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ART TIMES
Pauline Gutter Wins The Absa LAtelier Art Award 2013
Theo Paul Vorster
South African Print Gallery : 109 Sir Lowry Road, Woodstock, CT
Tel: 021 462 6851 E-mail: kevin@printgallery.co.za
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Breathtaking Linocuts 2013
SA Print Gallery: The Home of SA Fine Art Prints
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ART TIMES | EDITORIAL
August 2013
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The July and August Art Times editions are
always challenging ones as the art market is
awakening after the mid-winter recess, to busily
prepare for spring (heralded in by the Joburg Art
Fair). I havent received fgures from the Turbine
Art Fair held at the end of July in Newtown yet,
but I am certain that it will contribute towards
keeping the art business busy in these winter
months. In these few quiet months I have heard
of a new trend, whereby gallery directors/owners
employ a temp in order to get away and stimulate
their business in the northern hemisphere, as well
as educate themselves on the latest international
art market movements. The break also helps them
in getting a better context of their business in the
drone of everyday market life. Art for All - a third
Art Fair - is coming to Cape Town later this year,
and promises to assist in the growing of new local
art markets. Although Capetonians dont have the
Joburg Art Fair, they do have a prolonged yearly
season lasting well after Christmas stimulated by
an enormous tourism season of art lovers heading
for the Cape coast. It seems too that galleries are
sharing stock of their artists with other local and
international gallerys like never before, in order to
fnd new markets. Of course, the art auction sea-
son takes place four times a year with major sales
houses having Cape Town and Johannesburg
sales twice a year, and much of this cliental are
not all weather dependent. And with the opening
up of more auction houses going international
and live bidding via sales-room, potential buyers
increase many fold. Either way, despite the winter,
galleries and artists it seems are making plans to
create new markets beyond the current weather
patterns and Facebook profles.
EDITORIAL
SA ART TIMES. August 2013 07
j ohans borman
F I N E A R T
www.johansborman.co.za
CAP E T OWN
A showcase for the best of
SA Masters and leading
contemporary artists
Telephone: 021 683 6863
E-mail: art@johansborman.co.za
Mon-Fri: 09h30 - 17h30
Sat: 10h00 - 13h00
or by appointment
16 Kildare Road, Newlands
Cape Town
Jacobus Kloppers Middeland (2013) Oil on canvas
Francois Krige Clifton Oil on canvas
Pranas Domsaitis Three Sisters, Karoo Oil on board
NEWS | ART TIMES
Beeld. Willem de Vries. Min tyd vir insette en
voorleggings op die voorgestelde hersiene witskrif
oor kuns, kultuur en erfenis, asook die talle vrae
oor die dokument, beteken die departement kuns
en kultuur sal nouer moet saamwerk met al die
rolspelers en dat die afsnydatum uitgestel behoort
te word.
Dt het verlede week geblyk uit n openbare
vergadering in Kaapstad waar die dramaturg en
kunste-aktivis Mike van Graan, asook Deirdre
Prins-Solani, n erfenisbeleidkenner, die woord
gevoer het. Die Arterial Network in Suid-Afrika het
die gesprek gefasiliteer.
Op 12 Julie het die departement kuns en kul-
tuur met belanghebbendes in Johannesburg n
werksessie gehou. Daar was konsensus dat die
dokument vol gebreke is, het Beeld toe berig. Die
spertyd vir voorleggings is reeds Donderdag.
Die eerste witskrif wat in 1996 aanvaar is, is
opgestel n uitgebreide oorleg met die kuns-,
kultuur- en erfenissektor en deur mense benoem
deur die sektor, het Van Graan ges. Die hersiene
dokument is opgestel met weinig insette van
die groter sektor en lyk soos die produk van
konsultante wat min kennis en ervaring van die
sektor het.
Volgens hom is die dokument se uitgangspunt
nie die kuns-, kultuur- en erfenissektor nie, maar
eerder n politieke doelstelling, naamlik dit sal, in
minister Paul Mashatile se woorde, bydra tot die
land se uitdagings van werkloosheid, armoede en
ongelykheid.
In die dokument word die sektor gelyk gestel
aan kulturele en kreatiewe nywerhede, s Van
Graan. In die algemeen sluit die kunste, kultuur
en erfenis die kulturele en kreatiewe nywerhede
in, maar is nie daaraan gelyk te stel nie.
In die dokument word ook geen onderskeid tus-
sen die sektore getref nie.
Die dokument kom volgens Van Graan as ideolo-
gies verward voor: Dit beklemtoon aan die een
kant die grondwetlike reg op vryheid van uitdruk-
king, maar aan die ander kant sal die fnale goed-
keuring vir fnansieringbesluite by die minister en
adjunkminister van kuns en kultuur berus.
Die eerste witskrif se visie was gegrond op
n menseregtebenadering, terwyl di een n
markgedrewe en kultuurnywerhede-benadering
beklemtoon.
Prins-Solani mis in die dokument veral aanduid-
ings van wat alles oorbrug moet word tussen
en binne sektore, ook watter voorsienings alles
gemaak word. Daar is ook geen historiese
ontleding nie. Vermobou ontbreek duidelik in die
dokument, het sy ges.
In die dokument word genoem transformasie
in die kunsnywerhede geskied nie teen die
verlangde koers nie, maar geen navorsing wat dit
staaf, word aangebied nie, s Van Graan.
Sy voorstel is daar moet wyd in die sektor oorleg
gepleeg word. Bestaande raamwerke wat in Afrika
en elders toegepas word, moet bekyk word en
waar toepaslik, oorgeneem word.
Volgens Van Graan is navorsing nodig n die
vordering wat sedert 1996 gemaak is.
Besoek www.dac.gov.za en www.arterialnetwork.
Read daily local and international art news everyday
at- Art Times - Facebook Profle 17 500 likes
Wag met witskrif vir oorleg
Advertise in the SA Art Times September 2013 : Joburg Art Fair Bumper edition
Joburg Art
Fair 2013
Advertise your gallery, art or services in the bumper Joburg Art Fair 2013 edition. Call Eugene and be surprised with our
specially designed advertising package that is compiled over multi-media platforms, in order to reach the best exposure
your advertising budget can buy. Call Eugene on 021 424 7733 or sales@arttimes.co.za
Enter by 19 August 2013.
Prize awarded for the winning portrait.
Please visit www.spiportraitaward.co.za for the rules
and entry form.
R100 000
SPI
National
Portrait Award
2013
Asha Zero (1975 - )
Spandex-Vice (detail) 2005
acrylic on board
Sanlam Art Collection
SA ART TIMES 9 FINAL.indd 1 2013/07/17 11:38 AM
Moving Forward
TM
Standard Bank Gallery
10 July to 14 September 2013
Cnr Frederick and Harrison streets, Johannesburg.
Monday to Friday 8am to 4.30pm
and Saturday 9am to 1pm.
Tel: 011 631 4467
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The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06). SBSA 146002-5/13
Moving Forward is a trademark of The Standard Bank of South Africa Limited
Simon Stone: Novocaine Result, 1987, Oil on Metal, 29 x 20 cm
ART TIMES | NEWS /
POSSESSED
A GROUP EXHI BITION
31 July - 21 August 2013
3 Portswood Road, V&A Waterfront
ctgal lery@everard.co.za +27 21 418 4527
www.everard-read-capetown.co.za
Everard Read, Cape Town
LOCAL ART MEDIA RADAR / NEWS | ART TIMES
On the local art media radar
Hofmakery van boere lei tot LAtelier
Beeld: Die kunstenaar Pauline Gutter het die televisiereeks Boer soek n Vrou
getap vir inspirasie vir haar wenwerk in vanjaar se LAtelier-kunskompetisie. En
eersdaags gaan di Vrystater ses maande lank in Parys, Frankryk woon en werk,
skryf Elretha Britz. Gutter se wenwerk, Die huweliksaansoek, is n installasie
en bestaan uit n video, ou plaastelefoon, gegraveerde plaatjie en n houtsuil.
Visueel is die werk betreklik simplisties maar agter di fasade is dit barstens
toe vol betekenis. Die 32-jarige kunstenaar verduidelik: Die vertrekpunt is die
kykNET-werklikheidsreeks Boer soek n vrou. Soos n boer sy stoetvee kies, so
kies hy n vrou. Die bul verteenwoordig manlikheid en n patriargale stelsel. Die
interaktiewe deel van die installasie (die telefoon) nooi die kyker om in te luister
op die klankbaan van Boer soek n vrou en noop die kyker om ook voyeuristies
op te tree. Die verwekking van nasate word verwag. In die stemkuns (deur Ger-
ben Kamper) loop Brakanjan die wreld storm om harte te wen. Gutter s die
verwewing van verskillende kunsdissiplines het ook in haar guns getel.Benewens
die inspan van stemkuns en videobeelde, het sy die hout-obelisk laat maak, die
telefoon as gevonde objek gebruik en n plaatjie laat graveer.
Toegang tot geld bly remskoen vir kunste
Beeld: Willem de Vries. Die Nasionale Kunstefees (NAF) skud reeds sy vere reg
vir sy 40ste verjaardag volgende jaar. Tog bly toegang tot geld vir die kunste n
remskoen. Daar is nie soseer n tekort aan geld vir die kunste nie, maar n tekort
aan toegang tot bestaande fnansiering bestaan wl. S s Tony Lankester, uitvo-
erende hoof van die NAF, oor die kwessie van beskikbare geld vir die kunste in
Suid-Afrika. Talle kunstenaars wat deur die feeskomitee vir vanjaar se fees voorg-
estel is, kon as gevolg van die tekort aan geld nie deel van die program wees nie,
voer Jay Pather, voorsitter van die fees se artistieke komitee, aan in sy feesgids-
voorwoord. En vanjaar maak die Oos-Kaapse toneelgeselskap Ubom! n 11 jaar
sy deure toe omdat daar nie betyds geld beskikbaar was nie. Administratiewe en
burokratiese kwessies maak dit moeiliker vir kunstenaars en geselskappe om
toegang te kry tot di geld wat vir die kunste opsygesit is, s Lankester.
Uit die fees se oogpunt is ons gelukkig dat ons nou n langtermyn-verhouding
met die departement van kuns en kultuur het.
Wag met witskrif vir oorleg
Beeld: William de Vries. Min tyd vir insette en voorleggings op die voorgestelde
hersiene witskrif oor kuns, kultuur en erfenis, asook die talle vrae oor die doku-
ment, beteken die departement kuns en kultuur sal nouer moet saamwerk met al
die rolspelers en dat die afsnydatum uitgestel behoort te word.
