easy. with an oxygen mask over his face
Newspaper rights After 6 months I turned up unannounced and to scrutiny as the viewer can step Wylie studied at Rhodes University Although he had money from a – a clear commentary on the state
The newspaper reserves the right to reject retrieved my work, all but two small terracotta into the paintings personal space in Grahamstown between 1992 show in Zimbabwe, when that dis- of his home country.
any material that could be found offensive
figures which he told me he was buying. He
by its readers. Opinions expressed in the in a way not possible with smaller and 1996, graduating with distinc- appeared “it was a bit awkward”. His mother and some friends are
SA Art Times do not necessarily represent had my bank details, I was in a hurry and had
the official viewpoint of the editor, staff or to leave it at that. After a month I called him
works. Gigantism also affects the tion with a Bachelor of Fine Arts. “To find representation is quite dif- still in Zimbabwe and the last time
publisher, while inclusion of advertising
wanting to know when the payment would be psychological edge of the sitter. He initially began studying journal- ficult. There are a lot of galleries, he visited was in October.
features does not imply the newspaper’s
endorsement of any business, product or made. He had some or other excuse. After On one level the viewers intrusion ism, but from his second year but there is so much competition.” “It’s just dreadful and it’s really a
service. Copyright of the enclosed mate- a month or two I again turned up unannounced into the sitters emotional state is onwards “art took over” in the He did odd jobs for a short period crying shame,” he says about the
rial in this publication is reserved. at his gallery only to find a Zim artist who was tacitly accepted, on another it is place where, like many Rhodes of time but quickly realised that he situation under Mugabe, “All I can
seemingly being had in a bigger way than positively rebuffed.” graduates, he remembers having would never be able to paint if he do really from here is make a small
me. This artist told me that he was working for an “excellent time”. did “crappy jobs” and so he lived contribution in terms of finances.
SUBSCRIPTIONS Barnard in return for being helped to forward
It was a case of third-time lucky for A move back to Zimbabwe after clandestinely in his rented studio It’s sad.”
his career in South Africa. I liked his work and
asked him whether he had sold some. He re-
Wylie when it came to K, which he graduation and a show in his home space and “cracked on with it”. For artists planning the move to
NAMIBIA
Call John at: plied that Barnard only sells his own paintings, had started on two separate country could not prevent the pull Other than painting portraits, he London, Wylie points out that it’s a
Tel: +264 81 1286585 but not much of anyone else’s and he asked occasions, the first in 2006, before to London. says he “just wants to get on with tough and expensive city, but does
me for advice. I referred him to Greatmore completing the final version. “I just wanted to come and see my thing”, which involves a variety have its benefits.
ZIMBABWE studios. I made enquiries about my work After completing the portrait, he what was going on and I thought of projects that include working “I guess you just have to stick
and described it to him. He told me that it said he had “not had much time as far as art is concerned it’s the from live models and combining to a level of belief and see your
Gallery Delta
was still there and brought both sculptures with it” before it was sent for entry place to be,” he says. them with objects like fridges, projects through as well as you
110 Livingstone Avenue,
forward. Not only were they broken, but they
Greenwood Park, Harare, to the competition. He doesn’t have plans to return to broken chairs or suit cases. can and then keep pushing, trying
were broken off their mountings as well. I was
Tel/fax: (263-4) 792135
horrified and angry, took the pieces and left. I
It was two and a half months Zimbabwe or South Africa on He is also working with images to find the openings and chasing
ael@twinarts.co.zw received no apology or explanatory phone call before the two were reunited. a permanent basis, but does not taken from the internet and blown them down and ploughing through
from him and am just glad that I do not have “When I saw it again I was pleas- rule out spending more time on the up in size, one of which is taken the opportunities that are avail-
Get your free copy anything further to do with him. antly surprised and thought it continent “especially during the from a news report on Zimbabwe able. It’s a question of persever-
delivered to your door
Desireé Brand
winter”. and shows a man lying on his back ance I guess,” he says.
www.arttimes.co.za

OBITUARY: Len Thomas, Artist and co-founder of Zellen Art Products


From District Mail 11 July 08 a son, Gary. West was active and productive four years during which time he
Len soon found himself posted to as he not only taught many of worked relentlessly to improve
Len touched the lives Durban where he lived for eight his students the finer points of the lot of the local population and
years. oil and watercolour painting, but improve the financial position of
of young artists also took part in numerous group the town.
During that time he pursued his and one-man exhibitions. He was Painting continued to be his
Len Thomas, Kleinmond business- love o fpainting through an involve- also active in the Somerset West primary passion in life, but his
man, artist and local philanthropist ment in local art groups. He also Art Group, which he chaired for a entrepreneurial spirit soon came
(and former mayor) died on July 5 took part in a number of group number of years. to the fore and he opened Zellen
after a brief illness. exhibitions. Listening to his heart, Art Products, a family business
he walked away from corporate life Feeling that he wanted to re-focus which has grown into a mature
Born in Johannesburg in 1936, in 1976 and moved to Somerset his energy on his own painting, he manufacturer of artist paints and
Len spent his early years building West where he started the Len closed his art school in the early associated products.
a career in the photographic indus- Thomas School of Art based at ‘80s and moved to Kleinmond.
Len Thomas, artist and co-founder of Zellen Art try while simultaneously starting a Southey’s Vines. He served as a councillor on the Len enjoyed exploring the world of
Products, locally made, quality artist’s paints family with his wife, Hazel. then Kleinmond Town Council and art, cooking, and classical guitar in
and materials They had a daughter, Pamela, and His six-year stay in Somerset subsequently became mayor for his spare time.
South African Art Times. July 2008 Page 3

KUNSGALERY

JOHANS BORMAN
FINE ART GALLERY

CAPE TOWN

(Above and left) works currently on


show at The Michael Stevenson
Gallery by leading photographer
Guy Tillim entitled Avenue Patrice Gerard Sekoto: Three Men Walking
Lumumba.

Guy Tillim embarked on this project


A showcase for the best of
as the recipient of the first Robert South African Masters,
Gardner Fellowship in Photography as well as some leading
granted by the Peabody Museum at
Harvard University. Avenue Patrice contemporary artists.
Lumumba will be shown in 2009 at
Telephone: 021 423 6075
the Fondation Henri Cartier-Bres-
son in Paris, France; Foam Pho-
www.johansborman.co.za
tography Museum in Amsterdam,
The Netherlands; and the Serralves
Mon-Fri: 10h00 - 18h00
Museum in Porto, Portugal. A book
Sat: 09h00 - 14h00
will be published by Prestel.
or by appointment
(Above): Court records, Lubum-
In Fin Art Building
bashi, DR Congo, 2007. (Left) City
Upper Buitengracht Street, Cape Town 8001
Hall, Lubumbashi, DR Congo, 2007
Cell: 082 566 4631
see www.michaelstevenson.com
for more of Guy’s work
E-mail: art@johansborman.co.za
Page 4 C M Y CM MY CY CMY K
South African Art Times. July 2008

Hayden Proud: Cedric, Wyson, Jamie, Zimbabwe-Rhodesia, Oil on canvas, Painted 1979

What art friends are for - Celebrating a special partnership


Detail: Laubser, Maria Magdalena (1886 – 1973) “Landscape with Houses and Figures”. Melvyn Minaar his fine triptych as part of this 1992, the collection - which by that Jentsch with R3 600), the Friends
Oil on board, 50.8 x 43.2 cm. Signed “M Laubser” (lower/left)
small celebration of the remark- time had developed repute - had of the SA National Gallery are, like

THE MODERN In room one of the Iziko SA Nation-


al Gallery, during these turbulent
able organisation called FONG,
for short, too would bring back
one final, triumphant outing at the
SANG in a show.
similar associations attached to
major art institutions all over the
PALIMPSEST: times in our neighbouring country,
Cedric, Wayson, Jamie - Zimba-
sweet memories. The Friends
are, indeed, observing 40 years of
As recorded by the then chair of
the selection subcommittee, Deon
world, the gallery’s first circle of
supporters and fans. These are
ENVISIONING bwe, Rhodesia (1979) seems to
take on a riveting poignancy. The
contributing to Cape culture. Viljoen, in the handsome
catalogue, the purpose of the
the patrons whose moral and other
backing provides the public impe-
SOUTH AFRICAN melancholy of faces who have lost For those of us who have shared project - to collect young and less tus for its functions and obligations

MODERNITY expression and glued viewers to


the floor when artist Hayden Proud
the rewarding friendship (mine
include being chair from mid-1980
well-known artists’ work - had
been overtaken by the SANG’s
as cultural entity.

