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The South African Art Times | December 2010 - January 2011 | Free


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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

The South African

Art Times
December 2010 -
January 2011 from dumpster to
state of the art
Daily news at

Published monthly by By Percy Zvomuya On the other side

Global Art Information
PO Box 15881, Vlaeberg, 8018
First published in the Mail & Guardian The gallery Afronova, owned by Frenchman
Tel. 021 424 7733 Fax. 021 424 7732 Henri Vergon, has also moved from Newtown
to De Beer, an adjoining street. On the other
Editor: Gabriel Clark-Brown
When the Co-op gallery opened more than a year side of Bertha Street the road that leads to the
ago, it was the only creative space on Nelson Mandela bridge graffiti artist Rasty and his
Advertising: Eugene Fisher Braamfontein’s Juta Street. partners Curio and Angel have moved to a bigger space, next to his former shop. The Wits Gallery,
Subscriptions: Tracey Muscat
In its vicinity, there was a car dealership, high-rise to be housed on the corner of Bertha and Jorissen buildings housing students, a “hotel” that still streets, is slowly taking shape, and will be opened
charged hourly rates and the offices of a waste- next September or October, a development that
News: Jim Wolf
collection company. Brodie describes as the “single most important
event”. Brodie is looking forward to a “dynamic
Shows: Liesel Botha Fast forward to November 2010 and Juta Street exchange between himself, his artists and the has become the city’s newest and most vibrant Wits Gallery”. The Mail & Guardian spoke to
Admin: Bastienne Klein
creative district. The galleries Brodie/Stevenson Brodie on a Thursday mid-morning, a few hours and Afronova have moved to Braamfontein; the before the opening of photographer Pieter Hugo’s
old army surplus shop on the corner of De Beer exhibition Permanent Error.
Daily Website Bettie Brown
and Juta has morphed into 70 Juta Street, a
Artwork: swanky creative space containing a coffee shop, The decision to be in Braamfontein “the most
Layout: a florist, an architectural practice, an interior-de- exciting part of Jo’burg at the moment” was
sign studio and a film and camera company. The motivated by the “idea to relocate to a part of the
Deadline for news, articles and advertising is the mall, which has officially been opened, completes city with lots of energy”.
20th of each month. The Art Times is published in
Juta Street’s metamorphosis; that and the news Most of this energy exudes from the students who
the last week of each month.
Newspaper rights: The newspaper reserves the right that the French Institute of South Africa, fashioni- attend Wits University, Rosebank College and
to reject any material that could be found offensive sta David Tlale, visual artists Wayne Barker and other tertiary institutions in the area. “You sit here
by its readers. Opinions and views expressed in the Johannes Phokela and iconic pianist Abdullah Ib- [in the gallery] and look at the bridge, an important
SA Art Times do not necessarily represent the offi- rahim are to move into the area to establish their marker of the relationship of the city with the
cial viewpoint of the editor, staff or publisher, while studios and offices. Brodie/Stevenson has moved northern suburbs,” Brodie says.
inclusion of advertising features does not imply the from, in the words of David Brodie, a ”peculiar
newspaper’s endorsement of any business, product part of Jan Smuts Avenue” to crouch at the foot of (continues on page 07)
or service. Copyright of the enclosed material in this
the Nelson Mandela bridge.
publication is reserved.

The largest selection of paintings,

sculpture and glass by new and
renowned South African artists.

H. Poïet Margaret Gradwell

WELGEMOED GALLERY: 31 Kommandeur Rd, Welgemoed, Bellville · T. +27 21 913 7204/5 · F. +27 21 913 7206 · ·
TYGERVALLEY GALLERY: Shop 589, Tygervalley Centre · T. +27 21 914 2619 ·

06 SA ART TIMES. Dec 2010- Jan 2011


Braamfontein is different; its life is lived on the

streets: barber shops, newspaper kiosks, hotels,
flats, fast- food restaurants, spaza shops and
internet cafes are evidence of the people who call
it home. Perhaps the Paris-born Vergon finds the
Braamfontein vibe oddly familiar; Parisians, he
says, “like to live on the street”.

Moving to Braamfontein
His decision to open his gallery in Braamfontein
wasn’t motivated by monetary concerns. “If I was
considering the business aspect, I would have
Hipper times: A cleaner, more trendy, Juta Street gone to Parktown or Parkhurst,” he says.
in Braamfontein, Jo’burg, is reflected in the
window of one of its new shops. It’s a decision that people questioned. Vergon
(Samantha Reinders, M&G) says when some heard that he was moving
to Braamfontein, “they thought it was a crazy
decision”. But he and his fellow creatives are in
Braamies to stay. His ethos reminds one of the
(continued from page 06) proverb, “a man does not plant a tree for himself;
he plants it for posterity”. So, Vergon and his fel-
Connecting bridge low folk recently planted trees.

The naming of the bridge after the country’s “We planted trees last week and one day they will
favourite citizen is, of course, an attempt to con- be big,” he says, while showing off his gallery to
nect the north and the south. The bridge connects visitors. “We have a chance to make an impact on
the multitudes who live in the south and earn their the city, to make it enjoyable.”
bread in the north and the northerners who work
in Jo’burg’s CBD. Braamfontein has something endearing about
Even though Juta Street sits in the shadow of it, something safe in its make-up. “Braamfontein
the famous bridge, it has nothing of the saint’s isn’t scary for a lot of people,” Vergon says. It
halo. In fact, the offices of Pikitup, the city’s waste could be the stability that is gestured by Civic
management company, are on Juta; that seemed Hill, Constitution Hill beside it and Wits University
to be ominous. down the road.
For some time, this particular street has been the
proverbial dumpsite of Braamfontein. It was safe In spite of the shelter of being close to Constitu-
only during the day. As nightfall descended, so tion Hill, that bastion of South Africa’s democracy,
did an air of menace. The signs that Braamfontein Braamfontein is still part of the CBD and so
could one day sprout into life have always been fragments of fear still exist, which is why there
there; indeed, when the Alexander Theatre was are some who believe that people like Vergon
reopened a few years ago, most people thought it “are idealists”. Vergon dismisses the idea, saying
was the moment. instead, it’s because “we are free”.
A few productions later, it soon became apparent
that Braamfontein, which already has the Joburg One of the first creative people to set up base in
Civic Theatre and Wits Theatre complexes, wasn’t Braamfontein was Rasty, the graffiti artist. In the
quite ready to have three theatre venues. three years he has been around “much has hap-
Months later, the top-end restaurant Narina Tro- pened”, he says. He and his business partners
gon on De Korte Street was opened, bringing sub- started with a shop that sold spray cans for creat-
urbanites who wanted to eat out in a place that ing graffiti and other paraphernalia, but now have
felt a bit like town, but without the city’s attendant a gallery space where graffiti and tattoo artists
terrors. Further down the street, Rand Lords, a showcase their works.
high-end rooftop bar, hosts functions and parties
for the city’s high-flyers. “We want to be known as the place where cool
Much of this renewal (or gentrification) of Braam- is happening,” he says of a space that hosts
fontein has been spear-headed by Southpoint, monthly exhibitions by the denizens most in touch
the property developer that owns and runs many with street culture. “We have the kind of work you
apartment buildings in the area (as well as Rand wouldn’t see in any other gallery space.
Lords). The ingredients of a street life were Everything we do has its foundations in street
always there, to be sure, thanks to the teeming culture,” Rasty says.
student population. Braamfontein has boasted a He’s wary of the sudden interest in Braamfontein
pavement culture that is perhaps without parallel and its possible consequences: “When we moved
in the whole of Jo’burg. in, it was because it was a central spot, cheaply
Although pockets of street life exist elsewhere in priced. Suddenly, it’s a cool space to be. We hope
the city, for instance on 7th street in Melville or at the renewed interest won’t squeeze out the young
Arts on Main in Jo’burg’s inner city, there’s some- people,” Rasty says.
thing not quite organic about a lot of it. Go to Arts
on Main on, say, a Monday afternoon, and the When renewal happens, squeezing out follows,
only people you will see are the security guards. but for now Braamfontein is just basking in the

SA ART TIMES. Dec 2010- Jan 2011 07


Kentridge awarded the 26th Kyoto Prize for lifetime achievement
Man stole R2.2m In November in Kyoto, Japan, William Kentridge

Stern paintings was awarded the 26th annual Kyoto Prize for
lifetime achievement in Arts and Philosophy by the
Inamori Foundation. Kentridge, the first South

out of car African to receive this award, was selected for his
originality as an artist whose wide-ranging activities
encompass drawing, animation, stage direction
and writing. As Japan’s highest private award for
global achievement, the Kyoto Prize honours sig-
nificant contributions to the betterment of society.

David Thomas
Nandipha Mntambo announced as the 2011
First published in The Cape Times
Standard Bank Young Artist Award winner for Visual Art
Car seats are often littered with miscellaneous
objects -hamburger wrappers, old books, an odd Nandipha Mntambo announced as the 2011 Standard Bank Young
running shoe. But an Irma Stern painting? Rarely Artist Award winner for Visual Art. Well known for her experimentation
with natural materials, cowhide in particular, Mntambo is as concerned
Yesterday the Wynberg Magistrate’s Court heard about the creative process as she is with the end result of her work.
that Hout Bay man Nazeem Said had noticed Her creativity has crossed many national, cultural, emotional and
the R2.2 million painting Still Life with Fish in a artistic boundaries. “My intention is to explore the physical and tactile
vehicle parked outside the owner’s house and properties of hide and aspects of control that allow or prevent me
had swiped the valuable work. Said was ordered from manipulating this material in the context of the female body and
by magistrate Haflesa Mohamed to be remanded contemporary art,” Mntambo explained.
in custody until November 29 while police compile
a criminal profile of him. David Goldblatt reaches a young 80 in November
Last month, a Stern painting fetched a record Born in Randfontein, South Africa in 1930, David Goldblatt has been
price when it was sold in London. Bahora Girl documenting the changing political landscape of his country for more than
was bought for R26m at a Bonham’s auction. five decades. His photographic essay South Africa: the Structure of Things
Prosecutor Kepler Uys said that Said, 31, had Then was made into a monograph and also shown at the Museum of Mod-
broken into the unnamed owner’s car at 7.30pm ern Art, New York, in 1998. Goldblatt’s work was included in Documenta 11
on November 16 by smashing a window. Two in 2002, Documenta 12 in 2007, and the traveling mega-exhibition “Africa
other paintings, which were part of the same pri- Remix” (2004–07). His limited edition book, Particulars, won the award for
vate collection, had been stolen from the vehicle. the best photography book at the Rencontres d’Arles festival, France, in
Paintings were stolen off car seat. 2004. Goldblatt won the 2006 Hasselblad Foundation International Award
When taken together, the value of the three works in Photography. He received an Honorary Doctorate in Literature from the
is around R3m, according to court documents, University of the Witwatersrand in April 2008.
with the 1934 Stern painting being by far the
dearest. A handful of CDs were taken along with
the paintings. Said was arrested three days later
when the police found him in possession of the Subscribe to The R 320 SA Art Times Christmas Special
paintings at his home. The works were returned to Simply call, or email us at 021 424 7733 or
the owner undamaged. See more details at

08 SA ART TIMES. Dec 2010- Jan 2011

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

Johannesburg Art Gallery turns 100

Centenary celebrated by launch of a catalogue : One Hundred Years of Collecting:
Johannesburg Art Gallery

In 2010 the Johannesburg Art Gallery celebrates

one hundred years of collecting art. Established
by Florence Phillips in 1910, the JAG collection
has had a significant impact on both the local
and global art community. JAG is committed to
preserving and providing access to our national
heritage and giving due recognition to South
Africa’s neglected artists through our exhibitions,
publications and education programmes. JAG’s
collection contributes to the cultural backbone of
Johannesburg and our collection has served to
open dialogue and make a path for meaningful,
intellectual and academic debate, ultimately
contributing to change and impacting on society
at large.

In order to celebrate the centenary of the collection JAG has launched a catalogue entitled: One Hun-
dred Years of Collecting: Johannesburg Art Gallery. The publication features essays by Khwezi Gule,
Nessa Leibhammer and Bongi Dhlomo, amongst others, and has been edited by Jillian Carmen.

The initial celebrations will be followed by a strategy to improve the facilities and upgrade the building
for 2015, the year which marks the centenary of the construction of the JAG building. The centenary
publication as well as the celebration evening is sponsored by Anglo American in South Africa.

The event will centre on Transformations, an exhibition of work from the collection by women artists.
Other works displayed in the Foundation Room and the Matters of Spirit permanent exhibition will also
be on view and there will be a video performance by artist Stephen Hobbs on the same evening. Hobbs’
projection will interrogate the gap between the old and the new buildings and how this serves as a
space of aesthetic and political questioning.

The Johannesburg Art Gallery is located in Joubert Park with the entrance in King George Street
(off Wolmarans or Smith depending on the direction that you are coming from).

For further information, please contact: (t) +27(0)11 725 3184/3130 or

SA ART TIMES. Dec 2010- Jan 2011 09


There is a great concentration of ceramics in Cape Town. Being rich in

Ceramics SA: Potter’s Market resources such as clay, colour, kiln and cheap electricity help make it the
Potters transform Rondebosch Park into a hub of ceramic expression ceramic capital of the world. The Potters Market has been established since
1969 and as the saying goes: “Each pot has the smell of the potter”. Rea-
By Leila Bloch. Photos : Anna Stielau sons for creating and participating are as varied as the ceramics themselves.
For reputed artist John Bauer it’s the historic value of pottery. He finds
In Cape Town, obsession with pottery is an unassuming but popular pastime. comfort in knowing that “every civilisation since the cavemen have engaged
A visit to the Rondebosch Potters Market highlights this; with over eighty with this tactile art” and pieces of this medium will be long-lasting even after
potters congregating to exchange notes, reconnect and generate a thriving they have been lost or broken. Henny Meyer - established in galleries in
industry. This biannual event takes place in March and November and is an Shanghai and soon to be exhibiting at the Irma Stern Museum in Rosebank
intersection of art, character and functional products. Shaded by the leafy - is drawn back to the market for the opportunity to directly engage with his
oak trees of Rondebosch Park, regulars diarise this event well in advance viewers. What inspires him is giving over to the chance effect of pottery
and come early to get the best of the lot. Recent clay wheel demonstrations once you place it in the kiln- just like the market there is always an element
and guided tours make this an interactive experience which is also a direct of surprise. Chairman of Ceramics SA, Ralph Johnson, is delighted by the
linkage to the ceramic network of Cape Town. Gas, wood or horsehair- fired accessibility of so many handmade and original products, made by the finest
there is enough Pottery to make your eyes glaze over with variations of local and internationally selling artists to be had at village market prices at
textures and shapes. the Rondebosch market. Next Potter’s Market: Sunday March 20th 2011.

the loop
art foundry
t 27(0)13 7582409 f 27(0)11 5075747 &

striving in our passion towards excellence

10 SA ART TIMES. Dec 2010- Jan 2011



Shirley Cloete
Doyenne of South African Glass artists

19 January 1921 - 3 November 2010 not deter Shirley. Her mother had bought the farm
Morgenster in Somerset West outside Cape Town
Shirley Cloete began her career as a glass artist and she appropriated a range of farm buildings
only in her early forties, but became the foremost on this beautiful Cape Dutch wine estate for her
and, for many years the only, exponent in this field studio. She persuaded a series of male friends with
in South Africa. engineering skills to set up her studio, build kilns,
annealing ovens and grinding and polishing
She was born on the farm Glendower outside machinery, which they continued to maintain.
Johannesburg to Colin Bain Marais, farmer and Over the years she practised and perfected her
member of the South African parliament and his craft, often inspired by the light and colour of the
wife, Dinky. Dinky was the daughter of Sir Thomas underwater scenes she enjoyed while diving off
Cullinan, owner of the Premier mine outside the Danger Point coast, where she had a seaside
Pretoria, where the Cullinan diamond, the largest cottage.
diamond ever found, was discovered...
Shirley exhibited in South Africa, London,
In 1944 Shirley met and married Sandy Bairnsfa- Germany and Canada and her annual open days
ther Cloete, owner of the historic wine farm, Alphen at Morgenster became a pilgrimage for collectors.
in the Constantia Valley. For the following 16 years She accepted many commissions, among them
Shirley played the role of wife, mother and society one from interior designer Graham Viney for a pair
hostess. She raised money for charities and joined of glass sculptures for the Mount Nelson Hotel in
the Black Sash, using this platform to protest Cape Town. This work was one of 100 pieces out
against the injustices of apartheid. of 2,500 international entries recognised by the
Corning Museum of Glass in New York for their
Shirley and Sandy divorced in 1961 and, with her “New Glass Review 27” in 2005. Albie Sachs, judge
children almost adult, she found herself free to pur- and anti-apartheid activist invited her to create a
sue her artistic talents. She attended the Michaelis panel for the new Constitutional Court in Johannes-
School of Fine Art at the University of Cape Town burg, along with works by other prestigious South
and studied design under May Hillhouse. Attracted African artists. And she made 10 wall lamps, her
by the medium of glass, she scoured dump sites legacy to Alphen, home during her marriage and
for bottles and other glass to make collages, but now an hotel owned by her daughter Nicky. Shirley
found the colours and shapes limiting. was official artist in residence at the National Arts’
Festival in Grahamstown in 1996 and was asked
From there she went to London and Annette Meech by Renault to exhibit at a special exhibition with
of the Covent Garden workshop gave her her first other selected artists in 2005.
lessons in glass blowing. She became a member Shirley died peacefully at home in the Waenhuis,
of the British Artists in Glass (BAG) and visited and attached to her studio at Morgenster.
worked with them in London annually for many She leaves her daughter, Nicky Cloete-Hopkins
years, extending the range of her work and son, Pieter Bairnsfather Cloete, five
way beyond her original panels. grandchildren and eight great-grandchildren.
No-one had yet attempted the technically challeng-
ing art of blowing glass in South Africa. This did From her
SA ART TIMES. Dec 2010- Jan 2011 11

What influence has the recession had on the arts community as a

whole in 2010?

None. It still obsessively talks about money, only now the chatter focuses on
the apparent lack thereof. It’s still money talk. How boring. One year there is
too much and it is sullying the purity of the artistic impulse, the next there is
not enough to sustain every whim. Let’s ask other questions about art.