Dt het verlede week geblyk uit n openbare vergadering in Kaapstad waar die
dramaturg en kunste-aktivis Mike van Graan, asook Deirdre Prins-Solani, n
erfenisbeleidkenner, die woord gevoer het. Die Arterial Network in Suid-Afrika
het die gesprek gefasiliteer. Op 12 Julie het die departement kuns en kultuur met
belanghebbendes in Johannesburg n werksessie gehou. Daar was konsensus
dat die dokument vol gebreke is, het Beeld toe berig. Die spertyd vir voorleggings
is reeds Donderdag. Die eerste witskrif wat in 1996 aanvaar is, is opgestel n uit-
gebreide oorleg met die kuns-, kultuur- en erfenissektor en deur mense benoem
deur die sektor, het Van Graan ges. Die hersiene dokument is opgestel met
weinig insette van die groter sektor en lyk soos die produk van konsultante wat
min kennis en ervaring van die sektor het.
Ekonomie van kunste onder loep
Beeld: Die Arts and Culture Trust (ACT) bied in samewerking met die Univer-
siteit van Johannesburg (UJ) vanjaar weer n kunstekonferensie aan. Hierdie
keer is die titel Creative Currencies: Accessing Opportunities in an Expanding
Marketplace.
Die konferensie op UJ se Auckland Park-kampus word van 6 tot 8 Augustus
aangebied. Onder voorsitterskap van Mike van Graan kry konferensiegangers
n oorsig van sake- en handelsaspekte met betrekking tot kulturele en artistiese
ondernemings in Suid-Afrika, die vasteland en wreldwyd. Volgens Melissa
Goba, ACT-voorsitter, is dit noodsaaklik dat belanghebbendes in die kuns- en
kultuursektor die geleentheid kry om sonder vooroordeel, onafhanklik en gestruk-
tureerd gesprek te voer. Die hoofspreker op die eerste dag is die Britse kultu-
urstrateeg John Newbigin. Benewens Newbigin se lesing waarin die agtergrond
en beginsels van die kreatiewe ekonomie verken word, is daar aanvullings tot
di onderwerp deur afgevaardigdes van Nigeri, Kenia en Ghana oor die manier
waarop regerings in Afrika die ontwikkeling van die kreatiewe bedryf bevorder of
striem.
Read daily local and international art news everyday at- Art Times - Facebook Profle
- Art Times -
17 500 likes
ART TIMES | REVIEW / VENICE 2013
12 SA ART TIMES. August 2013
Commissioner: Saul Malobi, South African Consul-General, Milan,
Italy. Curating organisation: National Arts Festival, Grahamstown,
South Africa. Curator: Brenton Maart
Funder: South African Department of Arts and Culture
By Brenton Maart
Introduction
In South Africa, during its turbulent twentieth century, visual art
focused on political resistance and became a vehicle for insurgency
against human rights abuses. After the advent of democracy it
shifted towards an exploration of issues of identity, with race and
gender gaining prominence. Today, contemporary South Africa
is witness to a further signifcant movement a renewed and
invigorating focus on how and why histories continue to impact on
the world today. To do this, contemporary artists are turning to the
archive as the repository of these histories, and this is the concept
behind Imaginary Fact: Contemporary South African Art and the
Archive the South African Pavilion exhibition at 55th La Biennale
di Venezia, 2013 which draws on South Africas key practitioners
who, in very different and vibrant ways, draw on the archived record
in order to make sense of our worlds today. The most common
methods used are translation (into new and evolving languages), in-
terpretation (into new and evolving meanings), and mediation (from
one medium to another), sometimes used individually, sometimes in
combination, but often to startling effect.
The exhibition mapped the terrain into fve key themes.
Administering the archive looks forward from colonialism as its point
zero, to here include more recent archives of social, union and other
movements, records of private organisations, genealogical maps,
personal and family tin-trunks of manuscripts, religious texts and
their commentaries, audio and photographic records.
Sue Williamsons For thirty years next to his heart (1990) is
composed of multiple colour photocopies of Ncithakalo John Ngesis
hated apartheid dompas, installed as a tightly gridded metaphor for
the processes of administration and bureaucracy. Its insidiousness
can be seen by the fact that, even after it was no longer necessary,
Ngesi continued to carry the book.
Nhlengethwas Glimpses of the Fifties and Sixties (20022003)
examines a multiplicity of views through his use of the technique of
collage with elements gleaned from archive of Drum manazine and
the artists collection of family photograhs. The violence inherent
in the collage process (tearing, cutting, splicing) is manifest in the
content of certain of the works that reference the inhumanity that
accompanied the growth of apartheid. However, Nhlengethwa is
also adept at using the constructive elements of collage (piecing to-
gether, making things work, transforming disjointed components into
narratives of love, creating sense from chaos) to present evidence
of normal, everyday life.
Blochs Hoard (2013) is a faux anthropological installation of
modelling clay facsimiles wonky, not to scale, sprayed gold of
items selected from the University of Cape Towns Manuscripts
and Archives Department, the Mapungubwe collection, and from
the artists personal collection. Together, rendered cohesive by the
materiality of their copies, the three collections become one. By
giving these very different kinds of objects the same treatment, the
artist adamantly calls into question, and defantly overthrows, the
arbitrary nature of the act of bestowing value.
Performing the archive
In antithesis to the archive as a traditionally inanimate repository,
Performing the archive draws attention to how contemporary live
performances are able to personify the past and present these to a
contemporary audience with immediacy, relevance and advocacy.
Of the range of curatorial methodologies applied here, one of the
more powerful is the formative intellectual agency of the nature of
affect.
In response to the ethnographic photography of Alfred Martin Dug-
gan-Cronin (c. 1930/1940), Andrew Putter created the two series
of images that make up Native Work (2013). In the frst, a group
of black and white photo prints mimic Duggan-Cronins images.
It is only when the viewer starts noting the niggling disjuncture in
typology that the power of the project emerges. Each of Putters
ethnographic photographs is given a title that begins to hint at the
performance inherent in the imagery from the early 1900s. In an
accompanying digital installation, each of Putters ethnographic sit-
ters is then shown in contemporary garments of their own choosing.
Thus, ironically, inasmuch as the ethnography may be described
as performative, the real-life may be equally performative, where
the presentation choices made by the sitter are designed to convey
the representation of the self, as constructed on an individual basis.
And this is where the full power comes to the fore: it is possible that
early ethnographic photography may, with contemporary hindsight,
be interpreted as evidence of mutual, equal and opposing displays
of vectors of power and representation, in the meeting of two very
different groups of people.
Athi-Patra Rugas public performance The Future White Women
of Azania takes an ostensibly masculine history and imbues it with
a violet hue that may, in a word, be described as queer, vested
in aspect of the three methods of queer pedagogy described by
Deborah Britzman as the study of limits, the study of ignorance,
and the study of reading practices. The project may be read as a
set of impertinent performances that are, to quote William Havers
reading of queer pedagogy, an interruption of the world by pedago-
gies. It is then ultimately here that the work becomes more emphatic
about its true allegiance to queer methodologies; that the actions of
research become, not method or means to an end, but points of de-
partures, positions of infuence, intrusions and disruptions; constant
creativity and the infnite possibility that, according to Britzman, what
is important is not that anyone might be queer, but that something
queer might happen to anyone.
It is also within this realm that the public performances of Nelisiwe
Xaba, Athi-Patra Ruga and Donna Kukama do their work. As with
all archives worth their salt, the site-specifc works presented as
part of Imaginary Fact build on previous manifestations which
then, in effect, become archives in their own right. Xabas Venus in
Venice (2013) draws on the archive of Saartjie Baartman, focusing
on the discord between the plethora of information on Baartmans
physicality on the one hand, and her psychology on the other. The
fxidity of the archive of Baartman then becomes a body of material
for interpretation with contemporary hindsight. Donna Kukamas
Investment Bank of Elsewhere (Is Survival not Archival?) (2013)
examines the irony of archival ephemerality. Both these artists will
performe their work during the Biennales fnnisage week.
Spatialisation of the archive
Case studies of the agencies of performance lead into the power
shifts that defne post-independence, and its public statements
where the built edifce the monument functions as emblem of
nationalist identities, and also as a shift to an era where heritage
has become a product. Spatialisation of the archive addresses the
irony of packaging the social imperative of liberation movements for
capitalist consumption.
Johannes Phokelas Collar Series (2006) are three oil on paper
works of the unpainted faces of a City offcial/mayor, Son of a rich
man and an Army offcer. Their collars depict professional and per-
sonal status. Although their iconographical presentation hints at their
European lineage, the fact that their faces are left blank introduces
the element of doubt into Phokelas rip-offs: creating subversion,
creating parodies, characterising demeanour not origin. However,
as we know that these characters have an alarming longevity,
Phokelas work may be viewed as an act of insurgency against
todays remainders of European colonial action, being and thought.
It may be possible then that, through this reference, Phokela under-
lines his key intention: to question the insidious system of colonial
values that perpetuate themselves through symbols, signs and
icons, regardless of lineage, race, social or economic status.
Cameron Platter appropriates a print of Rorkes Drifts John Mua-
fangejo in his pencil crayon drawing The Good Shepard Presents
Dr. Bombaka (2009). However, unlike Muafangejos (presumably)
sincere depiction of the leader of the Christian faith, Platter presents
him as a contemporary, crack healer, one of the many charlatans in
South African cities who entice patients with promises of success
at gambling and love, potions for penis enlargement and prolonged
intercourse Platter thus derives his work from two archives: and
African art history in tandem with colonial European missionaries,
and a contemporary collation of statements from leafets of healers
who, like the perpetuation of Christianity, create a situation for
desperation. That is how the Christian movement made its money;
this is how the crack confdence tricksters make theirs.
David Koloanes The Journey draws on Truth and Reconciliation
Commissions testimonies to narrate the fnal few hours of Steve
Biko. For the work, Koloane relied on his own memory (a personal
archive) and also the more recent TRC hearing on Bikos death.
Unlike the status of the icon, Koloane here attempts to restore the
simplicity of the horror of torture and murder to a collective con-
sciousness. The power of apartheid, and the methods it employed,
have now become, for many, nothing more than a vague memory of
a period in history. The TRC provided a temporary bump on an oth-
erwise inevitable slide towards a relegation to the past; a forgetting.
REwind: A Cantata for voice, tape and testimony, composed by
Philip Miller and visualised by Gerhard and Maja Marx, com-
memorated the tenth anniversary of the TRC. Its timing, intention
and execution was, in effect, an attempt at monumentalising the
monument that was the TRC. For Imaginary Fact, the three artists
again collaborated to produce REwind (2007 to 2013) which,
although using the source material of its original manifestation, is
here recreated into an installation with separate video and audio
components. Two discrete archives provide the starting points. In
the frst, Miller samples and recomposes audio recordings from the
TRC hearings, where an individual story becomes a proxy for hun-
dreds and thousands of similar narratives; one thing stands in for a
host of others. In the second archive for REwind, Gerhard Marx and
Maja Marx accessed their immediate, contemporary, environments
to provide the flmic accompaniments to the audio score. A direct
result of this thinking is the fact that contemporary archive practice
may be used as a means to trace the perpetuation of history into the
world, as we know it, today.