THE OPENING OF AN showed it the first time and the


Friends of the SANG acquired it in
to mid-1990), the exhibition is not
only one of upbeat nostalgia, but
own acquisitions policy. And so the
collection, or most of it, was trans-
The wonderful small exhibition
- on until the end of September
EXHIBITION OF SOUTH 1987, now looks ghostly; masks of a proud reflection of the worth, ferred to the permanent collection. - is a vivid demonstration of that
AFRICAN MASTERS something forever lost. need and achievements of the friendship.
FROM 1853 ONWARDS. How fortuitous of the Friends’
Friends of the SA National Gallery.
Even an outsider, looking at the
Since those days, the Friends
have contributed magnificently to * The Friends of the Michaelis Col-
The exhibition will conclude on the 29 August 2008.
For private viewings and appointments please contact Choice committee, led at that time top-class art that is one show here the collection, supporting acquisi- lection at the Old Town House too
Graham Britz on 083 605 5000 by the energetic Helen Cherry, to today, could be surprised at the tions and raising funds. (The fine are celebrating. Their fifteenth
buy the painting. A few years later insight with which the friends’ or- Bertha Everard landscape Lekker- anniversary is coming up and a
it joined the museum’s permanent ganisation acquired and supported draai on show now was acquired number of events are planned
collection. mostly younger artists. with the support of FONG, who around this. They have also added
For Proud, who, as curator at the It was 20 years ago that the contributed an astounding R4 000 to the collection, assisted with
Iziko SANG, works closely with the collection known as the Friends’ to the cost of R9 000 in 1978!) conservation work, as well as the
Shop 46, Broadacres Lifestyle Centre, Cnr. Friends and looks after the many Choice travelled to the Graham- Founded in 1968 (when the funding of workshops and school-
Cedar & Valley Roads, Broadacres, Fourways.
Graham Britz 083 605 5000 artworks that they have bought stown Festival to be one of the art society sponsored a documentary related projects involving up to 50
Sarah Keys 084 568 5639 over decades, the exhibition of highlights there that year. In April about Adolph Stephan Friedrich schools in the Cape area.
Gallery 011 465 9192

www.grahamsfineartgallery.co.za
A farewell to post-colonialism
Artists have been called to “He becomes one with [cultural different ways.”
renovate the theoretical interface stereotypes] so that they will not He believes that it is a “time of
of contemporary art – to depart colonise him,” and “when you play change” in terms of people’s views
from pervasive socio-economic with stereotypes, you re-appropri- of South African art.
discourse, and work to create ate them, and you turn them into “We’ve managed to slowly change
new modes of thinking: a process your tools, not someone else’s people’s perception of what African
of self-discovery in a globalised tools”. art should look like.” Nonethe-
world. less, the perception that identity
According to Stina Edblom, a is geographically centred persists,
member of the wider curatorial with the result that members of the
team whose portfolio involves global audience still struggle to
choosing artists whose work reconcile their concept of African
relates to Africa, nine artists have art with the works themselves.
been confirmed for this category At times, they are concerned that
from around the world, three of it “doesn’t look African enough….
By Anita Funke whom are South African. [and] some people don’t what to
She said Botes, Hlobo, and believe or accept [you’re African]”,
Conrad Botes, Nicholas Hlobo and Goniwe were artists whose work said Hlobo.
Thembinkosi Goniwe, three South stimulated enquiry into centred In the same vein as Hlobo and
African artists, have been chosen identity, and thus invited critical Botes, Goniwe resists national,
to participate in the Guangzhou dialogue about theories of differ- cultural, or racial definition: “I am
Triennial in China, which will take ence. an artist who happens to live in
place between 6 September and Botes, who is working on a new South Africa…[and] I don’t want
16 November this year. piece for the triennial, said popular my nationality to structure my
The main theme of the trien- concepts of Africanness, which thinking,” he said.
nial proposes to say ‘Farewell exist conceptually, are changing. Likewise, “I don’t want to make
to Post-Colonialism’, and draw By superimposing African stere- Hlobo likewise “inserts himself in a the South African experience
attention to identity politics and otypes onto European iconog- local and global community” in his something unique, or differenti-
(Far left) South African artist Thembinkosi Goniwe has been chosen to
restrictions which have been the raphy, he suggests that “Euro- work, with Edblom highlighting the ate between South Africa and the
participate in the Guangzhou Triennial in China later this year. Picture:
unwitting result of such discourse, pean perceptions of Africa and its way he speaks of “localised dif- rest of the world.” To this end, his
Anita Funke/West Cape News. (Middle) Devil’s dictionary by Conrad Botes,
says a statement from Gao Shim- people are something of the past,” ferences” and interrogates black, project for the triennial is partly dis-
2008, Acrylic on wall drawing, reverse glass painting and painted wooden
ing, Sarat Maharaj and Chang as “borders are disappearing, male, Xhosa sexuality and identity. cursive, and according to Edblom,
sculpture, courtesy of the artist. (Right) Nicholas Hlobo, Izinqanda mathe,
Tsong-zung, the central curatorial and so is race”. He added: “I am Although she said his work speaks will “contextualise the exhibition
2008, Saddle, ribbon, rubber, chains, 130 x 138 x 105cm, courtesy of
team-members. trying to suggest that the way that of South African experience, it also through dialogues”.
Michael Stevenson, Cape Town.
The theme of saying ‘Farewell to Africanism has been perceived points to a shared, “general” iden- The piece will be interactive, in
Post-Colonialism’ is not simply has changed – it has died.” tity struggle, which is not a national order to stretch the exhibition
“a departure, but a re-visit and a Edblom praises the way Botes (or even personal) phenomenon. space beyond the museum, and Goniwe. The Guangzhou Triennial “You have all these negative
re-start” - a space to re-think the uses irony and satire to change Hlobo said: “The issues I chal- allow people to respond. will be a space “really to tease out images of Africa,” she said, but
theoretical frameworks that help perceptions. “I really like his work lenge are not uniquely South “I just want to create a space for a number of different perspectives this opens up the possibility for in-
articulate an “ethics of difference” because it’s not politically correct; African…People from different interaction. If I can get that, that and even provocations, to encour- dependent creative spaces which
in cultural production, they say. he just does his own thing.” parts of the world deal with this in will be the achievement,” said age [discussion],” said Edblom. “speak against modularisation”.
South African Art Times

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Page 6 South African Art Times. July 2008

Talk of the Town


What’s happening in Johannesburg, Cape Town and Durban

art specialist Melissa Mboweni, the bags, half a pumpkin balanced on and accessible in London, New York, all the art at the Venice Biennale in
curator appointed to select the four his head. Every day he presents a Bloemfontein and KwaMashu. the mid-1990s, you had to book into
nominees for the 2008 MTN New new installation constructed of found Perhaps Durban will one day get its an hotel for extra days and suffer leg
Contemporaries Award. Mboweni, a objects from the immediate vicinity, Guggenheim – or something similar cramps.)
former curator at the Goodman Gal- addended with Zulu text scrawled in scope and weight – in recognition Ninety percent of these videos is
lery, started the process with a national on the pavement. It seems that he of the fact that it is both physically and dreary, boring and simply bad.
research project two months ago, makes these things because he has metaphorically one of the cultural cen- South African artists jumped into the
involving tours to studios and galleries, to, because he is driven to. The fact tres of the South. It would be grand, pond with glee. What most of them
and in-depth discussions with artists. that an audience is so incidental to the and sceptics should consider the fact didn’t realise is that masterpieces in
And after weeks of deliberation came work is beside the point. that two decades ago – before the video art are far more difficult to churn
up with a nominees list to do us proud. Fifteen years ago, these observations glory of the Guggenheim in Bilbao and out than a steadicam and editing
In addition to Halter and Shibase, might have been taken as conde- the ascension of Barcelona – Spain apparatus suggest. After all, there is a
she has selected multi-media and scending or over-extending notions was widely considered a peripheral long, long history of, yes, cinema and,
performance artist Dineo Bopape, who of the contemporary. Today, they are third world country, little more than come to think of it, television.
explores issues around urban black
ART PIG female identity, and Michael MacGarry, THE ART virtual currency in the art world, but
still, for many, such work only acquires
a place where the English went to
behave badly. But regardless, what I’d
Which bring me back to the time
factor. And an artist imposition on the
whose work investigates the infiltration
of Western imperialism and colonial- COWBOY the lustre of real art when it is taken
into the gallery, given the formalism
really like to do if I possessed vast (or
indeed any) tracts of wealth, is start a
viewer’s physical presence in time.
The great American art philosopher,
Alex Dodd ism through current experience on the of the catalogue, the recognition of museum of outsider art. Although, in Arthur Danto, once talked about video
African continent. Peter Machen critical discourse. These were some a way it would be unnecessary since ‘requiring an investment of real time
No matter what niceties and noble of the considerations that took place if you look carefully enough the entire on the viewer’s part with no guarantee
expressions of consolation get uttered Take a look outside. at a seminar on public art at the city functions as such. that there will be an artistic pay-off’.
by the dignitaries on the big night, KZNSA Gallery and which included Hollywood bosses have known for
when it comes to art prizes, Swedish Some years ago, there were whispers a series of experienced voices from yonks that bioscope audiences are
pop/dance quartet Abba knew best of Durban getting its own Guggenhe- around the country including Stephen finely tuned to how movies play out
when they belted out the cruel, cold im, an idea whose sheer outlandish- Hobbs, Doung Jahangeer, Dorothee in the time and how long they are
truth of it: ‘The winner takes it all, the ness made it enormously appealing. Kreutzveld, Roger van Wyk and An- prepared to sit in the dark before losing
loser has his fall…’ Or in the case of Outlandish, not because Durban is dries Botha, national voices having a interest.
last year’s Spier Contemporary, the a bastion of philistinism (although national conversation in an apparently Why would it be different in contempo-
winners took it all – all R700 000 of it that suggestion has been made by marginalised fishing village. rary video art?
– and the losers drowned their sorrows those who only look in the direction of Meanwhile, at Gallery 415 in Umgeni Before gallery-goers were forced
in a flagon of Spier Merlot. Yet even the city’s lukewarm mainstream) but Road, a place that is surrounded by to put on earphones or go behind
though there were six awards and an because it is a place that is perceived street-level creativity, the feeling of curtains into darkened rooms, you had