Has the recession perhaps played a positive creative role in terms of

artists producing more focused work, or has it led to artists trying to
please a shrunken commercial market?

Focussed on selling? In 2008, and the years leading up to the Joburg Art
Fair, the argument was that young artists were already too calculated and
aware of the market. Judging by this year’s MTN New Contemporaries,
Kemang’s contribution excepted, young artists are doing what they did in
2008, making focussed work that will sell. All good. But where’s the teeth in
that. As uneven as Young Blackman’s programme is, it at least manages to
focus on play.

What influence has the recession had on the type and price bracket of
artwork bought?

Interesting question, because if we accept that 2010 was the year auction
houses got to crow from on top of the dung heap, the sad truth is that the
type of work being feted and iconised through these auctions makes me feel
Sean O’Toole that 1994 never happened. If anything, 2010 represented the victory of white
capitalist wealth propping a fake canon of overrated Moderns. Why hasn’t
Arts journalist Ernest Mancoba received his due? He far surpasses Stern, in my view.

Art highlights of 2010? Do you think the worst of the recession is over?

In no particular order: I don’t know. But more importantly, I think it behoves you to establish a
causal relationship that links defined economic data to art buying patterns.
1. Zander Blom’s accomplished debut as a painter seemingly unencumbered No-one I know is doing this locally, not that I’m aware of. Everyone, includ-
by the history of abstract painting, at Michael Stevenson. ing myself, is extrapolating from foreign data. In the end, all we’re doing is
2. The overlooked KZN narrative woven into Riason Naidoo’s From Pierneef speculating.
to Gugulective obese compilation show, especially Trevor Makhoba’s oil
on board, Pain in the Mountain (1999), on loan from the Tatham Art gallery. Who should we look out for and what trends do you think
Also Roger Meintjes’s portfolio of 26 photographs, entitled Van Riebeecks will emerge in 2011?
Hedge - A Voyage Around an Object (1992), and Albert Newhall’s undated
photo, Lion’s Head Cave Roof, and monochromatic abstraction, Opposition The new Wits Art Museum
of Related Forms (1969). All wonderful.
3. Listening to Willem Boshoff talk about “the duck” at the Dada South? A3 gatefold, spot varnished invitations with gold leaf detailing from all the
Symposium, an object lesson in wit, grace and lightness of gesture. major auction houses, each touting yet another significant Stern. It’s almost
4. Zwelthu Mthethwa’s first New York museum show, in Harlem, at the Studio as ridiculous as the buzz surrounding the planned Trechikoff retrospective.
Museum. It may have been a poor show, but that doesn’t lessen its signifi-
cance, this off the back of a new monograph and record auction result. Trasi Henen’s paintings.
5. Mikhael Subotzky’s photos of Ponte City on Liza Esser’s In Context exhibi-
tion at Arts on Main. What would you like to see happen in the South African art in
6. Gerard Benghu utterly beguiling 1926 depthless drawing of British colonial the coming year?
soldiers on the soccer field on Fiona Rankin-Smith’s Halakasha! show at the
Standard Bank Gallery I would like to have someone to phone me and say, “Sean, I know what the
7. The Blk Jks at the opening ceremony at Soccer City. What a riot! question is”, and tell me. I mean this sincerely: What is the question? Surely
there is more than one? My sense, though, is that we – the visual art com-
How do you think the current recession influenced South African munity – are avoiding so many obvious questions about the fundamentals
art in 2010? of practice, display, appreciation and commerce. I don’t care about record
prices or imprecise articulations about the white hegemony of local art. Both
Two world records at auctions in two weeks. What recession? are rote patterns of conversation that don’t broach the fundamentals. Kathryn
Smith is at least asking different questions. I admire her for it. Jo Ractliffe
Zander Blom’s sell-out show. What recession? is doing the same with her photography. Ashraf Jamal too with his angry
broadsides against our false local canon.
Kizo Gallery selling a 32-piece set of prints featuring the flags of all 32
participating countries, ostensibly carrying Mandela’s signature at an asking What other issues do you see playing a role, or somehow
price of R273 600 for the full 32-piece collection, or R8 550 each. What affecting the arts landscape in 2011?
recession, I ask you?
Critics having to eat more humble pie, or worse still, their own words.

12 SA ART TIMES. Dec 2010- Jan 2011


2010 In Review
The Art Times went walk about around the SA arts community and asked some questions about 2010
Yes it has, making many artists re-think their approach to the economics of

What influence has the recession had on the type and price bracket of
artwork bought?
In my experience buying is still being done across all the various price
brackets, clients are just more sober and discerning in the decisions they
make as a result

Do you think the worst of the recession is over?

No I don’t, I think 2011 is going to be a testing year for the art market in
South Africa, as demands on liquidity in financial markets is going to become
more prevalent, facilitating a trend where more sellers will be operating in the
market place than buyers, generally causing demand and therefore prices to
fall due to over-supply.
Warren Siebrits
What, and possibly who, should we look out for in the coming year?
Director, Warren Siebrits Gallery
Kendell Geers, who has his first mid-career retrospective opening at IZIKO
Art highlights in 2010? SA National Gallery next year. If his prices are already too high for some, I
would recommend the work of Michael MacGarry, who is a talented artist in
Kendell Geers exhibition at Goodman Cape in June 2010 titled “Third his own right and whose conceptual thinking has been strongly influenced
World Disorder”. He remains in a league of his own as a conceptual thinker over the years by artists like Kendell.
and strategist, which explains the great level of success he has achieved
internationally. What would you like to see happen in South African art in the coming year?

How do you think the current recession influenced South African art in 2010? I would like to see collectors become more broad-minded and holistic in
their approach. In my opinion there seems to be too much ego and status
Unfortunately it has made most collectors even more cautious and conserva- involved in the acquisition of so-called “blue chip investments” like Maggie
tive in their outlook, with most people only interested in backing what they Laubser, Irma Stern and J H Pierneef. The shrewd and more philanthropi-
consider to be “safe bets”. Contemporary artists and the work they make cally minded collector is still in the position to put a museum quality collection
have been the ones most adversely affected by the current mood of de- together of over a hundred significant artworks by leading modern and con-
spondency evident in financial and political circles at present in South Africa. temporary South African artists for the price on one non-descript and run-of
“IRMA STERN GETS 28 MILLION WHILST YOUNG SOUTH AFRICAN –the-mill work by the above mentioned artists, who are incidentally not really
ARTISTS STRUGGLE” could be an appropriate headline at present to sum of great significance in the broader scheme of things. I would rather have
up our current situation. a collection of Kentridge’s, Dumas’, Breitz’s, Rhode’s, Geers’, Van Zyl’s,
The upside of the recession in 2010 is that it has highlighted the depth and Hugo’s, Ballen’s, Goldblatt’s, Mofokeng’s, Hlobo’s, Schoenfeldt’s, Subotzky’s
quality of South African art production, and that it is not necessary to spend and Botha’s, than one work by a third generation German Expressionist
a fortune to buy something culturally and historically significant as the market painter born in South Africa. It poses the question, are you trying to make
becomes more competitive. a difference as a collector to the lives and well-being of South African living
artists, or is it all just about money, ego and investment? In the end it boils
Has the recession played a positive creative role at all? down to foresight and emphasis.

SA ART TIMES. Dec 2010- Jan 2011 13

powers they represent, rather than pandering to them.
An example of this is the recent MTN New Contemporaries, a competition
exhibition where four nominated artists make work for a curated show, and
from them a winner is selected. All four artists this year: Donna Kukama,
Kemang wa Lehulere, Stuart Bird and Mohau Modisakeng, worked in idioms
like performance and installation, showing a commitment to social commen-
tary rather than the lip-service many artists working in a product-based idiom
would pay to this kind of criticality.

What influence has the recession had on the type and price
bracket of artwork bought?

I think one of the tragedies of the recession is the loss of major corporate
sponsor, Sasol, who each year sponsored the Sasol Wax Art Award. These
kinds of awards tended to create awareness of, and feed, works by
recognised artists into the corporate collecting market. Its demise marked the
end of an important showcase for top-end art of high social value, typically
the kind of work purchased by major corporate collectors like Hollard, Stand-
ard Bank and SABC. This is not good, as corporates have, over the past ten
to fifteen years, been far more active purchasers of good contemporary art
than government-funded institutions like the South African National Gallery
and the Johannesburg Art Gallery.
But, as I have mentioned before, the bottom end has also suffered. I often
go to shows and see works priced affordably, in the in the R3 000 – R15 000
bracket, that just don’t move. There have been some notable exceptions,
but I think, overall, most in the art world would agree that it is now more
Michael Smith difficult to get buyers to take chances on young, unproven artists pricing their
work in this bracket. Buyers would rather make safe bets on lesser works
Managing editor, Art Throb. (prints, multiples) by well-known artists than risk any money on supporting

What for you were the highlights in South African art over the past year? Do you think the worst of the recession is over?

I would have to say a highlight for me in Johannesburg was David Goldblatt’s Who knows? If I could tell you that with any authority or certainty I wouldn’t
mini-retrospective at the Goodman Gallery: ‘TJ: Some things old, some be typing this, I’d be onto my broker at the NASDAQ, trading furiously. Earlier
things new and some much the same’. this year there was some talk about a ‘double-dip’ recession, and that we
While Johannesburg as physical and conceptual terrain seems to lure many hadn’t really felt the effects of the second round of lows… I hope they’re
artists, few have the authority of an artist like Goldblatt to comment on its wrong. As much as the socialist in me thinks a healthy dose of ascetics was
inequities and vicissitudes. just what the doctor ordered for the art world’s pre-2008 excesses, I certainly
don’t wish hardship on artists, nor do I think that the effects of long-term
Economy: how do you think the current recession influenced art in fiscal conservatism and safe buying are good for an art scene.
South Africa in 2010?
What, and possibly who, should we look out for in the coming year?
2010 definitely had an impact on the lower-to-middle strata of the market.
I think at the upper end, where art is still readily associated with investment, I think ex-Durbanite, now resident in Johannesburg, Vaughn Sadie, is some-
one saw records continuously being broken in the SA Modern Art secondary one to watch. His beautiful work has a rare combination of conceptual acuity
market, most notably by works of Irma Stern’s. and good nature.
But the lower to middle section definitely felt the recession. There were fewer And as the gallery scene coagulates around a few powerful players, I think
sell-out shows, more artists and writers scrabbling for the same pieces of the trend of pop-up galleries and artists squatting their exhibitions in disused
the pie, and generally a bit of panic for those directly dependent on art as a commercial spaces will really begin to take hold in 2011. I want to see
means of income. performances in shopping malls, installations at casinos!

What was the influence of the recession on the arts community What would you like to see happen in South African art over
as a whole in 2010? the coming year?

I believe that one can’t look at the effect of the recession within the temporal I think a lot of focus on transformation in the art world has been given to gal-
isolation of 2010: the effect of the recession has been accumulating for a lerists, artists and tertiary-level academics. While this is vital, no-one seems
number of years. However, 2010 saw its share of attrition, with a few more to be asking, ‘where do artists start becoming artists?’ My feeling is that this
galleries in Johannesburg closing their doors or moving around to get better starts to happen at high school. I think transformation, or at least a more
rents. inclusive professional fabric, needs to extend down into secondary-level art
In terms of the shift in the way artists operate, I think there is something to teaching. In my day gig as a teacher I see woefully few black art teachers,
the fashionable belief that a recession is good for art. Let me explain what and frankly would like to see more.
I mean: in SA a few years ago, i.e. before 2008, sell-out shows by young
and mid-career artists were not uncommon. There was huge incentive for Further comments:
artists to be working in a product-based idiom, making drawings, paintings,
photographs, sculptures etc. for sale. Despite our political situation turning from a farce into full-blown Theatre
Now, as the market for these commodities shrinks, we find more and of the Absurd, I think some artists are paradoxically feeling free enough to
more artists taking chances on non saleable art forms, like performance, embrace pure aesthetics or visuality as adequate concerns around which to
intervention, film, etc. This is a healthy scenario, because it means artists are base their work. I am interested to see what the next move artists like
critically (and sometimes combatively) engaging with market forces and the Paul Edmunds and Zander Blom will be.

14 SA ART TIMES. Dec 2010- Jan 2011


ence that saw artists, writers and architects reflect on the politics and social
drivers that shape Joburg’s urban landscape.

What influence has the recession had on the arts

community as a whole in 2010?

Fewer exhibitions, longer runs. Less corporate sponsorship. Less money

being ploughed into advertising art events, which has had an impact on art
publications and audience numbers. The tightening of the purse strings in the
realm of the media has meant less reviews and reporting on the arts. Fewer
sell-out shows. Harder for young emerging artists to break into the scene.
Less room/opportunities for those producing video works, performance and
installation art.

Has it perhaps played a positive creative role in terms of artists producing

more focused work, or has it led to artists trying to please a shrunken com-
mercial market?

I don’t think artists have tried to adapt their work – gallery owners have
adapted their strategies

What influence has the recession had on the type and price bracket of
artwork bought?

The smaller galleries are showing a range of works at different price points.
There is little change at larger galleries.
Mary Corrigall Do you think the worst of the recession is over?
Arts writer for the Sunday Independent No. Standard Bank has just cut their sponsorship of sporting events – clearly
large institutions are still reeling from the economic slump. Though the art
market overseas does seem to be picking up it will take some time for the
South African economy to recuperate.
Art highlights in 2010?
Who should we look out for and what trends do you think
Nicholas Hlobo’s exhibition Paintings at Brodie/Stevenson. will emerge in 2011?
Lulu Xingwana’s removal from her post as Minister of Arts and Culture. Gabrielle Goliath. Carmen Sober. More foreign curators curating local shows.
Gimberg Nerf befriending the entire art community on Facebook before ‘de- What challenges do we face in the coming year and
friending’ them. how can they be overcome?
Michael MacGarry’s solo exhibition: THIS IS YOUR WORLD IN WHICH WE The arts community is so fragmented; this has meant that it has no united
GROW, AND WE WILL GROW TO HATE YOU – at Michael Stevenson. voice in political/public spheres. The Xingwana and Andries Botha elephant
sculpture debacles brought this sharply into focus as did the second
The way Die Antwoord appropriated Roger Ballen’s aesthetic and popu- Artspeak, a public forum initiated by the NAC which took place at Africa Mu-
larised it around the world, evincing how the visual arts/performance can seum in November, where it was clear that the arts community is in a state of
operate within popular culture. crisis and needs to challenge existing government policies on the arts.
The first Architecture Biennale in Joburg. It was an interdisciplinary confer-

 

 

  
 

SA ART TIMES. Dec 2010- Jan 2011 15


What would you like to see happen in the art world, or South African art
community in the coming year?
I’d like to see the divisions between the three main metropolitan areas begin
to fade away. At present it often feels like we live in three different countries
– which is odd considering how mobile our artists are (and if you live and work
outside the Metros, good luck to you). I’d also really, really like to see Andries
Botha’s freeway elephants in Durban completed. And I’d like to see a whole lot
more public art in Durban.

Peter Machen
Arts Writer
How do you think the current recession influenced South African art in 2011?
I think that the art market is, for the most part, sharply segmented into two
different sectors, one of which consists of the relationship between galleries
and investors and another which consists of the relationship between the public
and artists. The former is where all the money is but not necessarily where all
the art is. The direct effects of less money means less galleries and presum-
ably less sales. But most artists I know continue to make their work regardless
of financial viability. That said, the galleries are vitally important in their roles as
connectors and I think most galleries and agents in South Africa provide Joost Bosland
invaluable services. Every gallery closure hurts.
Director of the Michael Stevenson
What influence has the recession had on the arts community as a whole
in 2010? Gallery, Cape Town
Most artists usually struggle to pay their bills, so little is different on that front.
The closure of galleries obviously reduces the possibilities for exhibitions and What for you were the highlights in South African art over the past year?
sales but most artists are driven by creativity not by money, although it is of This was the year of Nicholas Hlobo.
course a major factor in all our lives. But the lucre of commercial success
doesn’t necessarily produce great art. How do you think the current recession influenced art in South Africa in 2010?
I don’t know if it influenced the art much, I suppose less art was sold.
Has it perhaps played a positive creative role in terms of artists produc-
ing more focused work, or has it led to artists trying to please a shrunken Has it perhaps played a positive creative role in terms of artists producing
commercial market? more focused work, or has it led to artists trying to please a shrunken com-
Again, I think that only the most commercially driven of artists think about mercial market?
pleasing the broad base of the art market. Which doesn’t mean that artists I have not seen any significant shift in this regard in either direction from
aren’t interested in pleasing their agents and individual clients. artists I work with.

What influence has the recession had on the type and price bracket of What influence has the recession had on the type and price bracket of
artwork bought? artwork bought?
Do you think the worst of the recession is over – please comment? Anecdotal evidence suggests it has led to a renewed focus by collectors on
Despite the official figures, I don’t think that South Africa is in fact in a full-blown ‘big names’, and a shift away from lesser known artists. But again, I am not
recession. One of the first things you’re taught in economics is that cranes sure if I have witnessed this firsthand.
are are a visual indicator of a boom. So while certain sectors of the economy
are definitely struggling, there are cranes all over South Africa and only a few Do you think the worst of the recession is over?
of them have stopped moving. So it seems that we’re having a boom and a Ask an economist.
recession at the same time.
Additionally, the boom years of the last decade-and-a-half coincided with more What, and possibly who, should we look out for in the coming year?
than a million people falling into unemployment and an increase in the number 2011 will probably be, again, the year of Nicholas Hlobo.
of working poor. Most people struggle financially on a continuous basis,
regardless of booms or busts, and the same is true for artists. What would you like to see happen in South African art in 2011?
Who trends do you think will emerge in 2011? Time will tell. If we can keep going the way we have been for the last few
I think that a move away from ostentation and conspicuous consumerism will years, all should be fine.
continue to hold sway. I think globally we’ll start to see more galleries with
gardens and attached lifestyle spaces, and a lot of smaller galleries rising from Further comments:
the ashes of the art crash. Braamfontein is looking exciting.