Post-independence media formations
In both colonial and post-independence regimes, traditional forms
of video and audio played pivotal roles in political power plays and
shifts. Their initial and often short-lived deployment in propaganda
put to use the sectors greatest asset: that of the seemingly one-way
fow, where information generated and disseminated by the group
in power reached an audience rendered as passive consumers
without the means to register their critiques. More recently however,
enhanced digital functionality with its proliferation of user-friendly
social media challenges this unidirectional fow of power. Now,
the means to choose, generate, selectively reproduce, alter and
redistribute mass media broadcasts results in a practice that is often
beyond the control of the state.
The flms of Penny Siopis weave together very different types
of archives. For Obscure White Messenger (2010), Siopis re-
imagines the death of H F Verwoerd, the architect of apartheid,
by the hand of Demitrios Tsafendas, a South African deprived of
his land and home. The most striking of juxtapositions in the flm
is a psychiatrists interview with Tsafendas (played as text along
the bottom of the screen) with found 8mm and 16mm footage of
white South African families. The text and the flm footage were
originally unrelated; within their confnes in history, they had
different originators, audiences and functions. However, when
Siopis splices them together, butts them up against each other,
they begin to converse with each other, each supplementing the
other as, together, they construct a narrative. Suddenly the flms of
white families at play reveal themselves as evidence of complicity
in apartheid; simultaneously the psychiatrists interview with the
murderer reveals the covert practices of an apartheid that relied on
obfuscation, misrepresentations, and half-truths By this creative
act of juxtaposition (video collage, as it were), Siopis highlights the
mutability of meaning, even meaning vested within the archive, that
bastion of unchanging truth.
This is a radical approach to creative archival practice which
extends on the traditional approach of using available archival
fragments (what is there) to fll the gaps (what is not there), in a bid
to construct a more complete and coherent narrative. By combining
the tools of historiography and anthropology, these studies rely on
extrapolation. Here, proof is never absolute, and the narrative is
continually refned and channelled towards the realm of the increas-
ingly probable (the possible). Eventually, this scientifc approach
reaches a tipping point where no further claims may be generated.
It is here that the more unorthodox approach of Siopis steps in
with the application of a contemporary literary technique, one that
merges the documentary (the evidence) with fctional construc-
tion (the invention). This practice, termed documentary fction or
fctional documentary, extends archival fragments to close the
gaps with a narrative approaching the realm of the plausible (the
believable). This blurring of genres signals an infuential new direc-
tion in creative, archival narrative construction, one that celebrates a
rare talent: that of productive imagination.
It is this practice of transposition that James Webb applies to his
Children of the Revolution (2013), where his primary archive is the
original 1972 rendition of the glam rock anthem by T. Rex, here
translated into isiXhosa and arranged for voice and megaphone.
The function of this transposition is in resurrecting an archived
political statement and making it contemporary in a manner that
comments on the relevance of the past in todays world. In effect,
the work becomes a renewed call for rigorous, concerted and
sustained political action.
Imaginary Fact: Contemporary South African Art and the Archive
South African Pavilion, 55th La Biennale di Venezia, 2013. Sale dArmi, Arsenale, Venice. 1 June to 24 November 2013
VENICE 2013 / REVIEW | ART TIMES
SA ART TIMES. August 2013 13
Archival absences and surrogate collections of the African state
The dispersal of archives, along with the inherent temporal and dy-
namic nature of the archive, highlight an important reality: gaps are
inevitable. Simply put, building a complete archive is an impossible
task, and this is what the ffth and fnal theme Archival absences
and surrogate collections of the African state interrogates with
case studies that invent novel methodologies to make sense of
ruptures in the archival body.
Zanele Muholi chooses to deal with this directly with her Faces
and Phases (2006 to date), an ongoing photographic project that
addresses the absence of black lesbians in prevailing bodies of
records. Muholis work is part activism and part art, a process she
describes as visual activism. In all photographs, the subjects look
directly at the camera, indicating not only the relationship between
the photographer and the sitters, but also creating a conversation
between the sitter and the audience of the artwork. This is the frst,
and major step, in the process of self-representation: the counter-
exertion of power through the gaze. Further, when the series of 200
images are installed in relation to each other, multiple conversations
begin to emerge, and what began as an act of activism by Muholi
has now, seven years later, developed into a network that inscribes
a new archive into the prevailing canon. This concept is, in effect, an
extension of an African aesthetics that developed during the 1950s.
Based on the intellectual pillars of Negritude and Pan-Africanism,
Muholis project is grounded in her earlier activist work which
allowed an initial experience of a perceived otherness, a refection
on this disjuncture, a generalisation of its prevalence and effect, and
an application of activist strategies to correct the problem. Because
Muholi, and her subjects, perspectives are grounded in Africa, the
action of legitimation may, in effect, be classifed as a decolonisation
of the mind. In the same way the anti-racist racism was applied as
a tool of synthesis and as a strategy for subversion and rebellion to
contradict colonial alienation, Muholi applies her anti-homophobic
activism within a country that still continues to negate, and is unable
to digest, a natural state of being.
Two bodies of sculpture make up Wim Bothas contribution to Im-
aginary Fact, with all work constructed from books. The books, and
their content, come pre-loaded, dragging behind them the weight of
their histories that then, through sculptural agility, fnd a new home
within new fgurative forms. In various ways various books fnd their
way into the sculpture, thus consciously or inadvertently addressing
institutionalised attribution. Unlike the older procession of busts on
exhibition, the work commissioned for this exhibition, Study for the
Epic Mundane (2013), is seemingly physically incomplete, becom-
ing increasingly fragmented with each new viewing. Sequences
become splintered. Instead of generating a bigger picture as the
busts seem to lean towards, Study seems to lay bare provisional
change; seems to revel in a situational contingency that fies in the
face of the traditional approach to researching, recording, analysing
and presenting historical information. This, in effect, subverts the
arrogance of the modernist method of writing history: one ideology,
one writer, one story that through its prescription becomes the
prevailing dogma. Unlike the busts with their leaning towards an
impossible harmony, consistency, rationality and signifcance, Study
revels in entropy, in the existence of the interim, in the incoherence
experienced during dynamic fux. The same argument holds for
contemporary archival practice: different viewers read the same
archive in different ways. It is here that Bothas Study underlines the
works remarkable contribution to the construction of the method of
the open-ended conclusion.
Conclusion
A conclusion comes at the end, so it is apt that this conclusion deals
with that most problematic of prefxes, the presumptuous, optimistic
and oft erroneous post-. Post- is usually accepted to mean after,
so post-colonial and post-apartheid seem to imply that these are
periods where the colonial and apartheid cease to exist. From the
perspective of historiography, this may be (slightly) acceptable as an
attempt at linear temporality. However, from a perspective of the rest
of the humanities (anthropology, sociology, political science) and its
scientifc cousin, a web-like, evolutionary theory, these terms do not
take into account effect. So even though the legislative policies and
practices of colonialism and apartheid are now a thing of the past,
their effects continue into the contemporary. In other words, the past
continues to live with us, and haunt us, in everything we do.
The research question at the heart of Imaginary Fact understands
that the archives accessed by South African artists on the exhibition
were constructed within the contexts of, and expressed aspects
of the ideologies of, colonial expansion and high apartheid; that
political change has ensued, colonialism and apartheid have been
dismantled, with concomitant ideological shifts. The exhibition
seeks then in the frst instance to track what has happened to these
archives and their original intentions and interpretations and, more
importantly, to consider what they currently express. The shift in
meaning then provides the context that artists engage visually
through photography, installation, sculpture, drawing, painting and
performance. Imaginary Fact assesses visually the matter of failed
social engineering and its evidence in contemporary legacies. The
ultimate curatorial intention, then, is to track the insidious perpetua-
tion of history into the world we call home today.
Athi-Patra Rugas FWWOA at La Biennale di Venezia for South African Pavilion
Grand entrance to the South African Pavilion at the Sale darmi in the Arsenale; Photo by Mario Todeschini
Wim Botha: Study for the Epic Mundane (2013)
Sam Nhlengethwa: Glimpses of the Fifties and Sixties (2002/3)
Sue Williamson: For thirty years next to his heart (1990)
Joanne Bloch: Hoard (2012/13)
Johannes Phokela: Collar Series (2006) (Left) Andrew Putter: Native Work (2012)
ART TIMES | ARTISTS BIRTHDAYS
14 SA ART TIMES. August 2013
1 August: designer: Yves Saint-Laurent
Yves Henri Donat Mathieu-Saint-Laurent, known as Yves Saint
Laurent, August 1, 1936 June 1, 2008, was a French fashion
designer, and is regarded as one of the greatest names in
fashion history. In 1985, Caroline Rennolds Milbank wrote, The
most consistently celebrated and infuential designer of the past
twenty-fve years, Yves Saint Laurent can be credited with both
spurring the coutures rise from its sixties ashes and with fnally
rendering ready-to-wear reputable. He is also credited with
having introduced the tuxedo suit for women and was known
for his use of non-European cultural references, and non-White
models.
3 August: Local artist: Marlene Dumas
Marlene Dumas (born 3 August 1953) is a South African born
artist and painter who lives and works in Amsterdam, The
Netherlands. In the past Dumas produced paintings, collages,
drawings, prints and installations. She now works mainly with
oil on canvas and ink on paper.Stressing both the physical
reality of the human body and its psychological value, Dumas
tends to paint her subjects at the extreme fringes of lifes cycle,
from birth to death, with a continual emphasis on classical
modes of representation in Western art, such as the nude or the
funerary portrait. By working within and also transgressing these
traditional historical antecedents, Dumas uses the human fgure
as a means to critique contemporary ideas of racial, sexual, and
social identity.
4 August: Nicolas-Jacques Conte
Nicolas-Jacques Cont, born in Normandy, 4 August 1755 6
December 1805. was a French painter, balloonist, army offcer,
and inventor of the modern pencil.He distinguished himself for
his mechanical genius which was of great avail to the French
army in Egypt. Napoleon called him a universal man with taste,
understanding and genius capable of creating the arts of France
in the middle of the Arabian Desert.
6 August: Andy Warhol
Andy Warhol (August 6, 1928 February 22, 1987) was an
American artist who was a leading fgure in the visual art
movement known as pop art. His works explore the relationship
between artistic expression, celebrity culture and advertisement
that fourished by the 1960s. After a successful career as a com-
mercial illustrator, Warhol became a renowned and sometimes
controversial artist. The Andy Warhol Museum in his native city,
Pittsburgh, Pennsylvania, holds an extensive permanent collec-
tion of art and archives. It is the largest museum in the United
States dedicated to a single artist. Warhols art encompassed
many forms of media, including hand drawing, painting, print-
making, photography, silk screening, sculpture, flm, and music.