Alex Emsley
additional ‘people’s choice award’, I as being very far from the centre of outsiderness continued in an exhibition control of you own time to walk around
couldn’t help exiting those bright or- things – and correspondingly, very entitled Love And Monsters by three and check out the pictures on the gal-
ange containers installed on the idyllic close to the edge. But while physical young artists Liezel Prinz, Anet Norval lery wall. Video imposes a demand on
green fields of the wine estate feeling centrality has lost its importance in the and Caryn Tilbury. Although all three your time - and hence your tolerance.
slightly sodden and grim. digital age, it is that edge that really artists have studied fine art and regu- THE ARTFUL This is where many video art bites the
larly show their work in local galleries, dust. Or, more sympathetically put,
The judges’ choices were perfectly fair
makes the city. Not only in the art that
emerges from the Durban/eThekwini they remain peripheral, on the faltering VIEWER lose the viewer. If it ain’t interesting
and explicable – although admittedly (and which substantially informs the borders of recognition. Anet Norval’s enough, why stay and watch? (At
the strong emphasis on performance creative scenes in Cape Town and work literally looks like outsider art, her home, the fast-forward facility is a
art was a teensy-weensy bit puzzling Johannesburg) but on the streets and moving meditations on love, family, Melvyn Minaar great help.)
– but the show itself was such an the pavements and all the spaces gender and sexuality, deftly conveyed At the moment in Cape Town, most of
extraordinary showcase for genuinely outside and in between. through painting, text and the embed- Timeous Challenges of Video Art the big art operators (a number now
fresh and inventive new voices that I Liminal and interstitial have become ding of found objects in to her work, all cosy together in Woodstock) have
couldn’t help feeling a bit morbid Muriel contemporary holy grails which 21st studded with a moving naivety. Even at As one of those who take my video art in some form or another on
on behalf of the truly excellent submis- century artists like to attach to their her most sophisticated, Norval’s work Hollywood movie fix in the form of display in their galleries. And there are
sions that didn’t even get a mention. conceptual charm bracelets, but these carries the essence of heart-rendered a rental from the corner store video more to come.
notions are particularly relevant where doodling, providing a palpable sense of shop - not only to avoid the depressing The opening exhibition of Michael
More recently though, on the occasion the South East coast of Africa meets someone’s else’s sense of emotional experience of going to the bioscope Stevenson’s new venue had a few
of a recent lunch at the University of (Above) : image from www.uj.ac.za the Indian Ocean. In Durban, it’s reality. It is this depth of intimacy that in de-humanised environment of a which demonstrated different ways the
Johannesburg Art Centre for the short- (Below) Dineo Bopape. image from: possible to never enter a gallery (and carries her work into the mental life of shopping mall, but to take advantage medium works to greater and lesser
list announcement of the MTN New www.radiopapesse.org let’s face it, most people don’t) and still the viewer. of that glorious personalised system success: Steven Cohen’s Golgotha,
Contemporaries, I was reminded of the experience a rich cultural life in the city. that allows you to skip and fast-for- not much more than a documentary;
insightful words of my bold and buxom Her selection gives one a charged Visual art is everywhere, from the ward - video art presents a particular Yinka Shonibare’s 14 minutes of Odile
Argentinian friend, Marcela, who once sense of this being a serious competi- sometimes technically astounding and challenge. and Odette, a mini kind of movie;
declared: ‘Life’s a bitch, but sometimes tion, where each of the finalists is an always surreal adornment of the city’s And I guess, I’m probably not the Dineo Bopape’s wacko Dreamweaver,
she makes love to you.’ I couldn’t have equal heavyweight contender for the buses to the hand-painted signage only art observer out there with such a kind of free-floating atmospheric
been more delightfully vindicated with title. of plumbers and electricians to the an affliction. With so-called ‘new piece; while the imported Sweetberry
the selection of finalists for the award And Mboweni has done another clever individually styled mblaselo pants worn media’ an entrenched presence at Sonnet by Kalup Linsky was only for
and not too small a fraction of my joy thing. In addition to selecting four art- by Zulu men festooned with colour and all contemporary art exhibitions, and the hard-wired fans who could stand
came from the knowledge that some- ists who have already come some way nguni designs. In Durban, adornment the (fast-aging) category of video de around for half an hour.
one else had their eyes wide open at through the thickets of the art circuit is never pure adornment. It is always rigueur in any self-respecting group As part of Power Play, the Goodman
the Spier Contemporary and that there independently, she has also subtly layered, ironic, spiritual, historical, show, I sometimes just sigh, take a Cape had videos which tested visitors’
is a kind of justice in these awards, curated a thematic show by grouping encapsulating the vague but insistent deep breath, and try my best to sit it endurance levels with the potential
which do create meaningful platforms four contemporary thinkers whose ar- sense of anarchy that defines the out. (Well, more than likely, not ‘sit’ to frighten them off forever. The new
for exposure beyond the allure of the tistic concerns bounce off one another city. Dehal’s Bus Liner captures these - because few galleries offer such a Bell-Roberts shows work by Jacques
prize loot. in interesting conceptual ways. contradictions best, handing out pro- luxury - but loll about in the gloomy Coetzer as part of the Matter & Mean-
foundly resonant spiritual advice from The work of Caryn Tilbury fits directly darkness or terrifying glare, as ing group show, and an elegant, if
Somebody else noticed the irresistible, So this won’t be a ragtag show of Sai Baba and Jesus Christ on the back into the absurdo-pop canon of Jeff comfortably as possible while some taxing, three-channel projection called
glaring talents of Daniel Halter and diverse artists brought together by of buses, while flaunting sexy phrases Koons and Takashi Murakami but artistic indulge passes by on the small The Theory of Displacement by Johan
Themba Shibase, whose Spier works the imperative of the prize money. on the side, beautifully rendered in despite these heavyweight references, or large screen, or whatever serves Thom.
were just too power-packed to be over- Mboweni’s selection of artists means anachronistic typography. she sits outside of the fine art scene as such.) Whatiftheworld has, as part of the
looked. Although I’m not of the school that the show itself will have a thematic The ongoing performances by many more than the other two artists, spend- Here’s the thing: video art take up rather nice Prints & Edition show, two
that buys into contemporary social cohesion, exploring issues of power of those who spend their days at ing most of her time not making art but one’s time. And we all subscribe to the shorter pieces by Charles Maggs
clout as the central criteria for notable and governance in contemporary post- Durban’s traffic lights and intersections working in a bookstore. Her medium cliché that time is of the essence. In - quite a video wiz normally - which
art, the weird thing is that both of their colonial Africa. also add much to the experience of continually changes but its essence the mad-mad modern world of every- don’t quite match some of his brighter
work hinges on the madness that Durban as an endless cornucopia of remains consistent – soft, fluffy and thing-goes and free-for-all art-making, stuff. Offering videos as part of an
currently has Zimbabwe in its vampire Need I say that I’m looking forward to surreality. Moses Nxumalo, the city’s absurd, and just ever so slightly sin- considering a viewer/observer’s time is exhibition that set out to feature ‘a se-
grip. Halter is the brains behind a opening night? Nothing Man, whose begging boards ister. For Love and Monsters, Tilbury an issue, surely. lection of works that are contextualised
work called All of a Sardine, which The prize-giving event is set to take have made their way into the city’s produced a series of knitted and sewn Ten years or so ago, when the mini- through the medium of prints and the
features an etiolated little kapenta place on 10 July at the University of galleries, is one of Durban’s most monkeys, each elongated creature videocam did not yet have all those concept of editions’, makes a rather
fish (Lake Tanganyika Sardine) on a Johannesburg Art Gallery and the celebrated examples but there are somehow imbued with it’s own no-brainer gadgets of today, artists important point about video art and its
Rhodesian Teak plaque in an ironic exhibition will be open to the public many others, quietly adding to the seductive soul. Liezel Prinz produces worldwide took to video like ducks to a ‘preciousness’ or not.
take on hunting trophies that archly until the 13 August. visual texture of the city. On the corner wall-mounted installations that echo newly discovered-pond of productive
comments on the crass squandering of Berea and Hunt Road, a beggar’s the traditional frame of fine art but pleasure. All arrived artists had to If you’ve paid the R26 400 asked for
of that country’s rich natural resources. Mboweni will be also doing five sign is lovingly made out of coloured extends it into three dimensions. Her boast a video. (Of course, it is so much the Thom video at the Bell-Roberts,
And once you’ve seen Shibase’s sickly public walkabouts – so here’s your glitter. In the right gallery, given the cor- work is darkly humourous and lightly easier to fiddle with images on screen and have a nice bright broad white
green portrait entitled Wena wendlovu opportunity to get to grips with the rect context, it could sell for thousands. alienating, - chicken bones, Astroturf, than to actually use a screen to print wall to project it on in your suburban
(His Excellency) it’s hard to get that thinking behind what is bound to go On the corner of Churchill and Umgeni physical and metaphysical trophies them!) house, do you wonder about who
image of Robert Mugabe out of the down in local art history as a decidedly Road, sits a genuine outsider artist. blended into works that capture both At biennales and big-deal art events all owns the other two of the three in the
backrooms of your mind. trend-setting show. The first time, I saw him he was sitting the tropes of South African life and her over the world, viewers were lured into edition? And do you sometimes feel,
cross-legged on an electrical box, own deeply personal narratives. And I boxes or confronted in alleys with the if no-one is looking, whether you may
So that somebody with her eyes wide dressed only in transparent plastic was struck by the fact that this modest new-fangled medium. (To sit through fast-forward any of its 6 minutes and
open is Soweto-born contemporary little exhibition would feel comfortable 58 seconds?
THE SOUTH AFRICAN ART TIMES