16 SA ART TIMES. Dec 2010- Jan 2011


The second revelation was Steven Cohen’s video Golgotha. I normally

consider video the Cinderella of the visual arts as 95 % of the videos I have
been subjected to are messy and self-indulgent drivel. Golgotha was a piece
of pure video art, rather than a mere filmed record of a performance and I
sincerely believe it was a masterpiece. The work, created in the wake of a
searing bereavement, mourns a victim of homophobia and presents Steven
Cohen as a Jew, a queer, a representative of all marginalized beings, even
the vanishing animal kingdom and the threatened planet. His critique of
homophobia and the fear of the ‘other’ opened out into an indictment of
capitalism and materialism, foreign interventionism and all imperialisms. Both
the imagery and the quality of imagination behind it was truly original, and
displayed a Surrealist flair for bringing disparate realms of experience into
collision in an intensely meaningful and poignant visual spectacle compli-
mented by a magnificent sound track.

Thirdly, Jan Booyen’s show at Whatiftheworld was another eye-opener. I

was not aware of this artist’s earlier works and was stunned by his Abstract
paintings, their grandeur of scale, the density and appositeness of their
art historical references, the cerebral ingenuity of the artist’s rationale, the
deeply personal palette of unusual colours, the magisterial compositions and
the sheer painterly splendour of the work. Booyens is undoubtedly one of the
best painters at work in this country.

The effects of the recession?

I am afraid I never think in economic terms and cannot answer the questions
as I do not have informed opinions on such issues.

What would you like to see happen in South African art in the coming year?

The South African art world remains desperately immature and the proof of
this is the astronomic price often shelled out for totally unexceptional Sterns
marred by many flagrantly unresolved details. It would be wonderful if peo-
ple started to judge by quality, rather than by name, and evinced a healthy
distrust of the auctioneer’s puffery and shtick and the press’s obsession with
Photo: Jenny Altsculer meaningless prices. Auction houses are businesses committed to the profit
motive, and not the cause of art, and we should never forget this.

South Africa has always been a philistine society, and the newspaper indus-
Lloyd Pollak try is contributing further to that philistinism and dumbness by abandoning
its traditional responsibility of enlightening the general public by cutting down
Arts journalist drastically on arts coverage.

What other issues do you see playing a role, or somehow affecting the
2010 Art highlights? arts landscape in 2011?

For me there were three great highlights during the course of 2010. The In the past the canon of indisputable masterpieces was established by a con-
first, I can state without demur, was Katharine Smith and Roger van Wyk’s sensus between the visually educated elite of collectors, dealers, critics, art
Dada South at the South African National Gallery. For me this was undoubt- historians, curators and museologists. With the decline of connoisseurship,
edly the supreme art event of 2010. I thought Dada was dead and safely this has changed, and in our media-saturated world, the new touchstone
interred in the pages of art history, but Roger and Katharine demonstrated of quality is increasingly becoming the inflated prices paid by uninformed,
that it is a potent living force with a continuing impact on the South African mega-wealthy, nouveau riche collectors at auction.
visual tradition. Dada encourages artists to bypass the glum, issue-driven The obvious result is general critical unreflectiveness, the triumph of spin
art of our past and to strike out toward the enticing subjunctive realms of and spiel and the dumbing down of the art market. Paul Harris’s contem-
perhaps, if and maybe. Scholarship is rarely so thrilling as it was at this porary art collection at Ellerman House embodies this tendency - it is an
exhibition that captured the authentic spirit of Dada, cast a new light on our assembly of indifferent works of art by all the currently fashionable names.
art history by displaying the work of many unfairly marginalized and forgotten The collapse of critical standards plays straight into the rapacious hands of
figures, and providing a new take on established old masters like Walter auction houses that now have the power to manipulate the market through
Battiss and Christo Coetzee. the excessive publicity the press gives them.
I have no doubt that in 2011 the art world will become even more
A later exhibition at Blank Projects, the Menippean Uprising curated by undiscriminating and subject to covert manipulation, and that the sun of
Pierre Fouche and Hentie van der Merwe, picked up where Dada South left stupidity will shine ever more brightly.
off, and confirmed that our art was heading in new directions.

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SA ART TIMES. Dec 2010- Jan 2011 17

Wavescape Surfboard Art Exhibition From this heady mix flows the juice that concocts the creative result of the Wavescape Surfboard Art Exhibition that
runs 1-7 December at the Depasco Café on Kloof Street, and culminates in the Wavescape Art Auction on Wednesday 8 December.

Proceeds of the auction, in which 12 decorated retro 80s ‘Pottz Twin Fin’
Ilona Petzer (AWSSA) surfboards will be sold by funny man Mark Sampson, goes to ocean charities
such as the NSRI, Shark Spotters and Ticket To Ride Foundation.
“My paintings are highly personal, influenced
by memories, experiences, pain, joy, and visual
Look out for the asymmetrical, manga-on-acid-like-characters of Black Koki
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legend works with underground talent Bones on their board. Cape Argus
cartoonist and Kommetjie charger Chip Snaddon brings extra surfing cred to
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Art Curator: Innibos Kunstefees 2008/9/10
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082 893 6718 celestially-charged commentary on the darker side of humanity in the Mystic Duiker. Also with the old guard, come the Durban-based design duo of Scott
Robertson and Kim Longhurst who share a board for a two-sided view of their
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Promoting and supporting visual arts
contact: Ilona Petzer 082 893 6718 For more info go to or call 079 0260 669


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07-15 December, Photography by British photographer
Emma O’Brien. Documentary
Grayscale Gallery
until 22 Dec: “Conscience Under Pressure”, a group show
of artworks made from used spray-paint cans. The artists
and portrait photographs taken in and around that include graffiti writers, illustrators and tattoo artists.
Bloemfontein Johannesburg. upstairs@bamboo Cnr 33 De Korte St, Braamfontein. (above Signarama)
9th Street & Rustenburg Road, Melville, Jhb.
Oliewenhuis Art Museum T. 011 486 0526 16 Halifax
04 November - 16 January, “Rendezvous” a group Works by Michael Heyns can now also be viewed by
graphic design exhibition. (In the Main Building) CIRCA on Jellicoe appointment in Johannesburg at 16 Halifax Street Bryan-
Until 05 December, “Escape Artists” Dec/Jan, “Homage to Hermes” by Angus Taylor. ston. Dana MacFarlane 082 784 6695
Planet Pixl Student Exhibition 2010 2 Jellicoe Ave. T. 011 788 4805
Until 05 December,
“Plug” Fractal Young Artist Exhibition 2010 Johannesburg Art Gallery
16 Harry Smith Street, Bloemfontein David Brown Fine Art Until end January, “Transformations: Woman’s art from
T.051 447 9609 Until 15 December, “A Subtropical vision” group show. the late 19th century to 2010” artists taken from JAG’s
39 Keyes Avenue, off Jellicoe, Rosebank Collection.
T. 011 788 4435 Until 11 January 2011, “Apartheid – Struggle – Freedom,

Gauteng South African Photography 1950 – 2010”
Until 16 January 2011, Reflex| Reflexión,
David Krut Projects a group exhibition
27 November 2010- Early February 2011, Collaborations 28 November-30 January, Gerard Sekoto Festival
II, a solo exhibition by Deborah Bell. To accompany this and exhibition.
exhibition, David Krut Publishing has produced Deborah King George Str., Joubert Park, Johannesburg
Johannesburg Bell’s Alchemy; a publication dealing with the last ten
years of Bell’s collaborative printmaking.
T. 011 725 3130
140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627
Art Afrique Jozi Art:Lab
25 November-07 December, “Dissolved Boundaries” Until 31 January 2011, “bitter fruit/ bittervrug” Photo
by Petros Ghebrihiwot. 5th Avenue Auctioneers and sound installation by Photo and sound installation.
Shop U45, Level 4, The Da’Vinci Hotel, Legacy Corner, 12 December 2010, Auction (Curated by Indra Wussow)
Cnr 5th & Maude Streets, Sandton. T. 011 292 7000 404 Jan Smuts Ave., Craighall Park, Johannesburg Arts on Main, cnr of Berea Street, 076 501 4291 T. 011 781 2040
Art One Sixty Manor Gallery
Until 09 December, Rhythm and Hues by Gallery 2 Until 25 January 2011, “The Year End Fine Art Sale 2010”
Glen Josselsohn. From 02 December, Graduates of the a selection of paintings- framed and unframed.
160 Jan Smuts Ave, Parkwood, Jhb. Artists Proof Studio. Gallery closed 14 December-10 January.
T. 011 447 4967 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98 Norscot Manor Centre, Penguin Drive. T. 011 465 7934
Artspace –Jhb
Until 29 January, “OPPITAFEL X 2010” will be presented Gallery AOP Market Photo Workshop
in two venues: Thirty artists (OPPITAFEL 20+10) will be From 04 December, silkscreen exhibition by Until 01 December, Borders Master class exhibition.
exhibiting at the Artspace Warehouse Walter Battiss Closed 17 December-05 January.
ten artists (OPPITAFEL 20(10) will be exhibiting at Art- From 29 January, Solo exhibition by Mark Kannemeyer. 2 President Street, Newtown, Jhb. T. 011 834 1444
space’s main gallery. The exhibitions close 11 December 44 Stanley Ave., Braamfontein Werf (Milpark),
2010, re-open on 11 January. T. 011 726 2234
1 Chester Court, 142 Jan Smuts Ave., Parkwood, Jhb. T.
011 880 8802 Gallery MOMO Museum Africa Until 31 December, Group show featuring Mary Sibande, Until 31 January 2011, “l’Afrique: A Tribute to Maria
Theresa- Anne Mackintosh, Rodney Place, Lyndi Sales Stein-Lessing and Leopold Spiegel” co-curated by Nessa
Artspace Warehouse and Ransome Stanley. Leibhammer and Natalie Knight.
Until 29 January, “OPPITAFEL X 2010” will be presented Until 31 December, Dumile Feni Sculptures. 121 Bree Str., Newtown, Jhb. T. 011 833 5624
in two venues: Thirty artists (OPPITAFEL 20+10) will 52 7th Avenue, Parktown North, Jhb. T. 011 327 3247
be exhibiting at the Artspace Warehouse, ten artists
(OPPITAFEL 20(10) will be exhibiting at Artspace’s main Nirox Foundation (Arts on Main)
gallery. The exhibitions close 11 December 2010, re-open Gertrude Posel Gallery Until 15 December, “The Mystery of the Elements” featur-
on 11 January. This gallery has a permanent exhibition of traditional ing works by the Spanish artist Enric Pladevall (Nirox
3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 southern, central and West African art. Sculpture Park. Address: University of the Witwatersrand, Senate House, Corner Berea and Main Street, City and Suburban, Jhb.
Jorissen Street, Braamfontein. |
Bag Factory Tel: 011 717 1365 | |
02 December, A side of Audience 2010, a one night event
where artists Min Kim and Moon Choi from South Korea GoetheonMain
will present their works: a virtual-audience entitled “Aside until 15 December, “Aleph” an installation by James Nirox Projects (Arts on Main)
of Audience 2010”, and Webb Until 05 January, New paintings by Anton Karstel.
“Find your ring size, and take rings as you can.” GoetheonMain, 245 Main Street, City & Suburban, Jhb.
The event will run from 5pm to 8pm on the evening of T. 011 442 3232 Obert Contemporary
Thursday 2 December. Until 31 Dec: “Life Staged” by Michael Meyersfeld
10 Mahlatini Street, Fordsburg, Jhb. T. 011 834 9181 Goodman Gallery 14 the High Street, Melrose Arch Until 16 December, Resonant Structures by hours: 11am to 7pm daily
Stefanus Rademeyer. Braamfontein: 6th fl, 155 Smit Street, Braamfontein
Brodie/Stevenson Until end January, “Layers” a conversation between two hours: appointment only
Until 15 December, “Permanent Error” a solo exhibition of artists and a curator about the same and new ideas over T. 011 684 1217
new work by Pieter Hugo. 20 January - 18 February 2011, again with an aim to create new Meanings. Curated by
Works by Billy Monk. Nontobeko Ntombela. (Jhb Project Space-Arts on Main) Resolution Gallery
62 Juta Street, Braamfontein, Jhb. Gallery Closed from 17 December-11 January. Until 11 January 2011,
T. 011 326 0034, 163 Jan Smuts Ave., Parkwood, Jhb. T. 011 788 1113 “Public Perception” a poster show by Andy Robertson. 142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 4054

SA ART TIMES. Dec 2010- Jan 2011 23


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Right on the Rim Gallery Centurion Art Museum embroided textiles, the best of central Asia.
From 04 Dec, “Primal” an exhibition by Ashley Johnson. 03-17 December, Rene Naude School of Creative Art 6 Koedoeberg Rd, Faerie Glen, Pretoria.
Opening Saturday, December 4 • 2:00pm - 5:00pm. Group show. Opening @ 6:30pm. T. 012 991 1733
Arts on Main, 264 Fox St City & Suburban Johannesburg c/o Cantonment and Unie Avenues, Lyttelton
T. 011 6 222 444 T. 012 671 7477 Trent Gallery.
26 November - 09 December, solo exhibition by
Rooke Gallery Fried Contemporary Jan-Henri Booyens.
Until 17 December, “Study of Trees” photography 24 November - 22 January 2011, 11-24 December, “Boudiccea Castings show” Featuring
by Garth Meyer. “UP Fine Arts Staff Show” Susanna Swart and Kay Potts. Opening Friday 11
The Newtown, 37 Quinn Street, Newtown, Jhb. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 December at 6:30pm. Curated by Klaus Fischer.
C. 072 658 0762 198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.
Seippel Gallery Gallery Michael Heyns
Until 30 January 2011, “Floating Underwater Dreaming” Until 09 December, “R5,000 & less” Michael Heyns ends Unisa Gallery
by Jill Trappler. off the year with an eclectic exhibition of his paintings and 04 December-21 January, Final level exhibition of visual
Arts on Main, Cnr of Fox and Berea, Jhb. clay works priced at R5,000 and less. arts and multi media students 2010 Opening @ 12:30.
T. 011 401 1421 The gallery closes for the festive season on 9 December Main Campus, Theo Van Wijk Building B-block, 5th Floor
and re-opens on 25 January with an exhibition of new T.012 429-6255/6823.
Spaza Art Gallery work.
From 27 November, “Christmas Show” group multi-media 351 Lynnwood Road Menlo Park Pretoria.
19 Wilhelmina Street, Troyville. T. 011 614 9354
C. 082 494 3275
(next to Schweickerdt Art Shop)
T.012 460 3698 C.082 451 5584

Standard Bank Gallery

Until 04 December, “People, Prints and Process-Twenty
Imaginarium Art Gallery at Lucit Restaurant
01 – 24 December, “R1000 & below” Affordable art and
five years at Caversham” craft items by a variety of Pretoria and Cape-based
Dimitrov Art Gallery
Until 04 Dec, “Translations: Art into Jewelry.” artists.
Ongoing, “Expression of freedom” by Branko Dimitrov
Cnr of Simmonds & Frederick Str.’s, Jhb. Gallery hours: Tues – Sat 11:00 – 15:00 or
Lifestyle Complex, shop no.4 on Cnr. Teding Van
T. 011 631 1889 by appointment
Berkhout & Hugenote/ Naledi Street, Dullstroom, Mpu-
Jennifer Snyman 082 451 5584 / Gideon van Eeden 083
malanga. 9:00am to 4:00 Wednesday till Monday T. 013
Strauss & Co 306 2830
254 5024 C. 082 679 5698
01 November, Auction of Important Paintings
and Sculpture. Country Club Johannesburg, Woodmead Platform on 18th
Corner Lincoln Road & Woodlands Drive, Woodmead. 18 November - 04 December, “12 Altaarstukke”, Solo exhibition of paintings and mixed media by
David Smuts.
232 18th Street Rietondale, Pretoria.
T. 084 7644 258
White River
Pretoria White River Gallery
Pretoria Art Museum From 29 November “Strange Acquaintances”, sixty pastel
Association of Arts Pretoria 02 December-23 January, Student exhibition. TUT De- paintings over monotype by Gregory Kerr.
Closed from 15 Dec-11 Jan 2011. partment of Fine and Applied Arts. The exhibition will be Casterbridge centre, R40 cnr Numbi gate rd and R 40 to
173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 opened on 2 December @ 6pm for 7pm by Dr Mzo Sirayi, Hazyveiw. White River.
346 3100 Executive Dean, Faculty of the Arts. C.0825538919 Until 15 December, “A Story of South African Art”
04 December-31 January, “Children’s Tile Art Project The Loop Art Foundry & Sculpture Gallery
Brooklyn Theatre in association with Trent Gallery 2010” North Gallery and Preiss Hall. T.012 344 1807/8 Casterbridge Complex Corner R40 and Numbi Roads
Until 30 January, “Deux ex Machina”, group exhibition. White River
Greenlyn Village Shopping Centre, Thomas Edison T. 013 751 2435
Street, Menlo Park. Stuart @ 082 923 2551 The Tina Skukan Gallery Until 18 December, An exhibition of handcrafted furniture
and décor, wooden sculptures, Suzanis and other hand

“Study of Trees” photography by Garth Meyer to be seen at The Rooke Gallery (See listings above)

SA ART TIMES. Dec 2010- Jan 2011 25

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Western Cape Dorothee Kreutzfeldt. Opening 09 December @ 6pm by

Peter Anderson.
06 - 29 January, Works by Jaques Coetzer comprising
70 Loop street, Cape Town T. 021 426 2011