He was also a pioneer in computer-generated art using Amiga
computers that were introduced in 1984, two years before his
death. He founded Interview Magazine and was the author of
numerous books, including The Philosophy of Andy Warhol and
Popism: The Warhol Sixties. He is also nnotable as a gay man
who lived openly as such before the gay liberation movement.
7 August: Emil Nolde
Emil Nolde (7 August 1867 13 April 1956) was a German
painter and printmaker. He was one of the frst Expressionists,
a member of Die Brcke, and is considered to be one of the
great oil painting and watercolour painters of the 20th century.
He is known for his vigorous brushwork and expressive choice
of colors. Golden yellows and deep reds appear frequently in his
work, giving a luminous quality to otherwise somber tones. His
watercolors include vivid, brooding storm-scapes and brilliant
forals. Noldes intense preoccupation with the subject of fowers
refect his continuing interest in the art of Vincent Van Gogh.
13 August: Local Artist: Jacobus Hendrik Pierneef
Jacobus Hendrik Pierneef (usually referred to as Pierneef) (13
August 1886 Pretoria 14 November 1957 Pretoria), was a
South African landscape artist, generally considered to be one
of the best of the old South African masters. His distinctive style
is widely recognized and his work was greatly infuenced by the
South African landscape. Most of his landscapes were of the
South African highveld, which provided a lifelong source of in-
spiration for him. Pierneefs style was to reduce and simplify the
landscape to geometric structures, using fat planes, lines and
colour to present the harmony and order in nature. This resulted
in formalized, ordered and often-monumental view of the South
African landscape, uninhabited and with dramatic light and
colour. Pierneefs work can be seen worldwide in many private,
corporate and public collections, including the Africana Museum,
Durban Art Gallery, Johannesburg Art Gallery, King George VI
Art Gallery, Pierneef Museum and the Pretoria Art Gallery.
15 August: Pranas Domsaitas
Pranas Domaitis (born Franz Domscheit, August 15, 1880
November 14, 1965) was a painter.
Born in Cropiens, a village in the Kingdom of Prussia near its
border with Lithuania, Domaitis spent his frst 27 years as a
farmer. Under the sponsorship of Max Liebermann he enrolled
at the Royal Academy of Fine Arts in Knigsberg in 1907,
graduating in 1910; this was his frst formal schooling. He then
travelled to, and studied at, various European capitals; he
was strongly infuenced by a meeting with Edvard Munch. He
befriended and travelled with the artist Fritz Ascher from Berlin,
who drew a portrait of him im 1919/20. He spent World War I
partially on his parents farm and partially in military service,
and then resumed his travels and artistic career. His successful
exhibitions in Germany, Switzerland, Austria, Romania, and
Turkey were disastrously followed by his inclusion in a 1937
exhibition of Degenerate art and the removal of his works from
German museums. In 1938 he began signing his pictures using
the Lithuanian version of his name (he had taken Lithuanian
citizenship in 1920). He spent the war painting harmless still
lifes. In 1949 the University of Cape Town in South Africa offered
his wife, the singer Adelheid Armhold, a position as a senior
lecturer. He spent the rest of his life there.
17 August: Larry Rivers
Larry Rivers (August 17, 1923 August 14, 2002) was an Ameri-
can artist, musician, flmmaker and occasional actor. Rivers
resided and maintained studios in New York City, Southampton,
New York (on Long Island) and Zihuatanejo, Mexico.
Rivers is considered by many scholars to be the Godfather and
Grandfather of Pop art, because he was one of the frst artists
to really merge non-objective, non-narrative art with narrative
and objective abstraction. Rivers took up painting in 1945 and
studied at the Hans Hofmann School from 194748. He earned
a BA in art education from New York University in 1951. He
was a pop artist of the New York School, reproducing everyday
objects of American popular culture as art. He was one of eleven
New York artists featured in the opening exhibition at the Terrain
Gallery in 1955.
18 August: Local Artist: Matthew Hindley
Matthew Hindley is a South African artist born in Cape Town
1974, who lives and works in Cape Town. After graduating
with the Michaelis Prize from the Michaelis School of Fine Art
in 2002, Hindley has explored sculpture, drawing, video and
physical computing and more recently has focussed on painting.
Hindley is represented in South Africa by Brundyn + Gonsalves.
19 August: Gustave Caillebotte
Gustave Caillebotte, 19 August 1848 21 February 1894, was
a French painter, a member and patron of the group of artists
known as Impressionists, though he painted in a much more
realistic manner than many other artists in the group. Caillebotte
was noted for his early interest in photography as an art form.
SA Art Times August Artists Birthdays
The SA Art Times : origination of local Artists Birthdays.
ARTISTS BIRTHDAYS | ART TIMES
SA ART TIMES. August 2013 15
20 August: Local Artist: Jan Ernst Abraham Volschenk
Jan Volschenk was a self taught painter who specialised and
excelled in the landscape genre. He found inspiration from
his local surroundings of Riversdale and the Langeberg range
served as the subject matter for most of his work. He held very
few exhibitions during his art career. On the rare occasions that
he did exhibit, these took place mostly in Cape Town and a few
were held internationally as well. Though he is most famous as
a painter, Volschenk has also made a contribution to natural
history with his collection of more than 4000 beetle specimens.
He also did a lot of heraldry work around his home town.
22 August: Local Artist: Ephraim Ngatane
Ephraim Ngatane was born in Maseru, Lesotho on 22 August
1938, and moved to Orlando West, Soweto, Johannesburg in
1943 with his parents, where he lived and worked until his early
death in March 1971, at age 33. Taking artistic inspiration from
his daily experience of urban black township life on the Witwa-
terstrand during the 1950s and 60s, his paintings are today
regarded as important documents of social realism, authentically
depicting township life during this period. At the Mooki Memorial
College in Orlando, Ngatanes artistic talent was recognised
early on by his primary school teacher Mrs E.L. Mooki, who
convinced his parents to allow him to pursue an artistic career.
The loose, free-fowing watercolour technique taught by Cecil
Skotnes at the Polly Street Art Centre appealed to Ngatane dur-
ing his studies there between 1952 and 1954, resulting in him
developing a personal approach which stylistically differed from
the tradition of township expressionism.
24 August: Local Artist: Carl Buchner
Carl Buchner was born in Somerset East, Cape Province. He
studied languages at Wits and then art at Wits Tech Art School.
He lectured at the Michaelis School in 1963, and, served on
the selection boards for the Venice and Sao Paulo Biennali and
various national exhibitions. In his work Buchner reveals himself
as a romantic humanist. His early work was mostly devoted to
human subject matter, sensitively portrayed, with frequent use
of palette knife, scumbling colours to create texture and colour
variation. Later works exhibit modelling with brush to create
three-dimensional plasticity. In the late ffties was infuenced
by the minimalist still life technique of Morandi. He was closely
associated with Maurice von Essche and one can clearly see
the infuence of his style on Buchner over the years.
25 August: Local Artist: Paul Emsley
Paul Emsley (born August 25, 1947) is an artist who worked
in South Africa until 1996 and is now resident in Bradford-
upon-Avon, Wiltshire, England. He is a former lecturer at the
Stellenbosch University and the 2007 winner of the BP Portrait
Award for portrait painting.[1] His work can be found in most
public collections in South Africa, The National Portrait Gallery
London and The British Museum. He is known for his large
detailed images of people, animals and fowers. There was a
major retrospective of his work in 2012 at the Sasol Art Gallery
in Stellenbosch. He is represented in the United Kingdom
by the Redfern Gallery and in South Africa by BRUNDYN +
GONSALVES. Emsleys portrait of The Duchess of Cambridge
has received mixed reviews.
26 August: Local Artist: Obie Oberholzer
Born on a farm in Africa. (On the 26th of August 1947 to be
exact). Spent most of my frst eight years running around
barefoot like a wild little madman. Later went to an English High
School and started wearing shoes. Managed to scrape through
fnal exams but excelled at sport and girls. Was drafted into the
South African Air Force, but did a lot more athletics than aerial
combat. Went to Stellenbosch University and became reckless
and exuberant. Studied Graphic design, drinking, dancing, rugby
and athletics. Was made aware that cameras can produce
images. Fell in love with photography and Lynn. Bought a Has-
selblad and got married.
27 August: Man Ray
Man Ray (born Emmanuel Radnitzky, August 27, 1890
November 18, 1976) was an American modernist artist who
spent most of his career in Paris, France. He was a signifcant
contributor to the Dada and Surrealist movements, although his
ties to each were informal. He produced major works in a variety
of media but considered himself a painter above all. He was
best known in the art world for his avant-garde photography, and
he was a renowned fashion and portrait photographer.
29 August: Local artist: Peet Pienaar
Peet Pienaar (born 29 August 1971 near Potchefstroom, South
Africa) is a South African performance artist, most famous for
having himself videotaped while undergoing circumcision in
2000. The discarded foreskin, displayed in a small perspex
case, was part of an installation with a three-monitor video
showing the circumcision operation in excruciating close-up.
He studied fne art at the University of Stellenbosch graduating
in 1993.
Pienaar was frst noticed by a wider public in 1996 when he
(once a provincial rugby union player), the son of Afrikaans
speaking farmers, dressed as a Springbok rugby player, stood
motionless for hours in venues ranging from the South African
National Gallery to shopping malls.
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SOUTH AFRICAN
GALLERY GUIDE
Free State
Bloemfontein
Oliewenhuis Art Museum
Until 18 Aug, Time and Space/Tyd en Ruimte, solo show by Jan
van der Merwe. Until 31 Aug, National Heritage Project, a tempo-
rary exhibition of life-size bronze fgures of signifcant people from
South Africas history. Until 1 Sept, Linear Narratives, an exhibition
assembled from artworks of Oliewenhuis Art Museums Permanent
Collection. This exhibition is a visual feast of meticulously executed
pen and pencil drawings, etchings and lithographs.
Until 1 Sept, Additions to the Permanent Collection 2012 &
2013. Artworks acquired recently for Oliewenhuis Art Museums
Permanent Collection.
22 Aug - 19 Sept, Jong Afrikaners by Roelof Petrus van Wyk. A
published series of portraits of urbanised, creative and engaged
Afrikaners who present a challenge to preconceived ideas about
Afrikaner identity and values. 29 Aug 24 Sept, 25th Sophia Gray
Memorial Lecture and Exhibition. 16 Harry Smith Str, Bloemfontein.
T. 051 011 0525. www.nasmus.co.za
Gallery on Leviseur
59 Dan Pienaar Avenue, Westdene. info@galleryonleviseur.co.za
Clarens
Art & Wine Gallery on Main
Housing a collection of art by well-known artists including: Frederike
Stokhuyzen, Gregoire Boonzaier, J.H. Pierneef, Erik Laubscher and
Jean Doyle, amongst others. 279 Main Str. T. 058 256 1298.