ART GUIDE JULY 2008

Bheki Khambule’s work: Beautiful like me won the Start Nivea Art Awards ‘09 hosted at The KZNSA Gallery in Durban. Emerging, self-taught local artist, Bheki won the R20 000 cash award
earlier this month. As the winner, Khambule automatically qualifies for a solo exhibition at KZNSA’s NIVEA Gallery next year. For more information see www.kznsagallery.co.za
Page 8 South African Art Times. July 2008

SOUTH AFRICAN ART GALLERY SHOW LISTINGS FOR JULY


The Premises – ‘Miniature Paintings’
Eastern Cape Jan-Henri Until 05 July 27 July – 31 August - ‘Tana Bana Warp
Bell-Roberts Gallery
Until 08 August - ‘Between meaning
Rust-en-Vrede Gallery
10 Wellington Road, Durbanville
The Premises at the Johannesburg Weft’ - Textiles Collection and matter’ - Group exhibition T. 021 976 4691
East London Civic Theatre 45 Maritime Place, Small Craft Har- 176 Sir Lowry Road, Woodstock www.rust-en-vrede.com
Loveday Street, Braamfontein, bour (Off Victoria Embankment), www.bell-roberts.com
Anne Bryant Art Gallery Johannesburg T. 031 332 0451 www.batcentre.co.za Michael Stevenson Gallery
Until 17 July - Barry Gibb - www.onair.co.za/thepremises Blank Projects 10 July - 23 August - Guy Tillim –
‘The Expressionists Germans’ KZNSA Gallery 02 -18 July - Norman O’Flynn - ‘The ‘Avenue Patrice Lumumba, Ângela
24 July - 09 August - Pat Mantsivi - An Warren Siebritz 08 July - 02 August - Nivea Art Award Butterfly Project’ 02 - 30 July - Ferreira – ‘For Mozambique’ and
exhibition of illustrated prints from the Until 18 July Wilhelm Saayman’s ‘Don’t 2008 – exhibition featuring the final Gabrielle Alberts - ‘Fine Art’ Manthia Diawara Maison – ‘Tropicale’
illustrated London News do business with family or friends’ works by the 25 finalists 23 - 30 July - Barend de Wet, Douglas Ground Floor, Buchanan Building,
9 St Marks Road, Southernwood, and Jonah Sack’s ‘The evening of the 08 July - 02 August - Carlos Motta Gimberg and Christian Nerf - ‘Mental 160 Sir Lowry Road, Cape Town,
East London, T. 043 722 4044 second day’ - ‘The People: Enemies of the State, Pictures’ 198 Buitengracht Street, T. 021 462 1500
140 Jan Smuts Avenue, Parkwood, The Government and The Army’ - an Bo-Kaap, Cape Town. www.michaelstevenson.com
Free State Hentie van der Merwe at The Johannesburg
www.warrensiebrits.co.za
exhibition of three videos of street
protests (2005-2008) 166 Bulwer
Goodman Gallery Jhb 19 July - 9 The Cape Gallery
August Messenger Road, Glenwood T. 031 202 3686 Until 26 July - ‘Desire’ - a group
Bloemfontein www.kznsagallery.co.za exhibition
27July - 16 August - ‘From Precept to
Oliewenhuis Art Museum Goodman Gallery Jhb Concept’ - Artworks by Juli Jana and
07-11 July - Fun activities for young July 19 - August 9 Hentie van der Oil paintings by Mike Wolfson & John
and old Merwe Robert
16 Harry Smith Street, Bloemfontein, 163 Jan Smuts Avenue, Parkwood, 60 Church Street, Cape Town,
T. 051 447 9609 Johannesburg T. 021 423 5309
www.goodman-gallery.com www.capegallery.co.za
Gauteng Graham’s Fine Art Gallery UCT Irma Stern Museum
Until 29 August - ‘The Modern Until 26 July - Nicolaas Maritz –
Johannesburg Palimpsest - Envisioning South African ‘Unmentionables’
Modernity’ Heather Moore at the Soup Kitchen at 29 July - 16 August - exhibition
Absa Gallery Corner Cedar & Valley Roads, see more at Curious Whetstone & sponsored by Irma Stern Trustees
21 July - 22 August - Broadacres, Fourways, Frankley Cecil Road, Rosebank, Cape Town,
The Absa L’Atelier Exhibition T. 011 465 9192 www.curiouswhetstoneandfrankley.com T. 021 685 5686
161 Main Street, Johannesburg www.grahamsfineartgallery.co.za Curious Whetstone & Frankley www.irmastern.co.za
02 – 31 July - A cosy collection of
Alliance Francaise of JHB Johannesburg Art Gallery handcut artworks, homemade prints, Whatiftheworld Gallery
Until 11 July - ‘Africa Remix’ - fringe Until 06 July - Carlos Motta - ‘The crocheted keepsakes, fluffy ceramics Until 26 July - ‘Prints and Editions 08’
touring exhibition People: Enemies of the State, The and statuesque bunnies by Jesse 05-30 August - Rowan Smith –
17 Lower Park Drive, Corner Kerry Government and The Army’ - exhibi- Breytenbach and Heather Moore, Alta exhibition
Road Parkview, T. 011 646 1169 tion of three videos of street protests Stegmann, Homebakes, Helon Melon, First Floor, 208 Albert Road
www.alliance.org.za (2005-2008) Meld, Janin de Waal, Gussie van der Woodstock, T. 021 448 1438
05-31 July - ‘Confluence 2008’ - a Merwe and Colleen Roberts. www.whatiftheworld.com
Art Extra Gallery combined art development school 87A Station Road, Observatory,
Until 12 July - Reshma Chhiba - ‘Kali’ projects exhibition Cape Town
16 July - 16 August - Michael Mac- Until 30 September - Kay Hassan - www.curiouswhetstoneandfrankley.com Franschoek
Garry - ‘When enough people start ‘Urbanation’ - a mid career exhibition
saying the same thing’ King George Street, Joubert Park, The Gallery at Grande Provence
David Krut Fine Art & Books
373 Jan Smuts Avenue, Johannesburg, T. 011 725 3180 01 June-09 July - ‘Decadance’, group
26 July - 21 August - Deborah Bell
Johannesburg exhibition by Angus Taylor, Diane
Montebello Design, 31 Newlands
T. 011 326 0034 www.artextra.co.za Rooke Gallery Victor, Gordon Froud, Jacki McInnes,
Avenue, Cape Town, T. 021 685 0676
Olaf Bisschoff - Terra Incognita www.davidkrutpublishing.com Musha Neluheni, Paul Boulitreau,
Art on Paper Until 14 July. Rosemarie Marriott and Ulricke
Paul Molete ‘Second Offering’ Until The Newtown, 37 Quinn Street, Lourens
Erdmann Contemporary
July 05. Newtown, Johannesburg Main Road Franschoek
07 July - 29 August - ‘Departure’ - an
44 Stanley Avenue, Braamfontein Werf www.rookegallery.com Louise Linder’s - From Here to eternity at João Ferreira Gallery 2 July - 2 August T. 021 8768600
exhibition showcasing unique visual
(Milpark) www.artonpaper.co.za www.grandeprovence.co.za
vocabularies of four photographers
Standard Bank Gallery including Roger Ballen, Lien Botha,
Artspace Gallery
05-26 July - New works by
