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December 08 - January 09 • Full version also available at www.arttimes.co.za

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December 08 - January 09 • Issue 12 Vol 3 • Subscription RSA 180 p.a • Dec / Jan Print & Distrib. 7 000 copies • Full online version available at www.arttimes.co.za

Stefano Unterthiner Troublemaker Animal Portraits - Winner 2008 Wildlife Photographer of the Year, Natural History Museum , London, UK.
To be seen, with other amazing images at The SA National Gallery. see www.iziko.org.za for details

Non Toxic




Student Acrylic Paint

PHONE +27 28 271 3122.
Page 2 South African Art Times. December 08 - January 09

The South African

Artists do battle (again)
Art Times
Dec 08 - Jan 09
with the Moustache Gallery
Published monthly by
Global Art Information But du Plessis is not the only artist
PO Box 15881 Vlaeberg, 8018
involved with the gallery who is
Tel. 021 424 7733 “mystified” by missing works or
Fax. 021 424 7732 money, an issue that was reported
on by the SA Art Times in June
Editor: Gabriel Clark-Brown
editor@arttimes.co.za 2008.
Stefano Unterthiner Troublemaker Animal Portraits - Winner 2008 Durban-based artist Julia Forman
Advertising: Eugene Fisher Wildlife Photographer of the Year owned by The Natural History Museum said at Barnard’s request she had
art@arttimes.co.za , London, UK. To be seen, with other amaizing images at sent two acrylic paintings to an
Subscriptions: Bastienne Klein
The SA National Gallery. see www.iziko.org.za for deails auction in 2006.
subs@arttimes.co.za Barnard allegedly contacted her
immediately after the auction to
News: press@arttimes.co.za
Artists Nico Eilers and Gavin du Plessis are not charmed by inform her that one piece was sold
Shows: show@arttimes.co.za This category - one of the most to paddle in the waves. This
Laurens Barnard of the Moustache Gallery for R2 500 and the other would be
Artwork: art@arttimes.co.za
popular in the competition - invites young adult, nicknamed Trouble-
sent back to her.
portraits that capture the character maker, was more interested in
Layout: endlessseanewyearsday
Caitlin Ross “There was a point when I did get
or spirit of an animal in an original Stefano. So getting a close-up
Deadlines for news, articles and hold of him, and it seemed he was
and memorable way. wasn’t difficult. Handling Trouble-
advertising is the 20th of each Questions over the running of the paid the agreed-upon sum of R15 under pressure from a number of
maker’s mischief, though, proved
month. The Art Times is published Moustache Gallery in Stellenbosch 000 by Barnard, but nonetheless artists because he was commit-
The home of Sulawesi black- more of a challenge. ‘He would
in the last week of each month. have again been raised after a felt “shocked, insulted and hugely ted to returning the work,” said
crested macaques is the forest, leap at me and kick off my back
Newspaper rights: The newspaper painting by local artist Gavin du disappointed”. Forman.
reserves the right to reject any ma- and that was where the group like a trampoline,’ says Stefano. ‘It
Plessis was found damaged and Barnard has paid him for the paint- But she said subsequent attempts
terial that could be found offensive that Stefano followed for weeks was part play, part confrontation,
discarded on the side of a farm ing but he nonetheless made out to get both her painting and money
by its readers. Opinions and views spent most of its time, in Tangkoko part attention-seeking, part curios-
road in October. an affidavit stating: “As far back from Barnard have been unsuc-
expressed in the SA Art Times do National Park in the north of the ity.’ Trouble-maker’s expression
not necessarily represent the of- The damaged painting, a 92cm as November 2007 Mr. Laurens cessful.
island. But when the macaques’ captures, Stefano says, ‘the spirit
ficial viewpoint of the editor, staff x 92cm oil on canvas titled Cape Barnard, owner of Moustache Gal- Painter and multi-media sculptor
search for food took them to the of these wonderful monkeys’, and
or publisher, while inclusion of ad- Town ’73, is a hyper-realist work lery, informed me he had packed Nico Eilers said after the same
coastal edge of the forest, they the setting makes it an unforgetta-
vertising features does not imply which formed part of du Plessis’s and sent off the artwork to a ‘buyer auction he had to threaten Barnard
ventured along the beach to scour ble portrait. © Stefano Unterthiner
the newspaper’s endorsement of first solo series in 1973. in Germany’.” with legal action before Barnard
any business, product or service. the rocks for fallen fruits and nuts / Wildlife Photographer of the Year
It was found by a farm labourer Barnard said that he was awaiting agreed to a meeting at the gallery,
Copyright of the enclosed material or, in the case of the young ones, 2008
at the Nooitgedacht Estate who confirmation of payment from the at which, Eilers said, he failed to
in this publication is reserved.
noticed it had a price tag and the German buyer and that this is the arrive. He said a woman at the
artist’s name on the back. Estate first he’d heard of the painting be- gallery handed him some of his
chef Maryke Reuvers said she ing missing. He said some paint- works, but one of his sculptures
managed to track du Plessis down ings that he had been storing in was still missing. Barnard evaded
The South African Art Information Directory 09 by Googling his name. his house in Somerset West were directly answering questions on
Du Plessis said he was alarmed transported to a storeroom on the the missing works, saying only
The trusted and most comprehensive SA Art Information Directory when he got the news, as he had same road as the one on which du that “most” of his artists have been
2009 (SAAID 09) is nearing completion, and will be available early in been told by Moustache Gallery Plessis’s work was discovered. paid and that he has “done a lot
2009. Now in its 6th edition The SAAID 09 provides the user with a owner Laurens Barnard that his “It could be that it fell off…maybe it more for artists in this country than
wealth of art information - both in terms of size and access into the painting had been “packaged and was stolen.” other people, putting their work in
South African arts community- and is South Africa’s white and yellow sent to a buyer in Germany”. Capt. JF Brits, in charge of the my gallery”.
pages of the South African art world. Advertising from R 200 - R 3000 “I was not aware that Stellenbosch investigation, said he has been on “Lots of people owe me money but
was in the Bundesrepubliek,” said leave and has thus not had time to you don’t see me running to the
See www.saaid.co.za for more details du Plessis. He said he had been get started on the case. papers,” he said.
South African Art Times. December 08 - January 09 Page 3

Media24 back off from defamation KUNSGALERY

claim against photographer FINE ART GALLERY
Staff writer is merely a restatement of the law translation. ways acted in good faith to protect
itself, something which Kirby said its good name and reputation and
In another David and Goliath
court case, Media24 appear to
is “disingenuous”.
“In fact it’s actually an attempt at
Media24 responded by saying he
would suffer a default judgement
in the Geof Kirby matter Media24
acted within its rights. Media24
have bitten off more than they’d deceit, especially in light of Me- if he didn’t deal with it in seven confirms that for operational
like to chew when they attempted dia24’s past behaviour in trying to working days. reasons and for good relations
to sue Cape Town photographer enforce rights they didn’t have.” with photographers generally, the
and copyright fundi Geof Kirby for In section six of their agreement Kirby then found a lawyer and matter was withdrawn.”
defamation after he questioned the they state the freelancer has to started preparing his defence. He In response to questions posed
legality of their freelance contracts. hand over all intellectual property said he has found three legal opin- over the validity of their con-
But in a turnaround, rather than rights and their moral rights (i.e. ions which argue that Media24’s tracts in relation to South African
breathing a sigh of relief at the the right to be identified as the foreign syndication violated South copyright law and the Berne
withdrawal, Kirby would like to haul author and not to have their work African copyright and the Berne Convention, Vayej said copyright
them back to court to face up to mutilated in any way) to Media24. Convention. was a “complex area of law” that
their syndication activities, which Furthermore, the section indemni- was subject to “a very high level of
Kirby believes have been illegally fies Media24 from “any claim And, he said, whether or not cor- specialization”.
carried out with no recompense made against it that the use of the porations can sue for defamation “We therefore do not wish to
to freelancers, for at least two work infringes any copyright or is an unanswered legal question express a legal opinion without
decades. other Intellectual Property rights in this country. (The well-known taking specialized advice.”
held by a third party and against SAB vs. Laugh it Off case involved The final settlement date of the
It seems Media24 unwittingly any loss incurred by Media24 infringement of trademark) case is at this stage unknown.
sprung their own trap when, pursuant to such a claim”. After two “false starts” in court,
following an email to colleagues Media24 withdrew the case
within a closed e-group expressing This effectively makes the subject to both sides bearing their Maggie Laubser ‘Boy playing guitar’ 1956
this opinion, they served him with freelancer assume the responsi- own costs. Subscribe to the
a letter demanding a retraction bilities of a publisher, said Kirby, He said he does not know why
within 24 hours or face a R100 as should the publisher be sued they withdrew, but suspects that A showcase for the best of
000 defamation suite. for publishing an image, the his requests for contracts pertain- South African
But Kirby, incensed at the freelancer would have to pay the ing to photographers whose work South African Masters,
contracts Media24 expected costs. he knew had been syndicated Art Times
freelancers to sign, as well as by abroad indicated the background
as well as some leading
their “bullying tactics”, refused to The main reason Media24 want knowledge he had, and put them R 180 pa contemporary artists.
back down. to grab all these rights, he said, on the run.
is so that they can syndicate the
Telephone: 021 423 6075
He said Media24 were using their work on their business-to-busi- However, Kirby has refused to to your door
contracts to legitimise their foreign ness syndication arm, Images24, bear his own costs as he says
syndication practices, which he without having to pay the author doing so would effectively penalize www.johansborman.co.za
said he “believed” were illegal in of the work a cent. Their foreign him for a case which never went www.arttimes.co.za
terms of existing legislation, which syndication, he says, goes back to through court, and has filed affida- Mon-Fri: 10h00 - 18h00
includes the South African Copy- the ‘80s. vits compelling Media24 to meet Sat: 09h00 - 14h00
subs@arttimes.co.za or by appointment
right law (1978) with amendments, After refusing to retract, a sum- his costs on a taxed basis.
and the Berne Convention, to mons for defamation of character
which South Africa is a signatory. - in Afrikaans, was delivered to Responding to emailed questions, Tel 021 424 7733 In Fin Art Building
On the cover of their contracts his door. He said he sent it back Media24 communications head Upper Buitengracht Street, Cape Town 8001
Media24 state that their agreement politely asking for an English Lutfia Vayej said: “Media24 has al- Cell: 082 566 4631

E-mail: art@johansborman.co.za
Page 4 South African Art Times. December 08 - January 09

Editorial letters to the editor

The Editor
This month sees the 3rd year of South African Art Times
the SA Art Times, which is thrilling
especially after one of banks who I refer to Veronica Wilkinson’s review of Jean Campbell’s book I Adore Red in your November issue. Wilkinson
issued me with one of the three makes the ludicrous assertion that Campbell’s book contains ‘significant art historical information’. Half-truths
credit cards that I took out to start subtly laced with spite do not make good or meaningful art history. The book consists of poorly-written autobi-
this Art Times with - thought it ography and worthless anecdote framed around paintings and drawings that are mired in mediocrity. Pedestrian
novel that I survived their high prose perfectly parallels a turgid handling of paint. Outing herself as a profound admirer of the ‘art theory’ and
rate of interest on the card, and practice of Vladimir Tretchikoff, Campbell exposes herself as wholly bereft of any understanding of the concepts
has come in for funding an of kitsch, ‘camp’ or even the ironic. Her underhand swipes at the late Professor Neville Dubouw (sic) and the
exciting series of artists profiles New Group are personal vendettas more than anything else. Wilkinson has either failed to notice or is too polite
next year. to admit that Campbell’s book is merely a glossy axe-grinding exercise in self-justification and self-promotion.
The reviewer Ambrose Bierce once said of a book that ‘its covers were too far apart’.
This edition is a little different to His comment fits I Adore Red perfectly.
others in so far as it should, we
hope reflect more on suggestions Hayden Proud
that we received from a well
supported readers survey.
To this regards there are more
artists, captains of industry pro- The Editor
files and some amusing, and sad South African Art Times
stories, and more pictures.
I hope that most of the typos and With reference to Jean Campbell’s book ‘I Adore Red’, reviewed by Veronica Wilkinson in your November issue,
spelling that we experienced at I must comment. I am a past student of the former Foundation School of Art, where I studied for and obtained
the start up of the paper, are a two Diplomas over a five-year period in the 1980s - in Fine Art (Painting) and Book Illustration.
thing of the past, this was due to Apart from many other bitter and vindictive statements about personalities in the South African art world, Camp-
a serious bottleneck in the bell has made unfounded statements about The Foundation School of Art. This was a private, independent insti-
production of the paper. tution which offered 3- and 4-year fulltime courses in accordance with the syllabus specified in its prospectus. It
produced excellent results in Fine Art (Painting, Printmaking, Sculpture), Graphic Design, Photography and Book
Thanks for everyone’s very Illustration. Its motto ‘Sans Travail Rien’ – without work nothing – epitomised what it stood for.
generous support, both financial
and words of encouragement, it’s Diplomas were awarded on the basis of external examination by suitably qualified professionals, teaching at
gone a long way and it means a tertiary level institutions. To illustrate my point, here are names of some of the examiners: Lyn Smuts, Cecil
lot to all of us here. Skotnes, Geoff Grundlingh, Evelyn Cohen and Judith Mason.
To impugn the integrity of persons of this stature by implying that they might have ‘rubberstamped’ the Diplomas
Here’s to next year and, for payment seems to me, to be libellous.
hopefully, my wish - many more
and diverse local art publications The school provided an alternative to institutions such as UCT and the Cape Technikon. Many former students
that cover these interesting times of the School have made names for themselves and some are recognized artists and represented in the SA
that we are living in. National Gallery. Disadvantaged students from varying cultural backgrounds enjoyed bursaries awarded by the
school. Also, I know that the school obtained sponsorship from outside sources on a regular basis for needy
Thanks again and here’s to a students.
great creative year ahead to you.
Unlike Campbell, many of us who obtained diplomas from the School can only look back at that period with
Gabriel gratitude.