C. 082 341 8161. www.artandwine.co.za
The Gallery Clarens
c/o Main and Market Street. T. 058 256 1913.
thegalleryclarens@isat.co.za
Johan Smith Art Gallery
The gallery permanently exhibits a wide variety of classical and
selected contemporary art works featuring Johan Smith, Elga Rabe,
Graham Carter, Gregoire Boonzaier, amongst others. Specializing
in ceramics, the gallery supports artists such as Hennie Meyer,
Karen Sinovich, and Heather Mills, among others.
Windmill Centre, Main Str. T. 058 256 1620. www.johansmith.co.za
Richard Rennie Gallery
Gallery exhibits the work of Richard Rennie and a few personally
selected guest artists. Known internationally for his water colours,
he has recently been concentrating on modern works in oil.
Main Str. T. 058 025 6017. C. 083 447 9925
Gauteng
Johannesburg
5h Ave Auctioneers
404 Jan Smuts Avenue, Craighall Park. T. 011 781 2040. www.5aa.
co.za
Absa Art Gallery
Until 8 Aug, Re-sampled 2012, a collection of works from the
Absa collection and a re-sampling of them by artists from the Absa
LAtelier art competition. Until 22 Aug, Absa LAtelier exhibition.
Absa Towers North, 161 Main Str. T. 011 350 5139. www.absa.co.za
Alice Art
217 Drive Str, Ruimsig. T. 011 958 1392 C. 083 331 8466.
www.aliceart.co.za
Art Eye Gallery
7 14 Aug, Revisiting Zanzibar, a show by celebrated artist Trevor
Coleman. 21 28 Aug, A New Perspective, a sculptural exhibition
by Carl Roberts. Shop 109, The Design Quarter, Fourways.
T. 011 465 7695. www.arteye.co.za
Art etc
Showcasing a wide variety of SA artists, ranging from old masters
to the budding future masters. Each artist has been hand-picked
to make sure a high standard is maintained. We send paintings all
over the world as well as deliver locally. Banking Level,
Sandton City. T. 011 783 0842. www.artetc.co.za
Art Unlimited Gallery
The Gift, the Art Works of Louwtjie Kotz are permanently on
exhibition. Art Retreat Even More Beautiful at Sunnyside farm,
Clarens. Demos and info are geared for beginners and intermediate
artists, but all artists are welcome. 15 - 20 September 2013. Phone
Louwtjie Kotz on 083 779 9021.
Baobab St, Sonneglans Ext 4, Randburg. T. 083 779 9021.
www.artunlimitedgallery.co.za
Artist Proof Studio
Bus Factory, 3 President Street, Newtown Cultural Precinct.
T. 011 492 1278 C. 084 420 7998. gallery@artistproofstudio.co.za
Artspace Johannesburg
7 31 August, Transgression, by Benon Lutaaya. These paintings
manifest a duality between application and excavation.
Chester Court, 142 Jan Smuts, Parkwood. T. 011 880 8802
www.artspace-jhb.co.za
The Bag Factory
10 Mahlatini Str, Fordsburg. T. 011 834 9181.
www.bagfactoryart.org.za
Upstairs at Bamboo
Bamboo Lifestyle Centre, 53 Rustenburg Road, Melville.
C. 028 284 9827 www.bamboo-online.co.za
Bonhams
International Auctioneers. Penny Culverwell, Representative for
South Africa. T. 071 342 2670. www.bonhams.com
Carol Lee Fine Art
Upstairs@Bamboo, cnr 9th Str & Rustenburg Rd, Mellvile.
T. 011 486 0526
Cherie de Villiers Gallery
Shop UM25, Hyde Park Corner. Tel. 011 325 5395.
www.gallery.co.za
Christies
International Auctioneers. Gillian Scott Berning, Independent
Consultant. T 031 207 8247. www.christies.com
CIRCA on Jellicoe
1 Aug 5 Oct, an exhibition by Norman Catherine.
2 Jellicoe Ave. T. 011 788 4805. www.circaonjellicoe.co.za
Cire Perdue Art
Focused on the selection and distribution of limited edition works of
art, specifcally bronze sculptures. T. 011 465 8709.
www.cpdart.co.za
David Krut Projects
142 Jan Smuts Avenue, Parkwood. T. 011 447 0627.
Contact Claire Zinn. www.davidkrutpublishing.com
Everard Read Jhb
8 24 Aug, two exhibitions: Beneath Southern Skies, by Denby
Meyer and The South African Heritage Collection, by photographer
Matthew Willman. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788 4805.
www.everard-read.co.za
Ferreira Art Gallery
New stock has just arrived! Ian Hertslet is painting in our art studio
and offering workshops. Framing gallery and fully licensed Terrace
Cafe open 7 days a week. 300 Main Rd, Bryanston, Sandton.
T. 011 706 3738. www.ferreiraart.com
Gallery 2
1 24 Aug, exhibiting work by various artists, including
Wilma Cruise, Widus Mtshali and Collen Maswanganyi.
31 Aug 21 Sept, Ancient Future, an exhibition of work by Eric
Duplan. To be opened by Gordon Froud.
140 Jan Smuts Ave, Parkwood Jhb. Tel. 114470155,
www.gallery2.co.za
Gallery AOP
44 Stanley Ave, Braamfontein Werf (Milpark) Jhb. T. 011 726 2234.
www.galleryaop.com
Gallery MOMO
Until 26 Aug, Prints on Paper, by Cameroonian artist Jol Mpah
Dooh. An exhibition of works on paper in mixed media.
29 Aug 7 Oct, Archival Impulse, a continuation of Ayana V.
Jacksons series on Poverty Pornography.
52 7th Avenue, Parktown North. T. 011 327 3247.
www.gallerymomo.com
Goodman Gallery JHB
163 Jan Smuts Avenue, Parkwood. T. 011 788 1113.
www.goodman-gallery.com
Grahams Fine Art Gallery
SA masters are on display at the new gallery in Bryanston. Artists
include Irma Stern, Maggie Laubser, J.H Pierneef, Gerard Sekoto
and Walter Battiss.
68 on Hobart, Block A, Corner of Hobart & Dover Road (Off William
Nicol Drive) Bryanston. T. 011 463 7869. www.grahamsgallery.co.za
16 Halifax Art
A visual art agency owned by Dana MacFarlane.
16 Halifax Str, Bryanston. Dana: 082 784 6695.
www.16halifaxart.co.za
In Toto Gallery
Scenes of Space: An Exhibition of Interiors. Belief in the
signifcance of architecture is premised on the motion that we are
different people in different places - and on the conviction that it is
architectures task to render vivid to us who we might ideally be
(Alain de Botton). 6 Birdhaven Centre, 66 St Andrew Str.
T. 011 447 6543. www.intotogallery.co.za
Isis Gallery
Reaching new Frontiers, opening specials on artworks by Obert
Jongwe. Etchings by Rhona Gorvy. New works of Nelson Mandela
by Brian Rolfe. Shop 334, Upper level, Rosebank Mall.
T. 011 447 2317. www.isisgallery.co.za
Johannesburg Art Gallery
Until 25 August, Looking as Learning II. A show curated by Musha
Neluheni featuring international artists such as Lucien Freud and
Andy Warhol and South African artists including Wim Botha, Penny
Siopis and George Pemba. King George Street, Joubert Park.
T. 011 725 3130/80. www.joburgculture.co.za
Market Photo Workshop Gallery
2 President Str, Newtown. T. 011 834 1444. www.marketphotow-
orkshop.co.za
Manor Gallery
Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934
www.wssa.org.za
Protea Gallery
Specialising in well-known South African Artists, as well as those
up-and-coming. Also specialise in professional framing.
94b Rietfontein Road, Primrose. T. 011 8285035.
proteaart@worldonline.co.za
Purple Heart Gallery
Where we colour outside the lines. We are Proudly South African
and are currently showcasing a variety of established, as well as
new, SA Artists. Honeydew Village Centre, Cnr. Christiaan De Wet &
John Vorster Avenue, Weltevreden Park, Roodepoort.
Tel. 011 475 7411. www.purpleheartgallery.co.za
Resolution Gallery
Until 17 August, exhibition by Michael Smith.
Unit 4, Chester Court, 142 Jan Smuts Avenue, Parkwood.
T. 011 880 4054 http://resgallery.com
Russell Kaplan Auctioneers
Auctioneers of Fine Art, Antiques and Collectables.
Ground foor, Bordeaux Court, Corner of Garden & Allan Rds, Bor-
deaux. T. 011 789 7422 C. 083 675 8468. www.rkauctioneers.co.za
Sarai Interior Design & Decor cc
Shop 4 Fox Street Studios, Maboneng Precinct, Jeppestown.
C. 082 062 9402 www.imbayasarai.blogspot.com
Standard Bank Gallery
Until 14 Sept, Simon Stone: A Retrospective Exhibition is the
frst comprehensive review devoted to the career of one of SAs
foremost artists. C/r of Simmonds & Frederick Str. T. 011 631 1889.
www.standardbankarts.co.za
Stephan Welz & Co
6 & 7 August 2013, Johannesburg Auction, Decorative & Fine Arts
Auction. Viewing Wednesday 31 July - Sunday 4 August, 10h00
- 17h00. 13 Biermann Avenue, Rosebank, Johannesburg.
T. 011 880 3125. www.stephanwelzandco.co.za
Stephan Welz & Co
Until 26 Aug, We Love Mandela. An exhibition of art inspired by
Madiba, a group show curated by Natalie Knight. Artists include
Wayne Barker, Susan Woolf, David Koloane, Collen Maswangani,
Joachim Schonfeldt. The Peacemakers Museum, shop L32,
Nelson Mandela Square, Sandton. T. 079 545 2701.
www.peacemakersmuseum.co.za
Stevenson
15 Aug 28 Sept, New Paintings, Stevenson is pleased to present
a solo exhibition by Zander Blom. This is his fourth show at
Stevenson, and the third simply titled New Paintings. 62 Juta
Street,Braamfontein. Tel. (011) 403 1055/1908, www.stevenson.info
ART TIMES | GALLERY GUIDE / FREE STATE, GAUTENG
Diane Victor
new lithographs
The Artists Press
Box 1236, White River, 1240 7HO013 007 0616
PDUN#DUWLVWVSUHVVFR]DZZZDUWSULQWVDFRP
Running out of patients. Hand printed lithograph, 50 x 70 cm. Edition 25.
Art Times Diane July 2013 advert.indd 1 19/07/2013 2:00 PM
For more |n|ormot|on p|eose contoct Me| E|||ott: 082 44 304
v|s|t: www.v||||ersdorp events.wordpress. com
20 SA ART TIMES. August 2013
The NWU prides itself on a diverse collection that
has been established over the course of 90 years.
In 1932, under the direction of prof Ferdinand
Postma (Rector) the rst recorded paintings were
acquired for the then Potchefstroom University
for Christian Higher Education (PU for CHE).
Consequently, The Committee for Physical
Infrastructure decided that acquisitions and
donations could be made to the university, which
marked the start of a committee for art affairs that
decided on a humble annual budget of 6.