David Krut Projects Cape Town

photography, sculpture & installation. December, Collection of new prints from the
113-115 Sir Lowry Rd, Woodstock, CT. T.072 1989 221 Johannesburg print studio including works by Deborah
Cape Town Bell and William Kentridge.
Montebello Design Centre, 31 Newlands Avenue, CT.
Cape Gallery T. 021 685 0676
Absolut Art Gallery Until 04 December, “Natures & Patterns” recent work by
Until 19 December, a group exhibition featuring works by Christopher Langley.
Ryan Loubser, San-Maré Raubenheimer, Pieter Uitlander 06 December-08 January 2011, New Works by
and Raché Gerber. David Kuijers. David Porter Antiques
Ongoing, permanent exhibition with some of the best 09-29 January, “Montagu, Bruges and Burgundy” Buyers and sellers of South African art.
Masters and contemporary artists. Namely Irma Stern, New paintings in oil by Roelof Rossouw. T. 021 6830580/083 452 5862
JH Pierneef, Cecil Higgs, Adriaan Boshoff, Tinus De 30th January 2011 – 19th February 2011,
Jongh, Adolf Jentsch, William Kentridge, to name but a Recent work by: Lesley Charnock, Jenny Parsons,
few. Shop 43 Willowbridge Life Style Centre, Carl Cronje Veronica Reid, Sheilagh Price, Anne-Marie Sloan and The Donald Greig Bronze Foundry and Gallery
Drive, Bellville, CT. T. 021 914 2846 Frederike Stokhuyzen. Donald Greig is a specialized wildlife sculptor and his 60 Church Street, Cape Town. T. 021 423 5309. web@ sculptures ranging in size from life-size to paperweights will be on display at the gallery. The foundry will do a
Alliance Française of Cape Town bronze pour on most days and the entire ‘Lost Wax Cast-
29 November- 18 December, “Couleur Mouvement Carmel Art ing Process’ can be viewed by the public through special
Forme” Painting Exhibition by Marie-Anne Vorlet Dealers in Fine art, exclusive distributers of glass windows.
In partnership with the General Consulate of Switzerland. Pieter van der Westhuizen etchings. The Nautilus Building, No.14 West Quay Road, V&A
T. 021 423 5699 Relocation of their Claremont and Constantia galleries Waterfront, Cape Town. T. 021 418 4515 is now complete visit the new gallery at the Cape Quarter
Square –Cape Town’s newest upmarket and trendy
/A Word Of Art shopping mall where Leonard Schneider and Beila Duende Contemporary Art & Framing
14-16 January 2011, “Guten Tag” We Are Visual Gallery are available to assist you. Until 05 December, “h-u-m-a-n book 1” Surisa-Surisa
will be colonizing the the Woodstock Industrial Centre Cape Quarter Square, 27 Somerset Road Green Point shows acrylic on canvas together with word paintings.
from Hamburg Germany,3 Artists will be inhabiting and (on the first floor above the Piazza & restaurant level) 7-18 December, “Revival” by Stuart Valentine-Rambridge
creating in the space as part of the new /A WORD OF T. 021 4213333 in the mezzanine gallery and group show including Niall
ART/ Woodstock Industrial Centre residency program of- Molloy, Miche, Tyrone Appollis downstairs.
ficial launch. This will culminate with an installation made Casa Labia 21 Dec-10 January,
of materials and objects salvaged from the streets of 17 November - 29 January 2011, Africa Nova presents “Always” by Richard Lawrence (in mezzanine)
Cape Town as well as a 3 day exhibition of paper works Casa Labia in Bloom - a celebration of indigenous flow- 13-27 January,
from the Gaengeviertel artist squat in Hamburg and local ers. Casa Labia in Bloom is a multi-media festival of art, “Contentment and other stories” by Nicolas Truman Baker
Cape Town artists curated by /A WORD OF ART and We inspired by South Africa’s indigenous flora developed by Shop 1, Trafalgar Place, Regent Road, Sea Point.
Are Visual. Margie Murgatroyd of AFRICA NOVA. The exhibition will T. 021 434 5022
25 January-11 February, “Body of Work” presented by feature works in a range of media and styles, including
Cape Town Tattoo Convention. An exhibition of custom- painting, ceramics, photography, sculpture and jewellery. Erdmann Contemporary /Photographers Gallery
ized hands and Tattoo inspired artwork Curated by 192 Main Rd, Muizenberg. T. 021 788 6067 20 November-end January 2011, “Summer group exhibi-
Manuelle Grey (Wildfire.) Opening 25 January 6pm-9pm. tion” featuring works by Lindeka Qampi, Fanie Jason,
66 Albert Rd, Woodstock Industrial Centre. Karlien de Villiers, Lien Botha, Nomusa Makhubu, Johann
T. 021 448 7889 Cape Town School of Photography Louw and Barbara Wildenboer. Until 03 December, “Inner and outer landscape 63 Shortmarket Street, Cape Town.
impressions” by Michel le Sueur. T. 021 422 2762
Art b 4th Floor, 62 Roeland Street, Cape Town.
Until 03 December, T. 021 4652152
“Santam’s Child Art travelling exhibition.” Everard Read Gallery
06-12 December, Cathy’s Studio Until 31 Jan 2011, “Untamed”, an installation by Dylan
Prestige Academy final year photography students 09-10 December, “Studio Sale” paintings by Lewis at Kirstenbosch Gardens.
14 December- 19 January, Cathy Layzell and Amanda Dinan. Until 05 December, “Never & Always” by Mark Sheilds.
Permanent Collection Exhibition 2 Ocean View Flats, Winsor Rd, Kalkbay. We will be showcasing some of our finest works by
The Arts Association of Bellville, The Library centre, Carel T. 0794491311 or 021 7882011 leading contemporary artists during December & January.
van Aswegan Street, Bellville. T. 021 918 2301 Please note that we are closing early on the 24th & 31st Cedar Tree Gallery of December (2pm). We will be closed for the days of
30 November - 06 February 2011, Photography by December 25th & 27th & the 1st of January 2011.
AVA Malcolm Dare. Opening 30 November @ 6pm. 3 Portswood Road, Victoria and Alfred Waterfront
Until 10 December, “Milnerton Market” photography by Rodwell House, Rodwell Road, St James, CT. T. 021 418 4527
David Southwood T. 021 787 9880
13 December - 21 January 2011,
“Monotype by Warren Editions.” 34 Fine Art
13 December - 21 January 2011, “Category Error 2” Centre for African Studies Gallery 09 November - 15 January 2011, “Then: Now” a group
group exhibition. Participating artists: Joanne Bloch, Until 18 December, “Juggling with the Familiar II : Exhibi- exhibition featuring William Kentridge, Damien Hirst, Mar-
Jann Cheifitz, Mandy Darling, Josie Grindrod, tion of Works in Progress” the exhibition brings together lene Dumas, Asha Zero, Norman Catherine, Roelof Louw,
Verna Jooste, Leora Lewis, Lynne Lomofsky, photographic and mixed media projects by South African Takashi Murakami, Willie Bester, Robert Hodgins, Bettie
Khanyisile Mbongwa, Philip Miller and Jane Solomon. female artists who utilize extreme subjectivity and Cilliers-Barnard, Lionel Smit and Cindy Sherman.
Association for Visual Arts, 35 Church Street, intimacy within their methodology and style in one way /
T.021 424 7436 or another. Artists included are: Ingrid Masonda, Tracey C. 082 354 1500
Derrick, Suzanne Duncan, Sophia Claassens,
Barnard Gallery Siona O’ Connell and Jenny Altschuler. Focus Contemporary
Until 26 January, “In my Backyard” by Willie Bester. Harry Openheimer Building, Engineering Mall, 29 November-12 January, “The Best of Summer 2010”,
55 Main Street, Newlands. T. 021 671 1666 Upper Campus, UCT. T. 021 650 2308 featuring Karin Miller and Christian Diedericks. 67 Loop Street, Cape Town. T. 021 422 5996
Club Voom Voom
Blank Projects. 03 December-16 January, “The seven year bitch - fashion
09-30 December, The immanent inauguration of the meets victim” by Veronique Malherbe.
5th corner - From a series of paintings in progress by Opening 03 December @ 9pm.

SA ART TIMES. Dec 2010- Jan 2011 29

42 Summer Exhibition
of SA Art

Tel: 044 874 4027 •

79 Market Street, George • GPS 33°57’42.66’’S | 22°27’24.54’’E
Katrine Brink Claassens. ‘The Jacaranda Girls’.

91 Kloof Street | CPT

M| +27 82 679 3906

‘ The Jacaranda Girls & Other Stories’ | 18 Jan - 19 Feb 2011

A solo exhibition of oil painting, watercolour & print by Katrine Brink Claassens
Marlise Keith. ‘Tools like these require patient hands’.

91 Kloof Street | CPT

M| +27 82 679 3906

‘Coppertone 77’ | Summer Salon. 4 Dec 2010 - 14 Jan 2011.

A selection of works by Sanell Aggenbach, Tom Cullberg, Marlise Keith, Jade Klara,
Motel7, Lorenzo Nassimbeni, Gabby Raaff, Dave Southwood, Paul Senyol, Frank
van Reenen, Leonora van Staden, Michael Taylor & Zelda Weber to mention but a few...
G2 Art Iziko SA National Gallery 15 Dec 2010 - 15 January 2011, Textile & Jewellery
24 November - 10 December, “Road trip” Paintings by Until 30 January 2011, Borders presents a distillation of Exhibition. Opening Wed 15 December @ 6 pm. 35
Roelie van Heerden. Opening 24 November @ 6pm. work from the Bamako Encounters 8th African Photo- Designers on display.
61 Shortmarket Street, Cape Town. T. 021 424 7169 graphic Biennale, 2009. Mali’s pan-African exhibition is 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. travelling for the first time to Sub-Saharan Africa, provid- T.021 788 6571
ing South Africans with a unique opportunity to engage
Gallery F with contemporary photographic production from across
Contemporary and archival South African Art. the continent and its diaspora. Curated by Kanon 21
221 Long Street, Cape Town. T. 021 422 5246 Michket Krifa and Laura Serani. 06 December, “15 x 15”, Miniature Art Group exhibition Until 13 March 2011, “In Context” group exhibition of presented by “The Haas Collective”
contemporary international and South African artists. Friday Evening, 10 December, 6 pm onwards and Satur-
Gill Allderman Gallery Curated by Liza Essers. day morning, 11 December from 10am - 1pm.
Continuous Exhibition, “Exhibition # 36” A Group exhibi- 06 November - 17 April 2011, “Boarding House” A great selection of miniature art works by many well and
tion featuring abstract art, graffiti, paintings, drawings. photographs by Roger Ballen. lesser know contemporary SA artists at very affordable
278 on Main Road, Kenilworth. 27 November - April 2011, “Imagining Beauty” prices! body adornment from Iziko collections and young 40 Dorp Street, Bo-Kaap. Haas Design Collective:
C. 083 556 2540 SA designers. T. 021 422 4413 C. 083 290 1638
25 Queen Victoria Street, Cape Town
Goodman Gallery, Cape T. 021 467 4660 Liebrecht Art Gallery
20 November - 08 January 2011, 3 November - 28 January 2011, “Slice of Life” a group
“Hail to the Thief” by Brett Murray. exhibition. In what must surely be one of the largest
3rd Floor, Fairweather House, 176 Sir Lowry Rd., Wood- Iziko Michaelis Collection national exhibition projects ever undertaken by a small
stock, CT. T. 021 462 7573/4, Until 30 January 2011, privately-owned gallery - run by one gallerist and his dog “Home and Away: A Return to the South” – in this country, 630 paintings by 63 artists from all cor-
curated for the ifa lethu foundation. ners of South Africa are being showcased in the Liebrecht
iArt Gallery Iziko Michaelis Collection, Old Town House, Greenmarket Gallery in Somerset West for a period of three months.
Dec/January, “9 Linocuts” in association with The Artists’ Square, Cape Town. T. 021 481 3800 Opening 03 November @ 6:30pm.
Proof Studio. A selection of embroidered/beaded work will 34 Oudehuis Street, Somerset West. T. 021 852 8030
be on show alongside the linocuts. C. 082 304 3859
During December, “The Gift of Fine Art”, as part of “Sum- Iziko Good Hope Gallery
mer in the City 2010.” Small affordable works of art. Until 31 January 2011, “Ghoema & Glitter: New Year Michael Stevenson Contemporary
12 January-16 February, “After Baines” by John Walters. Carnival in Cape Town” 02 December 2010- 15 January 2011, 15th annual sum-
Walters’ long-awaited exhibition of Masters work, and his Ongoing, William Fehr Collection mer exhibition. Michael Stevenson’s 15th annual summer
first solo exhibition outside of the university environment. Buitenkant Street, opposite the Grand Parade, Cape exhibition will comprise five solo shows, by
71 Loop Street, Cape Town. T. 021 424 5150 info@iart. Town. T. 21 464 1262 Anton Kannemeyer, Viviane Sassen, Claudette Schreuders, Iziko SA Museum Serge Alain Nitegeka and Hylton Nel.
Until September 2011, 20 January-26 February 2011, Works by Wim Botha
iArt Gallery Wembley “Made in translation: Images from and of the Landscape.” and Daniel Naude.
29 November - end December, “Tempermes” by Louis 9 December to 13 March 2011, Ground Floor, Buchanan Building, 160 Sir Lowry Rd,
Jansen van Vuuren. Louis Jansen van Vuuren will launch “Wildlife Photographer of the Year 2010 exhibition.” Woodstock, CT.
his first and long-awaited anthology of Afrikaans poetry, 25 Queen Victoria Street, Gardens, Cape Town T. 021 462 1500
entitled Tempermes. The book will be accompanied by an T. 021 481 3800
exhibition of painting entitled “Memory and Desire”
Wembley Square, Gardens, Cape Town. T. 021 424 5150 Johans Borman Fine Art Gallery Red! The Gallery
13 November - 04 December, “Seebriewe” an exhibition 27 November-15 December, Double Vision’ Derrick van
Infin Art Gallery of oil paintings by Jacobus Kloppers. Rensburg, Donna Mckellar.
A gallery of work by local artists. 06-10 December, The Homestead Annual Online Charity Steenberg Village, Reddam Ave, Tokai
Wolfe Street, Chelsea Village, Wynberg. T. 021 761 2816 Auction. Paintings by Walter Meyer, Hennie Niemann Jnr, T. 021 701 0886
and Buitengracht Str. Cape Town. T. 021 423 2090 www. Marlene von Dürckheim, Ben Coutouvidis and Hussein Salim have been donated by the artists and the gallery.
In Fin Art Building, Upper Buitengracht Street, Cape
Irma Stern Gallery Town. T. 021 423 6075.
14 December- 15 January,
“Ceramics Clementine exhibition.”
Cecil Rd, Rosebank, CT. T. 021 685 5686 Kalk Bay Modern

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SA ART TIMES. Dec 2010- Jan 2011 31

Opening speaker : Johann du Plessis | Curator : Carina Bekker

16 January - 16 February 2011

Henry Hopkins Craig Muller

20 February - 23 March 2011

MJ Lourens

For reservations : T +27 21 876 8600 F +27 21 876 8601

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Raw Vision Gallery Waterkant Gallery Opening Saturday, 27 November @ 6pm with opening
16 December - January 2011, Marina Cano wildlife Until 08 December, “African Archival Photography” speaker Prof Lize van Robbroeck (Art historian,
exhibition 123 Waterkant Street, Cape Town. T. 021 421 1505 Stellenbosch University)
89 Sir Lowry Rd, Woodstock, CT. T. 076 581 9468 info@ 79 Market Street George. T. 044 874 4027 Wessel Snyman Creative
Until 07 December, “Ocean Drive Series”, guache on
Rose Korber Art
Until 12 December, “Abstraction and Meaning” New oil on
paper by Wayne Durno.
08 Nov -08 January, “Early Retrospective”, photography
canvas by a master of Minimalism, J P Meyer. by Stuart Sandford.
Abalone Gallery
16 December 2010 - 17 January 2011, “19TH Annual Art 11 - 23 January, “Human Earth & Bigwood Collective”,
During Dec/Jan, Main Gallery: “Inspired by Africa”, works
Salon” An exciting innovation this year will be the inclu- a mixed media exhibition.
by Raymond Andrews (wooden panels), John Clarke
sion of a ‘Salon within a Salon’, presented by well-known 27 January - 12 February, A solo exhibition of oil paintings
(pastel drawing), Hannes Harrs (collages and totems),
Cape Town curator, Andrew Lamprecht, and entitled the by Danny Shorkend.
Leonard Matsoso (oil pastel ), Carl Roberts (sculpture),
Salon des Confuses. He will present a varied mix of 17 Bree Street, Cape Town. T. 021 418 0980.
Solomon Sekhaolelo and Lynette ten Krooden (painting).
younger, emerging artists, alongside some well-known
Side Gallery: Collection of graphic and photographic
names, but with a focus on the unusual, unexpected and
works by: Hardy Botha, Lien Botha, Norman Catherine,
surprising. At the opening event, two performances by What if the World…
Braam Kruger, Judith Mason, Dirk Meerkotter,
Angelique Kendall and Gerald Machona will also take 10 November - 04 December, Solo Exhibition by
Cecil Skotnes, Andrew Verster.
place as part of his contribution. Andrzej Nowicki.
2 Harbour Rd, The Courtyard, Hermanus.
48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 08-15 January 2011, “WITW Summer Group Show”
T. 028 313 2935 First floor, 208 Albert Rd, Woodstock, T. 021 448 1438
Bellini Gallery and Cappuccino Bar
Rust-en-Vrede Gallery Worldart Gallery
During December, “Summer selection”, Works by
Until 15 December, “From the Vine”, Jewellery designed 16 December-14 January, Group Painting exhibition
Annette Barnard, Anna Barth, Ed Bredenkamp, Maeve
by Ilke & Marc Whitehorn; “Alternative Realities” oils by featuring Richard Scott, Gavin Rain, Alex Hamilton,
Dewar, Annemarie du Plooy, Charlene Langguth,
Janna Prinsloo; “Legkaart” oils by Lynie Olivier; In the Thembinkosi Kohli and Ayanda Mabulu.
Elizabeth Miller-Vermeulen, Shannon Phillips, Alison
Cube in the Clay Museum: Rice Bowls by various potters. 54 Church Street, Cape Town. T.021 423 3075
Riordan, Vernon Swart, Louis Stroh van der Walt.
10 Wellington Rd, Durbanville. T.021 976 4691
03 -12 December,
“People and Places” paintings by Alyson Guy.
167 Main Road, Hermanus. T. 028 312 4988
Salon 91 Youngblackman Gallery
04 December-14 January, “Coppertone 77”, Summer Until 12 December, “The Body in Question IV: La Mamma
Group Salon. Various media. Morta” by Athi-Patra Rugha.
Harbour Road Art Gallery
18 January-19 February, “The Jacaranda Girls and 69 Roeland Street, Cape Town. T. 083 383 0656
Until 15 January, Kirstenbosch Biennale artists exhibit
Other Stories”, solo exhibition of oil painting, print and
in Kleinmond.
watercolour by Katrine Brink Claasens. Opening Tuedsay
Hangklip, Kleinmond. T. 028 271 5689
18 January @ 7:30pm.
91 Kloof Street, Gardens, Cape Town. T 021 424 6930. Franschhoek Municipal Auditorium, Hermanus
“Opportunity Art” will be hosted by Overstrand Hospice on
Galerie L’ Art 7 January 2011 at the Municipal Auditorium in Hermanus,
A permanent exhibition of old masters. which in short is a fundraising event focusing on Art, and
South Gallery
Shop no 3, The Ivy, Kruger Str., Franschhoek includes an Art Sale and Auction. All artists (professional
Showcasing creativity from KwaZulu-Natal including
T. 021 876 2497 and amateur) are encouraged to donate a painting(s) to
Ardmore Ceramic Art. this event. All donated paintings, except the painting do-
Fairweather House, 176 Sir Lowry Rd, Woodstock,
nated for auction, will be sold at very reasonable prices,
Ground Floor.
The Gallery at Grande Provence ranging from R100 to R500.
T. 021 465 4672
Until 01 December, “Painters who Print-Art on Paper” Artists include Gail Catlin, Tay Dall, Lynda de Wet,
an exhibition that celebrates some of the artists who have Carol Mangiagalli, Hennie Niemann, Hennie Niemann Jr,
South African Jewish Museum
worked at The Artists Press. Helmut Starcke, Charles van der Merwe,
Until February 2011, “Kith, Kin & Khaya”, South African
Until 01 December, “Fragile Earth” Louis van Heerden, Derick van Rensburg, Jan Vermeiren
Photographs by David Goldblatt. Over 100 of Goldblatt’s
by Jeannette Unite (The Project Room) and Angela Key.
finest gelatin silver prints.
05 December- 12 January, “Angels V”, the fifth annual 07 January, “Opportunity Art”, art sale and auction.
In the Company’s Garden, 88 Hatfield Street, Gardens,
Christmas exhibition featuring works by selected SA Preview 07 January 12am. The art sale and auction will
Cape Town.
artists. Opening 05 December @ 11am with opening start at 4pm. For more enquiries, contact Dieter Odendaal
T. 021-465-1546
speaker Johann du Plessis. Curator: Carina Bekker. at Overstrand Hospice on 028 312 4679 fundraising.
16 January-16 February, Works by Henry Hopkins and
South African Print Gallery Craig Muller; The Shop: Sally Arnold; Project Room-
11 December-15 January 2011, new works by
Joshua Miles.
George Hugo.
Main Road, Franschoek. T. 021 876 8600.
A wide selection of Fine Art Prints by South African
Dale Elliott Art Gallery
Masters and contemporary printmakers.
Garden Route and Knysna themed exhibition by
New prints in stock Dale & Mel Elliott
107 Sir Lowry Rd, Woodstock, Cape Town. Is Art
Woodmill Lane Shopping Centre, Knysna.
T. 021 462 6851 05 December-Mid February, A group exhibition of paint-
Tel:044 382 5646 ings, sculpture, ceramics and jewellery.
Opening 05 December @ 11am.
Knysna Fine Art
These Four Walls Ilse Schermers Art Gallery at Le Quartier francais,
From December, Working drawings by Peter Cazalet.
03-11 December, Sadly these four walls will be closing. 6 Huguenot Street, Franschhoek. T. 021 876 8443
(The primary costume designer for theatre, opera and
Please join us for the last exhibition opening Fri 3 Dec, ballet, both locally and internationally)
at 6pm, to celebrate the gallery’s many happy and
successful years.
George Continuous exhibition, paintings by Leon Vermeulen.
Knysna Fine Art has relocated to Thesen House,
169 Lower Main Road, Observatory, Cape Town. 6 Long St, Knysna.
Strydom Gallery
C. 079 302 8073 T. 044 382 5107 C. 082 5527262
From 27 November, “George 24”, 42st
Summer Exhibition of South African Art.