Until 05 July ‘Messina/Musina’ by The Worldart Gallery
Western Cape Patricia Driscoll & Abrie Fourie Knysna
Pieter Hugo 19 July - 09 August - Ian Waldeck and 63 Shortmarket Street, Cape Town,
Richard Smith Corner Simmonds and Frederick Pieter Swanepoel - ‘Landscapes’ T. 021 422 2762 The Dale Elliott Art Gallery
142 Jan Smuts Avenue, Parkwood, Street, Johannesburg 95 Commissioner Street, Cape Town www.erdmanncontemporary.co.za Oyster Festival exhibition on Knysna
Johannesburg, T. 011 482 1258 www.standardbankgallery.co.za Johannesburg T. 011 901 5045 and her surrounding areas
www.artspace-jhb.co.za www.worldart.co.za 34 Long Fine Art Everard Read Gallery Woodmill Lane Shopping Centre,
The Constitutional Court FACE 08 Group exhibition Until 10 July - Olivia Musgrave Knysna, 6570 Tel: 044 3825 646
David Krut Print Workshop 02-31 July - MANDELA @ 90 - Art University of Johannesburg Art 12 August – 6 September - ‘Bronzes’ www.daleelliott.co.za
Until 28 July - Bronwen Findlay exhibition with works by Billy and Jane Gallery 34 Long Street, Cape Town 3 Portswood Road, V&A Waterfront
– ‘Floating and Falling’ Makhubela, Johannes Maswanganyi 11July - 13 August - Exhibition of MTN T. 021 4264594 T. 021 418 4527
142 Jan Smuts Avenue, Parkwood, Roy Ndinisa, Beverley Price and New Contemporaries Award Finalists - www.34long.com www.everard-read-capetown.co.za Stellenbosch
Johannesburg, T. 011 447 0627 Susan Woolf Daniel Halter, Themba Shibase, Dineo
www.davidkrutpublishing.com Constitution Hill, Braamfontein, Bopape, Michael MacGarry The A.R.T. Gallery Goodman Gallery - Cape Die Dorpstraat Galery
Johannesburg Kingsway Campus, T. 011 559 2099 No. 205, The Colosseum Building, 3 Gallery closed unil July 29
Everard Read Gallery 144 Dorp Street, Stellenbosch
www.uj.ac.za St.George’s Mall T. 021 4192679 7 August - 30 August: Monomania
17 July - 03 August - T. 021 8872256
The Photo Workshop Gallery 3rd Floor, Fairweather House
‘BRAIT’ – Everard Read Art Award www.dorpstraatgalerie.co.za
Until 06 August - Mimi Cherono Ng’ok art.b Gallery
2008 6 Jellicoe Avenue, Rosebank, - ‘I am Home’
Kwazulu Natal Until 16 July - ‘Destinations’ - Land
176 Sir Lowry Road
Woodstock, Cape Town
Johannesburg, T. 011 788-4805 SMAC Gallery
2 President Street, Newtown, and seascape paintings by Elizabeth www.goodmangallerycape.com
Durban Until August 29 : Abstract South African
T. 011 834 1444 and Hester de Vos and ‘Journey to the
Gallery Momo Art from the Isolation Years Part 2
Heart of the Matter’ by Joy Savage Iziko South African National Gallery
Until 07 July - Bronwen Vaughan artSPACE Durban De Wet Centre, Church Street,
23 July - 13 August - ‘Spirit’ - paintings Until 31 July - Ernest Cole - ‘Chronicler
Evans - ‘Home Is Where the Heart is’ Until 12 July - Terri Broll and Terry King Stellenbosch. Tel: 021 887 3607
by Benjamin Mitchley and ceramics by in the House of Bondage’
52 7th Avenue, Parktown North, - ‘Paintings and Process and Kieran www.smacgallery.com
Tania Babb Until 31 August - Pancho Guedes -
Johannesburg T. 011 327 3247 Smith - ‘Us’ Library Centre, Carel van Aswegen ‘An Alternative Modernist’
www.gallerymomo.com 18 July - 02 August - Bigwood2 Street, Bellville, T. 021 918 2301 Government Avenue, Company’s Villiersdorp
3 Millar Road, Durban, www.artb.co.za Garden, T. 021 467 4660
Gallery On The Square T. 031 312 0793 The Elliott’s Art Gallery
www.iziko.org.za
July – September - A range of painting, www.artspacedurban.co.za AVA Gallery Exciting Winter exhibition of latest
limited edition graphics and sculpture Until 11 July - ‘Baring’ curated by works by Dale and Mel Elliott.
João Ferreira Gallery
by leading South African and Bank Gallery Eunice Geustyn 80 Main Rd, Villiersdorp, 6848
02 July - 02 August - ‘Abstraction’ - a
International artists Until 17 July - ‘DIS EASE’ - a new 14 July - 01 August - Sibusiso Duma Tel: 028 840 2927
show comprising of both local and
Shop 32, Nelson Mandela Square, generation of video art from the - ‘The Story Teller’; Strijdom van der www.daleelliott.co.za
international artists including Anton
Corner 5th & Maude Streets, Sandton Gerhard Marx : Skull without Rijksakademie archives Merwe - ‘HAIKOES’ and Randolph Karstel, Mark Hipper, Kevin Atkinson,
Central T. 011 784 2847/8 nomenclature 2005, cut and 217 Florida Road, Morningside, Hartzenberg - ‘Prints in the Artsstrip’ Mark Francis and Douglas Portway
www.galleryonthesquare.co.za reconstituted map fragments Durban, T. 031 312 6911 35 Church Street, Cape Town Send your Gallery’s show details
02 July - 02 August - Louise Linder’s
29 x 54cm This months Artbio on www.bankgallery.co.za T. 021 424 7436 - ‘From Here to Eternity’ (text and images) to:
Artthrob (www.artthrob.co.za) or www.ava.co.za 70 Loop Street, Cape Town, show@arttimes.co.za
see www.warrensiebrits.com Bat Centre T. 021 423 5403 before the 20 th of each month
04 July – 03 August - Themba Ngema www.joaoferreiragallery.com
South African Art Times. July 2008 Page 9

What’s on at Iziko South African National Gallery, Cape Town


sponsorship by Instituto Camões architects who most certainly
in Portugal, Arup, the Cement and education programmes, have Auction of Fine & Decorative
Concrete Institute of South Africa, heard the name, but may no
Business Arts South Africa, Grand longer know what his architecture Arts, Jewels & Jewellery,
West Cultural Heritage Trust, as
well as various businesses, archi-
embraced and encompassed. The
lessons to be learned from Pancho
Furniture, Ceramics & Books
tectural practices and individuals. in so many fields of endeavour and Tuesday 5 & Wednesday 6 August 2008
It is a rare privilege for Iziko South creativity will no doubt enhance a
African National Gallery to host built environment sorely in need of
a full retrospective of Pancho excellence.
Guedes’ oeuvre, to share it with The Iziko South African National
students and learners through Gallery is open daily, except Mon-
lectures and publications and to in- day from 10:00–17:00. Enquiries:
spire new generations of extensive Tel. 021 467 4660.