Over the decades that followed, donations from
artists such as Jacob Hendrik Pierneef would
come to form part of the physical infrastructure
development of the university. In 1972 the
collection gained momentum when prof GM
Ballot (then head of the Department of Art
History and Fine Arts) organized an exhibition
of contemporary South African art. During this
exhibition sixty-six artists exhibited more than
one hundred artworks. Many of these were
subsequently donated to the university, or given
to the collection on an extended loan basis.
Through the years, works were continually
added and exhibitions were held in a temporary
exhibition hall. n 1975, the Department of Art
History moved to a new home on the top oor of
the Ferdinand Postma Library where both storage
facilities and a permanent exhibition hall formed
the centre of the art collection. During the next
few years, the Universitys acquisition policy
required that at least one work of art be added to
the collection for each of the approximate eight
exhibitions held annually. t was during this time
that the collection acquired artworks by artists
such as Bettie Cilliers-Barnard, Nel Erasmus,
Maureen Quin, Dirk Meerkotter and George
Boys. Other acquisitions included works by
Patrick OConnor, Pippa Skotnes, Hardy Botha,
Christo Coetzee and Robert Hodgins.
During the 1990s, prof John Botha (lecturer in
History of Art) led an effort to acquire artworks
by local artists from the North-West Province. t
was also under his leadership that the university
hosted the rst exhibition of black artists in the
Potchefstroom area. Artists such as Daniel
Novella and Tsietsi Matubako were given the
means to sustain themselves while local artists
were given a platform to showcase their art. Many
of these artists were students who had completed
their BA (Fine Arts) at the PU for CHE. During
the last decade the collection has continued to
expand, developing into one inclusive of current
and contemporary art. Recent acquisitions
include artworks by Hanneke Benade, Stompie
Selibe, Peter Eastman, Philemon Hlungwani,
Helena Hugo, Sam Nhlengethwa, Barbara
Wildenboer and Christiaan Diedericks.
The NWU Art Collection has become a resource
for research, teaching, learning and discovery. As
a public art gallery, the NWU Gallery connects
the cultural life of the NWU to that of the local
community through a lively and critical programme
of exhibitions, publications, and events that foster
awareness, understanding and appreciation of
the visual arts.
We are committed to providing opportunities for
young scholars to study the collection. t is our
vision that the visual arts become an essential
part of the experience of all NWU students, staff
and the broader community of the North-West
Province by advancing a deeper understanding
and appreciation for art. As such, we strive to
make the NWU collection and our exhibitions
accessible, both physically and intellectually, to
our diverse audiences.
The publication of NWU Art Collection: Looking
back while moving forward marks a milestone for
the NWU Gallery where our audience is invited
to reect on the development of our collection,
appreciating the legacy of the old masters and
celebrating the promise of new possibilities to
come. As our collection continues to grow, we
take pride in sharing this experience with you.
Christina Naurattel (NWU Chief Curator)
NWU ART COLLECTION
Looking back while moving forward
Hanneke Benad, Dropping a hint, 2010, Pastel on white cotton paper, 123 x 150 cm Marjorie Wallace, Amandeltakke, Oil on canvas, 73.5 x 101 cm
The NWU Gallery can be contacted at 018 299 4341 or gallery@nwu.ac.za
Bettie Cilliers-Barnard, Mymering, 1949, Oil on canvas, 95.5 x 60 cm
The North-West University Gallery is proud to announce the launch of the publication NWU Art Collection: Looking back while moving forward on
Thursday, 15 August 2013. The launch will coincide with an art exhibition of the NWU Art Collection, to be hosted at the NWU Gallery and the NWU
Botanical Garden Gallery on the Potchefstroom Campus. The publication showcases a selection of historical and contemporary artworks, as reected in
the universitys collection. A sample of these works will be on display at the galleries presenting art lovers with an exhibition where the old masters are
placed alongside contemporary artworks, creating interesting dialogues between the present and the past.
FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE
SA ART TIMES. August 2013
The NWU prides itself on a diverse collection that
has been established over the course of 90 years.
In 1932, under the direction of prof Ferdinand
Postma (Rector) the rst recorded paintings were
acquired for the then Potchefstroom University
for Christian Higher Education (PU for CHE).
Consequently, The Committee for Physical
Infrastructure decided that acquisitions and
donations could be made to the university, which
marked the start of a committee for art affairs that
decided on a humble annual budget of 6.
Over the decades that followed, donations from
artists such as Jacob Hendrik Pierneef would
come to form part of the physical infrastructure
development of the university. In 1972 the
collection gained momentum when prof GM
Ballot (then head of the Department of Art
History and Fine Arts) organized an exhibition
of contemporary South African art. During this
exhibition sixty-six artists exhibited more than
one hundred artworks. Many of these were
subsequently donated to the university, or given
to the collection on an extended loan basis.
Through the years, works were continually
added and exhibitions were held in a temporary
exhibition hall. n 1975, the Department of Art
History moved to a new home on the top oor of
the Ferdinand Postma Library where both storage
facilities and a permanent exhibition hall formed
the centre of the art collection. During the next
few years, the Universitys acquisition policy
required that at least one work of art be added to
the collection for each of the approximate eight
exhibitions held annually. t was during this time
that the collection acquired artworks by artists
such as Bettie Cilliers-Barnard, Nel Erasmus,
Maureen Quin, Dirk Meerkotter and George
Boys. Other acquisitions included works by
Patrick OConnor, Pippa Skotnes, Hardy Botha,
Christo Coetzee and Robert Hodgins.
During the 1990s, prof John Botha (lecturer in
History of Art) led an effort to acquire artworks
by local artists from the North-West Province. t
was also under his leadership that the university
hosted the rst exhibition of black artists in the
Potchefstroom area. Artists such as Daniel
Novella and Tsietsi Matubako were given the
means to sustain themselves while local artists
were given a platform to showcase their art. Many
of these artists were students who had completed
their BA (Fine Arts) at the PU for CHE. During
the last decade the collection has continued to
expand, developing into one inclusive of current
and contemporary art. Recent acquisitions
include artworks by Hanneke Benade, Stompie
Selibe, Peter Eastman, Philemon Hlungwani,
Helena Hugo, Sam Nhlengethwa, Barbara
Wildenboer and Christiaan Diedericks.
The NWU Art Collection has become a resource
for research, teaching, learning and discovery. As
a public art gallery, the NWU Gallery connects
the cultural life of the NWU to that of the local
community through a lively and critical programme
of exhibitions, publications, and events that foster
awareness, understanding and appreciation of
the visual arts.
We are committed to providing opportunities for
young scholars to study the collection. t is our
vision that the visual arts become an essential
part of the experience of all NWU students, staff
and the broader community of the North-West
Province by advancing a deeper understanding
and appreciation for art. As such, we strive to
make the NWU collection and our exhibitions
accessible, both physically and intellectually, to
our diverse audiences.
The publication of NWU Art Collection: Looking
back while moving forward marks a milestone for
the NWU Gallery where our audience is invited
to reect on the development of our collection,
appreciating the legacy of the old masters and
celebrating the promise of new possibilities to
come. As our collection continues to grow, we
take pride in sharing this experience with you.
Christina Naurattel (NWU Chief Curator)
NWU ART COLLECTION
Looking back while moving forward
Hanneke Benad, Dropping a hint, 2010, Pastel on white cotton paper, 123 x 150 cm Marjorie Wallace, Amandeltakke, Oil on canvas, 73.5 x 101 cm
The NWU Gallery can be contacted at 018 299 4341 or gallery@nwu.ac.za
Bettie Cilliers-Barnard, Mymering, 1949, Oil on canvas, 95.5 x 60 cm
The North-West University Gallery is proud to announce the launch of the publication NWU Art Collection: Looking back while moving forward on
Thursday, 15 August 2013. The launch will coincide with an art exhibition of the NWU Art Collection, to be hosted at the NWU Gallery and the NWU
Botanical Garden Gallery on the Potchefstroom Campus. The publication showcases a selection of historical and contemporary artworks, as reected in
the universitys collection. A sample of these works will be on display at the galleries presenting art lovers with an exhibition where the old masters are
placed alongside contemporary artworks, creating interesting dialogues between the present and the past.
GALLERY GUIDE | GAUTENG, MPUMALANGA / NORTH WEST / EASTERN CAPE
22 SA ART TIMES. August 2013
Strauss & Co.
89 Central Str, Houghton. T. 011 728 8246 C. 079 367 0637
www.straussart.co.za
UJ Art Gallery
Closed for renovations. Will reopen 7 August with exhibition by
Johan Louw. Cnr Kingsway & University Rd, Auckland Park, Jhb.
T. 011 559 2099 www.uj.ac.za/artscentre
The White House Gallery
Featuring a wide ranging portfolio of renowned masters such as
Chagall, Marini, Miro, Moore , Stella, Picasso, Dine & Hockney
- to name a few. Also works of up and coming artists in Britain and
France, along with globally acclaimed SA artists.
Shop G11 Thrupps Centre, Oxford Rd, Illovo. T. 011 268 2115
www.thewhitehousegallery.co.za
Pretoria
Alette Wessels Kunskamer
Operates as an art gallery and art consultancy, specialising in SA art
as an investment, dealing in Old Masters, and selected contempo-
rary art. Maroelana Centre, 27 Maroelana Str, Maroelana.
T. 012 346 0728 www.artwessels.co.za
Art in the Park
Association promoting art works in watercolor, oil, pastel, acrylics,
batik, sculpture, pottery and photography, with regular member
exhibitions. Exhibition dates for August are: 3 August (Greenlyn Vil-
lage); 4 August (Pretoria Botanical Gardens), 31 August (Greenlyn
Village), 25 August (Magnolia Dell).
Contact Hannes: 071 676 3600. www.art-in-the-park.co.za
Association of Arts Pretoria
173 Mackie Str, Nieuw Muckleneuk. T. 012 346 3100
www.artsassociationpta.co.za
Centurion Art Gallery
A commercial satellite of the Pretoria Art Museum.
c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477
www.pretoriaartmuseum.co.za/centurion
Fried Contemporary Art Gallery
Until 10 Aug, Quotidian Life: the Importance of Small Things, by Iris
Dawn Parker. 17 Aug 14 Sept, a duo show with Alex Hamilton and
Rozan Cochrane. 1146 Justice Mahomed St, Brooklyn.
Tel. 012 346 0158. Cell 082 523 6989 www.friedcontemporary.com
Front Room Art
Until 31 Aug, Morning, Works by Marina Louw, Malose Pete,
Johann van Heerden, Cryselda Venter and Wayne Vivier.
Until 31 Aug At Kievits Kroon Country Estate: Works by Margaret
Nel, Sanele Ngcai, Hetta Vontsteen-Pieterse and Jahni Wasserfall
on show in Granita Signature Restaurant and Bar 41. Plot 41 Reier
Road Kameeldrift East - see www.kievitskroon.co.za for directions.