SA ART TIMES. Dec 2010- Jan 2011 35


Oudtshoorn Art on 5
Permanent exhibition of paintings and ceramics by
University of Stellenbosch
11 November - 14 Febuary 2011, “Mother Nature.
Maryna de Witt, Pera Schillings, and Karen Kieviet. Art and Psychology in conversation.” A multi-media group
Artkaroo Gallery 7b Andringa Str., Stellenbosch. T. 021 887 7234 exhibition. Curated by psychologist Elzan Frank.
Until 18 December, mixed & multi media and lithographs Cnr Dorp & Bird Street, Stellenbosch
by Chris Spies supported by ceramics by Dorpstraat Galery T. 021 808 3524/3489
Elsable Pretorius.
107 Baron van Reede, Oudtshoorn. T. 044 279 1093 Dec/Jan, Group show featuring Walter Meyer, Shany van Stellenbosch University den Berg, Nora Newton, Greg Lourense, Eugenie Marais, Until 12 December, “Gradex 2010” an exhibition of works
Frank van Reenen and Vincent da Silva. from the graduate students of the
10 Oude Bank Church Street, Stellenbosch. Department of Visual Arts.
Paarl T. 021 887 2256 Department of Visual Arts, Stellenbosch University.
Hout Street Gallery US Art Museum
25 November - 28 February 2011, “Annual Summer 02 December-08 January, “Huis, paleis, pondok..” by
Salon.” this exhibition features an extensive range of Glen Carlou Estate Brahm van Zyl;
paintings, ceramics and sculptures by more than thirty On exhibition is The Hess Art Collection, including works “Mnemonic Devices by Madelein Marincowitz.
South African artists. by Deryck Healey, Ouattara Watts and Andy Goldsworthy. Cnr of Dorp and Bird Streets, Stellenbosch.
270 Main Street, Paarl. T. 021 872 5030 Simondium Rd, Klapmuts. T. 021 875 5314 T. 021 808 3524/3489

SMAC Art Gallery

Piketberg 08 December-27 February, Villiersdorp
New paintings by Johann Louw.
AntheA Delmotte Gallery De Wet Centre, Church Street, Stellenbosch. Dale Elliott Art Gallery
25 November - 15 December, “16 days of activism” T. 021 887 3607 Festive Season Exhibition of latest oil paintings by
47 Voortrekker Street, The Old Bioscope, Piketberg. 073 Dale & Mel Elliott. Demonstration programme available.
281 7273, Stellenbosch Art Gallery T. 028 840 2927
25 November - 31 January 2011,
Stellenbosch “2010 Gala Summer exhibition.”
34 Ryneveld Street Shop 1 Ryneveld Plaza.
T. 021 887 8343

11-17 Art Times.pdf 1 2010/11/17 1:46 PM






The Cape Gallery, 60 Church Street seeks to
expose fine art that is rooted in the South
African tradition, work which carries the
unique cultural stamp of our continent.
in the Companies Garden
Featured above is artist Xolile Mtakatya
Open: Mon - Fri: 9h30 - 17h00 American express,
THE CAPE Mastercard, Visa
GALLERY Sat: 10h00 - 14h00 & Diner cards are
Tel: 27 21 423 5309 accepted. Reliable
Fax: 27 21 424 9063 arrangements can
be made to freight
E-mail: purchaces to foreign
Web: www.capegallery destinations.

Kwa Zulu Natal “Samsara – A Continuous Pursuit (1860s settlers)”

04 December-23 January, Jabulisa 2010”
Until end December, “Frequency Luness”,
T. 031 2023686

Nourish Café on Kensington:

a sound exhibition. Dec & Jan: First exhibition of photographs by
2nd Floor City Hall, Anton Lembede St (former Smith St) amateur photographer Annelise Willis
Durban Durban. Nourish is a place where art and food can be mutually
T. 031 311 2264 experienced.
Kensington Drive, Durban North. T. 031 564 3126
The African Art Centre Durban DUT Art Gallery
17 December - 05 December, 07 – 09 Dec, Jewellery & Fine Art Exhibition The Village Green, Umhlanga:
A solo exhibition of landscape paintings by 13 – 15 Dec, Emma Smith Exhibition 4 Dec: 9:30am – 3pm North Coast Art Group open-air art
Derrick Nxumalo. 10 – 31 Jan, Exhibition of works by exhibition in aid of Animal Anti-Cruelty T. 031 568 1957
08 December - 09 January 2011, Celeste van der Merwe
A New Range of Summer Jewellery and a selection of T. Nathi 031 373 2207
artwork in a variety of mediums by the Velobala Group. Margate
94 Florida, Durban. T. 31 312 3804/5 Fat Tuesday Dec, Exhibition of photographic work by Lesley Goodman Margate Art Museum
entitled “In the rain” as well as beautiful ceramic by Museums art collection on display.
Artisan Contemporary Helen Vaughan, De Holley and Catherine Brennon and T.039 312 8392 C.072 316 8094
Until 04 December, “Coastal Reflections” paintings by magnificent carvings from Zambia in ebony of Noah and
Jenny Meyer and Jewellery by Bianca Ladds.
08 December-15 January, Recently published works
His ark along with all the animals
Dec, Illana Lloyd’s “Art for Life” creative Christmas
by the Artist Proof Studio. Accompanying the prints on workshops for children aged 6 and up and bear
The Blue Caterpillar Art Gallery
display is jewellery and ceramics by leading South African Hansen’s Cartooning course for all ages.
01-30 December - Spanish artist Didier Lourenço’s
artists including Sarah Walters, Loren Kaplan, Bellevue Road, Kloof. Shannon T. 031 717 2785
watercolour and original oil paintings will still be on view in
Martha Zettler, Katherine Glenday, Evette Weyers
the gallery and on our website.
and Catherine Brennon. Kizo Art Gallery
02-31 January, Still lifes and landscape oil paintings by
344 Florida Rd, Morningside, Durban. Dec & Jan: Keith Calder’s impressive 3m bronze entitled
Jocelyn Boyley and Charmaine Eastment both artists
T. 031 312 4364 Slide Tackle will be on exhibition together with an
where influenced and tutored by the late Errol Boyley.
enormous collection of artworks from the
The Blue Caterpillar art gallery at Butterflies for Africa
ArtSPACE Durban 2010 Fine Art Collection and others.
37 Willowton Road, Pietermaritzburg. T. 033 387 1356
29 November - 15 January 2011, Gateway Theatre of Shopping or
“8th Annual Affordable Art Show” T. 031 566 4322/4
24 Jan – 12 Feb, Petros Ghebrehiwot paintings.
3 Millar Road, Stamford Hill, Durban. T.031 312 0793 KZNSA Gallery
Tatham Art Gallery 14 November – 09 January 2011,
05 December-16 January 2011 ,
“Buzz Art” Christmas gift fair extravaganza.
“Circles of Tranquility” by fibre artist- Jutta Faulds.
Durban Art Gallery 25 Jan –19 Feb: “The Bold and The Beautiful:
Cnr of Chief Albert Luthuli (Commercial) Rd. and Church
Until February, Monty Naicker. Annual Member’s Exhibition”
Str. (Opposite City Hall) Pietermaritzburg.
26 November- Until 13 Feb, 166 Bulwer Rd., Glenwood.
T. 033 342 1804

Eastern Cape Port Elizabeth Nelson Mandela Metropolitan Art Museum

Biennial Exhibition and Award 2010.
18 December - 18 March 2011, “Faces and Places”
An exhibition of paintings, photographs, prints and
Alliance Francaise ceramics from the Art Museum’s Permanent Collection.
Until 03 December, “Réunion Chroniques”
East London (Reunion Chronicles), a photographic exhibition from
1 Park Drive, Port Elizabeth. T. 041 506 2000
Reunion Island.
7 Mackay Street, Richmond Hill T. 041-585-7889 New Creations
Ann Bryant Gallery
Until 16 December, Ceramics SA Eastern Cape
The Main Gallery Epsac Gallery Regional exhibition.
Until 04 December, Until 10 December, Works by Niek Hiemstra. 13 Newington Street, Richmond Hill
East London Fine Art Society’s Annual exhibition. 03-15 December, Fixated. An exhibition of fashion, For enquiries T. Stephanie Liebetrau at
The Coach House photography and film by NMMU School of Art & Design 041 3737136/ 082 8774138
02-16 December, Group Mosaic exhibition. students. 36 Bird Street, P.E.
9 St. Marks Rd, Southernwood, East London. T. 041 585 3641
T. 043 722 4044
P.E. Summer Arts fair Montage Gallery 10-12 December 2010, a 3-day event which includes a Until 23 December, “Nexus”, oil paintings by fashion show, live performance competition and drama
Greg Schultz and sculpture by Wehrner Lemmer. production as well as art exhibitions.
59 Main Road, Walmer, P.E.
Vincent Art Gallery T. 041 581 2893
01-07 December, Ceramic exhibition by Ron Belling Art gallery
Charmaine Haines, Taking Place at the From 29 November,
The Vincent Park Centre. From 10am-6pm.
Architecture Student exhibition from
Usual Gallery Hours Tues-Fri 9am-5pm; Sat 10-1. Nelson Mandela Metropolitan Art Museum Nelson Mandela University.
2 Donald Road Vincent, East London. Permanent exhibition, “Art in Mind” 30 Park Drive, P.E. T. 041 586 3973
T.043 726 4356 C. 083 700 4711 Until 05 December, “RE.SPONSE” Lecturers, students and Alumni from the Nelson Mandela Metropolitan
University School of Music, Art and Design.
Until 12 December,
“Fauna and Flora” images and ceramics
10 December - 06 February 2011,

SA ART TIMES. Dec 2010- Jan 2011 37


Lloyd Pollak interviews Brett Murray regarding his show entitled:

“Hail to the Thief” currently on at The Goodman Gallery, Cape.
Photo: Jenny Altschuler
We are currently inviting submissions for our
forthcoming Cape Town and Johannesburg auctions.
Entries close end December 2010 and
mid March 2011 respectively.

Johannesburg 011 728 8246
Cape Town 021 683 6560

Irma Stern, The Lemon Pickers, signed and dated 1928,

oil on canvas, 100 by 95cm R10 000 000 - R14 000 000
Cape Town, Monday 7 March 2011

Elevenses with the dark Prince of Pop

Text by Lloyd Pollak they love about Cromdale villa is its aura of bygone days, and they have
preserved even its quaint inconveniences. The vast, and defiantly un-modern-
Photos: Jenny Altschuler ized, kitchen oozes nostalgia for the 1940’s when women wore aprons and
baked, and hapless husbands did not come home to boxed pizza delivered by
I succumbed to the period charm of Cromdale Villa, the home of Brett Murray, students in dinner jackets.
his wife, Sanell Aggenbach, and their daughter, Lola, as soon as I glimpsed
its stately mustard façade from the road. The blocky cubic silhouette of this Brett’s wacky humor expresses itself in a passion for kitsch. The connois-
spruce turn of the century Cape Georgian villa is crowned by a lofty pediment seur of tack continually regales the eye with bizarre conclaves of animals and
with Greek revival detailing, and the ensemble exudes the security, solidity and figures rising from the top of fireplaces, bookshelves, tables and ledges. An
stability of the British Empire at the height of its glory. Trim iron railings and African crocodile in charred wood nestles up to a matronly Russian babushka;
walls divide the property from the street. Graceful arched double front doors, a wooden aeroplane prepares for take-off next to a tin Cadillac. Pageants of
spacious sash windows and a deeply shaded verandah, patiently await you, skittishly juxtaposed colon figures, catholic religious icons, African airport art
giving the villa a convivial air of invitation. and plastic toys, process along every available surface. Sanell’s life-size black
sheep vainly attempt to graze a bedroom’s parquet floors, and gaze out of the
So sturdy and robust is its construction that I felt my Claremont bonk-box window with hopeless longing for the rasping grass of the Karoo. The spoils of
was made of Styrofoam. The slate walls are thick enough to survive a siege. the church bazaar rub shoulders with paintings and sculpture by Kevin Brand,
Ceilings are lofty, and proportions so perfect they immediately induce a sense Lisa Brice, Conrad Botes, Lindy Sales, Doreen Southwood, Andrzej Nowicki,
of restful harmony. There is an expansive generosity about the Edwardian Zander Blom, John Murray and Hylton Nel, and although such works are
architecture: the tall, broad windows are equipped with folding wooden shutters valuable, they are nonetheless displayed with a throwaway insouciance that
and ledges so deep and wide they can comfortably accommodate even the subverts the very notion of display.
plumpest of buttocks.
The sunny spring morning lures us outside. I seat myself on a swing, and
No corners were cut. The carved marble fireplaces surround cast-iron grates interview Brett in the midst of a ramshackle patio where two arthritic old olive
relieved with floral tiles. Weighty marble slabs are interspersed between trees provide pools of shade. This secluded pocket of garden is walled, and
the parquet in all the doorways, and elaborate plaster ceiling roses burst into overlooked only by Table Mountain which peeps over a crumbling brick wall to
bloom on high. eavesdrop on our conversation. All is charming disorder. Rambling bougainvil-
leas and climbing vines tug at the walls, and rosemary and lavender grow
Back in the days of the Dutch East India Company, this was a farm. Later when any which way. Sanell does not patrol the herbaceous borders armed with
Woodstock became a seaside suburb with the beach just down the road, the sécateurs, and weeding, I observe, is not Brett’s strong suite.
seashells provided the raw material for the Kalkbrandery Lime factory. The
previous owner was Signore Lorenzi, an Italian stone mason who embellished Tea materializes, rather than is served, and in the course of conversation,
Deco buildings with carved ornament, and staged operatic recitals in Sanell’s we drift into the large modern studio to view the subject of our discussion,
study where ringed marble columns support a beam from which fringed and the work in progress for Brett’s forthcoming exhibition at the Goodman, “Hail
tasseled velvet curtains once parted to reveal Tosca hurling herself from the to the Thief!” Brett’s art works are little ticking bombs artfully disguised as
ramparts of the Castel St Angelo. suppositories to be placed in the flabby rectum of our ANC government, and
his antagonism to it is so overt, that many gallery goers were outraged at
This is a house with a history, and it wears that history with pride. Brett and Saturday’s opening, and complained bitterly to the staff.
Sanell’s policy is one of loving neglect, and the signs of wear and tear only en-
hance the character of their home. Neither are twee titivators. There is nary a Further faecal matter will surely hit the fan. Earlier this year the then Minister
flower-box, hanging basket nor coach lamp to be seen. The lid of the splendid of Arts and Culture, Lulu Xingwana demanded to know why Zanele Muholi’s
mahogany lavatory seat is not embellished with ribbons and bows. It is what controversial exhibition examining black lesbianism, had not been censored. I
it is, and rather like its owner, it is honest and down to earth in character. Brett suspect that Brett is playing the agent provocateur and deliberately throwing
has certainly stamped his forthright lack of airs and graces upon his surround- down the gauntlet at Xingwana’s successor, Pallo Jordan, and challenging
ings. Furniture is minimal; taste, austere, and nothing interferes with the easy him to close the exhibition, or remove certain works, in order to prove that the
flow of space from room to room. freedom of the artist, and by extension that of every citizen, is in jeopardy.