iziko south african national gallery exhibition entitled ‘Pancho Guedes Dutch works in the Iziko South
– An Alternative Modernist’ was African National Gallery collections
commissioned and produced by
Pancho Guedes: An the Swiss Architecture Museum
provide a setting and a context for
Andrew Putter’s installation piece
Alternative Modernist in Basel in 2007. Curated by entitled Secretly I will love you more
Pedro Gadanho, this exhibition (2007), which was recently ac-
Iziko South African National Gal- focused on the nearly twenty-five quired for the Iziko Art Collections.
lery hosts ‘Pancho Guedes: An Al- year period that he was active in The example of a contemporary
ternative Modernist’, an exhibition Mozambique, and his extraordi- South African artist using the Iziko
of the iconic architect’s work nary achievements involving over iziko michaelis collection
Michaelis Collection as a base for
from 22 May to 31 August 2008. 500 projects. a work of art that has cutting-edge
Dutch Treat: Dutch works relevance for the present indicates
In addition to being described as Pancho’s capacity to seamlessly from the 17th–20th centuries the valuable role our Dutch Old Gerard Sekoto (South African 1913-1993)
‘alternative modernism’ with inter- bring together Europe and Africa, Master collections can play in the
in Iziko collections TERUM GO ITSHEBA
national links, Pancho Guedes’ art and architecture, dream and building of a new heritage.
signed, canvas laid down on board 43,5 by 38,5cm
work draws on traditional African executed 1946
reality are revealed and further In this exhibition, highlights of (left) Andrew Putter, Secretly I will Estimate: R2 000 000 – R3 000 000
skills and motifs. Now eighty-three explored in the newly-curated love you more (2007). Video and
Dutch art from the Iziko Michaelis
years old, he has been prolific in component that introduces work sound installation. Presale Viewings
Collection and many seldom-seen
terms of output and diversity, in created mostly in South Af- Friday 1 August 2008 12noon to 5pm
Africa and internationally. Born rica, after April 1974, and which Saturday 2 August 2008 10am to 12.30pm
in Portugal, Pancho moved to celebratory exhibition of works of Sunday 3 August 2008 10am to 1pm & 2pm to 5pm
remains largely unpublished and
Mozambique as a child and Monday 4 August 2008 10am to 1pm
little known. Curated by architects art that they have presented to the
studied in Johannesburg, obtaining Henning Rasmuss and Dagmar Gallery’s collections over the past Auction
his architectural degree from the Hoetzel, in consultation with the four decades. While the exhibition Tuesday 5 August 2008 2pm & 7pm
University of the Witwatersrand architect, it is separate yet concep- emphasises exciting, newly-ac- Wednesday 6 August 2008 10am & 3pm
(Wits). He returned to Wits in 1975 tually linked to the SAM show. quired works of contemporary Stephan Welz & Co. (Pty) Limited
and was Head of the Department South African art that are being 13 Biermann Avenue
of Architecture until 1990. At a time when little attention was shown for the very first time, it also corner Oxford Road, Rosebank
paid to the aesthetic production reveals the quietly supportive role Telephone 011 880 3125
Despite working in the peripheral of Africa, Pancho was a pro- played by the FONG in building jhb@swelco.co. za
contexts of southern Africa, Pan- moter and supporter of vernacular a very broad and representative Catalogue can be viewed on our website
iziko south african national gallery www.swelco.co.za
cho’s work captured the attention architecture and African artists, collection for the nation over an
of the European avant-garde and notably Malangatana Valente and extensive period. Without this
he became an active member of Forty Years of Friendship: loyal and proactive support, our
Tito Zungu, yet his work has never
the dissident modernist Team 10. been shown in either Mozambique The Friends of the SA collecting activities would have
He represented Portugal at the or South Africa, the two countries National Gallery: 1968–2008 been greatly impoverished.
Biennale di Venezia in 1976 and where his architecture exerted
2006. Twenty-five years after enormous influence. The exhibi- The Friends of the South African (left) Brendhan Dickerson, Cannon
the Architectural Association of tions in Cape Town and Johannes- National Gallery (FONG) mark Fodder (2006). Welded steel and
London show of his work, an burg are made possible through their 40th anniversary with this carved jacaranda wood.

The New Bell-Roberts Gallery: If Meaning Truly Matters


weather House and facilitated the in-between. Photography seems to be the
fixing-up (similar floor colour to There’s a fair amount of matter - stronger stuff on show, and also
Goodman Cape upstairs), reported like in ‘stuff’ - on show: the classic
that, among the hitches pre-open- ‘found object’ medium reworked by
ing, was the very same floor that the likes of Lynette Bester in her
had to be redone. Oh well, all cheerful Hell’s Angel toy celebra
opening nights have last-minute tion, and the delightful, wacko con-
hitches. So what of the show-piece structions by French-born Philippe
opening? Bousquet. Like witty cartoons (he

By Melvyn Minnaar

Local art luvvies - well, let’s say, (The Michael Stevenson’s opening
those early birds who had their party next door a few weeks earlier
eyes on the Jameson, never mind had already featured in Noseweek,
the very large, very new Kevin so the scene was set for more
Brand - were not too thrilled at arty ‘bites & pieces’, second time
having to share the Woodstock around.)
pavement with other hangers-
around while the glass door to the With the expression ‘the bride
spanking new gallery remained is ever elegantly late’ quietly
firmly closed. It was well after 40 whispered to Mrs Bell Roberts, Maybe the best think about the was a jeweller), his mini sculptures (Left) Spacious new Bell-Roberts Gallery, (Middle) Norman O’Flynn:
minutes beyond the official kick-off resplendent as usual, and framed group show, which features new are, well, so French, so Jacques Border Ramblers - soap stone (Top) Brendan Bell- Roberts and Melvyn
on the invitation. by two very stiff flower arrange- work by a number of established Tati. Minnaar, Top Middle and bottem: views of the new gallery.
ments (which may or may not have Bell-Roberts artists, as well as new And they complement Norman
But then Suzi - as she is lovingly found a place under the evening’s names, is the title. It is so cleverly O’Flynn’s little mystery men, as if arguing questions around the title imagination of the show’s title. It’s
known among the over-familiar show title), the crowd got over the enigmatic, without the pretence inviting them for a dance. To which more soundly. great. Like the now-neighbouring
and those with racy thoughts locked-out-on-the-pavement awk- so prevalent in current curatorial the music could well have been Talk of ‘meaning’. Anthony Strack’s galleries of the big art shots in
- threw back the latch of the new wardness, and cruised the gleam- babble which sometimes sacrifice Room to Roam, Jacques Coetzer’s images are wonderful, and one Cape Town, the new Bell-Roberts
establishment, and the party could ing grey floor in search of what’s grammar for posture. The phrase odd video of a Scottish sing-song, would except nothing less than space is grand, elegant, light - and
proceed with all due diligence that Between Meaning and Matter, the Between Meaning and Matter actu- except that the refrain was only style from Svea Josephy. ready to be invaded by talent.
beholds the opening of an impor- official opening group show. ally seems get one to think about audible through the earphones: Amelia Smith’s Kimberley mine The opening collection is cool
tant new commercial art space. Gerald Phillips, who owns Fair- it - and whether there is something always a bother. print may be the most gritty enough, but hardly adventurous.
EVERARD READ
JOHANNESBURG

Premier Dealers in Fine Art


The Brait Foundation

Celebrating the winner of the


Brait - Everard Read Art Award 2008

FRANCKI BURGER
‘ B EL O N G I N G ’
17 July - 3 August 2008

6 Jellicoe Avenue, Rosebank, Johannesburg, 2196, Private Bag 5, Parklands, 2121, South Africa
Tel: +27 11 788-4805 Fax: +27 11 788-5914 Email: gallery@everard.co.za

To arrange a preview, kindly contact the gallery or visit our website www.everard–read.co.za Gallery Hours: Monday to Friday 9am – 6pm Saturdays 9am –1pm

Illustration: Francki Burger, Magersfontein II, hand-printed fibre based silver gelatin prints, 188 x 226cm
Page 12 South African Art Times. July 2008

Nicola Danby: life after BASA


This in spite of the fact that ideas they can apply in their own
BMI-Sport Info found that, with companies.
only minor variations among race Two current projects are with the
groups, adults polled felt that it’s Institute of Directors on corporate
as important for children to learn governance in the arts, and with
about arts and culture as sport. BEE rating agency Empower-
Danby stresses that, with its dex. Danby says it’s important
limited resources, Basa’s function to develop a BEE template that
is not to fund projects, but to meets the specific needs of arts
encourage business to put up and culture, as a BEE status will

Titia Ballot:
finance. And this in turn depends give funders credit on their own
on persuading business that it will scorecards.