116 Kate Ave Rietondale. T. 082 451 5584. www.frontroomart.co.za
Pretoria Art Museum
Until 1 Sept, Self Introspection by Tshepo DD Maponyane. An
exhibition that brings together a body of work concerned with our
societys relationship with the environment as far as environmental
pollution is concerned.
29 Aug 13 Oct, Sasol New Signatures 2013. Recognised as the
longest running national art competition in SA, the competition offers
an opportunity for artists to showcase their artwork and build their
profle in the industry. Artists can win fantastic cash prizes and the
overall winner will hold a solo exhibition at the Pretoria Art Museum
next year. Cnr Francis Baard (Schoeman) and Wessels Streets,
Arcadia Park, Arcadia. T.0 12 344 1807.
www.pretoriaartmuseum.co.za
St.lorient Fashion & Art Gallery
Until 10 Aug, Running Out Of Black, group show featuring: Danie
Smith, Tony De Freitas, Daniel Novela, Marlien Van Heerden, Johan
Marais and Johann Van Heerden.
Until 30 Oct, Rooftop V: Juxtaposition, annual group exhibition
of outdoor sculptures curated by Gordon Froud. 492 Fehrsen Str,
Brooklyn Circle. T. 012 460 0284. www.stlorient.co.za
Telkom Art Collection
A collection featuring artworks by over 400 artists, some of them
well established and some still up-and-coming.
Telkom Towers North, ground foor, 152 Johannes Ramokhoase Str
(formerly Proes Street), CBD Pretoria. Curator: Sophia van Wyk.
T. 012 311 7260. SchuttSA@telkom.co.za
UNISA Art Gallery
Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria.
T. 012 441 5876. www.unisa.ac.za/gallery
University of Pretoria
Mapungubwe Gallery, Old Arts Building, UP
.T.012 420 2968. www.up.ac.za
Mpumalanga
Artistic Journey Art Gallery
Please join us for a life drawing workshop in Randburg on 1
September. For more information on the ten workshops in Graskop,
Mpumalanga, 23 - 27 September, please contact us by visiting
www.artisticjourney.co.za T. 082 600 3441. artisticjourney.co.za
White River
The Artists Press
Professional collaboration, printing and publishing of original hand-
printed artists lithographs, by the Artists Press. Also artists books,
monotypes & letterpress prints, particularly for artists working in SA.
Waterfeld Farm near White River. T. 013 751 3225.
www.artprintsa.com
The Loop Art Foundry & Sculpture Gallery
A collaboration and network for the avid art patron and collector as
well as a full service facility for the artist. This is the place where
you will fnd a unique and superior item or have something commis-
sioned that you have always envisioned.
Casterbridge Complex Corner R40 & Numbi Rds, White River.
T. 013 758 2409. www.tlafoundry.co.za
White River Gallery
3 Aug 29 Aug, Roll Call, by Majak Bredell.
Casterbridge Shopping Centre. T. 083 675 8833.
www.whiterivergallery.co.za
North West
Lichtenburg
Jonel Scholtz Art Studio and Alice Art LTX
On-going exhibition of SA Artists. Showcasing paintings of well
known artists- Jonel Scholtz, Isabelle le Roux, Harry Erasmus,
Michael Heyns and Hanlie Kotze Corner of Church str and
Bandjes str. T. 082 853 8621. www.jonelscholtz.co.za
Potchefstroom
North-West University Gallery
15 Aug - 13 Sept, NWU Art Collection publication coincides with
an art exhibition titled Looking Back while Moving Forward. With
artists Bettie Cilliers-Barnard & Diane Victor. North-West University
(Potchefstroom Campus), Hoffman Street, Building E 7.
T. 018 299 4341.
Hartbeespoort Dam
Edwards Fine Art, Modern & Contemporary
Featuring works by William Kentridge, Marlene Dumas, Robert
Hodgins, Cecil Skotnes and Edoardo Villa. Sculpture by Anton Smit.
Shop 24, Xanadu X-ing Shopping Centre, Cnr. Xanadu Boulevard
& R511, Xanadu, Hartbeesport. T. 076 472 9812. C. 076 472 9812.
efa@myconnection.co.za
Eastern Cape
Alexandria
Quin Sculpture Garden
A permanent exhibition of Maureen Quins sculptures, drawings and
paintings. Maureen Quins work is exhibited in her peaceful garden
and gallery, where you can not only enjoy refreshments but also
engage with the artist. R15 entry fee.
5 Suid Str. Alexandria. T. 046 653 0121 / 082 770 8000.
www.quin-art.co.za
Bathurst
The Workshop Art & Craft Gallery
Showcasing over 100 local artists & crafters - art, sculpture, ceram-
ics, stained glass, mosaic, handweaving, handspinning, handcrafted
furniture, antiques, Oregon frames, easels, fabric art, leather work,
handcrafted jewellery, papier mache and handmade candles.
289 Kowie Rd, Bathurst. C. 073 3929 436.
www.bathurstcountryaffair.co.za
East London
Ann Bryant Art Gallery Coach House
Entries invited for the East London Fine Art Society Peep Show
Exhibition - an exhibition of works in miniature. Closing date for
entries 6 Aug. Exhibition opens 8 Aug at Ann Bryant Coach House
and closes 24 Aug. For details on submissions contact Leon or
Terry at 043 722 4044. 9 St Marks Road, Southernwood.
www.annbryant.co.za
Floradale Fine Art
Floradale Art Gallery will take part in the wonderful Winter Festival
to be held at the Floradale Centre in July. A Crafters day, the Gallery
will be open to the public. Old Gonubie Rd,, Beacon Bay,
East London. T. 078 294 7252.
Klein Karoo
Doornkuil
Art courses in the Great Karoo: if you love art, space, crisp Karoo
air, good food and great company, then you should not miss this
unique experience. C. 072 553 5547. www.doornkuilfarm.co.za
Kraaldoring Gallery
9 11 Aug, Wine Women and Soul, a group show celebrating
women and music as part of Art On Track, which is the Calitzdorp
contribution to Klein Karoo Klassique in Oudtshoorn. Work by Clem-
entina van der Walt and others.Groenfontein Rd, Calitzdorp.
T. 082 575 7969. www.clementina.co.za
Marinda Combrink Studio & Gallery
A Fine Art Miscellanium. Currently showing recent paintings,
watercolours and drawings by Marinda Combrinck
33 Andries Pretorius St, Calitzdorp. C. 079 968 1588.
www.marindacombrinck.co.za
Sheena Ridley Art Studio & Sculpture Garden
Langkloof, Klein Karoo. C. 083 589 2881. www.ridley.co.za
Portal Gallery
An intimate gallery with works by selected contemporary artists,
including Hermann Niebuhr, Es. Telle Marais, Sharle Matthews and
Diane McLean. 41 Schoeman Str, De Rust. T. 082 297 6977.
Village Art Gallery
Ongoing exhibition with work by artists Mariaan Kotze, Glendine,
Diane McLean, Neels Coetzee, Duggie du Toit, Ann Gadd, Karien
Boonzaaier, Bill Strapp, Estelle Marais, Kevin Standly, Ella, Mari-
anne Vorster and Lana van Blerk, amongst others.
29 Schoeman Str, De Rust, T. 044 241 2014.
brende.brits@gmail.com
Port Elizabeth
ART Gallery
Until 31 Aug, Small Works - Big Concepts, 68 Artists from through-
out SA have responded to the call to submit work of all media, not
larger than 30x30cm. Participating artists include Greg Kerr, Anthea
Delmotte, Anton Momberg, Dian McLean, Es. Telle Marais to name
a few. 51b Cuyler Str, Central. T. 072 379 5933.
www.artsjourney-nelsonmandelabay.co.za/art.html
ArtEC - EPSAC Community Art Centre
Until 9 Aug, a solo exhibition by John Lombardo.
13 24 Aug, Reveal, an exhibition exploring and exposing the
skill of the contemporary glass-maker, aims to challenge traditional
perceptions of glass. 36 Bird Street, Central, Port Elizabeth.
T. 041 585 3641. www.artecpe.co.za
Fischers Art Gallery
Fischers is the frst established Jewelllers in SA. This historical site,
with one of the oldest lifts still in use, has been transformed into
an exquisite gallery. Its unique Art Nouveau architecture houses a
display of fne art by many renowned EC Artists as well as gift ware.
1 Park Drive, PE. T. 041 585 6755. C. 082 460 6483
Nelson Mandela Metropolitan Art Museum
1 Aug 1 Sept, The Standard Bank Young Artist Award for Visual
Art 2013 has been awarded to Mary Sibande. Her solo exhibition
titled The Purple Shall Govern employs the human form as a
vehicle through painting, photography and sculpture, to explore
the construction of identity, particularly black womens identity, in a
postcolonial South Africa.
Until 16 Sept, Transforming The Everyday Into Art. Come and see
how artists have used found objects in ways that challenges the
boundary between art and the everyday.
1 Park Drive, Port Elizabeth. T. 041 506 2000.
www.artmuseum.co.za
www. r ust - en- vr ede. c om
Shui - Lyn Whi t e: Al i as Gr ac e, 2013
Exhi bi t i ng at Rus t - en- Vr ede Gal l er y f r om 15 Oc t ober - 7 November
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The Cape Gallery, 60 Church Street,
Cape Town seeks to expose fine art that
is rooted in the South African tradition,
work which carries the unique cultural
stamp of our continent.
featured artist: Elizabeth Poulsom
THE CAPE
GALLERY
Open Mon - fri: 9h30 - 17h00
Sat: 10h00 - 14h00
27 21 423 5309
cgallery@mweb.co.za
www.capegallery .co.za
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7-11-13 Art Times6.pdf 1 2013/07/15 11:05 AM
Salon91 Contemporary Art Collection
91 Kloof Street, Gardens, Cape Town
info@salon91.co.za
www.salon91.co.za
+27 21 424 6930
+27 82 679 3906
Proudly presented by Salon91 | Show Dates: 24 July - 24 August 2013
24 SA ART TIMES. August 2013
Ron Belling Art Gallery
30 Park Drive, P.E. T. 041 586 3973. www.ronbelling.co.za
Northern Cape
Kimberley
William Humphreys Art Gallery
Until 18 August, David Walters & Friends - Legacy. A group exhibi-
tion of ceramists from all over SA, exhibiting work that celebrates
the immense infuence of the lecturers and alumni, past and
present, of the Centre for Visual Arts, UKZN, as well as teachers
and mentors in ceramics in SA. Cullinan Crescent, Civic Centre,
Kimberley. T. 053 8311724/5. www.whag.co.za
Western Cape
Cape Town
/A Word of Art
66 Albert Road, Woodstock Exchange. C. 083 300 9970. www.
a-word-of-art.co.za
Absolut Art Gallery
Permanent exhibition with the best Masters and Contemporary
artists, namely: JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan
Boshoff, Frans Oerder, Tinus De Jongh, Cecil Skotnes, JEA
Volschenk, William Kentridge, amongst others
Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive,
Tyger Valley, Bellville. T. 021 914 2846. www.absolutart.co.za.
Art.b
7 - 30 Aug, VULEKA, exhibition of winners and other selected
works, in the annual Bellville Arts Association`s competition. The
Conrad Theys overall winner to be announced at the opening: 18:30
for 19:00. Library Centre, Carel van Aswegen St, Bellville.
T. 021 917 1197. www.artb.co.za
ArtMark
Providing a diverse range of original and investment artworks, from
established professionals, to upcoming superb talented artists. We
cater for the private and corporate markets. Commissions are taken
Imhoff Farm, Kommetjie Road. C. 082 303 6798.
www.artmark.co.za
Artvark Gallery
Artist in residence, Robin Daniels, SA artist, showcases his
celebrated prints in mediums of linocut, monoprint and relief carving.
Daniels will be in residence at Artvark till the end of October, his
work is also available on the website. 48 Main road, Kalk Bay,
Cape Town. T. 021 788 5584. www.artvark.org
Ashbeys Galleries
Antiques and fne art auctioneers and appraisers.
43-51 Church Str, CT. T. 021 423 8060. www.ashbeysgalleries.co.za
The AVA Gallery
Until 23 Aug, Frans Smit employs the Long Gallery with his show
Brief Encounters, Paul Painting in the Main Gallery with Anthro-
poscopy and Wallen Mapondera s Ani-men
a human in an animal) is housed in the Artstrip.
35 Church Street, CBD. T. 021 424 7436. www.ava.co.za
Alex Hamilton Studio Gallery
3rd Floor, 9 Barron st, Woodstock. T. 021 447 2396.
C. 084 409 6801 www.alexhamilton.co.za
Allderman Gallery
Newlands Quarter, Dean Street, Newlands. T. 083 556 2540
www.alldermangallery.co.za
The Avital Lang Gallery
Two Oceans House, Surrey Place, Mouille Point.
(Next to Newport Deli) T. 021 439 2124. www.avitallang.com
Barnard Gallery
Until 29 August, Point of view: Contemporary South African Photog-
raphy. Including work by Lien Botha, Stephen Inggs, Svea Josephy,
Graeme Williams, David Southwood, Gary Van Wyk and Dillon
Marsh, amongst others. 55 Main street Newlands 7700.
T. 021 671 1553. www.barnardgallery.com
Blank Projects
Until 10 Aug, Kerry Chaloners First Time (painting/installation) and
Nico Krijnos Fulcrum Study (photography/installation).
113-115 Sir Lowry Road, Woodstock. T. 021 462 4276.
www.blankprojects.com
Bronze Age
A multifunctional art foundry specialising in casting of bronze
sculpture, as well as undertaking sculpture, interior and architectural
commission work.
Woodstock Foundry, 160 Albert Rd, Woodstock. T. 021 447 3914
http://bronzeage.co.za/
Brundyn + Gonsalves
71 Loop Str, CT. T. 021 424 5150. www.brundyngonsalves.com
The Cape Gallery
1 Aug 7 Sept, Encounters, the theme of The Cape Gallerys 2013
wildlife exhibition opens in conjunction with First Thursdays Cape
Town in August. Participating artists include: Noel Ashton, Tania
Babb, Lin Barrie, Edmund Barton, Bowen Boshier, Janet Botes, Fuz
Caforio, Keith Calder, Ron Campbell, Teresa Decinti, Paul Dixon,
Peter Diggery, Kitty Dorje and Zakkie Eloff, amongst others.
60 Church Street, CBD. T. 021 423 5309. www.capegallery.co.za.
Carmel Art
Dealers in fne art, exclusive distributers of Pieter van der Westhui-
zen etchings. Cape Quarter Square, 27 Somerset Rd, Green Point.
T. 021 4213333 www.carmelart.co.za
Casa Labia Gallery
9 Aug 8 Sept, Beyond this (and these) is a series of metaphorical
studies in oil paint and mixed media works, by artist Thelma Mort
- Walkabout with the artist, 24 August 2:30pm. Also showing is
New Flowering an exhibition of oil paintings, mono-types and
etchings, by artist Cathy Layzell. Both Opening on 9 August 11am to
celebrate Womens Day. Beyond this (and these), Family Learning
Art Workshop 10:30 to 12:30. An interactive art appreciation and
creation workshop for the whole family with artist Thelma Mort.
Booking essential R30 p/p - gallery@casalabia.co.za.
192 Main Rd, Muizenberg. T. 021 788 6068.
www.casalabia.co.za/exhibitions/current-exhibitions/
The Cellar Private Gallery
Dealing exclusively in original and investment art, offering works by
a variety of renowned and upcoming SA artists.
12 Imhoff Str, Welgemoed, Bellville. T. 021 913 4189.
www.thecellargallery.co.za
Christies
International Auctioneers.
Juliet Lomberg, Independent Consultant. T. 021 761 2676.
www.christies.com
Christopher Mller Art
7 Kloofnek Rd, Gardens, C T. T. 021 422 1599.
www.christophermollerart.co.za
Clementina Ceramics
Showcase of contemporary South African ceramics, featuring
one-off works by Clementina van der Walt, and complemented by
designer crafts. Shop c 101/b, The Old Biscuit Mill, 375 Albert Road,
Woodstock. T. 021 447 1398. www.clementina.co.za
Commune.1 Gallery
17 Aug - 17 Sept, The Void: Positive And Negative Spaces by
Christopher Swift. Through large-scale installations and sculptures
made almost solely out of original Robben Island prison fencing, the
exhibition attempts to explore the dark shadow of our past and the
brilliance of our liberation from it. 64 Wale Street, Cape Town, 8001.
T. 021 423 5600, www.commune1.com
Culture Urban + Contemporary Gallery
First Floor, Woodstock Exchange, 66 Albert Rd, Woodstock.
T. 021 447 3533 mikaela@culturegallery.co.za
David Krut Projects Cape Town
Until 31 August, The Benediction of Shade is a group exhibition
featuring a selection of artists who have engaged with the fgure,
idea or metaphor of the forest or the tree in different ways and
through various media. Artists include Stephen Hobbs, William
Kentridge, Virginia MacKenny, Joshua Miles, J. H. Pierneef , Gary
Stephens, Chris Swift and Diane Victor, amongst others.
Montebello Design Centre, 31 Newlands Avenue, Newlands, CT.
T. 021 685 0676. http://davidkrutprojects.com/
Donald Greig Gallery & Foundry
Private Gallery permanently exhibiting artworks of Donald Greig.
Foundry is open to the public to observe the time-honoured cire
purdue (lost wax) casting technique - a process virtually unchanged
for 5000 years. Bronze pouring can be viewed every Tues, Wed and
Thurs at 11 am. Please call us to confrm time.
West Quay Road, V&A Waterfront. T. 021 418 0003.
www.donaldgreig.com
EBONY Cape Town
1 Aug 3 Sept, Group show by contemporary artists from within the
EBONY stable such as Richard Smith, Ingrid Bolton, Kevin Collins
and many more. Were also delighted to welcome some new names
to the gallery such as Kris Rossouw, Oliver Barnett and Johann
Badenhorst. 67 Loop Steet, Cape Town, CBD. 021 424 9985.
www.ebonydesign.co.za
Eclectica Art & Antiques
Purveyor of fne arts, antiques and objects dart. Emphasis on fnd-
ing beautiful, interesting pieces both locally and internationally.
11A Wolfe Str, Chelsea Village, Wynberg. T. 021 762 7983.
info@eclectica.co.za
The Photographers Gallery za & Erdmann Contemporary
Until 17 Aug, Bifrst, a solo exhibition and sound installation by
Espen Krukhaug. 63 Shortmarket Street, Cape Town.
Tel. 214 222762. www.erdmanncontemporary.co.za
Everard Read, Cape Town
Until 21 Aug, Possessed, a group exhibition of works exploring
our relationship with objects. Artists included: Jillian Lochner, Caryn
Scrimgeour, Kirsten Beets, Luan Nel, Candice Dawn Blignaut and
Nigel Mullins. 3 Portswood Rd, V&A Waterfront. T. 021 418 4527.
www.everard-read-capetown.co.za
34FineArt
Until 17 August, From the Gallery Collection (Group Exhibition):
Asha Zero, Jade Doreen Waller, Warren Petersen, Lionel Smit, Mr.
Brainwash, Norman. Open on Saturdays and by appointment.
Second Floor, Hills Building, Buchanan Square, 160 Sir Lowry Rd,
Woodstock T. T 021 461 1863. C. 072 536 7109.
www.34fneart.com / www.vgallery.co.za
The Framery Art Gallery
67g Regent Road, Seapoint. T. 021 434 5022. C. 078 122 7793.
The Framing Place
46 Lower Main rd, Observatory. T. 021 447 3988.
info@framingplace.co.za
G2 Art
Permanent gallery, situated in the City Centre. G2 Art offers diverse
affordable painting, sculpture and photography by artists Candice
Dawn, Roelie van Heerden and many others. Open from 10am till
4.30pm 61 Shortmarket St, between Loop St & Bree St.
T. 021 424 7169. www.g2art.co.za
Ghuba Gallery
Ongoing collection of new works and contemporary African art.
73 Victoria Ave, Hout Bay. T. 021 790 0772. www.ghubagallery.com
Goodman Gallery Cape Town
15 Aug 14 Sept, All Our Mothers, A new exhibition by Sue
Williamson 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Wood-
stock. Tel. 021 462 7567. www.goodman-gallery.com
Gold of Africa Museum
96 Strand Str. T. 021 405 1540. info@goldofafrica.com
Heather Auer Art and Sculpture
Original paintings, sculptures and ceramics by Heather Auer and
other SA artists. Quayside Ctr, Wharf Str, Simonstown.
T. 021 786 1309. www.heatherauer.com
Hout Bay Gallery
Until 9 Aug, Egos and Shegos, by Ian Simons. A body of work
exploring the ego. 71 Victoria Avenue, Hout Bay. T. 021 790 3618.
www.houtbaygallery.co.za
Infn Art Gallery
2 branches: Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816
& Buitengracht Str, CT. T. 021 423 2090. www.infnart.co.za
Irma Stern Museum
10 24 Aug, an exhibition of paintings by Ruby Lara.
Cecil Rd, Rosebank, CT. T. 021 685 5686. www.irmastern.co.za
Iziko SA National Gallery
Until 18 Aug, Dialogues: Conversations between old and
new, showcasing a variety of works from different periods that
demonstrate a commonality in terms of either formal concerns or
in theme and content. 25 Queen Victoria Str, CT. T. 021 467 4660.
www.iziko.org.za
GALLERY GUIDE | NORTHERN CAPE / WESTERN CAPE
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