Although this is a suburban home, Brett and Sanell are most emphatically Brett is playing a dangerous game to defend our civil liberties and one can only
artists, and not suburbanites. Their décor eschews bourgeois status symbols applaud the artist’s courage and shout ‘Viva Brett!” and ‘Bravo, Bravo, Bravo!’
and hints at student digs, the artist’s garret and the counter culture. What

42 SA ART TIMES. Dec 2010- Jan 2011


Jurgen Schadeberg
Interview and photographs of Schadeberg by Jenny Altschuler. November 2010.
Jurgen Schadeberg in his hotel November 2010 Jenny Altschuler 2010 twenty years later on a visit in 1984, to find and fetch my work. I had been
afraid to try and carry the negatives out in the 60s in case they would be found
Jurgen, you are an iconic figure in our country’s history, photographically on me and destroyed by the apartheid police. I did find my work in some aban-
because of the 52 years of photographing and documenting in South Africa doned cabinets on the Bailey farm, and then I returned a year later in 1985
from your arrival in the early 50s up until this 1st decade of the 21st Century, with Claudia to begin realisation of the many documentaries we had planned
and also politically, because of your ongoing deep socio political concerns and together. We stayed till 2007 and produced many of those documentaries on
investigations into the social development of South Africa. You have made films South Africa in video and film during those twenty two years.
on topics such as Nelson Mandela and the Rise of the ANC in 1990; Voices
from Robben Island in 1994 and you published Voices from the Land – a major Voices from the Land was shot during this time, late in 2005. Not many people
photo essay on the conditions on South African Farms, in 2005. You have lived know about this body of work and some of those that did see it as an exhibition
for long periods of time elsewhere so why has South Africa’s state of being or book, misunderstood its’ intention, calling it a continuation of apartheid ob-
consumed you so wholly? session. I had intended an expose of the fact and the conditions on the farms,
which were still steeped in gross inequality systems present under the old
Well, South Africa became my home. All in all I have lived in South Africa for regime. Even now there are still grey areas such as this and I find that hard to
the longest periods of time; round about thirty five years in total if you add it all ignore. It is not only the poverty that I wanted to draw attention to, but also the
together. The first thirteen began in 1950 and that period scanned my formative systems and the power relationships still in place. The project also highlighted
career period from the age of 19, through my 9 years at Drum Magazine as the positive elements in daily life on the farms and hopefully in time this will be
photographer and photo editor and later as freelancer until I was coerced out apparent.
of the country in 1964 by the police and immigration restrictions. I returned

Schadeberg lived in Britain on and off for roughly 20 years between 1964 and 1984 between his long periods of living in South Africa. He has also lived and worked in Spain,
Germany and a number of cities on the African continent. He currently resides in France in a village just outside Paris.

However Germany is also your country. You were born, raised and educated in were chosen as the visiting cultural figure because the dual nature of your con-
Berlin and are back here in Cape Town at the preset moment as the guest of cerns, the artistic and the political, (in this case German and South African), fit
the Cape German Consulate with your exhibition, Mauerbilder 1961: Images the dual focus of the program: celebrating the parallel 20 years of the fall of the
of the Berlin Wall that forms part of the Cape Town German Cultural Weeks Berlin wall and the 20 years since Nelson Mandela was released from prison.
festival hosted by the Consulate. Even though you live in France currently, you

Avoiding the Pass Johannesburg. c. Jurgen Schadeberg 1955

All Residents of West Berlin, waiting to get passes to visit the eastern town of
the newly constructed wall. c. Jurgen Schadeberg 1961

Yes, my life’s work has had resonance on both these levels, the artistic and
the socio politic. The works that are going to be viewed by the city during the
festival, have been circulating internationally for a long while , and are apt
examples of what I have engaged myself in, as a photographer, a socio political
film maker and someone who continues to mentor South African photogra-
phers. Contributing to the German interest of the festival is the exhibition of the
1961 body of work, Mauerbilder: Images of the Berlin Wall, showcasing at the
Photographers’ Gallery ZA. This body of work has been travelling and showing
internationally at the Goethe Institutes around the world since 1998. It was not
a planned project. I happened to get an opportunity to visit Berlin in 1961, and
to my surprise I found myself in the middle of the Cold War. The space was
filled with the soldiers and other battle icons and the rest of the city went on
almost innocently about its daily mechanics.

Back in South Africa you had left Drum magazine, after being extremely
influential in the documentation of the life and atmosphere of the black culture
of writers, poets, music and theatre, as well as the living conditions and general
life in South Africa under apartheid.
Jurgen Schadeberg at the opening of Mauerbilder at the
Photographers GalleryZA Photograph: Jenny Altschuler November 2010

Miriam Makeba posing for Drum cover Waiting for the Trucks, Sophiatown Nelson Mandela during the Treason Trial
c. Jurgen Schadeberg 1955 c. Jurgen Schadeberg 1958 c. Jurgen Schadeberg 1959

It was during this period that Schadeberg photographed the life and struggle of South Africans during Apartheid and documented pivotal moments at important historical events such
as during The Defiance Campaign of 1952, The Treason Trial of 1958, The Sophiatown Removals and the Sharpeville Funeral in 1960. “When I arrived in South Africa in 1950 from
Germany I found two societies running in parallel with each other without any communication whatsoever…As a newcomer and outsider I managed to quite easily hop from one world
to another…for example in the evening I might photograph a white masked ball in The City Hall, the next morning an ANC Defiance Campaign meeting, or a shebeen in Sophia-
town….all followed by The Durban July” (Schadeberg on the publication of The Black and White Fifties in 2002).
The exhibition is presented courtesy of the Johannesburg Goethe Institute where it was exhibited in 1998 as one of the legs of an exhibiting tour of all the Goethe Institutes worldwide.

Jurgen Schadeberg studies each set of photographs brought by participants to the Masterclass in Cape Town. Jenny Altschuler November 2010

You had yourself amassed a huge amount of poignant images of the times as The gallery market is indeed a difficult context for documentary photographers.
well as cultivated and nurtured the blossoming of black photographers who On one hand many of the newer galleries do not understand the medium really
evolved to be this countries historic photographic figures, among these, Ernest and wish and need to make money off pictures that people want on their walls,
Cole, Peter Magubane and Bob Gosani, all of who you assisted with your but on the other hand there is little space and money any more in the media
mentorship, cultivation through your books you showed them on a daily basis for documentary photographers to show their work satisfyingly. Museums are
of international photographers and with the photographic bravado you encour- indeed a better bet, but the newer development of the portfolio of a curator
aged and supported them through. By this time in 1961, among other things, also disturbs the purer showcase. In the old days there was no such thing as a
you had completed a photographic project, on the San (Bushmen), where you curator. You would ask the people you trusted to help you edit and you would
accompanied a research expedition into the Kalahari Desert that studied the do everything yourself. Nowadays you have to first get the museum to want to
lives of the tribe. Other photographers have researched and photographed this showcase “you” and then the curator to make all the choices. In our experience
since but that was the first. However that series only got published in 1982 in many of them have had no research experience around your subject or knowl-
The Kalahari Bushmen Dance. Other long term projects also began in those edge of the variety of contexts of your work or the documentary side of things.
earlier years and only became realised for you in the mid 90s after the change It is left to a large extent up to the individual photographer to make a mark and
in Government. push to become seen. Make sure you have a website. Do research and active
marketing of your work and completed projects. Nurture your own archives
Documenting the state of affairs is never an easy task. But to my mind, if this as well as network. Don’t do the final edits all by yourself though. Ask other
is your intention, you need to engage in many layers of research and visual photographers, artists, writers. Ask a bank manager. See which pictures speak
consciousness. You need to able to see up, down, side ways and through. to others. Then find out who is interested in buying the kind of work you do.
This is what I tell the photographers who I mentor and mentoring is one of the
activities I have dedicated myself to throughout my life, even past the Drum You have worked extensively in the larger range of the photographies, in both
era. Claudia and I have taken on interns continuously also because we are the still and motion disciplines. The Schadeberg Movie Company has produced
always involved in projects at different points through their progression. One film and video documentaries such as the Voices from Robben Island (1994),
such partnership was with Vatiswa Ruselo who interned with us and I mentored screening at the Alliance Francaise for this festival). Your style is distinct with
with her series of portraits of Black South African veteran boxing champions. beautifully shot footage, in this case, of the Island, intertwined with one on one
She was a pleasure to work with but afterwards the series was linked with the highly intimate studio interviews of historic characters pertinent to the issue. In
Market Photo Workshop and my input was never acknowledged. I have And the Robben Island film ex political prisoners, including Mandela, Walter Sisulu
that is what I will do here for the festival too. As we were already coming all and Govan Mbeki, father of previous president Thabo Mbeki, recount their
the way from France for the exhibition, it was natural that I should be involved experiences during their incarceration as well as their comments, opinions and
with a few additional side events. So I have been involved in a masterclass personal statements on the significance of the events in retrospect. This seems
to photographers who have been working on substantial projects and who to draw a more intimate and poignant picture of the place and the atmosphere
asked for my input and guidance. I spent a full day with the photographers all of the societies that built and lived under the systems that created it. In this
together but looking at separate projects, one by one, through different stages way the atmosphere of times is re-created and the viewer can imagine into
of their progress. this haunting place. The voice over also traces a general history of this territory
(which has been a symbol of expulsion from society) from its 17th Century role
I was moved by your ability to home in to the real essence of most of the as a leper Colony to its time as a maximum security prison. The other videos
photographers’ intentions as well as your intuition about the things they were and films also have these same intimate qualities. The Ernest Cole film for ex-
as yet unaware of that was coming across. Often you mentioned a quality or ample, combines an explicit memorial to Cole’s genius in photography, his own
deduction that no-one else had thought of and then it became clear to all. Even presence through photographs and interviews of him by others, later interviews
when suggesting an unexpected shift or additional context that the photogra- of significant from his life, as well as your insights and memories of the photog-
pher might have been surprised at initially, your suggestion definitely made us rapher who grew from your mentorship as a young intern. The 52 minute movie
all think bigger, broader than ourselves, broader than the South African context creates an intimate understanding of the photographer against the backdrop of
and opened up ways of continuing that could register more specifically and the South African atmosphere under apartheid and in fact, world attitude at the
more universally. I did however sense a barrier towards contemporary Fine Art time towards Black people. These movies should be part of our history and art
photography and the gallery space. What is your experience of this market in history education syllabi.
Europe and the international world?

Schadeberg’s biography and CV with biographical details, a long list of exhibition and lists of books, video and film projects can be viewed at
In 1987, George Mendonça filed a lawsuit against Time Inc. in Rhode Island state court, alleging that he was the sailor in the photograph and that both Time and Life had violated his
right of publicity by using the photograph without his permission. In 2008, after public claims by many others to be the subject in the image, Glenn McDuffie was legally recognized on
his 81st birthday as the “Kissing Sailor”.

Yes, but it does not seem that the learning institutions here offer history of did a bit here and there, most of my serious life’s work until around the 2000s
photography or related subjects. was with black and white film. I have also always printed in my own darkroom
We have not had requests for the movies for this. We have produced many or with assistants that I have mentored. Peter Magubane and Bob Gosani were
educationally valuable projects and we have often spent a long time getting among the earliest candidates of those whom I taught the darkroom processes
a project realised. Claudia and I plan them, research and produce them over to. Nowadays when I have interns, I take them through it all and they need to
considerable periods of time while looking for funding. We are not always suc- know how to negotiate the digital technology and the digital ‘darkroom’.
cessful in attracting funders as the projects are not really commercial ventures.
However lack of outside funding does not deter us and should not disillusion So at 79 years of age, what do you envisage for your future?
one. Perseverance is essential and the willingness to work really hard. At
times I have had to double up as the director, the photographer and the sound
technician, even more. One particular recent film project, the entire venture
was produced by Claudia and I alone, hands on, as we could not get funding.
Yet it has been one of our most successful, travelling and screening all around
Europe at the moment. But you are right, at any point in time I might be in the
middle of shooting a project at specific times during the week (such as the
French village series that I have been working on over the past year and a half
in our home village close to Paris), but I would also be printing towards a series
of photographs going into an exhibition or that have been purchased, at home
on other days, finishing the final design for a book to be published, such as my
latest, Horizon of Hope and planning another book already for 2011. I make the
mock ups myself in the In Design program before I look for a publisher.

France has very strict laws pertaining to the photographing and usage of pho-
tographs for publication of people in public places. How does one deal with this
and how did you manage to photograph your village and all the people in it?

Well firstly there are those restrictions but no-one really abides by them. Then
if there are more than five people in a picture, it is considered a crowd and that
is alright. If you are going to publish something in an advertising context or use
a picture for a public poster, even an art poster, you had better have consent.
The famous Eisenstaedt photograph, V-J Day in Times Square taken of a sailor
kissing a nurse, in 1945, was the centre of a long running lawsuit between
an alleged subject of the photograph and the magazines that had used them.
Sagas such as this are the reason for the copyright laws. The mayor of our
village gave the go-ahead for us to do the project after approaching, and in Claudia and Jurgen Schadeberg at their hotel in Cape Town.
some cases convincing, members of the community to participate. But it is also Jenny Altschuler 2010.
personal ethics that makes all the difference. Getting permission is especially
important if you are focussing on contexts where people’s personal lives are Claudia and I do the planning and execution of all projects together. We feel
involved, but stopping your process to make in-depth contracts with every per- about things the same way. `We have a number of projects already on the
son who is going to come into under your lens in public spaces, is impossible. horizon, some still in various conceptual stages and some about to complete.
You too have been involved in a copyright lawsuit over images on the bailey The French Village will be launched in December this year. I am going back to
archive site. Has this been resolved? I have read that other photographers print over 100 of my images, for an exhibition that is planned for next year. I will
have sworn that they shot the images that you claim are yours. be working on a series edited from my many years of shooting in Britain. The
body of work will show daily life in the city as well as in the countrysideand we
No, unfortunately it has not been resolved. There were about 400 images that will be producing it as an exhibition and of course a book. And I have another
I had shot that were on the site, one after each other, all together as a body of idea that I’m playing with at the moment, in In Design on my computer...
work. After we made our claim public the images were scrambled on the page,
other photographers’ work was inserted around and in between them so it was
more difficult to single mine out. Some images were even attributed to other
photographers. We have two really good pro bono lawyers working on this, one
German and one South African, and we are persisting.

Can you comment on your latest work in colour. On The Beach 2004, Tales
from Jozi 2008, as well as the images from your currently launched book, Hori-
zon Espérance, (Horizon of Hope) all of which are mostly works in colour. You
were also still choosing to shoot in black and white during that same period,
such as your small body of work on The Young String Orchestra also shot in
2004, which I see as an interesting connection to and continuation out of your
long attraction to photographing Jazz which began in Sophiatown for Drum
magazine. Can you elaborate?

Horizon Espérance (Horizon of Hope) is a combination of selected works

from many projects shot during the last nine years including works from On
the Beach and Tales from Jozi. I combined digitally shot colour images with
those shot in colour film. All my black and white images are shot in negative. I School Playground, London. c. Jurgen Schadeberg1968
do all that printing myself as well, whether in the darkroom or digitally through
the computer and printers. Colour is a whole different medium and although
everyone moved over to colour in the 1960s when it surfaced originally, and I

Athough Schadeberg answers generously and immediately with ease as if it is all frozen right there in the front of his mind’s archive, what he does not exactly remember, he confers
with Claudia who is clear and voluptuous with her offerings. There is spontaneous laughter between them and sometimes a short spate of sadness when sharing a less positive detail,
but generally the sense of commitment and pleasure for their partnered role in the relay of life shines through. The trust and collaboration is complete in every instance.
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Casa Labia in Bloom

The Labia family has long been Casa Labia in Bloom is a

involved in the art world and the celebration of our unique floral
reins are now passed to Count kingdom and is also a reminder
Luccio Labia’s daughter Antonia of our role as custodians of this
Labia Hardes-Williams as she extraordinary heritage. The
manages the new contemporary exhibition features works produced
South African art gallery at Casa by some of South Africa’s most creative
Labia. Her passion for African art and talents across a range of media and
design combined with her heritage has styles including: painting, ceramics,
fuelled her desire to create a space photography, sculpture and jewellery.
that celebrates the best of South
African art. Indigenous plants in a range of
unique African containers are
Adding a new dimension to Casa also on sale; and the Africa Nova
Labia’s more historic rooms, the boutique (located in the former
Galleria’s current exhibition is boudoir) will be open throughout
a must-see for all residents and the exhibition with its trademark
visitors to Cap Town this Summer. collection of the best of South African
Curated by Margie Murgatroyd of 2 contemporary art, craft and design.
AFRICA NOVA, Casa Labia in Bloom
is a festival of art, inspired by South For information on how to exhibit your
Africa’s indigenous flora. The multi- own work at Casa Labia Galleria, or for
media exhibition is open to the a complete schedule of the festivities
public from Tuesday to Saturday during Casa Labia in Bloom please
between 10:00 hrs and 16:00 hrs contact Sally on 021 788 6068 or
until 29 January 2011. email her at


Tracy Payne
1. Wildflower-I
2. Bobbejaantjie
3. Wildflower-II

Claudia Gurwitz
4. Malawian Plant #5; Oil on Canvas; 80cm x 100cm
5. Pincushion #3; Oil on Canvas; 100cm x 80cm

Pippa Lea Pennington

6. Sabie Aloes with Starling
7. Ngwenya Aloe
55 Main Street,
Cape Town
Tel: 021 671 1553
Fax: 021 683 2630
La bellezza resiste
Beauty fights back

In January this year, Ryno Swart had

a small one-man-show in Venice. The
theme of this exhibition was “Beauty
fights back”, chosen, in a city of beauty,
now ravaged by commercialism and
visual brutality, to celebrate the revival
of an art founded in truth.
From his youth in Springbok, Ryno
loved drawing and admired the art
of the masters. Their skill and their
sense of beauty and truth were the
inspiration for a life dedicated to
understanding the secrets of vision, of
The white feather boa. Oil on canvas.

imagination, and of light. Around the

age of 14, in an essay, he named his
greatest ambition in life as “learning to
see.” To his surprise, he found his true
teachers in nature, first in the intense
concentration of an eagle, and later
in the colour vision of a butterfly. The
chief lesson, however, was that we
see not by the light of sun nor lamp,
Storm. Oil on canvas.