Aktivis vir
benefit from this spend. The annu- Empowerdex’s data bank will also
By Michael Coulson al Business Day-Basa sponsorship give access to a pool of potential

versoening
awards are a key way to recognise black candidates for the boards of
When I went to see Nicola Danby successful sponsorships. arts organisations, not just to give
at Business & Arts SA – gener-
ally known as Basa – I reminded
Fortunately, over the years she’s
been at Basa business attitudes
BEE credibility but also provide
legal, financial, marketing and In n onderhoud me the Burger Broken glass becomes a
magnificent work of Ark
her that the last time I was there, towards sponsoring the arts have other skills. koerant is aangekondig dat Titia
we’d had to evacuate the building changed significantly for the better. If Danby has one regret, it’s that Ballot pas met n erepenning deur
prematurely, because of a fire in a In 1997, Basa had 49 corporate Basa has been unable to negotiate die SA Akademie vir Wetenskap
neighbouring office. She laughed members; today, 135. with government tax conces- en Kuns vereer. Dit het nog “...and if one green bottle would ture, entitled The story-teller’s
and said the staff had been remi- But, she argues, it’s not only the sions to arts donors, which have net twee ander grafiese kun- accidentally fall, you would have, chair- Noah’s Ark. As perplexed as
niscing about that only recently. attitudes of the business sector have had a very positive impact stenaars te beurt geval: Katrine no green bottles hanging on the Noah with his Ark, after creating
Now Danby is about to evacuate that have to change. Arts organi- elsewhere. Harries in 1973 en Diane Victor wall.” the chair Mary-Ann wondered,
the office permanently, not out sations and creators like to pose What drew her to Basa in the first in 2004. “what do I do with this work of
of compulsion but because she’s as helpless, subservient creatures, place? After graduating from UCT, Artist Mary-Ann Orr has redefined ARK?” Having successfully exhib-
resigned as Basa CEO with effect divorced from the harsh disciplines she lived abroad for 13 years. Re- Die kunstenaar se: “Ek het dit nie this old nursery rhyme through ited the work within her gallery in
from the end of July. of business. This too must change: turning to SA and Durban in 1984, verwag nie, want dis hoe ek uit a year long collaboration, with a Stellenbosch,
Having run Basa for 11 years, the arts must be run in accordance she joined the municipally-funded my belewenis my werk aanpak. group of underprivileged children
virtually since its inception, Danby with good corporate governance Durban Arts Association as editor Ek staan self krities teenoor my creating livelihoods through mu- Mary-Ann finally found the Mount
feels she’s achieved as much for and sound business principles of d’Arts magazine and organiser werk, en wat ek oordra, beleef ek nicipal dumps within the Eastern Sinai to rest the chair. The chair
it as she can, and that it needs if they are to attract business of various arts projects. intens”. Cape. has been donated to Biblioneef an
a fresh approach to advance to support. In 1987, she moved to Johan- Mary-Ann sources much of her NGO which sources African chil-
the next stage. She could also be If business doesn’t see that it will nesburg as manager of the Vita Sy vertel hoe sy geworstel het own materials from found objects, dren stories and translates them
forgiven if she’s had enough of derive benefit from sponsoring the arts awards, which covered the met begrippe op soek na hierdie spending her time sifting through into 12 South African languages.
the struggle of wheedling money arts, it will go elsewhere. visual arts as well as craft, poetry, bevryde identiteit om Mrikaan of local municipal rubbish dumps.
out of big business, who prefer to In 2001 Basa launched its first theatre, music, dance and other Afrikaner te wees. “My werk is While there she met children Large editions of top quality books
sponsor such intellectually unchal- part-time interdisciplinary courses, genres. No doubt 10 years of that my enigste kommunikasiemiddel. who’s livelihoods were dependant are printed and then distributed for
lenging but higher profile sports, in association with the Institute of demanding task was also exhaust- Ons moet werk met ons stories on these locations. She began col- free to schools, libraries and
like rugby. Marketing Management, the De- ing, so when the Basa opportunity hier in Afrika.” Ballot is nou met laborating with these children, and organizations operational in under-
A study commissioned by Basa partment of Arts & Culture, and the came up she applied, and got the proteskuns besig. Sy protesteer noticed their delicate eye for privileged communities.
from BMI-Sport Info (Pty) last year National Arts Council. Danby says job. teen vooroordele oor ons objects of beauty amongst the
suggested that direct sponsorship the toughest task was to persuade And what’s next for Danby? She gesamentlike verlede wat verde- waste that inspired joy. The story ‘within’ the storyteller’s
expenditure by business on sport not-for-profit bodies that they are may feel she needs to be ref- lend is. chair will be presented as an
sponsorship rose from R207m to still businesses; when achieved, ereshed, and says she views the Gradually a small menagerie of opening feature and live installa-
R2bn-plus in 2006, while in 2007 the mere change in mindset was future with some trepidation. She Sy pleit In haar werk vir bevry- paired ceramic creatures were tion at the 2008 Cultavaria FNB
arts and culture sponsorship drew extraordinarily positive. doesn’t want to be a full-time em- ding. Die seggingskrag van haar discovered, as if Mary-Ann’s team Private Clients and De Kat exhibi-
R304m, of which R148m went into Aspects like marketing and brand- ployee again, but at the same time werk is versoenend, met die were excavating an archaeologi- tion at the KWV Cathedral Cellar
music. Danby reckons that sports ing came to be appreciated as it’s difficult to leave a space you’ve potensiaal om helend in te werk. cal midden from Noah’s Ark. Thus in Paarl on the morning of the 27
sponsorship rose to R2.8bn last important. been immersed in for so long. was born the breathtaking sculp- September 2008 at 11:00
year. Building on this, three years Danby says she’s already had a
Apart from the direct spend, she ago Basa launched a mentoring couple of attractive approaches,
puts additional, or leveraged, project, in association with Barlow- but she doesn’t want to jump in.
spending at R1.6bn on sport and orld. Executives agree to devote Still, don’t be surprised if, pretty
R60m on arts and culture. a few hours a week to consulting soon after she leaves Basa on
Back in 2000, she estimates arts on projects, looking not just at the July 31, she re-emerges in another
and culture sponsorship totalled product but at areas like pricing dynamic arts initiative.
R30m, with another R15m in and marketing. Danby says a
leveraged spending. So business spin-off is that the business people STOP PRESS
sponsorship of the arts has beaten have not only been impressed by Nicola Danby has joined
inflation, but has barely grown as the energy, commitment and hard Artinsure’s board with effect from
a percentage of the sponsorship work put in by the arts practition- 14 July, as reported from Gordon
We represent these artists:
cake. ers, but have often come up with Massie. Ben Coutouvidis
Alice Goldin
ist, Ms. Constant has extensive that she does, and the Board has Wendy Rosselli
BASA appoints new CEO Lyn Smuts
experience in radio and television no doubt she will continue to grow Phillipa Allen
both as producer and presenter. our activities around the country, Hardy Botha
The Board of Directors of Business
She brings her knowledge of both for the benefit of business and the Theo P. Vorster
& Arts South Africa is pleased to
the arts and cultural sector and arts.” Ms Constant replaces Nicola
Original Art, Etchings, Sculpture, Ceramics. Judy Woodbourne
announce that Michelle Constant David Riding
corporate South Africa to the posi- Danby, who has successfully led
has been appointed as Chief Ex- Cecil Skotnes
tion. BASA Chairman, Sikkie Kajee BASA for the past 11 years and and others.
ecutive Officer of BASA, effective
of KPMG, welcomes the appoint- who will be pursuing personal
1st August, 2008 Well known as a
ment, saying: “Ms. Constant is a interests in the sector.
media personality and arts journal-
consummate professional in all
South African Art Times. July 2008 Page 13

Bonhams next SA art sale expected


to be biggest of its kind in the world
Staff writer This painting is unquestionably a
product of Pierneef at his finest.
Bonhams fourth and largest sale The majestic baobab tree stands
of South African Art, consists of proud dominating the landscape,
450 lots divided into two sales, with the five people at the foot of
one at Bonhams in Knights- the tree and the signs of human
bridge on September 9 and one habitation in the background,
in Bonhams in Bond Street on dwarfed by comparison. It is rea-
September 10. sonable to assume that The
Baobab Tree was painted around
The sale features the iconic 1934.
Pierneef image, The Baobab
Tree, which is estimated to sell for The Bonhams South African Art
£300,000. Sales include the most significant
collection of Irma Sterns yet seen
While Charles Te Water was in London, no fewer than 38
serving as the South African High paintings.
Commissioner in London, Pierneef
Tay Dall, Artist was given the commission to paint Giles Peppiatt, Head of South