Commissioning Editor Jean Campbell’s book it seems is actually an excuse to publicly lash out at individuals and art
Institutions in general, which she misguidedly felt, had wronged her.
South African Art Times In view of what she has written, I’m sorry that i bought the book, a complete waist of my money.

December 2008 A.X.Truter

ART_TIMES_DEC.indd 1 2008/12/04 12:32:30 PM

The Cape Gallery seeks to expose you
to Fine Art that is rooted in an African
tradition that is both eclectic and diverse.
We rotate our exhibitions monthly touching
your imagination with the unique
cultural stamp that is our continent.
We exhibit an extensive collection of work by leading
South African Artists. Featured left are “Red Petals”
and “ Cats do like affection” by David Kuijers.

60 Church Street Cape Town American Express,

Mastercard, Visa
Tel: +27 21 423 5309 GALLERY
Fax: +27 21 424 9063 and Diner cards are
accepted. Reliable
Email: cgallery@mweb.co.za arrangements can
Web: www.capegallery.co.za be made to freight
Mon - Fri: 09h30 - 17h00 purchases to foreign
Sat: 10h00 - 14h00 destinations.

2082 SAAID Art Times David Kuijers 1 12/5/08 4:39:57 PM

Custom Stretched Canvasses

Hand made Easels

Painting & print stretching Artist: Ann Gadd

Tel: 021 448 2799 Fax: 021 448 2797 ArtStuff now available on the Garden Route
Free delivery within Cape area artstuff@webmail.co.za www.artstuff.co.za Call Paul Tunmer 083 2610084

Conrad Botes, Crime and punishment., Image courtesy of The Michael Stevenson Gallery.
www.gordartgallery.com www.artsassociationpta.co.za Until 24 Jan,Benefit of Vusi Khumalo, John Meyer and Road, Bantry Bay,Tel: (021) 434
Eastern Cape Doubt,Sculpture by Adrian Köhler. Velaphi Mzimba, amongst others 3026.
Johannesburg Art Gallery UNISA Art Gallery Until 24 Jan, Four, A group exhibition Portswood Rd, V&A Waterfront
Until 01 Mar 09 Disturbance - An 29 Nov – 16 Jan (closed 24 Dec – 04 34 Long Street, Cape Town Rose Korber
East London exhibition featuring Scandinavian Jan 09), UNISA final Year Visual Arts T. 021 426 4594, www.34long.com Goodman Gallery, Cape 15 Dec – 11 Jan, 17th Art Salon at
and South African Contemporary Art. and Multimedia Students Exhibition Until 17 Jan, (REPEAT)from the Rose Korber Art
Gerard Sekoto Youth Festival, One- Art B Gallery beginning by William Kentridge. 24 48 Sedgemoor Road, Camps Bay,
Ann Bryant Art Gallery day-event, 16/12/08, 03 Dec – 21 Jan, Self of Nowhere, Jan – 21 Feb, Flux by Deborah Bell. Tel: (021) 438 9152, www.rosekor-
04 Nov – 02 Feb 09, Artist at the Susan Kruger-Grundlingh and 3rd Floor, Fairweather House berart.com
04 - 21 Dec
Ceramic Secrets of the Eastern Nando’s Project Room # 3, Themba KwaZulu-Natal ‘Stripped’ ceramics by Hennie 176 Sir Lowry Road Woodstock,
Shibase. R30 Until30 Mar Retro- Meyer, Photographic exhibiton by Cape Town T. 021 462 7573/4, Franschhoek
Cape, Eastern Cape Ceramics
Association Exhibition spective Exhibition -Thami Mnyele Stanford artists Annalize Mouton and www.goodmangallerycape.com
and Medu lampshades by woodturner Attie van Gallery Grande Provence
9 St Marks Road, Southernwood,
King George Street, Joubert Park,
Durban der Colff,28 Jan – 25 Feb Irma Stern Museum Until 09 Jan, Angels, Group Exhibi-
East London T. 043 722 4044
Johannesburg T. 011 725 3180 Library Centre, Carel van Aswegen 10 Dec – 17 Jan Ceramics tion, Main Road Franschoek. 01
Art Space - DBN
Port Elizabeth Street, Bellville T. 021 918 2301, by Clementina van der Walt. Joe - 28 Feb, Feast, Louis Jansen van
Until 17 Jan, 6th Annual Affordable
Standard Bank Gallery www.artb.co.za Faragher, 11- 19 Dec. Vuuren, 60th birthday celebration.
Art Show
Nelson Mandela Metropolitan Art Closed until February Cecil Road, Rosebank, Cape Town T. 021 876 8600
3 Millar Road, Durban T. 031 312
Museum Until Dec 06, Judith Mason Association for Visual Arts (AVA) T. 021 685 5686, www.irmastern. www.grandeprovence.co.za
0793, www.artspacedurban.co.za
04 Dec – 25 Jan, Retrospective Exhibition Wrapped, Ready and Counting down co.za
Who’s Who and What’s New 2008, Cnr. Simmonds & Frederick Streets, - Artreach fundraiser, 15 & 17 Dec. George
Bank Art Gallery
A celebration of local talent, Johannesburg, 2001 19 Jan – 06 Feb,Exhibition of works South African National Gallery
06 Nov – 06 Dec, Memento Mori,
1 Park Drive, Port Elizabeth, Tel: 011 631-1889 by Lindile Magunya, Mwande Zenzile Until Jul 09, Scratches on the Face. Strydom Gallery
Bronwen Vaughan-Evans, 217
Tel. (041) 586 1030, www.standardbankgallery.co.za and Kilmany-Jo Liversage Until 15 Mar 09, Voices of the Until Nov 09, 40th Annual Summer
Florida Road, Morningside, Durban
www.artmuseum.co.za 35 Church Street, Cape Town,Tel. Ancestors Exhibition, Selected artwork from
T. 031 312 6911
University of Johannesburg Arts (021) 424 7436, www.ava.co.za Until 08 Mar, I am not me, the horse established SA Artists
Centre Gallery is not mine, an installation of 8 film Tel. (044) 874 4027,www.artaffair.
Until 10 Dec, Modular Repetition, Bell-Roberts Contemporary Art fragments by William Kentridge. 12 co.za, Marklaan Centre, 79 Market
Free State Gordon Froud
Durban Art Gallery
Gallery Dec – 15 Mar, Wildlife photographer Street, George
Until 31 Jan 09, Construct: Beyond
University of Johannesburg,
Auckland Park Kingsway campus
the documentary Photograph, Cu-
Until 17 Jan, Prospects of Babel,
Photographs by Greg Marinovich
of the Year Exhibition, Until 22 Mar,
Past/Present, Andrew Verster
Bloemfontein rated by Heidi Erdmann and Jacob Stellenbosch
cor Kingsway en Universiteits Rd, & Leonie Marinovich. Pieces Government Avenue, Company’s
Lebeko. Featuring Roger Ballen,
Auckland Park of 8,Sculpture by Kevin Brand. Garden T. 021 467 4660, Dorp Straat Gallery
Oliewenhuis Art Museum Zander Blom, Lien Botha, Jacques
Tel. (011) 559 2099/2556 Until 17 Jan,Wood and Clay, Noria www.iziko.org.za Until 16 Jan, Christmas Group Exhi-
Until 04 Jan, Coetzer, Abrie Fourie, Nomusa
Mabasa,22Jan – 21 Feb. bition, Curated by Mike Donkin
Anthology – a mid-career retrospec- Makhubu, Zwelethu Mthethwa,
Warren Siebrits Modern & 176 Sir Lowry Road, Woodstock, João Ferreira Gallery 144 Dorp Street, Stellenbosch
tive, Lien Botha, Barbra Wildenboer, Dale Yudelman,
Contemporary Art www.bell-roberts.com Asleep Inside You, Kate Gottgens, T. 021 887 2256
16 Harry Smith Street, Bloemfontein Bernie Searle. Until 15 Feb 09,
27 Jan – 06, Mar, Prints, Multiples Until 27 Dec, 26 Nov – 20 Dec, www.dorpstraatgalerie.co.za
T. 051 447 9609 Indian Ink, Indian South Africans in
and Photography VI Blank Projects Naked, In Association with Mica Cu-
the media: A photographic history of
Until 10 Dec, Stefanus Rademeyer Until 19 Dec, Point Blank, Pippa ritz (at 80 Hout Street Cape Town): Sasol Art Museum
propaganda and resistance. Until 18
- Crystalline Variations. Stalker.[c.t.] drawings sounds video. Cathy Abraham & Jenny Schneider. 14 Jan – 28 Mar,Retrospective
Jan 09 Standard Bank Young Artist
Gauteng 140 Jan Smuts Avenue, Parkwood,
Johannesburg, Tel. (011) 327 0000
2008: Lolo Veleko.
Esther Ernst & Jörg Laue.
198 Buitengracht Street, Bo-Kaap,
05 – 29 Nov, Exhibition of Paintings
and Drawings including
Exhibition, Judith Mason
Second Floor, City Hall, Smith 52 Ryneveld Street, Stellenbosch.
www.warrensiebrits.co.za Cape Town, Leon Vermeulen, Lauryn Arnott, 7600
Street, Durban, 031 3006238
www.blankprojects.blogspot.com Douglas Portway, Michael Taylor.
Johannesburg Pretoria Loop Street, Cape Town University of Stellenbosch