Intimations of immortality. Oil on canvas.

We only paint what
we love.
If we love beauty,
we paint beauty.
Every artist in every
creative act has a
duty to himself
and to humanity.

but by the light of attention, and that

everything we see, ugliness or beauty,
is a choice.
Much of the history of art in the
20th century is the celebration of the
ugly, and the rejection of beauty. It
was against this that Ryno Swart set
his ideal as truth, and his muse as
beauty. Much of his work revolves
around music, eros, and the dance.
In search of his ideal, he travelled,
first to Paris, and later to the Indian
Ocean islands, the U.K, Holland,
Greece, Venice and the U.S, resulting
Fiona’s Cello. Oil on canvas.

in one-man-shows in Den Haag, Paris,

Chartres, Venice, and recently, in
In a debate with an opponent who
challenged him to define art, he wrote:
“All art is celebration. Good art is the His current one man show runs
celebration of a good mind, and great until the end of January at
art, the celebration of a great mind.” the Ryno Swart Art Gallery
in St George’s Street,
Simon’s Town.
Phone number: 021 786 3975.

Ryno Swart’s work can be seen

on his website at
and you can subscribe to his
Silver coffee pot in low key. Oil on canvas.

newsletters by emailing him at
Treat yourself to Frederike Stokhuyzen’s new book: Born to be an Artist

Cape Gallery, 60 Church St. Cape Town | Clarke’s Bookshop, 211 Long St, Cape Town
Select Books, 232 Long St, Cape Town | Wordsworth Books- Cape Town area
Fogarty’s Bookshop, shop 20, Walmer Park, Port Elizabeth
Thorold’s Bookshop, 3rd Floor, Meischke’s Building, 42 Harrison St, Johannesburg
Hout Street Gallery, Paarl | Stellenbosch Gallery, Stellenbosch | Art and Wine Gallery, Clarens
Harbour Road Gallery, Kleinmond | Walker Bay Gallery, Hermanus

For further enquiries contact Frederike Stokhuyzen, email

Thijs Nel
• Paintings • Sculptures
• Ceramics • Books

49 Raubenheimer Drive, Oudtshoorn

Tel 044 272 0713 Cell 082 854 5131

Final level exhibition of

Visual Arts and Multimedia students 2010

Still from animation piece by Meshak Sello Mahlangu

UNISA Art Gallery invites you to an exhibition by the

Visual Arts and Multimedia final level students in the department of
Art History, Visual Arts and Musicology

To be opened by
Ania Krajewska
Saturday, 4 December 2010 at 12h00 for 12h30

The exhibition closes on Friday, 21 January 2011

Please take note that the exhibition will be closed over the
festive season from 23 December 2010 to 5 January 2011

Gallery hours: Tuesday-Friday, 10h00 to 16h00

Unisa Art Gallery, Kgorong Building (New Entrance Building)

Ground Floor, Main Campus
Preller Street, Pretoria, 0003
Tel: (012) 441-5683

email: tel: 082 779 0230
Photography Ewald Germishuys

Keeping up with Carl
Photography Jason Furness

My Red Sky - 200 x 200cm

Impasto and Acrylic on Canvas by Richard Scott
The Onrus Gallery
2 Lagoon Drive, Onrus River, 7201 Tel: 028 316 2103 Fax: 028 316 2821
Derrick: 082 566 8324

Hennie Niemann and Derrick Benzien rst formed

a friendship and then a unique partnership to
market the works of both South African Old Masters
and more contemporary artists by establishing The
Onrus Gallery at the beginning of 2008.

Today Hennie numbers among the country’s senior

and most revered living artists, with a career of
virtually ve decades and his knowledge of South
African Art is well regarded.

Hennie’s own paintings are marketed exclusively

through The Onrus Gallery. An impressive CV
containing his best works is available to browse Irma Stern, Mother & Child, Oil, 54 x 69
through. Derrick has been dealing in art across the
country for several years and has a sound repport
with many galleries, auction houses, collectors
and artists. Derrick’s passion and expertise in art is
evident in the tasteful manner in which he display
works in an atmosphere that is conductive to
promoting its dignity.

The gallery houses works by Irma Stern, Maggie

Laubser, JH Pierneef, Marjorie Wallace, Hugo
Naude, David Botha, Gregoire Boonzaier, Paul Du
Toit, Piet Van Heerden and other important names.

Corporate and Collectors of Investment Art are well

Irma Stern, Boats, Madeira, Oil, signed and dated
accommodated. 1958, 86 x 68

“Free Evaluations”
Monday - Sunday 9am - 5pm
Derrick 082 566 8324
South African Art Graduate 2010 Feature inside
To see more comprehensive grad school listings go to

Art Students of TUT, Pretoria go through their paces

Michaelis School of Fine Art (University of Cape Town, Western Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Rose Kotze: Staying at a Friend (Club Bliss, Claremont)

Rose Kotze

Rose Kotze : Water Babies (Vudu Lounge Foam Party, City Bowl) 2010 Samantha McCulloch

Christine Gouws Ian Grose

Debbie Loots

Lauren Franklin Stefanie Schoeman

Tatum Paulsen

Karin Groenewald Safia Stodel Sarah Ferguson-Brown

60 SA ART TIMES. Dec 2010- Jan 2011

Michaelis School of Fine Art (University of Cape Town, Western Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Suzelle Stander Grant Arendse David Brits

Alice Gauntlett Cameron Richards Io MakandalPlasti

Tamarin Phillips

Tamryn Kirby Lauren Franklin George Chapman

SA ART TIMES. Dec 2010- Jan 2011 61

Rhodes Art School (Grahamstown, Eastern Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Amirah Tajdin Jessica Foli

Willem Venter Nicole Robinson Siphesihle Biyela

Xanthe Jackson Emalie Bingham

Amy Tarr Warren Kernick

62 SA ART TIMES. Dec 2010- Jan 2011

Ruth Prowse Art School (Cape Town, Western Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Taahira Daniels Ashley Wood

Lydia Richter Katharina Forster

Stuart Fairbairns detail of installation

Adele van Heerden Jacques de Jager Jacques de Jager

Katharina Forster

Anya Kovacs Bianca de Klerk detail of installation

SA ART TIMES. Dec 2010- Jan 2011 63
University of Johannesburg : Department of Fine Arts (Johannesburg, Gauteng)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Nadine Froneman

Siyasanga Madyibi

Loreal Muller
Nkosinathi Simelan
Claire Attewell

Amber Jade Geldenhuys

Claire Attewell Claire Attewell

Michael Erasmus Eva Faerch Chivonne Naude

64 SA ART TIMES. Dec 2010- Jan 2011

NMMU : Department of Art (Port Elizabeth, Eastern Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Liam Pretorius Clanelle Burger Leminah Chifadza

Roberts Muller Emma Minkley

Machela Liefeldt Bantu Mtshiselwa Chumisa James

Mary-Ann Kella


Angela Ah Hing

Josua Strumpfer Wilmot

Luxolo Bukani Mellaney Ruiters

w w w. s c a n s h o p . c o . z a

design | books and catalogues | large format graphics | archiving | specialised retouching | installations | exhibition displays | digital scanning

SA ART TIMES. Dec 2010- Jan 2011 65

Stellenbosch University : Department of Fine Art (Stelllenbosch, Western Cape)
Art Graduate 2010 Feature. For more comprehensive profiles, titles and essays see:

Jeannie Roux Darren van der Merwe

Abri de Swardt - the father my father Hedwig du Toit

Alexandra Meyer Stuart Cairns Dedrik Ruben Lourens

Hilde Malan Christien Laatz Lyn Sieborger

Andrea Burger Kate van Zyl

Johan van der Merwe

Stuart Buttle Magicon (far left)

Georgia Fane Hervey (middle)
Nastasha Buratovich (left)

66 SA ART TIMES. Dec 2010- Jan 2011


As seen at the Casa Labia in Bloom Show : Margie Murgatroyd and Antonia Labia Hardres-Williams, Antonia Labia Hardres-Williams and Sylvia Labia, Meiskine Driesens
and Grant Donson (Below) Joanna Orr and Claudia Gurwitz, Shirley Tobias and Katherine Spindler, Hanien Conradie

Dale and Mel Elliot (Art Classes in Villiersdorp) donned their Auctioneer caps for a worthy cause, at their organised Art Auction at the Castle, Cape Town.
The Auction raised over R 50 000 for Anchors Away charity.

The opening of Duende Art Gallery, Sea Point, Cape Town with the artist Surisa Surisa (acrylic and word).

Art Action held @ St Lorient Fashion & Art Gallery, Pretoria. Paintings were inspired by perfume and its magic. Over R80 000.00 for charity was raised . Photographer: John Coumbias
Carl Barnardi (the auctioneer) with a piece from Anton Gericke. Paul Boilitrau and curator Celia de Villiers. Lucy Anastasiadis wearing a piece by Hester Viles around her neck made from a
used Versace perfume bottle with Carl Barnardi.

SA ART TIMES. Dec 2010- Jan 2011 67

Art Times Profile on Jenny Altschuler
SA Art Times: (AT) : This year you have ‘come out of the bottom drawer’ somewhat. You have left your 10 year head of department of photography post, been
creating lighthearted photo essays on the culture hubs of Kalk Bay, False Bay, Woodstock and Observatory, had work exhibited in 1910-2010: From Pierneef to
Gugulective at the Iziko SA National Gallery, Juggling with the Familiar II at the Centre for African Studies UCT and had 4 portraits published as covers for the SA
Art Times. What are all these changes about?

Deon, Cape Town Stroller Here for Moments A Pinhole Collaboration 100 year Sleep from Inside Out: A Family Album
Jenny Altschuler 1984 Jenny Altschuler and Tim Timlin 2010 Jenny Altschuler 2010.
I suppose to most it may seem like changes but the one thing about life that is constant, have been represented in quite a few exhibitions, it is true, but I have been a prolific and
is change. So perhaps on the surface it may seem as if there are now sudden changes,
energetic image maker
but a deeper search will reveal that the jump is not a leap. 6 – 10 images shown here and there per year mean that at least as many are unshown
When I took up the post in formal education 10 years ago people thought that I had per year and I am talking about a cruel edit. Even 10 images per year that I may be
changed with a huge jump, but I had been in informal education for almost 20 years proud of, is huge, considering that I have produced many bodies of work per year. 10
because I spent my free time volunteering at community arts programs like Zonnebloem images per year for 30 years accumulates to 300 images and then another cruel or
Art Centre and CAP and even at Michelis School of Art when the Centre for Photography perhaps fair edit to half would be surely appropriate. When I think of David Goldblatt’s
was still based there. I ran the workshops program (teaching at night on a voluntary Kith, Kin and Khaya with 114 photographs in the Jewish museum right now (only a
basis) and made the money for the telephone! Ha ha ha. All through my 19 year post as taste of his prowess at almost 80), to profess 150 good images seems boastful, but If I
medical photographer in the education institution of the Red Cross War memorial Chil- would have created 50 really worthwhile images in my entire lifetime, that’s also great!
dren’s Hospital, I taught nursing staff to present lectures and worked with medical and Interviewer: Jenny, you won the Katrina Harries Print Cabinet Collection award in 2009
paramedical practitioners on the presentation as well as visual elements of their lectures. for your Masters of Fine Art practical body of work, Platform 24. Was this not a large
I loved it at all times. I also photographed the rarest and most common cases for record body of work?
purposes and mostly witness intense miracles. I am mentoring a talented young photog- Yes, my thesis has over 80 images edited down from an initial “successful s” folder of at
rapher at present who cannot afford traditional FET education. I love spending time doing least 130 images taken over a number years, beginning in 1981. For the masters exam
this with students. In this way I learn so much because when they grapple I get into their exhibition at the end of 2009, 48 images saw the light of the exhibition room. My supervi-
shoes and grapple. So I don’t think that will ever get this out of my system. sor and I chose 35 black and white images (1981, 2006 and 2007) and 15 colour images
I have been pretty constant on the most perceived levels of artistic output even while (2009). Although some of that work was chosen for the Paris Inaugural Photoquai Paris
working full time. I have exhibited portraits of strangers made in public and private November 2007, the actual final body of work has not had its exhibition yet. 10 Billboard
spaces of my own environments for 30 years, albeit the formats or conceptual context size images were exhibited on the banks of the Seine River under the Eifel Tower. It was
may have differed. I have also created other bodies of work, less known and some one of the highlights of my life.
unknown lurking in my dark, dangerous and almost untapped archive of 30 years. I

Above: About to Return: Outside Wellington 09. (Below) Honeymoon through the Karoo 09.

Jenny Altschuler 2010 . SA Arttimes covers:

If you wanted to pinpoint what I am busy photographing,
you could also ask me where I spend my life living. Most
times I am photographing what I am living. The public
only really gets to see the commercial images like the
Platform 24 Jenny SA Art Times covers but that’s a small percentage of my
Altschuler. Photoquai photographic output.
Dad at home May 2010 Dad in the City October 2010 Paris 2007

Coulson’s last word : A staggering year for art on auction

By Michael Coulson The overall gap between Strauss and Swelco may be less than these figures
suggest. Strauss claims a total turnover this year of R184m-plus, implying that
Fears that the non-recurrence of a focal interest point like the Brett Kebble sale sale of other lines are less than R10m. Swelco, with a more varied product
would crimp activity in the local art market this year proved wide of the mark, range, may outdo this. Last year, Swelco deputy chairman Jack Rosewitz told
as record on record was broken. And there was no fading away as the year ran me 20% of the house’s sales were in furniture, motor cars and the like.
down, with the two highest grosses and sell-through rates coming in the final
three sales. While the year brought increased interest in the likes of Walter Battiss, Cecil
Skotnes, William Kentridge, Stanley Pinker and Alexis Preller, the old favour-
Nor was interest restricted to the local front. Though offshore sales of SA art ites continued to hog the headlines. Streets ahead, of course, was Irma Stern,
had decidedly mixed results, the highest gross of the year for SA art – and with Pierneef as runner-up and the likes of Maggie Laubser, Maud Sumner
probably the second-highest ever, anywhere – was set in London, by Bon- and Anton van Wouw also finishing strongly. Indeed, on occasion Stern and
hams, within weeks of the two big grossers in SA. Pierneef accounted for more than half of a sale’s gross take.

Just to clarify, the table includes only sales from leading art auctioneers with Remember, it was only in 2009 that a Stern set the then record of R7.24m.
printed catalogues. Many other auctioneers sell art, ranging from well-estab- That was just beaten by Strauss in May and pushed up to R13.4m by the same
lished firms like the Bernardis in Pretoria and Ashby’s in Cape Town to some house in October, almost immediately smashed by the equivalent of R26.3m
with less savoury reputations, but I would guess the majors command at least by Bonhams in London – happily, not for one of her assembly-line floral vase
90% of the market. And remember that, in line with international practice, gross still lifes, but for a delightful portrait of a Zanzibari Indian woman.
sales figures, unlike the estimates, include buyer’s premium and any taxes.
Even Strauss won’t be able to talk that away, though its web site still claims
Given those caveats, the SA art market was “worth” just under R250m this that its November sale was the highest gross for SA art anywhere in the world.
year, almost 30% up on 2009’s R193m. On the rule of thumb generalisation Strauss is sufficiently well regarded not to need such porkies: as I’ve pointed
that auction sales are usually about half the total value of traded art, this im- out, even if you take only the Bond Street session of major work, Bonhams’
plies that total sales of visual art in SA this year will be about R500m; not that October sale topped this, if not by much. Indeed, Bonhams think this was the
much, considering the hordes of artists, gallerists and other hangers-on whose second highest sale for SA art ever, surpassed in rand values only by its own
mouths must be fed. sale some years ago.

Remarkably, too, and somewhat contrary to my expectations, Strauss & Co, Emphasising Bonhams’ success is no mere debating point. By my count,
led by the redoubtable Stephan Welz, showed that its debut year was no flash sales of SA art in London last year grossed only about GBP2.9m; this year, in
in the pan. Unlike many cricketers, it more than maintained its averages in its London and New York, almost GBP9m. This equates to almost 30% of the total
second season, with gross sales of almost R175m, or 70% of the total, up market in SA art, of just under R350m. True, one swallow doesn’t make a sum-
from R94m, or 50%, last year. Strangely, Strauss’s main rival, Welz’s previous mer, but if this can be built on, Bonhams’ desire to make London the leading
firm Stephan Welz & Co (Swelco), with R64m, held its market share, at 25%; market for SA art will come just a little bit closer to fruition.
the casualty was Graham Britz Fine Art Auctioneers, which couldn’t repeat its
2009 success with the Kebble sale. Of course, there can’t be buyers without sellers. The converse of the high
prices recorded this year is the quality of work on offer. Stephan Welz at-
Britz’s May sale was the major flop of the year, realising only 35% of the tributes this largely to a generational factor: those who picked up Stern and the
low estimate – a result that took an unconscionable time to emerge, and like for a song in the 1940s, 1950s and 1960s are now, for various reasons,
constituted only a 5% market share. Britz cancelled its proposed second sale scaling down, and high prices bring out even more sellers. So the standard
of the year, scheduled for November – when the competition would have been of work in the sale rooms should be maintained next year; question is, will the
awesome – and it remains to be seen whether it will re-emerge next year. buyers still be there, especially if the tempo of economic recovery slackens
both in SA and the wider world.