Good business is the best Art


the murals for South Africa House African Art at Bonhams, said of
in London. On 27 June 1933 the his next sale: “We have had such
Pierneef family left Pretoria for a growth of interest that we have
London Pierneef completed the had to extend the sale to two days
By Tay Dall calls, shipments, exhibitions,
murals by May 1934 and accepted and two venues to allow us to
marketing deadlines and business
a further commission from Te exhibit the works as they deserve.
I am an artist and a business- meetings to attend to. I have two
Water to paint five works for the We are seeing a maturing market
woman. I have been in business galleries of my own called the Tay
dining-room in South Africa House. for South African Art with a greater
for 15 years. I run my office like Modern in Hermanus and Greyton.
The room was officially opened on appreciation by non South African
any corporation only I am smaller. I have 35 representatives with
31 May 1934 and was known as buyers”.
My business world consists of about 800 pieces of art in circula-
the ‘Pierneef Room’.
the following: A. Administration/ tion worldwide. It’s a lot of effort to
Employees B. Production/Paint- keep everything running smoothly,
ings/Exhibitions C. Workshop/Art but I have no reason to believe
Materials/Canvases D. Logistics/ that there is nothing else better Go for the best, advises
Transport E. Representatives/Gal- than making a living doing what
leries F. Marketing/Strategy you love to do!
Destiny
antiques appraiser
In 2007 I didn’t push my art as in The Tay Modern - Hermanus
Planning Stats. So far in 2008 I have sold previous years because I had a lot No. 3 Long St. Hermanus
Andy Warhol said that ‘Being good 91 works. Of the 91 works 47 of important private and corporate Anton Neethling 072-980-9096 The Argus reported Paul Myson, South African as well as the
at business is the most fascinating sold to South Africans and 44 commissions to give my focus 072-116-9029 tayd@hermanus. the auctioneer and appraiser with mternational contemporary art
kind of art. Making money is art sold to overseas clients. This year to. In 2007 I sold 218 paintings co.za www.taydall.com Ashbeys Galleries in Cape Town, market have seen fantastic growth
and working is art and good busi- my largest sale has been for a ranging in value from R10,000 to saying there is a large range in the last few years, with world
ness is the best art’. I have been R59,000 art work. R58,0000. Of the 218 paintings The Tay Modern - Greyton of material that one can collect record prices achieved for a
fortunate with my art because a lot 148 sold to South Africans, 70 to Greyt Oak No. 1 Main St. - from furniture and ceramics to number of artists.
of people have purchased my work Paintings Sold overseas clients. I did 28 commis- Greyton glassware, silverware and
over the years, but it has taken 2005 – Sold 306 paintings sions with the largest work selling Joshua Rossouw memorabilia. For novice collectors, With the recent instability in the
determination, risk, and consist- 2006 – Sold 326 paintings for R58,000. Of the 218 works, 083-228-8651 072-116-9029 Myson suggests they follow a few world financial markets as well as
ently producing new work. There 2007 – Sold 218 paintings 110 were to direct clients and 108 tayd@hermanus.co.za basic rules. First, always buy from the ever increasing oil prices we
is no down time; there are phone 2008 – Sold 91 paintings were via galleries. www.taydall.com a reputable dealer, and insist upon would expect that the art market
a receipt with a full description of would reflect the sentiments held

Artist too nude for learners


the item. by investors.

Second, compare prices of similar At a recent auction South African


items that various dealers may works of art proved in demand,
Teacher newspaper -. the Educa- homophobia, racism, xenophobia, In “The Teacher” Len Lordan, have on offer, and third, ask if any with a Maurice van Essche Nude
tion Department disclosed that it genocide and state repression. national examiner of art history restoration has been undertaken fetching R145 000 and a Gregoire
has removed controversial artist Bronwen Law-Viljoen of David at the Independent Examination on the item, and if so, to what Boonzaier Still Life R130 000.
Steven Cohen from the visual arts Krut Publishing, the house which Board, argued that it is impera- extent it has been restored.
curriculum’s prescribed list, saying publishes Cohen’s art said she is tive that students are exposed Ashbeys Galleries are accepting
his works are not suitable for certain schoolchildren could to such art forms. Lordan said Condition is paramount when It entries for their next fine art and
school learners. learn from Cohen’s work.”Just as learners face all forms of explicit comes to antiques. The reason antiques auction on the August 22.
one might say that children will material and Cohen addresses they are so regarded and valuable
Performance artist Cohen was learn something from looking at a societal issues that are education- is that they have survived the pas- VALUE: Piet van Heerden s Elim
removed from the list at the end of Picasso painting”. ally sound to facilitate informed sage of time and If damaged they Street Scene, above left, went
the first school term this year. The What they take from his art de- engagement. Lordan said she wifi be less desirable. for R62 000; Frans Claerhout s
See more of Steven’s work at
exclusion of Cohen, regarded as pends on the context in which they would rather teach Steven Cohen Mother and Child R75, 000, and
www.davidkrutpublishing.com
one of South Africa’s premier living are viewing the work, the guidance in the classroom than have learn- On whether he thought art and Maurice van Essche’ s Nude
South African learners need to be artists sparked debate among the they are given by their teachers ers accessing explicit content from antiques were a good alternative R145 000
protected from the naked truth, visual arts fraternity. and the knowledge of art they magazines and other sources, that to the stock market, the Argus
it seems. According to the The Issues Cohen deals with include : already possess”. lack meaning. reported Myson advising “The
art
Page 14 South African Art Times. July 2008

afrique
fine collectable african art
The Old Tram Shed,
Cnr Roberts & Kitchener Ave, Kensington
PO Box 28267, Kensington, 2101
Tel: +27 11 622 6666 Cell: +27 79 213 3711
e-mail: art@artafrique.co.za

You are cordially invited to


SPIRIT
An exhibition of oil paintings by
BENJAMIN MITCHLEY

Host: The Arts Association of Bellville


Guest speaker: Marina Eillers of www.southafricanartists.com

Exhibition opens Wednesday 23 July 2008, 18:30 for 19:00


Art Gallery, Library Centre, Carel van Aswegen Street, Bellville,
Cape Town
Exhibition ends Wednesday 13 August 2008

THE ARTS ASSOCIATION OF BELLVILLE


SITUATED IN BELLVILLE LIBRARY CENTRE
CAREL VAN ASWEGEN STREET, BELLVILLE
African Jewels Exhibition
24th July - 30th August
Tel; 021 918 2301 Fax; 021 918 2083
Web; www.artb.co.za Email; info@artb.co.za
Mon.- Thurs. 9am –8pm Fri. 9am –6am Sat. 9am –1pm

Cape Town’s largest contemporary art gallery


exhibiting works by leading South African artists

Exclusive

Carmel Art distributors of


Pieter
66 Vineyard Road, Claremont van der Westhuizen
Ph: 021 671 6601
etchings
Email: carmel@global.co.za
Website: www.carmelart.co.za full selection on website
South African Art Times. July 2008 Page 15

AROUND THE GALLERIES

Norman O’Flynn: The Butterfly Project - until 18 July at Blank Projects. “When will I be a butterfly?” Kali A solo exhibition by Reshma Chhiba until Until 12 July 2008 at The Art Extra Gallery
the caterpillar asked. “When you have finished being a caterpillar,” the butterfly laughed.

Richard Hamilton A mirrorical return – part of the Masterworks Exhibition Goodman Gallery Jhb. Until 12 July Sibusiso Duma’s first solo show is at the AVA Gallery, Cape Town 14 July- 01 August. Image: Messenger

Legendary landscape artist


Stydom van der Merwe has
wrapped red material around
selected historic oak trees in
Stellenbosch as part of his latest
installation. A total of 8 kilometres
of red material was used.

From The Bolander Newspaper.

When enough people start saying the same thing.A solo exhibition by Michael MacGarry
16 July - 16 August 2008 Art Extra

Julia Clark -
The Jellyfish Explosion.
From Whatiftheworld Gallery:
Prints and Editions Show
Until 26 July

Hout Street Gallery

David and Gail Zetler. 270 Main Street, Paarl, 7646. Phone + 27 (0) 21 872 5030 Fax + 27 (0) 21 872 7133
E-mail: zetler@icon.co.za www.houtstreetgallery.co.za Artwork: Peter Fincham, Afternoon Shadows
Joe Maseko (1940-) Three Washerwomen (detail) Acrylic on Board 445 x 595

The Philip Harper Galleries


Hermanus, Western Cape
www.thephilipharpergalleries.co.za
We specialise in South African Art, both Old Masters and select Contemporary Artists, catering for both corporate and private clients
Oudehof Mall, 167 Main Road, Hermanus, Tel: 028 3124836