Art Gallery
Apartheid Museum Lindy van Niekerk Art Gallery
Alette Wessels Kunskamer Until 08 Jan, 30 x 30 sale/verkoping
Until 31 Dec, Transitions, From 02 Nov, Carla Bosch solo
Exhibition of Old Masters and - 5th year students. 12 Jan - 07 Feb,
Paul Emmanuel 33 Chantecler Avenue,
selected leading contemporary Masters Degree students (exams),
Northern Parkway & Gold Reef Road Eversdal,Durbanville,
artists. Visual Arts Dept. Stellenbosch
Ormonde Ext. Tel. (021) 913 7204/5,
Maroelana Centre, Maroelana. University
GPS : S25º 46.748 EO28º 15.615 www.artpro.co.za cnr of Bird and Dorp Streets,
Tel: +27 (0)12 346 0728 Stellenbosch
15 Jan – 14 Feb Michael Stevenson Contemporary
Cell: 084 589 0711
Paintings by Robyn Penn Until 10 Jan 09, 13th Annual Sum-
www.artwessels.co.za SMAC Art Gallery
373 Jan Smuts Avenue, mer Exhibition - 10 projects including 27 Nov – 15 Jan 09, Retrospective
Johannesburg T. 011 326 0034 Nicholas Hlobo, Deborah Poynton,
Centurion Art Gallery Exhibition, Fred Schimmel at 80
www.artextra.co.za Zanele Muholi & David Goldblatt,
15-31 Jan, Exhibition of Mixed Media De Wet Centre, Church Street,
and Paintings, by the Centurion Art plus Andrew Putter, Paul Edmunds Stellenbosch T. 021 887 3607
Art on Paper and Daniel Naudé. Ceramics by
Centre www.smacgallery.com
Until 18 Dec Hylton Nel also on show. Cain and
Tel: +27 (0)12 358 3477, Plett Observations (Bruce Backhouse) at the Upperdeck Gallery forms
San Art: etchings, lithographs and Abel,Solo exhbition of new works
www.pretoriaartmuseum.co.za part of its Summer exhibition. See more at: www.upperdeckgallery.co.za Stellenbosch Art Gallery
linocut prints by Conrad Botes. 15 Jan – 21 Feb, Permanent exhibition of Conrad
44 Stanley Ave, Braamfontein Werf Nollywood,Solo exhibition of photo-
Fried Contemporary Art Gallery Theys, John Kramer, Gregoire
(Milpark), Tel. (011) 726 2234 Cape Gallery graphs by Pieter Hugo
29 Nov – 24 Jan 09 Paper + +, Kizo Boonzaier, Adriaan Boshoff and
www.artonpaper.co.za Until 13 Dec, Recent Paintings by Ground Floor, Buchanan Building,
Pascual Tarazona, Lien Botha, Lindi 09 Dec – 10 Jan,Against the other artists.
Sales Jen Lewis. 14 Dec – 10 Jan, New 160 Sir Lowry Road, Cape Town 34 Ryneveld Street, Stellenbosch
Artspace - JHB Wind,Natasha Barnes
430 Charles Str, Brooklyn, Pretoria work by David Kuijers and glass T. 021 462 1500 T. 021-8878343
Until 24 Jan, Shop G350 Palm Boulevard Gate-
Tel: 012 346 0158 beads by Ingrid de Haast and Diana www.michaelstevenson.com www.stellenboschartgallery.co.za
Oppitafel VIII (Group Show), way Theatre of Shopping Umhlanga
www.friedcontemporary.com Ferrera
A group exhibition featuring ceramic T. 031 566 4322 www.kizo.co.za
60 Church Street, Cape Town Sanlam Art Gallery
art and lighting design, T. 021 423 5309, Until 16 Jan 09, Decade Highlights
Magpie Gallery KZNSA Gallery Red Black and White Gallery
24 Jan – 03 Feb,Flower Couture www.capegallery.co.za from 10 years of collecting
Until 02 Jan, An evening with Until 11 Jan, SUSS’Tainable design, 07 Feb – 07 Mar,Exploring
Jhb, by Franz Grabe 2 Strand Road, Bellville
Tretchikoff, A collection of playful Industrial and product design,fashion lines,Strijdom van der Merwe
142 Jan Smuts Avenue, Parkwood, David Krut Publishing: Fine Art Tel. (021) 947 3359
works by a variety of quirky artists and jewelry,books on art,editioned 5a Distillery Road, Bosman’s Cross-
T. 011 482 1258 and Books www.sanlam.co.za
Shop 21B, Southdowns Shopping prints,drawings and sculptures ing, Stellenbosch, 021 886 6281,
www.artspace-jhb.co.za Until 15 Dec, Mirror: an exhibition
Centre, Centurion T. 012 665 1832 166 Bulwer Road, Glenwood, T. 031 www.redblackandwhite.co.za
www.magpie.co.za of watercolour monotypes, Bruce Urban Contemporary Art
David Krut Art Resources 2023686, www.kznsagallery.co.za
Backhouse 17 Dec - 24 Jan,Twenty Artists,
15 Nov – 15 Dec, Recent Editions,
Pretoria Art Museum 31 Newlands Avenue, Cape Town Twenty Portraits Hermanus / Stanford
Bruce Backhouse T. 021 685 0676, 46 Lower Main Road, Observatory,
Tel:(012) 344 1807/8,
142 Jan Smuts Avenue, Parkwood,
art.museum@tshwane.gov.za Northern Cape www.davidkrutpublishing.com Cape Town T. 021 447 4132, Stanford Galleries
Johannesburg T. 011 447 0627 www.urbancontemporaryart.co.za
PAM- South Gallery 20 Dec – 04 Jan Exhibition of
www.davidkrutpublishing.com Erdmann Contemporary /
Until Dec 08, A story of South African works by Peter Diggery, Lorna Skaife
Art. A selection of artworks from the Kimberly Photographers Gallery What if the World… and Charles Kamangwana.
Gallery MOMO William Humphreys Art Gallery Until 31 Jan, Home is my castle: Until 17 Jan, Big Wednesday, Major
permanent collection of the museum. 11-13 Queen Victoria Street Stanford
04 Dec – 05 Jan, Group Exhibition Until 31 Dec, Lino-cut artists, Alan Lien Botha, Angela Buckland, Jean Group Exhibition
Includes works of early 20th century Tel: 028 341 0591
52 7th Avenue, Parktown North, Grobler. Until 31 Dec, Photography, Brundrit, Abrie Fourie, Diek Grobler, First floor, 208 Albert Road
painters. Resistance artists of the www.stanfordgallery.co.za
Johannesburg T. 011 327 3247 Marlene Neumann Luan Nel, Collen Maswanganyi, Woodstock T. 021 448 1438
1980s and artists of the 21st century
www.gallerymomo.com Civic Centre, Cullinan Crescent, Maré van Noordwyk, Nontobeko www.whatiftheworld.com
PAM - North Gallery
Kimberley, Tel. (053) 831 1724, Ntombela, Jurgen Schadeberg,
04 Dec – 10 Jan 09,Tshwane Univer-
Goodman Gallery www.museumsnc.co.za Themba Shibase, Leonora van
sity of Technology Students: Applied
20 Nov – 12 Dec, Real Beauty, Staden, Bronwen Vaughan-Evans The Castle
photography by Jodi Bieber
Arts Exhibition
and Dale Yudelman 15-Dec, Generation Y, Artwork from
Send your show
Albert Werth Hall - 11 Dec – 25 Jan
163 Jan Smuts Avenue, Parkwood, 63 Shortmarket Street, Cape Town the Artists Internship Programme and event listings to:
09, Croation Drawings Western Cape T. 021 422 2762 Goodhope Studios, The Castle,
www.goodman-gallery.com www.erdmanncontemporary.co.za Darling Street
Pretoria Association of Arts
18 Jan – 05 Feb
GordArt Gallery
Exhibition of all SANAVA branches Cape Town
Everard Read Gallery - Cape Town show@arttimes.co.za
Until 13 Dec, Maureen de Jager, 11 Dec – 04 Feb John Klynsmith
173 Mackie Street, New Muckle-
Grace da Costa, David Ceruti and Summer Exhibition,Painting and Until 15 Jan, Exhibition of Art, Jewel-
neuk, Pretoria, Gauteng, 0181,
Ludumo ‘Toto’ Maqabuka 34 Long sculpture,including Anton Brink, lery and Sculptures
Tel. (012) 346 3100
Johannesburg T. 011 726 8519 Ricky Dyaloyi, Hanneke Benade, John Klynsmith Studio, 17 Rochester
South African Art Times. December 08 - January 09 Page 7

David Robinson, One of the works at 136 Campground Rd, Rondebosch, Cape Town

(left) Thami Mnyele with the Medu Group art ensemble retrospective work will be shown at
The Johanesburg Art Gallery from end of November. (right) Thami Mnyele, there goes a man

The Hout Street Gallery Summer Salon

The Hout Street Gallery Summer Salon
opens on 4 December and runs
until the end of February 2009 at:

270 Main Street, Paarl.

The Gallery is open Monday -

Saturday from 08:30 - 5:30 pm
and on Sunday from 10:00 - 5:00 pm. Nontsikelelo Veleko Wafakingoma Phakathi Kwam, Umdloti, KwaZulu Natal 2007 (detail)

Visit www.houtstreetgallery.co.za WONDERLAND

or contact 021 872 5030. by Nontsikelelo Veleko, Standard Bank Young Artist 2008 on view from 20 November 08 to 18 January 09
Durban Art Gallery
The Evangelist by Ann Lindsell-Stewart 2nd Fl., City Hall, Smith St., Durban Tel: 031 3112264/9. Mon - Sat 08:00-16:00 Sun 11:00-16:00
Fanning the Flames
What and who is fanning the eternal braai in Johannesburg, Durban and Cape Town

Between them is the chair where

I sit and write, hoping that their
refracted and separate visions will
always somehow inform mine.

At Hipper’s latest solo at the Obert

Contemporary I was thrilled to
discover that he is still exploring
the same difficult territory with the
same exacting attention to the
pristine sensuality of his surfaces.

Alex Emsley
After a Model features a series of
not exactly black and white, but
valium grey paintings, several of
which could quite happily adorn a
That year, South Africa’s small,
contemporary edition of Vladimir
THE ARTFUL eye-catching show Affinities in the
ART PIG Nabokov’s Lolita. Sharing a highly
palazzo Giustinian Lolin, seemed
refined aesthetic with the work of
Sanell Achenbach and Doreen
VIEWER a cheerful prelude to the fact that
the country would, the following
Alex Dodd year, for the first time, get a nation-
Melvyn Minnaar al department of arts and culture.
Fat lot of good that did for a formal
Denial in Venice relationship between Venice and
SA, 14 years down the line.
Paolo Lughi is the coordinator of
the press office of la Biennale di In 1993, with DAC and the national
Venezia, and was rather surprised arts council still just a good idea
when he was told his office is in Madiba’s head, one expected
Work by Bongumusa Hlongwe at the DUT Gallery, Durban. wrong. It probably wasn’t his fault. some fumbling to hastily arrange
Work by Mark Hipper showing at the Obert Gallery, Jhb. things for such a very public inter-
This year wasn’t too bad. There His office had issued a release national show. We had been out of
The first work of art I ever bought Southwood, Hipper’s paintings are was the aforementioned map. announcing that one of ‘the that picture so long, no-one knew
was a large-scale charcoal drawing all about memory and desire, social There were arrows pointing people countries present for the first time’ what to do. But we did it.
by Mark Hipper. It was part of the discipline and awkward personal in the right direction (which really in the upcoming Venice art fest
controversial show that earned submission to controlled group helped. It’s the first year that I’ve (number 53, from June 7 to No- Those with memories of the busi-
him a banning order from the new behaviour. not walked around with a small vember 22, 2009) is South Africa. ness of art and politics will recall
regime at the National Arts Festival They are drawn from 1950s crowd of people looking for the (Together with Andorra, Gabon, how during the dawn of democ-
in Grahamstown in 1998. The Department of Education manuals art). And there was some very Montenegro, Pakistan, Monaco, racy ‘consultation’ and ‘represen-
exhibition, which touched on the for physical education instructors, promising young artists. But much and the United Arab Emirates, by tation’ were the guilty buzz-words.
awkward area of children and eroti- and anatomy books that illustrate of the work lacked curation. Which the way.) Participating in anything arty
cism, was one of the first flourishes a particular directive or lesson. sounds like a tiny thing but it’s so meant organisers had to egg walk
of South African public life that Imbued with the ominous national- important. You can’t just make Dearly-departed and very-alive every step of the process. (How
prompted the new state to reveal ism of the era, these images are a bunch of art and leave it lying South African artists surely sat this stymied some careers and
its inherent moral conservativism. also strangely, unnervingly erotic. around the room. If you do that it’s up in stunned disbelieve at such promoted others, is worthy of a
The pale white tones of the young kind of not art anymore (unless misinformation. future art history doctorate.)
My purchase was informed less
by the so-called edgy and explicit
girls’ thighs are highlighted by the
blackness of their regulation shorts
THE ART perhaps you’re making work that
is about leaving it lying around Before the cultural boycott kicked Nevertheless, the Venetians were
nature of the show than with the
context of its reception and the
and crisp white sport shirts as they
run, jump and do cartwheels, cast-
COWBOY the room). I’m not saying any of in, South Africa regularly had as excited as the rest of the world
the students took precisely that artists at the biennale. And, since of South Africa’s (artistic) libera-
complexity of moral dogmatism. ing their strange shadows across approach but a few of them came the early 1990s, quite a number tion, and their invitation was warm
The work I fell in love with was a the blank sports field… Peter Machen pretty close. have managed to get there and and wide open. The problem was
bold charcoal drawing that now There’s a degree of arrogance flaunt their skills in the Giardini di how to ‘facilitate’ it. (Another buzz-
hangs in my study opposite a My next excursion to the opening There is a gentle unspoken feud inherent in nearly all art-making. Castello or somewhere in the halls word in those heady days.)
poster from a show I saw at the of siblings Alexandra and David between myself and the Durban “Look! I made this”. This is the of the Arsenale.
Museum of Modern Art in New York Ross’s In Camera at Resolution University of Technology’s Fine arrogance of the gallery, of the The ‘old countries’ embedded in
in 1997. The Stenberg Brothers: Gallery was a continuation of the Arts Department. Every year I white wall, the cistine chapel, the Of course, one can easily dismiss the 113-year history of the Venice
Constructing a Revolution in Soviet erotically charged black and white
attend their year-end exhibitions. arrogance of not doing a real job, this bit of nonsense as a faux-pas biennale traditionally had (still
Design was a show that celebrated theme. Alexandra Ross’s series
And every year I complain publicly of not going out into the fields. The by lesser-informed, hyped-up have) ‘national pavilions’. In those
the beauty – the seductive eye of dimly lit nude self portraits are
about something. It’s become DUT is a governmental academic media personnel. (The record colonial days, such an individual
candy – of Soviet propaganda. printed onto metal plates referenc-
something of a joke in fact. This institution. It’s not allowed to be was set straight via e-mail from showcase for an anointed artist
ing Victorian daguerrotypes. You
year they made a map – some- that kind of person. But just for Cape Town.) Those who have was, of course, a bold, competitive
But back to Hipper. In the central have to get up really close to see
thing that I have been requesting one night it should try to pretend. It been tracing the history of South demonstration of the state and
strip of a large sheet of crisp white the luscious curves of the naked
in various media for years – “to should treat all it’s students’ work Africa’s relationship with the power of nations.
paper is a black-and-white image body in her strip of images, evoking
of a young girl’s face. She gazes a naughty through-the-keyhole
make Peter Machen happy”. as jewels of the night, rare and arcane establishment and system
directly at the viewer through a pair feeling. Funny thing is, though, if I hadn’t precious as some of it is. Were that makes la Biennale, however, By the late 20th century these
of spectacles and, in optometrist’s Whereas her images are small, run into one of the lecturers the I more of a lunatic I might even will suspect this ‘misspeak’ the pompous buildings cluttered up
lettering in the white strip above dark and provocative, the large- day before I wouldn’t even have suggest they produce a catalogue result of yet another bureaucratic the gardens. As a far-flung colony
her face, are the enigmatic words: scale photographs that face them known the show was happening every year... entanglement. in the early days, South Africa
‘Good vision should be maintained.’ are flooded with grainy light. David because no-one invited me. Not And so to the art. And instead wasn’t in the game, and by the
What do the words mean? That Ross shot his bedroom scenes that I need a personal invitation of saving the best for last, I’ll The first thing that sets one time we were invited as a liberated
we should have our eyes checked with a cell phone and enlarged the but as one of a very small circle of dive right in. This year was the thinking, reading between the nation, space had become an
regularly? That is it important to low-res files almost to the point people in Durban who write about first time that a single talent had lines of that press statement issue.
maintain a good outlook on life? of disintegration, giving one the art, they could have sent me an dominated my memory of the which reported that “the president
Well, of course it is. dreamy sense that the figure in email. Or even announced it in the show so exclusively. Of the thirty ... Paolo Baratta, along with the Yet new spaces have been
the image is only half there – an papers. A billboard, whatever. Or or so young artists whose work director .... Daniel Birnbaum, met opened up elsewhere in the city
But there is an unnerving fascist ideal medium for the portrayal of maybe I’m being naïve and they was on show, one talent stood today ... the representatives of the and the organisers too had be-
twinge to the phrase: an insistence that ‘morning after the night before’ simply didn’t want me to come out high above the others. If his nations participating ...”, is that come award that even art history
on good vision at any cost. And sense of absence and perhaps and start my complaining. fourth year exhibition is anything word ‘representatives’. had moved beyond the confines
what is ‘good’ vision? Who deter- even loss. But I don’t think that the Tech has to by, Bongumusa Hlongwe is of the national. So the invitation to
mines what is ‘good’ and what is ever realised the flattery inherent already poised for the international Who, from our mission in Italy South Africa has, since 1994, been
not? Having grown up in apartheid Whereas Alexandra’s images have in my continual criticism. The stage. An accomplished painter (surely a diplomat), was that repre- open and welcoming. The problem
South Africa and lived through the a Victorian studio feel, David’s department, against all odds – fac- and sculptor, his work echoes sentative - clearly clueless to the was - and clearly remains - on the
blinding idealism that fuelled the recall the sexuality of Jean Luc ing the perpetual cost-cutting and established talents such as fact that South Africa has been South African side. It’s mostly one
transition to a new nationalism Goddard movies. Both series are diminishing resources that seem Willie Bester and Andries Botha, represented at the Venice biennale of will, money and commitment.
– that although not remotely as unashamedly nostalgic in feel – to defined modern institutional life but – importantly – even as his for yonks?
dire as the previous version, is still adding to that sense of something – regularly produces promising tal- works reference these masters, Bearing in mind that the 53rd Ven-
nationalism and still flawed – these that is not quite there, bodies that ent and is a vital cog in Durban’s consciously or not, there is a Since 1993, when South Africa, ice Biennale is six months away,
are ideas that really get under my can’t quite be had or experienced creative sector. And that talent profound sense of a unique artistic on the cusp of democracy, had a South African artists shouldn’t
skin. in full – this being an essential should be made to look as good vision, Hlongwe’s various narrative hastily-arranged presence, the link hold their collective breath. At the
In my office the bespectacled girl in ingredient in the visual or literary as possible on the one night of the strands virtually bursting out of the between South African art and time of writing, Paolo Lughi had
the Hipper drawing faces a bespec- sense of the erotic. Not having, not year that the public gets to see the work. As well as being technically the world’s oldest showcase of its nothing to report to expectant
tacled man in the Stenberg Broth- fully remembering, not being able work it produces. It should shine. versatile and producing work so contemporary production has been South African art fans. As could
ers poster – two figures eternally to go back… so we’re left with the It should sparkle. It should sell. rich in content and concept, a gothic maze. Blame it on the be expected, no information was
locked into an unspeakable tension decided desire for more. And some years they get it right. CONTINUED on Page 19 bureaucracy; both sides. forthcoming from the DAC.
between different ways of seeing.
South African Art Times. December 08 - January 09 Page 9

Summer Salons 08/9

Frans Oerder, Reading the bones on exhibition at Sanlam’s

Decade Show until 16 January 2009.

Sam Nhlengethwa: Tribute to William Kentridge 2008, Litho. To be

seen at the Rose Korber 17th Summer Salon 15 Dec - 11 January 09
(See advert on rhs of page)

AM NOT ME, THE HORSE IS NOT MINE, An installation of 8 film

fragments. 11 December 2008 – 8 March 2009 at the Goodman
Gallery, Cape Town.

Work by Strydom van der Merwe on a group exhibition entitled

Woman with Crayfish by Jan Vermeiren to be seen at The Hout Street
Christmans Group show open until 16 January 09 at
Summer that runs until end of February 09. Visit www.houtstreetgallery.co.za
Dorpstraat Gallery, Stellenbosch

museums of cape town
s Kids under 16 get in free
s Visit any one of our 12 museums
around the Western Cape
s Join our summer school programmes

Putting a spin on history General Enquiries
Email: info@iziko.org.za / Telephone: +27 (0)21 481 3800
Mon to Fri 8am - 5pm
Sat 10am - 5pm
Sun & Public Holidays 1pm - 5pm
Christmas Day & Good Friday closed

16 Harry Smith Street,

Tel: 051 447 9609
e-mail: oliewen@nasmus.co.za
Oliewenhuis Art Museum is a satellite of
A. Podlaschuc, Thread Softly the National Museum, Bloemfontein

flyer.indd 1 2008/10/16 05:11:09 PM


Western Cape artist Dale Elliott has recently been invited to have his instruc-
tional art approaches covered in extensive articles in three consecutive issues
of the well-known British ‘The Artist’ monthly magazine.

Speaking from his Villiersdorp studio and gallery, Dale informed how the
editor of the magazine, Sally Bulgin, visited his gallery some months ago and
invited him to produce the articles, setting out his ’10-steps’ approach to oils
and acrylics, together with additional art input. Dale submitted the illustrated
multi-image material by mid-year, and the articles appeared in the October
and November issues, with the final submission due to appear in the Decem-
ber publication. Dale kept the subject-matter bright and South African. The
first demo was of an extensive Boland landscape; the second an informal
settlement, and the December issue covers the steps in painting a karoo farm

The Elliotts have for many years been at the forefront of the Painting Holiday
concept, and Dale has developed techniques and approaches which are
unique and are now available on CD Rom and DVD. In the definitive publi-
cation on the Garden Route, ‘The Paradise Coast’ by Patricia Storrar, Trent
Read in a chapter on the artists of the area writes that Dale “has probably
taught more people to paint than anyone else in the country..” Over the past
three decades the Elliott Art Studios have hosted over 3000 creative folk on
their varied Courses, and many lives have been changed by the exposure to
the right-brain world. Their courses include indoor and outdoor painting op-
tions, and they cater for all levels of expertise – from beginners to advanced
artists, in their state-of-the-art teaching studios at Villiersdorp.

There has been a big response to the Artist articles, and Dale has been
answering dozens of queries from interested folk in many distant lands. His
steps in painting are covered on his extensive website at www.daleelliott.
co.za as are full details of his courses. He can be contacted at e-mail dale@
daleelliott.co.za or phone no. 0288402927. The Artist magazine has a most
informative website at www.paintersonline.co.uk
South African Art Times. December 08 - January 09 2008 Page 11

Artist details sought by

Standard Bank collection
Standard Bank will be publishing a Duma, Viola Fitzroy, Bruce Han-
catalogue of the corporate art col- cock, Cecil Higgs, Mary Hillhouse,
lection in the new year and would S J Hlatswayo, Job Kekana, Otto
like to include all the artworks in Klar, Alexander Klopcanovs, Fritz
the collection. To date 250 artists/ Krampe, Frieda Locke, Speelman
family members/copyright holders Mahlangu, Chabani Manganyi,
have given permission to publish Isaac Masisi, Reuben Mateman,
works in the catalogue. Fanie Matjie, Erich Mayer, Terence
Below is a list of those artists that McCaw, Gladys Mgudlandlu, Let-
we have not been able to contact tie Mhlangu, Nomadie Mhlangu,
at all. David Mogano, John Mohl, Billy
Molokeng, Julian Motau, James
If anyone can help with any leads Mphahlele, Rose Msangu, C
please contact:Judy Legrange Nxumalo, Derrick Nxumalo, Owen
Owen, Denise Penfold, Roland
Tel. 011-631-2533, Pitchforth, Douglas Portway,
Fax 011-636-7515, Sibusiso Sabela, Roderick Sauls,
A work by Clementina van der Walt that forms part of her show entitled: Hearth
Email Judy.Legrange@standard- Bongani Shange, Edwine Simon,
at the Irma Stern Gallery, Cape Town. Opens 10 Dec 08 until 17 January 09.
bank.co.za Poppie Skosane, Rose Skosane,
Nita Spilhaus, Cecil Thornley
Stewart, Roy Taylor, Anna Masa-
List of artists - information needed: ngu Thabane, Cecil Thuketana,
Nils Andersen,Gerard Bhengu, Ishmael Thyson, Allan Turton,
Zoltan Borboreki, Robert Broadley, Maurice van Essche, Vuyile
W Buhler,Jan Dingemans, Enslin Voyiya, Paul Wiles and David
du Plessis, Paul du Toit, shengi John Yule

Paintings stolen at Johannesburg

said on Sunday.

The artist, Lesley Bergere, said

she was busy setting up her paint-
ings for an exhibition that opened
A drawing by Mark Kannemeyer, Lorcan White Storm 2008 Pen and ink draw-
at the weekend when she went to
ing. Exhibition entitled Zombie was at the Art on Paper Gallery, Johannesburg.
the kitchen for a few minutes.

“When I returned to the gallery I

realised something was missing
and when I checked against my
list, I discovered that two paintings
had disappeared.”

Bergere was “shocked and as-

tonished”. The theft was reported
Manifestation Two, one of two to the police. There had been a
paintings by Lesley Bergere stolen number of people in the gallery
from a Johannesburg gallery. at the time of the theft, Bergere
said. The stolen paintings are A Wavescape surfboard, meticulously decorated by underground comic
Johannesburg - Two valuable, called Manifestation Two, depict- artist Andy Mason (and surfer) fetched R 17 000 on a fundraising
original oil paintings were stolen ing butterflies emerging from a auction. Proceeds went to the NSRI and Shark Spotters
from a Parkhurst, Johannesburg, vacuum, and an abstract titled
art gallery where they were to Red Crescent, featuring warm,
have been exhibited, their owner amber colours.
John Meyer, Dreams of the city, to be seen at The Everard Read Gallery
Cape Town, Summer Show.
Daniel Novela Art Studio
One of worth visiting art places in South Africa is the studio
of Daniel Novela, one of the black landscape impressionists
that South Africa has ever produced before. His studio is
situated in Khuma between Klerksdorp and Potchefstroom.
Just one and half hour to drive from Johannesburg to see
this humble international and highly gifted artist.

This is an opportunity for all serious art collectors: individu-

als, groups, executive corporate, art galleries and Museum
Curators, art auction Managing Directors and many others.
Among those who have visited Novela studio is the world re-
Daniel Novela in his studio Sheep going home. Oil on canvas nowned Mr Carlos Parreira, the former BafanaBafana Coach
To visit Daniel Novela art studio please book an appointment and for more information on how to get there or for a preview see: as well as Mr Robert Du Preez the Managing Director of Mr
www.danielnovela.co.za or email to info@danielnovela.co.za Price who all have made a good collection of Daniel’s work.
or contact Daniel Novela at: Studio: +27 18 489 1780 Fax: +27 18 489 1777 Cell: +27 82 262 3600

EdnaFourie g a l l e r y

Route 62

of the paintings of
Edna Fourie
083 302 5538

South African Art Times. December 08 - January 09 Page 13

Standard Bank celebrates 25 years of

supporting South Africa’s young artists
Standard Bank, one of the leaders the winner of the Standard Bank Williams, 1995 Jane Alexander,
in art sponsorship, has announced Young Artist Award for Visual Art. Boyzie Cekwana, John Ledwaba,
its Young Artist award-winners “I am truly honoured to have been Abel Motsoadi, 1996 Lara Foot
for 2009, celebrating 25 years of chosen and hope to give Newton, Trevor Makhoba, Vincent
sponsorship of the arts. audiences something new and Mantsoe, Victor Masondo, 1997
These awards, seen as one of innovative,” he enthused. Lien Botha, Geoffrey Hyland,
the most prestigious of their kind Sibongile Mngoma, Standard Bank
in the country, honour young The 2009 National Arts Festival Special Award for vision, com-
South African artists who have not runs from 2 – 11 July and for mitment and contribution, Alfred
yet gained widespread national further information visit www. Hinkel, 1998 David Mudanalo
exposure or acclaim, but who are nationalartsfestival.co.za. Matamela, Debbie Rakusin,
making a significant mark in their Bongani Ndodana, Nhlanhla Xaba,
field. Previous Winners Aubrey Sekhabi, 1999 No awards
made. 2000 Zenzi Mbuli, Gloria
These awards honour and actively 1981 Richard Grant, John Theod- Bosman, Alan Alborough, 2001
promote the talent of these young ore, Jules van de Vijver, Tracey Human, Brett Bailey, Fikile
artists, providing them with a 1982 Janice Honeyman, Neil Mvinjelwa, Walter Oltmann,
platform for experimentation of Rodger, Lindy Raizenberg, 2002 Gregory Vuyani Moqoma,
new innovative concepts and 1983 Paul Slabolepszy, Malcolm Sello Maake Ka Ncube, Prince
ideas. Besides providing them with Payne, David Kosviner, Kupi, Brett Murray, 2003 Moya
financial support, it gives recogni- 1984 Peter Schütz, Ken Leach Michael, Yael Faber, Dumisani
tion to their talent. Standard Bank - 1820 Foundation Phakathi, Angela Gilbert, Berni
The winners of the 2009 Standard 10th Anniversary Special Award: Searle, 2004 Kathryn Smith, Mn-
Bank Young Artist Awards are as Lamar Crowson, cedisi Shabangu, Portia Lebohang
follows: Nicholas Hlobo for Visual 1985 Marion Arnold, Maishe Mashigo, Tutu Puone, Moses
Art Jacques Eugene Imbrailo Maponya, Sidwill Hartman, Taiwa Molelekwa (posthumously), Estelle Jacobs, respected Cape Town arts administrator recieves her reward.
for Music Ntshieng Mokgoro for 1986 Andrew Buckland, Gavin 2005 Wim Botha, P J Sabba-

Finally, Acknowledgement in
Drama Kesivan Naidoo for Jazz Younge, 1987 William Kentridge, gha, Andile Yenana, Mpumelelo
Thabo Rapoo for Dance Hans Roosenschoon, 1988 Mar- Grootboom,
garet Vorster, Mbongeni Ngema, 2006 Concord Nkabinde, Churchill
As part of their prize, each of the 1989 Johnny Clegg, Marthinus Madikida, Hlengiwe Lushaba,

Bronze for Estelle Jacobs

winners will be featured on the Basson, Helen Sebidi, Gary Sylvaine Strike,
Main Programme of the 2009 Gordon, 1820 Foundation Special 2007 Acty Tang, Bronwen Forbay,
National Arts Festival in Graham- Award Pieter-Dirk Uys, 1990 Shanon Mowday, Pieter Hugo,
stown (2 - 11 July 2009). This Robyn Orlin, Fée Halsted-Berning, Akin Omotoso,
platform gives them the license to Bonnie Ntshalintshali, 1991 Peter 2008 Dada Masilo, Nontsikelelo
present a new innovative piece of Ngwenya, Andries Botha, Darrell ‘Lolo’ Veleko, Jaco Bouwer, Mark
work which audiences will see for Roodt, 1992 Deon Opperman, Fransman, Zanne Stapelberg. That all-artist friend for all art and culture project); Bethesda,
the first time. Tommy Motswai, Raphael Vilakazi, seasons, retired AVA director Very few of Estelle’s great many Bergrivier Association for persons
Nicholas Hlobo knew about the Kevin Harris, 1993 Christopher Estelle Jacobs, was finally given fans knew, never mind had been with disabilities (disabilities in art);
awards but never dreamed that Kindo, Sibongile Khumalo, Pippa a just reward (well, sort of - if you invited to the party. Had they been, Nyanga Arts Development Centre
he would have the opportunity to Skotnes, 1994 Jerry Mofokeng, think a curious, but elegant little the applause would have been (innovative community art centre);
exhibit in Grahamstown as Sam Nhlengethwa, Michael bronze fits that bill) when she was tremendous. Her contribution to Cape Education Trust, Early
named winner of this year’s West- the local arts over the 15 years at Learning Resource Unit (promo-
Untitled by ern Cape trophy for contributing to AVA, and before, is indisputable. tion of multilingualism); Ntsiki
Chris Slack, one the visual arts. Well done, Estelle. Ntusikazi (promotion of three
of the works on official languages); Andries van
exhibition at the A vivacious, dramatically black- But the organisers can jack up Niekerk (promotion of marginal-
new UCA dressed Jacobs received the these worthwhile awards. The ised indigenous and SA sign lan-
Gallery, trophy, design by Charles Haupt process itself too is rather clouded. guages); Rocklands library (Teresa
Observatory CT of Bronze Age, from the provincial Beyond newspaper advertisement, Denton) (community-involved
of 20 artists director of arts, culture and lan- very little is known how decisions library); Table View library (Elmarie
displaying 20 guage, Jane Stuurman-Moleleki, are made. (Some very strange Weldman) (best library/librarian);
works. The show at a rather odd awards dinner in names got themselves onto the Francois Verster (promotion of ar-
starts 17th the Bloemendal party boma on the ‘nomination’ lists!) Maybe the chive services); Thandi Swartbooi
December and Durbanville hill. department needs a little advice to (achievement of women in the
will run until the jack up the project, process and arts, culture, heritage, language,
24th January The annual awards, in various party. libraries, archives); Ama-ambush
09 . See more categories, are made by the West- (achievement of youth in that
details at: www. ern Cape provincial government’s * Other winners are: field).
ucagallery.co.za department of cultural affairs and Mthobeli Phillip Guma (heritage
sport. Quite unique, it has been resources); Jan Corewijn (lifelong Lifetime achievement awards were
going for nine years. If you didn’t contribution to conservation); presented by MEC Cameron Dug-
know that, it is because, for all Antonia Malan (historical archaeol- more to Sithathu ‘Boks’ Mkonto,
their good intensions, the depart- ogy); Bertdene Laubscher of the Sulaiman Christian and Johaar
ment seems rather inefficient in Togryers-museum (new museum Mosaval. ‘Legends of the arts’
getting the message out. After all, project); Alfred Hinkel (dance); awards were made to Errol Dyers
if you honour someone you want Theo Vilakazi (drama); Camillo and Christopher Kindo.
to world to know. Lombard (music); Jungle Theatre
(How about inviting the media?) Company (innovative community



The 2nd Edition Guide to artists & galleries
along the Garden Route.
Pick up your copy at tourism offices, information centres,
selected hotels, B&B’s and tour operators from
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Nicolas Hlobo: Standard Bank Young Artist 2009
An artist inspired by everyday
Theresa Smith A B.Tech in Fine Arts followed and identity My national identity is my
today the 34-year-old has exhib ethnic heritage but also includes
Daily News, Tonight ited his art - solo and as part of a my colonial heritage and all the
(Text from Newspaper)
group -all over the world, including influences of being South African.
Rome, London and New York. Some people prefer if we all
Hiobo has gained an international stayed away from talking about
reputation for his experimental use being black, or Xhosa or South
of materials, using non convention- African, some of my friends say
al, found materials such as rubber I’m digging a hole for myself But I
or leather to tell his stories. find it important that we acknowl-
“I draw with a knife,” he said. The edge difference, because our
Joburg resident draws inspiration differences are what makes us a
from things around him. diverse nation.
“Nature, architecture, dance espe- To me, my work and the material
cially, performance art ... I’m I use are an attempt to challenge
inspired by my surroundings and visual arts or fine arts conventions.
the city I live in.? What does win- What is a drawing supposed to
Nicolas Hlobo. Photo Artthrob ning this award mean to you? look like? Must it be in pen or
I’m very grateful to be acknowl- pencil? Why not cut it? Isn’t that
edged, encouraged and motivated a drawing? Why not use rubber
to work harder I view it as a way instead of casting with clay or carv-
Art was not taught at school
of saying to me ?thank you for ing stone? Why not use something
when Nicholas Hlobo grew up in
contributing towards writing our else, something metaphoric.
Transkei, but his teachers always
cultural history?. It’s like someone Whatever I use, -it’s there to add
asked him to draw on chalkboard.
has pressed the accelerator and to the story I’m telling. Who has
His friends called him an artist, but
now I have to tell more stories to been your greatest inspiration? My
he never considered a fine arts
share my culture with the world. grandmother my mother’s mother
career even going so far as to take
What do you bring to your art After she died, it was my other
a computer course after matric, at
form? grandmother Any ideas what you’ll
the insistence of his father ?I had
I’d say it’s my courage to tackle present in Grahamstown”
this feeling, this urge that I had to
the subjects that I do, celebrating I’ve got some ideas, it’s like bak-
go and study art, but even then I
my identity and my heritage. My ing bread, I’m still waiting for the
wasn’t sure,? said Hlobo.
identity as in my ethnic identity as dough to rise. Then I’ll knead it
It was only in 1998 that he started
Nicholas Hlobo: Umphanda ongazaliyo 2008. Rubber, ribbon, zips, steel, wood, plaster. Photo: John Kennard a Xhosa, then being a homosexual again and put it in the pan.
working on his portfolio and sat the
Image courtesy of Michael Stevenson man and thirdly my South African
entrance exam for Wits Technikon.

Art that explores culture and taboo

SOWETAN, Time Out (Text from Newspaper)

After his successful solo exhibition Studio Museum in Harlem in New

at the ICA Gallery in Boston in the York and at Haunch of Venison in it insults people’s intelligence.? His
US, award-winning visual artist London. medley of artistic creations reflect
Nicholas Hlobo’s striking art has He credits his success to his liberalism, but on the whole they
put him on par with the country’s international exposure. reflect reality. Culturally, however
best. “Traveling all over the world and he is generally very open-minded.
Born in 1975, Hlobo uses rubber~ being exposed to different cultures Hlobo says his latest work is
leather and ribbon to explore has made me grow. inspired by the skin of cows, which
Xhosa traditions, homosexuality “The way I approach my work has is used metaphorically.
and other issues that are taboo for also changed,” Hlobo says. He explains: ?Initially it started
some people. Previously, he has produced inter- very small, but the idea grew. I
When Time Out visited Hlobo at esting works such as Kwatsityw used a cow as a metaphor.
his studio in the heart of Jozi, he iziko, Izele, i.qqirha Lendlela, “If you look closely, the piece
was putting the final touches to a Vanity In the Making, Umtya Net resembles a landscape. Cows
huge piece that he calls Ingubo hunga and Hermaphrodite. represent wealth in African culture.
Yesizwe. Hlobo is the winner of the Tollman So this piece is very central and
He says the piece will be flown Award for Visual Arts 2006. it speaks a lot about African
to London for an exhibition that He recently won the Standard culture,? says Hlobo. “If you look
opens there on December 8. Bank Young Artist Award for Visual at the shape of the piece, it is
Hiobo’s works are not easily un- Arts 2008. changing. It is like life and politics
derstood by laymen, or laywomen “I am truly honoured to have been in this country. “Life is not static,
for that matter. chosen for the award and I will it changes all the time.” Hlobo
He explains: “I don’t want my do my utmost to continually give has established his profile both
work to be straightforward. I want audiences something new and in- in South Africa and internation-
people to understand it in their novative,” says the excited Hlobo. ally. Recently, he exhibited at the
own way. When art is too obvious, After his successful solo exhibition Studio Museum in Harlem in New
it insults people’s intelligence.? His at the ICA Gallery in Boston in the York and at Haunch of Venison in
medley of artistic creations reflect US, award-winning visual artist London. He credits his success
liberalism, but on the whole they Nicholas Hlobo’s striking art has to his international exposure.
reflect reality. Culturally, however put him on par with the country’s “Traveling all over the world and
he is generally very open-minded. best. being exposed to different cultures
Hlobo says his latest work is Born in 1975, Hlobo uses rubber~ has made me grow. “The way I ap-
inspired by the skin of cows, which leather and ribbon to explore proach my work has also changed”
is used metaphorically. Xhosa traditions, homosexuality Hlobo says.
He explains: ?Initially it started and other issues that are taboo for Previously, he has produced inter-
very small, but the idea grew. I some people. esting works such as Kwatsityw
used a cow as a metaphor. When Time Out visited Hlobo at ?iziko, Izele, i.qqirha Lendlela,
“If you look closely, the piece his studio in the heart of Jozi, he Vanity In the Making, Umtya Net
resembles a landscape. Cows was putting the final touches to a hunga and Hermaphrodite.
represent wealth in African culture. huge piece that he calls Ingubo Hiobo is the winner of the Tollman
So this piece is very central and it Yesizwe. Award for Visual Arts 2006.
speaks a lot about African culture,” He says the piece will be flown He recently won the Standard
says Hlobo. to London for an exhibition that Bank Young Artist Award for Visual
“If you look at the shape of the opens there on December 8. Arts 2008.
piece, it is changing. It is like life Hiobo’s works are not easily un- “I am truly honoured to have been
and politics in this country”. “Life is derstood by laymen, or laywomen chosen for the award and I will
not static, it changes all the time.” for that matter. do my utmost to continually give
Hlobo has established his profile He explains: “I don’t want my work audiences something new and in-
both in South Africa and interna- to be straightforward. I want peo- novative” says the excited Hlobo
tionally. ple to understand it in their own Nicholas Hlobo: Umphanda ongazaliyo 2008. Rubber, ribbon, zips, steel, wood, plaster. Photo: John Kennard
Recently, he exhibited at the way. When art is too obvious, Image courtesy of Michael Stevenson
Student Graduate shows 08
Cara Gilloughley - Ring Mistress, Ruth Prowse School of Art
Student Graduate shows ‘08
Finishing (Art) School: Kindling Nostalgia
Melvyn Minnaar traipse through local end-of-year student shows WC
Not too hot, in Stellenbosch, it tOf course, painting itself is more
seems and lesser so than last often than not a medium informed
year. Beyond the cool of the fine by nostalgia and Chad Barber’s
jewellery (it really needs, as does fine canvasses seemed drenched
the Ruth Prowse, its own show) in such otherworldliness. (A su
and run-of-the-mill commercial perb, ghostly Below II marks him
graphic designs, one wonders as one of the show stars). Master
whether these students are really student Jake Aikman has already
challenged by their institutional taken on painting as a serious
guardians. Much of the student vehicle and the work in the gallery
art looked, well, ordinary, even is up to scratch. But it was Julie
half-hearted. Donald’s dense ‘white paintings’ in

Perhaps that is a little unfair to the Egyptian that somehow took

chicken - a mini-monumental say about the like of Niel Vosloo’s on a striking presence and got one
version of the plastic township photo imagery, Zahn Rust’s cheer- thinking.
sidewalk hybrid - and dance-hall ful wild graphics and Ferdinand
decorated easter egg will fit such Kidd’s intense drawings and paint- It seems as if this year there was
high places. He’s clearly been ings. They did well. stronger conceptual interrogation
thinking about art-making and in some senior student studios.
another of his conclusions is the A lot of the Stellenbosch work Pieter Cilliers’ exquisite formalism
rough cardboard walk-in Vibe seems driven by a curious nostal- gives nostalgic minimalism
Collector in the room next door: gia. It could be a sign of the times. a kick in the butt. These are truly
a put-down of the highbrow if At Ruth Prowse’s final-year show, beautiful pieces, with their whiffs of
anything. nostalgia was everywhere. Whiteread
These are the room and lecture
halls of the university’s ‘Depart- André Roth’s skills with charcoal Beauty also seems to be the
ment van Visuele Kunste’, where (Starshine with daddy and teddy), unexpected result of Tenille
It’s a day or so after the opening, the annual year-end open-house Tarryn Gordon’s with bleach Robertson’s clever photo essay
a hot midday in Stellenbosch, and students’ show is an added at- added, and Christopher Zinne’s about ‘crowds’ in which high-en-
Joe Foster is rather irritated. Mum- traction for those tourists who’ve portraits of vulnerability all drew ergy people and masses turn into
bling about the riff-raff who seems marked down on their lists all on a sometimes naïve-looking elegant graphic patterns. ‘Beauty’
set on sabotaging his artwork by the Dylan Lewis bronze animals nostalgia. Like as if the world is cut could only ironically apply to the
writing comments on the black prancing on the town’s street off from this, their, reality. delicious, but quirky photo project
board and fiddling with his chicken corners. Elzahn Nel’s art seemed to drive that led Keelin Pincus to search
and easter egg sculptures, he sets If there’s one thing that such the nostalgia beyond her nice out nudists for full-frontals. There
out to straighten the display. intrepid arty types are usually drawings to the monomania of but- is plenty of humour here - note that
tons bearing sentimental pictures, relaxing Werner’s plumpy Anesca
and the melancholy of a forlorn is engrossed in her novel Jy Erf
silent sixties radio. die Blomtyd!
Luckily there was Cara Gillougley’s
naughty photo prints in the foyer The grand prize, the Michaelis,
to cheer us up with their awkward every art student’s aspiration, this
playfulness. year, went to Robert Watermeyer.
And there can be no argument
Playfulness was hard to find at that his photographic series about
the Michaelis, but nostalgia there border posts is the best work on
certainly was (and the expected show. Elegant and tight in concept,
silliness here and there). understated and formal in execu-
tion, yet full of visual adventure
Racine Williams’ lighthouse took and emotional power, these are
up on that theme. (Maybe, like top-notch images.
Shane Marks’ sweet ‘drawing
machine’ and clever prints, one of If one wondered elsewhere
the few playthings.) But the theme whether art student stil consider
was more vigorously explored in themselves challenged, Water-
He certainly looks the part of an looking for in these shows it’s the he projects by Ariane Questiaux meyer undoubtedly set the bar
art student a-few-years-down-the- unbridled, go-for-it exploration of (reminiscing about the ‘Belgian high for himself. He knows how to
line: butt-hanging jeans, dreadish talent and contemplation that is Congo’), Katharine Jacobs (a work that camera and get viewers
(1) Joe Foster Vibe converter. (2) Joe Foster Chicken with wagging
locks and a stagey demeanour, only allowed when you’re young cheerful, funky ‘escapist’ installa- to step up.
wings ande tail (3) Ferdinand Kidd, Rocket (4) Zan Rust, Painting.
but the irony of his violated art and experimentally-a-gogo. tion) and Lauren Fletcher (prints
(5) Van Aardt, P. (Vrydag, 11 Januarie). Sjef (21) sterf tragies. Eikes
installation doesn’t seem to have So how did this year shape up? about prints about patterns).
Stadnuus 59-1. (6) Stuart Bird: Grapes of Wrath (7) Keelin Pincus,
hit home. If you play and perform
Neil and Beulua, Sun Eden Naturist Resort, Gauteng (8) Claudia
with quisquilian stuff that looks like
Ramos One sheep at a time (9) Tenille Roberts Ballet Congregation
material that others discard, you
(10) Lauren Fletcher Vidi, Vici, Veni (11) Linda Stupart You Do it To
may well expect some spectators
Yourself (and that’s what really hurts) (12) Jessica Vandeleur, Paris
to be enticed to join in the sport.
Hilton (detail) (13) Nicole du Preez, Police (14) Jessica Vandeleur,
Paris Hilton (detail) (15) Lucas Grant (16) Taryn Racine
After all, the last thing a budding
artist wants is for her/his art to be
put on a bourgeois pedestal.

Not that Foster’s delicious yellow

Annual roundup of student shows 2009: UNISA,
University of Johannesburg and Rhodes University.
By Gordon Fround

Durban University of
people moving very quickly (in a that unpacks the discomfort of
gym or at an airport) speak of the enforced domesticity and the
endless motion of the rat race and expectations placed on a young
the futility of this movement. These
works are aptly titled ‘going no-
where-slowly’. This psychologist-
white afrikaaner woman. Racine
also explores her identity but in
a very different way. Not nearly
Technology (DUT)
turned-artist has many interesting as uncomfortable but certainly as Peter Machin (continued from page 10)
comments to make and promises powerful as Coetzee, she traces
to be a light to watch in future. her feminine roots through four
I was once again privileged to see with newspaper intervention. This The University of Johannesburg generations of female family Hlongwe is also that rare young white room or slapped onto the
three exhibitions by tertiary institu- student has used Paris Hilton as has two exit points, a three year- members. She obfuscates images artist capable of channeling the concrete of a freeway intersection
tions as end of year shows. These her subject and skilfully inserted diploma and a four-year degree. of these women by overlaying zeitgeist through his own deeply or an urban wall.
exhibitions are the showcase of the socialite’s image into pho- In this year’s offerings, the work of pattern forcing the viewer to squint resonant language. The vision of these three artists
the student works from various tographs from the press media, the diploma students was more im- in order to get a semblance of the Along the way to Hlongwe’s exhi- and of several others that I
art schools at the exit points for particularly the disturbing images pressive than the degree students. image. 4 Large black patterned ink bition, which I actually saw last, I saw, crystalised and matured to
degree’s and diplomas. I was of the xenophobic attacks. This The clarity of ideas and portrait drawings stare out was literally stopped in my tracks various degrees, reflects my only
fortunate to be in Grahamstown almost seamless juxtapositioning, real reservation about much of
while their show was on and to enlarged and printed on newsprint the other work on display. It too
see the difference between work is visually effective and quite often felt that the students were
produced at Rhodes as apposed disturbing. The sculptural works of working too slavishly within the
to the institutions upcountry. The Lucas Grant employ resin casts of confines of contemporary South
major difference, I think has to do life-sized pigs in seemingly playful African art production, and also
with degrees of subtlety. positions interacting with farming – on occasion – too much within
While UJ and UNISA are often implements. On closer inspection, the particular confines of the Tech
bold and perhaps even brash in the playfulness becomes sinister and the influence of lecturers and
their exploration of issues of and perhaps even torturous. The other students. Across media and
disciplines much of it felt samey. In
fact, some of the technically best
work lost its shine because its
discourse was too familiar. If you
can’t do new, you’ve got to be

– in a strange dumbfounded way

technical finish of the third years across a room and are met by the – by a series of collaged images,
was superior to most of the sen- stares of four tightly rendered, courtesy of second year student
iors. The works of two third-year almost photographic portraits with Amy-Jo Windt. My first response
students in particular stood out: subtle images and symbols sewn was “what-the-hell?” and then
Taryn Racine and Marie Coetzee. into them hinting at the personal “wow, these are brilliant”. Combin-
Coetzee spent the year building history of each protagonist. The ing an art-brutishness with an
a claustrophobic room wherein effect is visually electric and the inverted exploration of fashion and
painful memories dwell. These versatility of this student sublime. identity, Windt’s simple distortion technically brilliant. Both is ideal.
memories inhabit the walls, hiding Social commentary and personal of perspective and proportion is Then there are those whose ideas
in cracks and tears as drawings identity once again seem to be tinted with a joyful menace. While are not new or technically brilliant
and family portraits through which the order of the day in most of her oeuvre still has the essence but still manage to break through.
threads are stitched the student works at all three of of work-in-progress, there is a I’ve seen countless painting in
social commentary and identity, implication in terms of abuse both obliterating the image. Wallpaper these institutions. I am particularly deftness and inherent strange- which notions of memory and
the Rhodes students tend towards of animals and mankind with the extends into manadalas of paper pleased to see the return of the ness to her work that promises nostalgia are expressed through a
the subtle shifts in perception from white pig as metaphor becomes a doilies that frame symbolic vaginal well made or crafted and finished great things to come. And it was degraded paint process – particu-
subject to artwork. An example is chilling reminder of torture, abuse images. This domestic scene art-object that goes beyond merely fascinating to see her precisely larly at Tech shows - and so I was
found in Rhodes student Nicole and genocide reminiscent of drips with household objects the concept but employs the constructed ceramic work, sug- surprised that I was so taken by
du Preez who photographed Orwell’s Animal Farm. altered, disrupted and rendered as ‘old-fashioned’ notion of beauty gesting an artistic schizophrenia, Nicole Erasmus’ haunting rendi-
policemen and women in the town. UNISA student work is very dysfunctional. Coetzee’s control in the making that enhances the which is always useful. tions of childhood, although not all
At first glance, these appear as thorough and thought through of lighting, minimal colour usage meaning of the content. Another young artist who left an of her work impressed equally.
mug shots and then a sense of and each student presents a body and material intervention create an impression was Pakiso Tsekiso. Other ones-to-watch included
discomfort creeps in and these of work as a mini exhibition. The extremely uncomfortable space Gordon Froud His use of words and images Sabelo Khumalo whose silk-
‘protectors’ almost appear menac- work that really stood out for me double-hinges on a residue of screened digital photographs of
ing in their blandness and their was that of Ronit Yudelman. Her Director of gordart Gallery, popular culture and a grasp of the Shisa Nyama stands stretched the
scale. Similarly, Luke Kaplan set clear resin casts of rotund female Johannesburg. genuinely poetic. His brisk simple borders of the medium while his
about photographing every inhabit- forms that house colourful objects images combined crisply with the collaboration of with US design
ant of the town Klein Wupperthal. like ‘perfect’ Barbie dolls and .... texts and the result linger in the supremo Mick Hagerty were
The 300 or so inhabitants stare out comment on perceptions and aspi- ghost of personal meaning. His delightful and substantial. The
of the images at the viewer and rations as well as the psychology work occupies the highly linguistic multidisciplinary work of Zama
yet the variety of faces and subtle behind perceptions of the feminine visual street culture of Durban Mthiyana and Thembeku Ngcemu
shifts of lighting render these as as seen through the eyes of vari- in which taxis, buses and grafitti also impressed, as did Saskia
individuals mostly benign and ona ous sectors of society. They dance with poetry, sex, god and Whitehead’s sublimely executed
few a bit scary. A very different are beautifully crafted and luscious calls for personal responsibility. explorations of femininity. But
feeling is evoked from these faces and yet contain a social message. But more than simply exploring the these last three artists, as is so
as opposed to those of the police. Similarly her photographs of culture, it seems to be a part of it, often the case with student art, still
Another photographic series ‘The an extension that would be as at need to find their own voice. It is a
Star” by Jessica Vandeleur deals home in a beautifully curated quest that delivers infinite rewards.
The South African Art Information Directory 09
The trusted and most comprehensive SA Art Information Directory 2009 (SAAID 09)
is nearing completion, and will be available early in 2009

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

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or call 021 424 7732 and ask for Eugene
Warren Siebrits

Warren Siebrits, Director: Warren Siebrits Modern and Contemporary.

By Michael Coulson Welz offered him a job after the He remembers buying the likes of With time, his exhibitions have Siebrits does not buy much art for and books, especially on SA art.
I first ran across Warren Siebrits ultimately unavoidable military Jane Alexander, William Kentridge, taken on an individual identity, with himself, saying it would be wrong But his life is so bound up with his
at Trent Read’s contemporary art service. But though the experience Robert Hodgins and Joachim a strong social conscience. His to compete with his clients. He business, one can’t imagine he
gallery in Parkwood in the early was invaluable, he didn’t feel the Schonfeldt for the legislature latest show, for instance, includes does collect vinyl records, of which has much time to listen to, or read
1990s, and that relationship was a auction business was for him. “An collection at what would now be a large collection of “struggle” he now has over 10 000, them.
crucial stage in his development. auctioneer is purely an agent, he bargain-basement prices. posters, marking protest meetings
Like many of us, he regrets the can’t choose what to deal in. And and the deaths of activists like Neil
failure of that venture. there’s some horrible stuff out Gencor was a different challenge. Aggett. His social awareness is
“It was a well-conceived busi- there!” Then CEO Brian Gilbertson said also reflected in his commitment
ness, but launched when the art the collection must reflect the to wear a hat daily for a year, in
business was at rock bottom. You So he was thrilled when Trent changing nature of society, to commemoration of the senseless
could pick up Pierneefs for R160 asked him to join him, and stayed try and help the staff adapt. “But death of his friend Sheldon Cohen.
000-R180 000, and nobody was virtually until the gallery closed in initially this had the opposite effect.
interested in modern art.” Only 1995. Many of the older, more conserva- Other shows encourage younger,
Ricky Burnett, with his Tributaries tive staff found the work offensive, lesser known artists, which he
show, had previously explored this Between then and opening his and complained that ‘Satanists sees as an important function of
field, Siebrits feels. own gallery in 2002, Siebrits was were at work’ “. But Gilbertson commercial galleries.
Unlike many gallerists, Siebrits at various times arts adviser to stuck to his guns.
says he fell into the art world bodies like the Gauteng Legisla- Another feature is the excel-
largely by accident. To defer ture, Gencor (now BHP Billiton, in Siebrits kept driving through Park- lent, well-written catalogues he
national service, after matric he association with his great friend wood, past the site of Clive Kel- produces, which set a high point
enrolled for a BCom at the then Kendell Geers) and the Sandton lner’s defunct Camouflage gallery recently with Jo Ractliffe. Helped
RAU (now University of Johannes- Convention Centre. He briefly ran with a “To Let” sign in the window, by sponsorship, this cost upwards
burg). There he met Stefan Welz’s Metroplex, a gallery operating from and was increasingly intrigued by of R300 000 – more than 10 times
son Conrad. They became friends, two shop windows in Rosebank, the availability of a ready-made what he normally spends. He sees
and Siebrits says that visiting a and with Johans Borman curated space. He also needed a big catalogues as both important his-
house like a lived-in museum is and published Aspects of SA Art, space for Kentridge’s Casspirs Full torical documents and evidence of
what first led him to appreciate a big show at the Convention of Love project, and eventually provenance, beliefs he also drew
beautiful objects. Centre. couldn’t resist the challenge. from Stefan Welz. Interior of Gallery
Photo: Ryszard Kasiewicz

Artistic Director of
Documenta 13
The curator Carolyn Christov-
Bakargiev, and author of the
Rip, Stitch, Mix and Burn: Zavick Zaroff Botha and Ulric Roldanus set fire to a washing line piece, very first monograph on William
entitled “Fresh Laundry”, Llandudno Beach, 21 November 2008 Kentridge, has been selected as
the artistic director of Documenta

Rip, Stitch, Mix and Burn -

13, scheduled for June, 2012, in
Kassel, Germany.
Nicola Danby, director of Artinsure – former head of BASA; Dr Fred
Scott, well-known art collector and speaker at the event; with Gordon
The CEO of Documenta and the

Zavick and Ulric Remix Sculpture

Massie, MD of Artinsure who has brought his international expertise to
Fridericianum museum, Bernd
South Africa and partnered with Hollard to deliver specialist insurance for
Leifeld, announced that the
investors in art.
supervisory board of Documenta
unanimously agreed to her ap-
Bottem: (left to right) Lee-Ann Dobrescu, Operations Manager of Hollard
For more info and review: http://davidrobertlewis.wordpress.com pointment, following a proposal
Insurance Partners; Clive Kellner, head of the Johannesburg Art Gallery
by the international ‘finding’
and Gordon Massie, MD of Artinsure
by David Robert Lewis ‘Kassiesbaai Washing Line’, a poor Cook travel commercial. I am a
Carolyn Christov-Bakargiev
WHEN early 20th Century
imitation of an earlier Constable,
who no doubt would also have
tourist trapped in a Swedish movie
by Russian film director, Andre Art is big business and growing is one of a new generation of
international curators and art
critic of psychoanalysis Karl Kraus
proclaimed, in his attack against
issues with who did the laundry
when, and in what order. Servant,
Tarkovsky, you know the one
– Sacrifice – all time best picture & steadily despite financial world crashs commentators on the fast track.
She is familiar with South African
Freud and the Austrian school: worker, waterman, thief. Looking at f-ck Ingmar Bergman.
There has been an unprecedented said to me ‘You would not believe art, mainly through her associa-
“From now only piracy will be art through detergent is like exam-
growth in the value of art globally there is a credit crunch going on tion with William Kentridge, whose
permitted,” he was merely answer- ining the proverbial water closet. Supa’dog’s underpants are now
and South Africa is keeping pace, out there!’” local retrospective of 2004 she
ing the terrifying problematic which How much has changed, in power being sacrificed with a long slow
said Nicola Danby, director of Art- co-curated.
American, Ralph Waldo Emerson relations and the strength of OMO, burn that is caught on multi-di-
insure – formerly head of BASA. Massie says good news for local She has just had a major
had previously delineated: “It since the first troglodyte dreamt mensional digital chips and filtered
investors is that well known South international success as artistic
is as difficult to appropriate the up this most laborious of practices back to those of you who live
She was speaking at a recent African artists are also becoming director of the Sydney Biennale,
thoughts of others, as it is to and then proceeded to paint and in the future – Ozzy Osbourne
event held by Artinsure and Hol- international brands and the local but is based at the Castello di
invent,” consequently all forms of sculpt the end product - forgetting burning a guitar like Jimi Hendrix
lard in Johannesburg to discuss market is experiencing significant Rivoli museum of contemporary
appropriation, whether they be the about our rights to a living wage, in a remix scene from Francis
the ‘value of art in the South increases in values. art in Turin as chief curator. From
outright theft of the remix pirate, or the problem of not owning the Ford Coppolla’s Apocalypse Now
African context’ with leaders in 1999 to 2001 she was at the PS1
the anti-hierarchic nomadism of means of production which in turn -- the attack on bourgois art theory
the field who gathered to hear art As an example, he explained contemporary art centre in New
the schizophrenic or the mashup produced what we like to refer to has begun, still we are living in
insurance expert, Gordon Massie that if a South African investor in York.
culture of the hip-hop musician, as visual art? a pastiche of cross-referential
and well-known collector Dr Fred art had spent 100 Euros on an Christov-Bakargiev graduated
are all really just comments on the excess. What one desires, or
Scott talk on the subject. Irma Stern work in 1997, today it magna cum laude from the Uni-
artistic process we call invention. “In the Netherlands we don’t have needs is 50seconds of WaWaWa,
would be worth 1500 Euros. “As versity of Pisa, Faculty of letters
laundry lines, says Ulric, over how many WWWashinglines were
“Latest annual figures of global art develops into a truly attractive and philosophy, in 1981. Her
To be alive in the maelstrom an Amstel at the Obscafe, here I set on fire? According to Wikipedia
art sales are $25 billion with a investment, owners need to be master thesis was on the relation
of today’s insanely literary pop encountered these lines again...” Washingline fires have started to
19% increase in value last year, sure that their insurer appreciates between contemporary poetry and
culture, to write about art, is to My carefully crafted notes are catch-on. The fire department is
particularly in contemporary pieces the true value of their art works. painting.
risk offending highbrow critics rendered into meaningless laundry worried. The mayor is no longer
created from 1960 onwards,” MD There have been recent examples Her appointment to the highly-vis-
who maintain theory is the sole list by a group art exhibition taking calls, but wants a ban on
of Artinsure, Gordon Massie, said. where claims were inexpertly han- ible, globally-influential post as
prerogative of the academic, that held later at Michael Stevenson, laundromat bonfires in place
He pointed out that the last time dled. For instance in one specific director of Documenta 13, comes
any discourse is invariably that of requiring the writer to decipher before 2010.
the financial world crashed in the example, a R12 million painting with high kudos. The ‘finding’
the Western Canon vs the Other hieroglyphics, code by Sun Ra. “I
80s the value of art crashed with it. by a well known South African committee reads like a who’s-who
and all activities, including the have vandalised my work,” offers With all this laundryline sampling
artist was stolen and due to lack of the contemporary art world:
activity of art should, and can only Zavick who expresses a penchant art, what next? A soap commercial
“But this time the development has of expertise, the insurer offered to Joseph Backstein (director,
be, understood from within the for quilting and embroidery. from Pears and Mary Quant?
been different with the art world replace this premier painting with Institute of Contemporary Art,
realm of polite bourgeois society, Could soap become the next
being bolstered by investors from another painting by the same art Moscow), Manuel J. Borja-Villel
through a lens provided by do- Incisions into the cultural land- bubble, as highbrow executive art
Middle East Royal Families and ist. The trouble was the intended (director Museo Nacional Centro
mestic homeland safety security scape of Cape Town that beckon galleries are doomed to reproduce
BRIC countries: Brazil, Russia, replacement painting only had de Arte Reina Sofia, Madrid),
regulations, 2010 soccer stadiums us all to take cognisance of the in comic detail the artefacts of
India and China who have been a market value of R500 000. Kathy Halbreich (associate direc-
and a city by-law prohibiting urina- process of bricolage, elucidated the day, (mortgage bonds, class
buying high value works in spite of Underwriting and evaluating art tor Museum of Modern Art, New
tion, belching, farting in public and by the grand semiotician Roland traitors) what could be considered
the shaky situation in the financial is a specialist area and collectors York), Paulo Herkenhoff (formerly
noxious odours? Barthes in the Empire of Signs theatre in the round dished up to
world.” An example of this, he need to be sure they are protected director of Museu Nacional Belas
- the artist as revolutionary DIY, an the well-healed, the sartorial few
said, was the fact that Damien effectively against loss by people Artes, Rio de Janeiro), Oscar
Take Zavick Zwaroff Botha and eternally recurring and everpresent who live on sushi lunches and
Hirst opened his solo show the who understand the art world and Ho (Chinese University of Hong
Ulric Roldenaus’ recent collabora- ‘nowever’amidst a clusterbomb of demand easily digested, and sale-
day after the Lehman Brothers true market values.” Kong), Udo Kittelmann (direc-
tive excursion into the public art found objects or objets trouves. able pap for bread.
crash and AIG rescue plan and Massie also demonstrated by tor Museum für Moderne Kunst,
arena. A series of washing lines When all one has is a box of
netted himself a profit of $200 using true examples that fire is the Frankfurt), Kasper König (director
that have appeared across the lion matches, and an Amstel, a The only solution lies in a total de-
million. “Whilst there is evidence biggest risk to artwork followed by Museum Ludwig, Köln), Elizabeth
City, from Gugulethu to Thibault bonfire will do. Rip, Stitch, Mix and nial of any form of representation.
of a correction taking place, Art accidental damage and then water Ann Macgregor (director Museum
Square, The Kramat to Slave Burn, with the type of arson that In the same way it is impossible
continues to sell as evidenced in damage. “Whilst theft is a risk the of Contemporary Art, Sydney) and
Monument on Church, echoing is required to turn theory of the to identify the water that forms a
recent sales. At a major sale I was probability of a theft is lower than Rein Wolfs (artistic director of the
the earlier interventions by Garth haphazard, into chance, extraor- river because a river can only exist
at in early November an investor these three risks,” Massie said. Kunsthalle Fridericianum, Kassel).
Erasmus and Victor Peterson, dinary aggregate of molecular by the grace of its movement. The
who erected a simple Washing love, incendiary performance sphinx has spoken. To the death of
Line over a decade ago, during art, nocturnal emissions of toxic art and an ode to its destruction.
the 1996 District Six sculpture fumes, the nightly annihilation of
festival: “The need to remember self practised by practitioners of (1) Emma Bedford and Tracy
every detail of what has been lost Butoh and advocates of Zen. Murinik Re-membering that place-
haunts those who have lost it: the public projects in District 6. District
instinct of the amputee to exercise I encounter the quilty duvet 6 Public Sculpture Exhibition 1996.
the absent limb. The urgent desire inspired: “Washing line”, (there
to re-establish the security of what can only be one, all of the rest are [David Robert Lewis has written art
is known and familiar; of that which replicas) strung between two poles reviews for the Cape Times. His
reminds you of yourself, and says on Llandudno beach. Zavicks laun- involvement in visual arts includes,
to others that you exist.”(1) dry is caught up in moral exegesis Gallery Mau Mau, Sub Liberation
on the joys of igniting the Atlantic Underground, Invisible Graffiti,
“Fresh washing” by the non-exist- sunset with gaseous plumes, Human Etchings, amongst other
ent, the absent stage like Jan Van offending a bunch of art directors things]
Schalkwyk’s landscape entitled: who are trying to shoot a Thomas
Ross Douglas
Michael Coulson
free loan. The production ended
From studying grassland sciences up costing R11.5m, and Douglas
in Pietermaritzburg to promoting says “It broke even. We managed
international art events may not to pay RMB back in full – though it
sound a logical career path, but took time.”
Ross Douglas, whose Artlogic
company organises the Johan- But, says Douglas, “One-off
nesburg Art Fair, makes it sound projects are a terrible business
sensible enough. model. You can’t capitalise on
them. So though Flute was a suc-
Though he didn’t complete that de- cess – it sold out in both Jo’burg
gree, after switching to philosophy and Cape Town – we needed a
and economics Douglas started sustainable business model that
his career in ecotourism, first in the we could repeat every year.
Okavango and then Mozambique.
When Mozambique’s tourism “We did some research and
industry was slow to get back off found that art fairs are popular
the ground after the 1993 election, internationally. An internet search
Douglas produced a documentary identified 247 worldwide, before
on the demobilisation of Frelimo we stopped counting. I even went
and Renamo soldiers. to Delhi to see how the Indian
art market, which is estimated at
He returned to SA the following US$750m a year, works.
year to make documentaries for
TV channels like SABC’s 50-50 “It took some time for us to come
and National Geographic. When up with a model that would work
the burgeoning of witless reality TV locally. Thanks to Harris, First
slashed budgets for more worthy National Bank then came on board
projects, he switched to making as the major sponsor, followed by
commercials and planning the long BMW and Telkom.”
(and still!) awaited Great SA Film.
Douglas is not starry-eyed about
This too ran up against budget- why corporates sponsor the arts.
ary constraints, but educated him “They need success at a number
in the basics of film production. of levels. Sponsorship helps build
Deciding on another fresh start, the brand, in terms of both general
he persuaded William Kentridge to awareness and social responsibil-
adapt his Soho Ekstein videos as ity, and provides an opportunity
an event with 35mm film produc- for interaction with clients.
tion and live music. Presentations
in New York, London, Berlin and “But too often in SA delivery
Milan were a huge success, says doesn’t match up to the promises.
Douglas, and emboldened their The challenge is to keep a con-
next venture: Kentridge wanted temporary art event going to gain
to stage his successful European credibility and continuity, and we’re
production of Mozart’s opera The trying to do that.”
Magic Flute in SA.
He admits that times are hard,
This required major corporate but is confident that the 2009 fair
sponsorship. Douglas says he was will build on this year’s. “There’s
turned down by Standard Bank, no doubt that we’ve grown the
which was heavily involved in its market. Six months after the event,
Picasso & Africa exhibition, but one leading Cape Town gallery
was fortunate enough to bump into told us that 70% of his business
Paul Harris of FirstRand and Rand was coming from people he’d met
Merchant Bank. Banks were then at the fair.”
in great shape and RMB, which
had for years sponsored annual But he’s not resting on his laurels.
Starlight Classics concerts, was As the Art Fair settles down, it
looking for further arts sponsor- should no longer demand all his
ships. time. He’s built up a great data
base, and is looking for other ways
Harris as well as being an art col- to exploit it. Nor has he dropped
lector of note, is also a sharehold- his interest in ecology: his other
er in the Everard Read Gallery, so passion is global warming, and
is au fait with both the aesthetic with his partner Cobi Labuschagne
and commercial sides of the art he’s started Greenlogic, which he
market. In return for branding wants to become as important in
rights, RMB paid a fee and put up the local green space as Artlogic
an unsecured interest- is in art.
Ross Douglas
Jodi Bieber: From Real Beauty; Claire: ‘I’m 81 years of age and I like myself. My attitude changed when I developed cancer 7 years ago and I decided I didn’t want to die and I wanted to live
and I changed my attitude completely towards life. By being aware that you may die, you have to be strong and pull yourself through it and change your thinking completely, and that’s why I
am so comfortable with my body. So comfortable with myself and I’m always reaching out to do exciting things’. 2008

Documenting unruly women

Mary Corrigall meets Jodi Bieber, the documentary photographer who has caused a buzz with her latest study of daring women
like to present themselves. While years of South Africa’s transition to spective on life changed because of The New York Times magazine. Givon’s interest.
some clearly pander to the male democracy. all the death (I witnessed). My mind During this time Bieber’s focus “I didn’t understand what it meant.
gaze, others are confrontational Photography immediately appealed was dark and that’s where I was for shifted from covering news events She told me she had a show for me
assuming defiant poses. to Bieber as it allowed her to ten years; looking at those kinds (of to documenting real-life narratives. in Belgium and I told her I was busy
“It is a rebellion, the ultimate reason express herself and delve into other subjects).” It was Linda Givon, founder of the shooting.” But with a magazine edi-
the women did the project was that ways of living. tors losing interest in documentary
they wanted to make a stand for “Photography is a tool, I can’t paint, photography, Bieber was grateful
real beauty. It talks about how we I can’t draw. Coming from a middle that art galleries presented an
present ourselves in front of the class background, photography alternative platform to showcase
camera as women. For me it is gave me that opportunity to cross her work.“A lot of photojournalism
Jodi Bieber about a celebration (of beauty) and over to the other side, that privi- is about recording and while my
going against the media.” leged situation where I could work has appeared in the media
Warm, unpretentious and frequently and that’s where I come from I
smiling, Jodi Bieber is immediately believe that I have never recorded.
likeable. Her congeniality has no I believe I have always interpreted.
doubt worked in her favour, espe- I hate that word photojournalist, I
cially as a documenter photogra- am a photographer.” Bieber says
pher with an interest in insinuating its art critics who have defined
herself into realms far removed her work, invested her work with
from her own white middle-class meaning, not the art gallery context
milieu. Certainly with her latest that has begged new readings.
exhibition, entitled Real Beauty, Jodi Bieber, Babalwa Ultimately, Bieber is only interested
which sees women of all shapes in bringing her work closer to the
and sizes posing in their underwear, The work Bieber produced during Goodman Gallery empire, who general public.“I have shown my
it must have taken some convinc- that period of her career featured recognised qualities in Bieber’s photographs in a village and in an
ing to have persuaded all these in her acclaimed 2006 book, photography that aligned it with art. art gallery, it makes no difference to
women to allow Bieber to capture Between Dogs and Wolves, which Although Bieber feels that her me.” • Real Women is showing at
their bodies, flaws and all. Reveal- From Real Beauty; Lucille: ‘I am today because of my belief in myself, documents South Africa’s dark work has always straddled the the Goodman Gallery in Johan-
ingly, Bieber draws a blank when my religion and more basically my upbringing, my foundation was underbelly, capturing gang life art realm, at first she didn’t grasp nesburg
I ask about her relationship with strong. And if it wasn’t for my foundation, the people in my life when I in townships and the destitute. A
her subjects. The inference is that was growing up, I don’t think I would have been here today’ 2008 sense of hopelessness pervades Jodi Bieber From Real
whatever the nature of the afflations images of impoverished children Beauty; Brenda: ‘I think if
she strikes with her subjects it isn’t After enjoying a long career as a really explore what is happening in wandering through a desolate, you believe you are beauti-
premeditated. photojournalist – albeit that she this country.” neglected urban landscape. ful, you will appear beauti-
“I think that if you are honest people eschews the title - Bieber is acutely When Bieber first entered the In the mid-nineties came Bieber’s ful to the world’ 2008
can pick that up. I try to capture aware of the inner workings of realm of photography in the early biggest break when she was invited
something of who they (my sub- the media. Upon completing an nineties, the political situation in to participate in the prestigious
jects) really are. It might not be who informal education in photography South Africa was volatile. This World Press master class in
they are, but who I think they are.” at the Market Photo Workshop shaped Bieber’s early aesthetic. Holland. After completing the
In Real Beauty Bieber assumed a in Newtown, Johannesburg, she “I was posted at Ulundi (where pre course, she was catapulted into the
hands-off approach, allowing her joined The Star newspaper as a election violence was rife) they international media, freelancing for
subjects to choose how they would trainee, covering the were dark times. My whole per- magazines such as Geo, Stern and
Gouws’s fascination of
his treasured 500 kg Artel etching he suggests his current paintings
press and returned to oils, he “suggest other triggers: El Greco;
said he imagined he would paint Grünewald, Caravaggio even”.
the landscape and nudes, things His earlier work, he says, “often
which “grabbed my gut most suggested that Vermeer and Piero
directly”. were the artists I had looked at
But he soon ended painting inte- more closely”.
riors and still lifes, unexpectedly But returning to the religiosity
connecting with a Dutch tradition of feet, it is interesting to note
that while in Holland he had felt he that he started concentrating on
did not belong to. people’s pedal extremities in “late
Arguably, his feet paintings remain 2006/early 2007”, shortly after
in the tradition of interiors and still former apartheid minister Adriaan
lifes, although with a twist that puts Vlok’s famous washing of Director
them in a new realm. General in the Presidency Rev
“These feet do not have the same Frank Chikane’s feet.
Steve Kretzmann argue they are portraits in terms of meditative quality of my still Asked whether there was any

dirty pretty feet

the depth of the sitter’s character
Slowing down the viewer’s gaze is they portray.
the aim of self-described “Dutch- His focus on feet came about
South African Buddhist-Calvinist unexpectedly – as many good or
bourgeois artist-philosopher” interesting things do - born out of
Andries Gouws’s meditative a need to “move beyond the con-
paintings. fines” of what he had been doing matter has endured. A clue to A travelling exhibition is on the
“Any worthwhile art demands a for the previous 15 years. his choice of rendering the most cards though, for those who don’t
meditative or contemplative eye; a “I had in the past occasionally abused parts of the body in the get to enjoy the KZN art scene.
pace of looking that is many orders drawn feet, and once even made a rich texture of oils lies in his de- Gouws is planning on taking his
of magnitude slower than what is silkscreen to go with Ritsos’s two scription of his immediate Durban work to the Pretoria Art Museum,
typical for our age.” line poem: environment as an area compris- Oliewenhuis Museum in Bloemfon-
This view on his work gives us The nights go by with big strides ing “attractive ugly industrial tein, the University of Stellenbosch
an idea as to why Gouws also That’s why the loveliest statues areas”. Art Gallery and other venues
teaches philosophy at the Univer- stand with their feet together. “Durban to me is like one big work- which are being negotiated.
sity of KwaZulu-Natal’s Durban But I had never expected that I’d shop, in which there is nothing And while waiting for the real thing
campus. ever focus on feet the way I’ve inclining one to preciousness – the to come to a town near you, you
But while academia pays the bills been doing,” he says. opposite of Stellenbosch, where I can see digital images of his paint-
now, he “hopes” to be a full-time It seems the subject matter Gouws lifes and interiors. They are more connection to that highly publicised lived for a few years before coming ings at www.andriesgouws.com.
artist within a year or two. has concentrated on over the confrontational; engaging with feet action and his choice of subject here.”
And with the first three of his new years has always been rather disconcerts me – they look back at matter, Gouws says: “One never However, for all the pretty dirtiness
series of paintings of feet being ac- surprising to him. me in a way objects in a still life or knows! I hadn’t thought about it. of Gouws’s Durban, he describes
cepted for the 2001 Spier Contem- Living in Holland for 16 years interior don’t.” Feet perhaps reflect some more his studio as 150 square metres
porary, and his fourth winning the after studying art in Cape Town He says his wife has commented elemental aspect of our being of “wonderful, airy” space lit by
prize for painting at the Ekurhuleni (at Michaelis), Italy, Düsseldorf that the paintings of feet are “unex- - more closely linked to violence, “huge” south-facing windows.
Awards earlier this year, his hopes and finally Amsterdam, he said pectedly religious”. vulnerability, and then I suppose It is a working space he does
are well on the way to becoming he “pined” for the South African Though Gouws’s wife is “as much the aspect of asking for, and giving not have any plans on leaving
reality. landscape and climate and started of an unbeliever” as he says he is, forgiveness, isn’t such a big step although he admits he wouldn’t
His ‘feet’ painting, which he started off painting “big, colourful, gestural the religiosity of the work shouldn’t from there.” mind being nearer something like
on around the beginning of last abstract” paintings in acrylics be that surprising taking into ac- Pretty feet are also few and far be- the Louvre, the Prado or the Met,
year, hold the same pathos as a before moving on to graphics. count his expressed admiration for tween, and Gouws does not hide as there are very few art buyers
good portrait, in fact one might Back in South Africa, having sold Velasquez and Rubens, although the battering that his subject in Durbs. Anton Gouws

Auction Enquiries London IRMA STERN (1894-1966)

16 December 2008 London 8 King’s Street
Nicholas Lambourn St James’s
Malay Girl with Hibiscus
Viewing nlambourn@christies.com SW1Y 6QT signed and dated ‘Irma Stern / 1944’ (upper left)
12-15 December +44 (0)20 7389 2040 oil on canvas
24 x 24 in. (61 x 61 cm.)
View catalogues
Cape Town £250,000 – 350,000
and leave bids online
Juliet Lomberg
at christies.com
+27 (21) 761 2676
Durban and Johannesburg
Gillian Scott-Berning
+27 (31) 207 8247

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