Table One – local art auctions

House Venue Month No of lots % sold Low est (Rm) Gross (Rm) Top price (Rm)

Swelco CT Feb 232 74.0 10.5 8.6 1.74: Pierneef landscape

Strauss CT Mar 259 78.0 26.1 28.2 2.23: Van Wouw sculpture
Swelco Jhb Apr 278 62.2 10.8 8.3 0.90: Preller still life
Britz Jhb May 281 47.0 34.5 12.0 1.71: Stern still life
Strauss Jhb May 273 61.2 34.9 40.1 7.58: Stern still life
Swelco CT Jun 228 58.0 12.6 14.7 1.68: F Lock, Hout Bay
Swelco Jhb Aug 241 53.9 11.1 7.1 1.23: Pierneef landscape
Swelco CT Oct 344 59.0 18.1 14.7 2.24: Kentridge drawing
Strauss CT Oct 171 79.5 22.5 40.7 13.4: Stern still life
Strauss Jhb Nov 206 82.0 44.2 65.8 11.1: Stern still life
Swelco Jhb Nov 298 57.7 9.9 9.0 0.56: Pierneef l/s, Van Wouw sculpture

Total 2 8711 235.2 249.2

Table 2 – Offshore sales

House Venue Month Low estimate Gross % sold Rand equivalent (Rm)

Bonhams New York Mar US$158 000 $14 000 12.5 0.1
Bonhams London Mar GBP2.14m GBP2.5m 67.8 27.2
Phillips de Pury New York May US$372 000 US$220 000 55.0 1.7
Bonhams London Oct GBP3.71m GBP6.3m 60.6 69.9

Total 98.9

70 SA ART TIMES. Dec 2010- Jan 2011


SA Art Auctions 2010 Review

Irma Stern : Gladioli, Sold: R13,368,000, October 2010 / Pieter Willem Frederick Wenning : The Apies River and Union Buildings, Sold:1,225,400, /
Maud Frances Eyston Sumner, Nature Morte: Sold: R 2,450,800 Cecil Edwin Frans Skotnes, African Figures: Sold: R2,005,200 /
Walter Whall Battiss : Bathers: Sold: R 1,336,800

Strauss & Co.

Top South African fine art auctioneers Strauss & Co are upbeat at the end price of R7,575-million being paid for Pierneef’s Baobab Tree.
of 2010, with turnover for the year clocking in at R187-million, an increase of Other artists that achieved records were Anton van Wouw, Maud Sumner,
86% over the same period last year. Pieter Wenning, Stanley Pinker, Walter Battiss, Cecil Skotnes and Jane
Chairman Elisabeth Bradley said the performance, following their maiden Alexander, among others.
year in 2009, reaffirmed the strong demand for premier South African art,
notwithstanding the unpredictable economic climate. In the R2-million plus price bracket, a Maud Sumner oil on canvas, Nature
“Our market share remains the highest not only in South Africa, where we Morte, fetched a record R 2,450 800 in November 2010. Stanley Pinker’s oil
lead the market and have done so since our inception, but also worldwide, on canvas. The Wheel of Life also achieved R 2,450 800 in October 2010.
despite our lower commission rates and buyer’s premium.” And a Cecil Skotnes, ‘African Figures’ just pushed over the R2-million mark,
Irma Stern had dominated 2010 auctions, with three of four catalogue covers fetching R 2,005,200 in May 2010.
dedicated to masterpieces by her, and two major records established. In the R1-million plus price bracket, a record R 1,336,800 for Bathers’ by
The trend had started in 2009, with Magnolias in an Earthenware Pot selling Walter Battiss was achieved in March 2010. Jane Alexander’s Racework - in
for R7,200-million. the event of an earthquake sold for R 1,058,300 in March 2010.
This had been followed by the sale of the “captivating” portrait of Carla and Bradley believes that packed venues and competitive bidding herald well for
six months later Still Life with Gladioli and Fruit had sold for R7,480-million. the future.
“Undoubtedly the highlight of our year was the record price of R13,368-mil-
lion paid for Gladioli in October, the highest price ever for any South African “In addition to the familiar faces of our loyal clients, we saw a marked
painting sold at auction in South Africa,” said Bradley. increase in new, active and competitive buyers bringing renewed confidence
Masterpieces by Pierneef and Maggie Laubser were snapped up, with a top in a market which is now sustained by a growing number of players.”
SA ART TIMES. Dec 2010- Jan 2011 71

SA Art Auctions 2010 Review

Bonhams Giles Peppiatt describes the 27 October sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a “defining moment for South African art and in particular
Irma Stern’s work”.

Bonhams, London, UK
Bonhams: Old masters defy economic collapse His paintings had “a great impact with South Africans, both at home and
abroad who wish to place a piece of the ‘veld’ on their wall.”
On the back of record sales of South African “masters” in 2010, British auction Stern contemporary Frieda Lock’s paintings were also fetching “respectable
house Bonhams is confident enough to state that “without doubt the market is prices”, a development that was “highly deserved as she is hugely underrated
in very good state”. artist and for many years lived in the shadow of her great rival Irma Stern.”
Alexis Preller (1911 – 1975) had also seen a “significant jump” in prices.
Director of South African art at Bonhams Giles Peppiatt describes the 27 Octo- Peppiatt also mentioned Gerard Sekoto. “His pre-exile (1947) work is very
ber sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a rare. These works are wonderful and the prices for these works will increase
“defining moment for South African art and in particular Irma Stern’s work”. dramatically as collectors realise the supply of these works is very limited.”
“The sale of this work for such a high price does illustrate that this market is no Peppiatt predicts that, following on Modern British and other markets, the
different from all the other international markets in which we deal. The master- sculpture “will and does deserve a renaissance”.
pieces are fetching ever higher prices.” Peppiatt said the bidders on Bahora Works on paper would continue to be “sluggish” performers.
Girl showed that the market for Stern’s work had achieved global interest, with
interested parties coming from collections in the US, UK and Europe. “Buyers are always so concerned with condition on these works and unless
you have a museum environment, it is difficult to preserve this.”
Anyone lucky enough to be in possession of a Stern work would be “delighted” An exception, however, would be William Kentridge, who worked almost
by this development. However, Peppiatt conceded that the sky-high price exclusively on paper. “His later work with the biting political statements will, in
obtained for Bahora Girl had not translated her lesser works. my view continue to be good buys.” With turbulent economic times continuing
“There are very few £2.4 million Sterns out there!” But Stern was not the in the global economy, Peppiatt believes that even higher prices will be paid for
only South African artist rising in popularity. Apart from Stern, interest in J.H. the masterpieces because they were in short supply and came onto the market
Pierneef was on the up. “His work is so redolent of South Africa, his images rarely.
can represent no other place and it is this facet that makes his work so strongly As for the middle market, Peppiatt said he thought it was “pretty robust”, al-
marketable.” Prices for Pierneef’s work had increased substantially. The cur- though managing client expectations when the top end of the market was rising
rent world record, achieved in a sale two years ago, was R11-million paid for so fast was a very difficult balancing act.
The Baobab Tree. “The low end of the market is always going to be tricky and I see no change
here,” he said.

72 SA ART TIMES. Dec 2010- Jan 2011


SA Art Auctions 2010 Review

William Kentridge : Drawing for the film stereoscope, R2,240,000 / Freida Lock : Hout Bay Valley : Sold: R1,680,000 /
Irma Stern : Zulu woman : Pre-sale estimate: R16,000,000 - R20,000,000 (To be sold in Cape Town on 22 Feb 2011)

Stephan Welz & Co.

Contemporary South African art has stepped up to the plate in 2010, say appreciation for South African art and given the positive international profile
fine art auctioneers Stephan Welz & Co. Phillippa Duncan, from the Stephan that South African art now enjoys this is unsurprising,” said Duncan.
Welz & Co. paintings department, said million-rand figures were no longer The main trend was the search for quality, she said.
reserved exclusively for South African masters like Irma Stern and J.H. “Whether it be painting, sculpture or work on paper, collectors and investors
Pierneef. are vying for the best. This has been proven by minor works by well-known
names failing to sell on the day of a sale.”
In 2010, world records had been set for Edoardo Villa’s Mapogga Man, Duncan said Stephan Welz & Co. believed 2011 would be a “platform for
which had fetched R1,232,000, and William Kentridge’s Drawing for the film records to be reset and benchmarks raised”.
stereoscope, which had sold for a “breathtaking” R2,240,000.
“This was a world record for the artist and most certainly the highest price She said the top-end of the market had until now remained “relatively
paid for a contemporary artist on South African soil,” said Duncan. unscathed” by the world economic crunch and this had been proven by sales
South African masters still dominated auctions in 2010, but the year saw internationally. As London reported with each sale that new records had
previously overlooked South African masters also making headlines. been broken, local sales had followed suit.
Duncan said Freida Lock and Maud Sumner had risen amongst the ranks of
“those being chased at auction”. In this market, collectors will no doubt be looking forward to the February
Lock’s Hout Bay Valley had sold for a “staggering” R1,680,000 in June this 2011 Stephan Welz & Co. sale, which will show-case Irma Stern’s Zulu Girl.
year. “This year’s sales across the board have proven that top quality South This work, painted by Stern in 1935, was last seen at auction in November
African art is sought after by collectors. Collectors are showing a greater 1996

SA ART TIMES. Dec 2010- Jan 2011 73


SA Art Auctions 2010 Review

Diane Veronique Victor : No Hope, No Guts, No Glory Sold R 72 500 / Keith Savel Alexander : Grasplatz Revisited: Sold: R130,000

Bernardi’s Auctioneers
While South African art has held its ground both locally and internationally in price.
a volatile market, the trend has moved towards collectors being a lot more In terms of what came under the hammer in 2010, Bernardi said it had been
conservative and selective in their acquisitions. That’s the view of Michael “wonderful to witness” the contemporary artist Dianne Victor’s triptych No
Bernardi, owner of Bernardi’s Auctioneers, who believes this trend will Hope, No Guts, No Glory fetch a new auction record of R72,500.
continue into 2011 due to the globally depressed markets. On the Pierneef scale, he said the linocuts and etchings had increased
dramatically in value, with prices reaching R 27,000 for Kameeldoringboom.
But on a positive note, Bernardi believes buyers will always look to “alterna- Another highlight had been Keith Alexander’s oil Grasplatz Revisited, which
tive avenues of income returns” and this includes art, even if the approach sold at R130,000, a “generous price for a small work estimated at R40,000
might be more cautious. - R60,000”.
Bernardi said the trend in the South African market both locally and interna-
tionally, had been to collect the “old masters” which had “a tried and tested In terms of trends coming into the market, Bernardi said there seemed to be
track record”. a “marked increase” in South West African art and artists, especially the “old
masters”, who had worked both in South Africa and Namibia. Sculpture had
However, he said there was a “revived interest” in the contemporary market. also awakened a new following, with bidders paying in excess of a million
William Kentridge’s prices and popularity had risen dramatically since the rand for works by both old masters and contemporary artists.
demand for his work - locally and internationally - exceeded the supply. This again illustrated the “strong, yet fickle demand for works both privately
Walter Battiss, Robert Hodgins, Johann Moolman, Alexis Preller, Dianne and through auctions”.
Victor, Gerard Sekoto and Ephriam Ngatane had all gained in popularity and

5th Avenue Auctioneers

Art buyers are becoming very selective with their purchases, but good quality Bishop said artists that were rising in both price and popularity were Conrad
works are selling with ease, says Philip Bishop from 5th Avenue Auctioneers. ThEys, Kobus Louw, Mike Parsons and Adelio Zagni Zeelie.
Bishop, the 5th Avenue Auctioneers appraiser, said the middle to lower qual- “These are the ones that people are asking for repeatedly. People are trying
ity works that used to be good sellers were not attracting the interest they to stockpile these works, covering their bases for when it does sell. You can
used to. just see they are going to be old masters in the future.”
He said works from these artists had all increased steadily in price.
“I think the economy has dictated that people are very careful with what they Bishop said he believed 2011 would continue to show increased interest in
spend their money on. They no longer want to fill a spot on the wall, but want art as an investment.
to see a return.” But he said that “across the board, art of good quality is sell-
ing, but buyers are not squandering their money on mediocre art”. “With buyers keen to get quality examples of the top artists they will be
prepared to pay to get exceptional examples,” he said, adding that prices
The highlight for the year at 5th Avenue Auctioneers had been the sale of a would continue to rise, but buyers would be more inclined to buy a proven
Walter Battiss oil, Interior theme with abstract figures, in May for R429,000. name rather than on spec.
This had been followed closely by a Gregoire Boonzaire oil, Groote Kerk,
Kerk Straat, Kaapstad, which had sold in October for R352,000. An Ephraim “Buyers that are prepared to hold on to their paintings will reap bigger
Ngatane work had sold for R242,000 and a Keith Alexander item called New rewards in the long term rather than flash buying,” he said.
Arrival, had sold in July 2010 for R231,000.

74 SA ART TIMES. Dec 2010- Jan 2011

London Letter by Nushin Elahi

Left: Banksy’s show in Soho, (M) Cézanne’s Card Players (R) Fiona Banner’s silver birds at The Tate

By Nushin Elahi result, the artist is represented by twelve oils, many of them evocative land-
scapes of Normandy and Aix-en-Provence. Figure studies include two of
Deep in the seedy heart of Soho, a pop-up art gallery is causing waves in peasants, and it is around this theme that the intimate exhibition Cézanne’s
London. Guerrilla art goes mainstream here, with cardboard doodles tagged Card Players has been built.
at over £1,000. The elusive street artist Banksy has brought graffiti art to the Considered the man who freed art from its traditions, and whose influence
sales room, where his work, once painted over zealously by councils, now is still felt in modern art, there is irony in his theme of time-honoured rituals.
reaches sums of five figures. Using the kudos of his name, this venue has He said: “I love above all else the appearance of people who have grown
the punters lining up to see what all the fuss is about. The organisers expect old without breaking with old customs.” In conjunction with New York’s
people to be sleeping in the snow to be able to buy a Banksy print, although Metropolitan Museum of Art (which hosts the exhibition from 9 Feb to 11 May
they do concede that the recession has affected sales somewhat. For nearly 2011), three of the five group studies of peasants playing cards, as well as
a month Londoners can view Banksy originals, alongside works by an artist individual portraits and preparatory studies have been assembled. There is
called Dran, who specialises in cartoon children – a sort of modern day still debate as to why the artist couldn’t “get two eyes to tally” as Walter Sick-
Dennis the Menace. ert complained, or for that matter, a pipe to originate in a mouth rather than a
In a publicity stunt few could hope to equal, the tabloids have also placed cheek. The paintings are muted in tone, but they capture an intensity in look
an unknown Muslim artist from Bristol on the map. Mark Sinckler’s depiction and a fatality of expression that brings the French peasant alive.
of one of the buses in the 7/7 bombing with the passengers portrayed as
Rococo angels ascending to heaven has caused such outrage that he will no Health and Safety reared its ungainly head in a terse statement from Tate
doubt soon be able to match Banksy’s price tags. Modern, which stopped public access to the Chinese artist Ai Weiwei’s Sun-
flowers Seeds shortly after it opened. The 100 million handmade porcelain
Canaletto’s picture postcard views of the shimmering canals of Venice are replicas of seeds had taken Chinese artisans two years to produce, but “the
on display at the National Gallery. For the rich English aristocrat of the 18th enthusiastic interaction of visitors resulted in a greater than expected level
century, this was the ultimate souvenir to bring back from your Grand Tour, of dust in the Turbine Hall.” The “sensory and immersive” experience was
with the result that there are more in British country houses than in Venice summarily halted, and looking at them from a distance has proved about as
itself. His monumental scenes of the city may seem light years away from exciting as looking at a gravel driveway.
controversy, yet during the Fifties more than one British landowner discov-
ered that his prized Canaletto was in fact painted by the artist’s nephew Bel- You can, however, get close enough to experience the sheer monumental
lotto. In fact, some Bellotto’s here still wear their Canaletto plaque. Boston’s scale and power of Fiona Banner’s installation of two fighter planes in the
Museum of Fine Art has a work on display which was bought in 1949 from neo-classical elegance of the Tate Britain. The Harrier jet is in a perpen-
Castle Howard, Yorkshire (the setting for Brideshead Revisited), a year dicular nose-dive, like a monstrous grey bird, suspended by two single wires
before a devastating fire destroyed all the castle’s remaining Canaletto’s. while the Jaguar fighter jet, huge and gleaming silver, lies incongruously
The paintings are displayed chronologically, and Canaletto’s earliest work is belly-up on the floor of the Duveen Hall, allowing visitors to revel in the pat-
surprisingly moody, depicting light on the lagoon in a manner which heralds terns of their reflections.
his successor, Guardi, whose delicate and poetic scenes depict atmosphere
rather than place. Canaletto’s superlative views offer such sharp focus and When in London catch:
crisp outlines that viewers pour over every work to appreciate the details of Street art at Marks and Stencils, 1 Berwick Street until 23 December 2010
buildings and ships, and the outrageous splendour of Venetian spectacle. Venice: Canaletto and his Rivals, National Gallery until 16 January 2011,
(then National Gallery of Art, Washington, from 20 Feb to 30 May 2011)
The Courtauld is one of London’s finest small museums and the paintings Cézanne’s Card Players, The Courtauld Gallery, Somerset House until 16
by Cézanne form the heart of its rich collection. Samuel Courtauld declared January 2011
that when he first saw the artist’s work in 1922 at the Burlington Fine Arts The Unilever Series: Ai Weiwei, Tate Modern, Bankside until 2 May 2011
Club, “I felt the magic, and I have felt it in Cézanne’s work ever since.” As a Fiona Banner, Harrier and Jaguar, Tate Britain, Millbank until 3 January 2011

SA ART TIMES. Dec 2010- Jan 2011 75

De Wet Centre, Church Street, Stellenbosch, 7600 | 021 887 3607 | |
William Kentridge
sold R 2 240 000

Alexis Preller Keith Alexander Francois Krige

sold R 672 000 sold R 896 000
Edoardo Villa Freida Lock Lucas Sithole
sold R 1 232 000 sold R 1 680 000

Cape Town
next auction
22 & 23 February 2011
021 794 6461

next auction
19 & 20 April 2011
011 880 3125
Irma Stern
sold R 1 344 000
The South African Print Gallery
exclusive gallery for quality fine art prints by South African artists, is proud to present:

Joshua Miles
An exhibition of new prints opening Saturday 11 December 2010
Until mid January 2011

107 Sir Lowery Road, Woodstock (along the Gallery Strip). See our website at: