THE SOUTH AFRICAN

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

Rhodes trained artist clinches BP Portrait Award ‘09

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

Fifth Sunday Times commissioned sculpture vandalised

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

Win amazing prizes: SA Art Times Readers Survey

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

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

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

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

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

KUNSGALERY

JOHANS BORMAN
FINE ART GALLERY

CAPE TOWN

(Above and left) works currently on

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

Guy Tillim embarked on this project

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

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

What art friends are for - Celebrating a special partnership

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

THE MODERN In room one of the Iziko SA Nation-

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

MODERNITY expression and glued viewers to

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

THE OPENING OF AN showed it the first time and the

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

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

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 Page 6
ART PIG
Alex Dodd
No matter what niceties and noble
expressions of consolation get uttered
by the dignitaries on the big night,
when it comes to art prizes, Swedish
pop/dance quartet Abba knew best
when they belted out the cruel, cold
truth of it: ‘The winner takes it all, the
loser has his fall…’ Or in the case of
last year’s Spier Contemporary, the
winners took it all – all R700 000 of it
– and the losers drowned their sorrows
in a flagon of Spier Merlot. Yet even
though there were six awards and an
additional ‘people’s choice award’, I
couldn’t help exiting those bright or-
ange containers installed on the idyllic
green fields of the wine estate feeling
slightly sodden and grim.
The judges’ choices were perfectly fair
and explicable – although admittedly
the strong emphasis on performance
art was a teensy-weensy bit puzzling
– but the show itself was such an
extraordinary showcase for genuinely
fresh and inventive new voices that I
couldn’t help feeling a bit morbid Muriel
on behalf of the truly excellent submis-
sions that didn’t even get a mention.
More recently though, on the occasion
of a recent lunch at the University of
Johannesburg Art Centre for the short-
list announcement of the MTN New
Contemporaries, I was reminded of the
insightful words of my bold and buxom
Argentinian friend, Marcela, who once
declared: ‘Life’s a bitch, but sometimes
she makes love to you.’ I couldn’t have
been more delightfully vindicated with
the selection of finalists for the award
and not too small a fraction of my joy
came from the knowledge that some-
one else had their eyes wide open at
the Spier Contemporary and that there
is a kind of justice in these awards,
which do create meaningful platforms
for exposure beyond the allure of the
prize loot.
Somebody else noticed the irresistible,
glaring talents of Daniel Halter and
Themba Shibase, whose Spier works
were just too power-packed to be over-
looked. Although I’m not of the school
that buys into contemporary social
clout as the central criteria for notable
art, the weird thing is that both of their
work hinges on the madness that
currently has Zimbabwe in its vampire
grip. Halter is the brains behind a
work called All of a Sardine, which
features an etiolated little kapenta
fish (Lake Tanganyika Sardine) on a
Rhodesian Teak plaque in an ironic
take on hunting trophies that archly
comments on the crass squandering
of that country’s rich natural resources.
And once you’ve seen Shibase’s sickly
green portrait entitled Wena wendlovu
(His Excellency) it’s hard to get that
image of Robert Mugabe out of the
backrooms of your mind.
So that somebody with her eyes wide
open is Soweto-born contemporary
art specialist Melissa Mboweni, the
curator appointed to select the four
nominees for the 2008 MTN New
Contemporaries Award. Mboweni, a
former curator at the Goodman Gal-
lery, started the process with a national
research project two months ago,
involving tours to studios and galleries,
and in-depth discussions with artists.
And after weeks of deliberation came
up with a nominees list to do us proud.
In addition to Halter and Shibase,
she has selected multi-media and
performance artist Dineo Bopape, who
explores issues around urban black
female identity, and Michael MacGarry,
whose work investigates the infiltration
of Western imperialism and colonial-
ism through current experience on the
African continent.
(Above) : image from www.uj.ac.za
(Below) Dineo Bopape. image from:
www.radiopapesse.org
Her selection gives one a charged
sense of this being a serious competi-
tion, where each of the finalists is an
equal heavyweight contender for the
title.
And Mboweni has done another clever
thing. In addition to selecting four art-
ists who have already come some way
through the thickets of the art circuit
independently, she has also subtly
curated a thematic show by grouping
four contemporary thinkers whose ar-
tistic concerns bounce off one another
in interesting conceptual ways.
So this won’t be a ragtag show of
diverse artists brought together by
the imperative of the prize money.
Mboweni’s selection of artists means
that the show itself will have a thematic
cohesion, exploring issues of power
and governance in contemporary post-
colonial Africa.
Need I say that I’m looking forward to
opening night?
The prize-giving event is set to take
place on 10 July at the University of
Johannesburg Art Gallery and the
exhibition will be open to the public
until the 13 August.
Mboweni will be also doing five
public walkabouts – so here’s your
opportunity to get to grips with the
thinking behind what is bound to go
down in local art history as a decidedly
trend-setting show.
Talk of the Town
What’s happening in Johannesburg, Cape Town and Durban
THE ART
COWBOY
Peter Machen
Take a look outside.
Some years ago, there were whispers
of Durban getting its own Guggenhe-
im, an idea whose sheer outlandish-
ness made it enormously appealing.
Outlandish, not because Durban is
a bastion of philistinism (although
that suggestion has been made by
those who only look in the direction of
the city’s lukewarm mainstream) but
because it is a place that is perceived
as being very far from the centre of
things – and correspondingly, very
close to the edge. But while physical
centrality has lost its importance in the
digital age, it is that edge that really
makes the city. Not only in the art that
emerges from the Durban/eThekwini
(and which substantially informs the
creative scenes in Cape Town and
Johannesburg) but on the streets and
the pavements and all the spaces
outside and in between.
Liminal and interstitial have become
contemporary holy grails which 21st
century artists like to attach to their
conceptual charm bracelets, but these
notions are particularly relevant where
the South East coast of Africa meets
the Indian Ocean. In Durban, it’s
possible to never enter a gallery (and
let’s face it, most people don’t) and still
experience a rich cultural life in the city.
Visual art is everywhere, from the
sometimes technically astounding and
always surreal adornment of the city’s
buses to the hand-painted signage
of plumbers and electricians to the
individually styled mblaselo pants worn
by Zulu men festooned with colour and
nguni designs. In Durban, adornment
is never pure adornment. It is always
layered, ironic, spiritual, historical,
encapsulating the vague but insistent
sense of anarchy that defines the
city. Dehal’s Bus Liner captures these
contradictions best, handing out pro-
foundly resonant spiritual advice from
Sai Baba and Jesus Christ on the back
of buses, while flaunting sexy phrases
on the side, beautifully rendered in
anachronistic typography.
The ongoing performances by many
of those who spend their days at
Durban’s traffic lights and intersections
also add much to the experience of
Durban as an endless cornucopia of
surreality. Moses Nxumalo, the city’s
Nothing Man, whose begging boards
have made their way into the city’s
galleries, is one of Durban’s most
celebrated examples but there are
many others, quietly adding to the
visual texture of the city. On the corner
of Berea and Hunt Road, a beggar’s
sign is lovingly made out of coloured
glitter. In the right gallery, given the cor-
rect context, it could sell for thousands.
On the corner of Churchill and Umgeni
Road, sits a genuine outsider artist.
The first time, I saw him he was sitting
cross-legged on an electrical box,
dressed only in transparent plastic
bags, half a pumpkin balanced on
his head. Every day he presents a
new installation constructed of found
objects from the immediate vicinity,
addended with Zulu text scrawled
on the pavement. It seems that he
makes these things because he has
to, because he is driven to. The fact
that an audience is so incidental to the
work is beside the point.
Fifteen years ago, these observations
might have been taken as conde-
scending or over-extending notions
of the contemporary. Today, they are
virtual currency in the art world, but
still, for many, such work only acquires
the lustre of real art when it is taken
into the gallery, given the formalism
of the catalogue, the recognition of
critical discourse. These were some
of the considerations that took place
at a seminar on public art at the
KZNSA Gallery and which included
a series of experienced voices from
around the country including Stephen
Hobbs, Doung Jahangeer, Dorothee
Kreutzveld, Roger van Wyk and An-
dries Botha, national voices having a
national conversation in an apparently
marginalised fishing village.
Meanwhile, at Gallery 415 in Umgeni
Road, a place that is surrounded by
street-level creativity, the feeling of
outsiderness continued in an exhibition
entitled Love And Monsters by three
young artists Liezel Prinz, Anet Norval
and Caryn Tilbury. Although all three
artists have studied fine art and regu-
larly show their work in local galleries,
they remain peripheral, on the faltering
borders of recognition. Anet Norval’s
work literally looks like outsider art, her
moving meditations on love, family,
gender and sexuality, deftly conveyed
through painting, text and the embed-
ding of found objects in to her work, all
studded with a moving naivety. Even at
her most sophisticated, Norval’s work
carries the essence of heart-rendered
doodling, providing a palpable sense of
someone’s else’s sense of emotional
reality. It is this depth of intimacy that
carries her work into the mental life of
the viewer.
The work of Caryn Tilbury fits directly
into the absurdo-pop canon of Jeff
Koons and Takashi Murakami but
despite these heavyweight references,
she sits outside of the fine art scene
more than the other two artists, spend-
ing most of her time not making art but
working in a bookstore. Her medium
continually changes but its essence
remains consistent – soft, fluffy and
absurd, and just ever so slightly sin-
ister. For Love and Monsters, Tilbury
produced a series of knitted and sewn
monkeys, each elongated creature
somehow imbued with it’s own
seductive soul. Liezel Prinz produces
wall-mounted installations that echo
the traditional frame of fine art but
extends it into three dimensions. Her
work is darkly humourous and lightly
alienating, - chicken bones, Astroturf,
physical and metaphysical trophies
blended into works that capture both
the tropes of South African life and her
own deeply personal narratives. And I
was struck by the fact that this modest
little exhibition would feel comfortable
South African Art Times.
and accessible in London, New York,
Bloemfontein and KwaMashu.
Perhaps Durban will one day get its
Guggenheim – or something similar
in scope and weight – in recognition
of the fact that it is both physically and
metaphorically one of the cultural cen-
tres of the South. It would be grand,
and sceptics should consider the fact
that two decades ago – before the
glory of the Guggenheim in Bilbao and
the ascension of Barcelona – Spain
was widely considered a peripheral
third world country, little more than
a place where the English went to
behave badly. But regardless, what I’d
really like to do if I possessed vast (or
indeed any) tracts of wealth, is start a
museum of outsider art. Although, in
a way it would be unnecessary since
if you look carefully enough the entire
city functions as such.
Alex Emsley
THE ARTFUL
VIEWER
Melvyn Minaar
Timeous Challenges of Video Art
As one of those who take my
Hollywood movie fix in the form of
a rental from the corner store video
shop - not only to avoid the depressing
experience of going to the bioscope
in de-humanised environment of a
shopping mall, but to take advantage
of that glorious personalised system
that allows you to skip and fast-for-
ward - video art presents a particular
challenge.
And I guess, I’m probably not the
only art observer out there with such
an affliction. With so-called ‘new
media’ an entrenched presence at
all contemporary art exhibitions, and
the (fast-aging) category of video de
rigueur in any self-respecting group
show, I sometimes just sigh, take a
deep breath, and try my best to sit it
out. (Well, more than likely, not ‘sit’
- because few galleries offer such a
luxury - but loll about in the gloomy
darkness or terrifying glare, as
comfortably as possible while some
artistic indulge passes by on the small
or large screen, or whatever serves
as such.)
Here’s the thing: video art take up
one’s time. And we all subscribe to the
cliché that time is of the essence. In
the mad-mad modern world of every-
thing-goes and free-for-all art-making,
considering a viewer/observer’s time is
an issue, surely.
Ten years or so ago, when the mini-
videocam did not yet have all those
no-brainer gadgets of today, artists
worldwide took to video like ducks to a
newly discovered-pond of productive
pleasure. All arrived artists had to
boast a video. (Of course, it is so much
easier to fiddle with images on screen
than to actually use a screen to print
them!)
At biennales and big-deal art events all
over the world, viewers were lured into
boxes or confronted in alleys with the
new-fangled medium. (To sit through
July 2008
all the art at the Venice Biennale in
the mid-1990s, you had to book into
an hotel for extra days and suffer leg
cramps.)
Ninety percent of these videos is
dreary, boring and simply bad.
South African artists jumped into the
pond with glee. What most of them
didn’t realise is that masterpieces in
video art are far more difficult to churn
out than a steadicam and editing
apparatus suggest. After all, there is a
long, long history of, yes, cinema and,
come to think of it, television.
Which bring me back to the time
factor. And an artist imposition on the
viewer’s physical presence in time.
The great American art philosopher,
Arthur Danto, once talked about video
‘requiring an investment of real time
on the viewer’s part with no guarantee
that there will be an artistic pay-off’.
Hollywood bosses have known for
yonks that bioscope audiences are
finely tuned to how movies play out
in the time and how long they are
prepared to sit in the dark before losing
interest.
Why would it be different in contempo-
rary video art?
Before gallery-goers were forced
to put on earphones or go behind
curtains into darkened rooms, you had
control of you own time to walk around
and check out the pictures on the gal-
lery wall. Video imposes a demand on
your time - and hence your tolerance.
This is where many video art bites the
dust. Or, more sympathetically put,
lose the viewer. If it ain’t interesting
enough, why stay and watch? (At
home, the fast-forward facility is a
great help.)
At the moment in Cape Town, most of
the big art operators (a number now
cosy together in Woodstock) have
video art in some form or another on
display in their galleries. And there are
more to come.
The opening exhibition of Michael
Stevenson’s new venue had a few
which demonstrated different ways the
medium works to greater and lesser
success: Steven Cohen’s Golgotha,
not much more than a documentary;
Yinka Shonibare’s 14 minutes of Odile
and Odette, a mini kind of movie;
Dineo Bopape’s wacko Dreamweaver,
a kind of free-floating atmospheric
piece; while the imported Sweetberry
Sonnet by Kalup Linsky was only for
the hard-wired fans who could stand
around for half an hour.
As part of Power Play, the Goodman
Cape had videos which tested visitors’
endurance levels with the potential
to frighten them off forever. The new
Bell-Roberts shows work by Jacques
Coetzer as part of the Matter & Mean-
ing group show, and an elegant, if
taxing, three-channel projection called
The Theory of Displacement by Johan
Thom.
Whatiftheworld has, as part of the
rather nice Prints & Edition show, two
shorter pieces by Charles Maggs
- quite a video wiz normally - which
don’t quite match some of his brighter
stuff. Offering videos as part of an
exhibition that set out to feature ‘a se-
lection of works that are contextualised
through the medium of prints and the
concept of editions’, makes a rather
important point about video art and its
‘preciousness’ or not.
If you’ve paid the R26 400 asked for
the Thom video at the Bell-Roberts,
and have a nice bright broad white
wall to project it on in your suburban
house, do you wonder about who
owns the other two of the three in the
edition? And do you sometimes feel,
if no-one is looking, whether you may
fast-forward any of its 6 minutes and
58 seconds?
 THE SOUTH AFRICAN ART TIMES

ART GUIDE JULY 2008

Bheki Khambule’s work: Beautiful like me won the Start Nivea Art Awards ‘09 hosted at The KZNSA Gallery in Durban. Emerging, self-taught local artist, Bheki won the R20 000 cash award
earlier this month. As the winner, Khambule automatically qualifies for a solo exhibition at KZNSA’s NIVEA Gallery next year. For more information see www.kznsagallery.co.za
Page 8
SOUTH AFRICAN ART GALLERY SHOW LISTINGS FOR JULY
Eastern Cape
East London
Anne Bryant Art Gallery
Until 17 July - Barry Gibb -
‘The Expressionists Germans’
24 July - 09 August - Pat Mantsivi - An
exhibition of illustrated prints from the
illustrated London News
9 St Marks Road, Southernwood,
East London, T. 043 722 4044
Free State
Bloemfontein
Oliewenhuis Art Museum
07-11 July - Fun activities for young
and old
16 Harry Smith Street, Bloemfontein,
T. 051 447 9609
Gauteng
Johannesburg
Absa Gallery
21 July - 22 August -
The Absa L’Atelier Exhibition
161 Main Street, Johannesburg
Alliance Francaise of JHB
Until 11 July - ‘Africa Remix’ - fringe
touring exhibition
17 Lower Park Drive, Corner Kerry
Road Parkview, T. 011 646 1169
www.alliance.org.za
Art Extra Gallery
Until 12 July - Reshma Chhiba - ‘Kali’
16 July - 16 August - Michael Mac-
Garry - ‘When enough people start
saying the same thing’
373 Jan Smuts Avenue,
Johannesburg
T. 011 326 0034 www.artextra.co.za
Art on Paper
Paul Molete ‘Second Offering’ Until
July 05.
44 Stanley Avenue, Braamfontein Werf
(Milpark) www.artonpaper.co.za
Artspace Gallery
05-26 July - New works by
Richard Smith
142 Jan Smuts Avenue, Parkwood,
Johannesburg, T. 011 482 1258
www.artspace-jhb.co.za
David Krut Print Workshop
Until 28 July - Bronwen Findlay
– ‘Floating and Falling’
142 Jan Smuts Avenue, Parkwood,
Johannesburg, T. 011 447 0627
www.davidkrutpublishing.com
Everard Read Gallery
17 July - 03 August -
‘BRAIT’ – Everard Read Art Award
2008 6 Jellicoe Avenue, Rosebank,
Johannesburg, T. 011 788-4805
Gallery Momo
Until 07 July - Bronwen Vaughan
Evans - ‘Home Is Where the Heart is’
52 7th Avenue, Parktown North,
Johannesburg T. 011 327 3247
www.gallerymomo.com
Gallery On The Square
July – September - A range of painting,
limited edition graphics and sculpture
by leading South African and
International artists
Shop 32, Nelson Mandela Square,
Corner 5th & Maude Streets, Sandton
Central T. 011 784 2847/8
www.galleryonthesquare.co.za
Hentie van der Merwe at The
Goodman Gallery Jhb 19 July - 9
August Messenger
Goodman Gallery Jhb
July 19 - August 9 Hentie van der
Merwe
163 Jan Smuts Avenue, Parkwood,
Johannesburg
www.goodman-gallery.com
Graham’s Fine Art Gallery
Until 29 August - ‘The Modern
Palimpsest - Envisioning South African
Modernity’
Corner Cedar & Valley Roads,
Broadacres, Fourways,
T. 011 465 9192
www.grahamsfineartgallery.co.za
Johannesburg Art Gallery
Until 06 July - Carlos Motta - ‘The
People: Enemies of the State, The
Government and The Army’ - exhibi-
tion of three videos of street protests
(2005-2008)
05-31 July - ‘Confluence 2008’ - a
combined art development school
projects exhibition
Until 30 September - Kay Hassan -
‘Urbanation’ - a mid career exhibition
King George Street, Joubert Park,
Johannesburg, T. 011 725 3180
Rooke Gallery
Olaf Bisschoff - Terra Incognita
Until 14 July.
The Newtown, 37 Quinn Street,
Newtown, Johannesburg
www.rookegallery.com
Standard Bank Gallery
Until 05 July ‘Messina/Musina’ by
Pieter Hugo
Corner Simmonds and Frederick
Street, Johannesburg
www.standardbankgallery.co.za
The Constitutional Court
02-31 July - MANDELA @ 90 - Art
exhibition with works by Billy and Jane
Makhubela, Johannes Maswanganyi
Roy Ndinisa, Beverley Price and
Susan Woolf
Constitution Hill, Braamfontein,
Johannesburg
The Photo Workshop Gallery
Until 06 August - Mimi Cherono Ng’ok
- ‘I am Home’
2 President Street, Newtown,
T. 011 834 1444
Gerhard Marx : Skull without
nomenclature 2005, cut and
reconstituted map fragments
29 x 54cm This months Artbio on
Artthrob (www.artthrob.co.za) or
see www.warrensiebrits.com
The Premises
Jan-Henri Until 05 July
The Premises at the Johannesburg
Civic Theatre
Loveday Street, Braamfontein,
Johannesburg
www.onair.co.za/thepremises
Warren Siebritz
Until 18 July Wilhelm Saayman’s ‘Don’t
do business with family or friends’
and Jonah Sack’s ‘The evening of the
second day’
140 Jan Smuts Avenue, Parkwood,
Johannesburg
www.warrensiebrits.co.za
Louise Linder’s - From Here to eternity at João Ferreira Gallery 2 July - 2 August
The Worldart Gallery
19 July - 09 August - Ian Waldeck and
Pieter Swanepoel - ‘Landscapes’
95 Commissioner Street,
Johannesburg T. 011 901 5045
www.worldart.co.za
University of Johannesburg Art
Gallery
11July - 13 August - Exhibition of MTN
New Contemporaries Award Finalists -
Daniel Halter, Themba Shibase, Dineo
Bopape, Michael MacGarry
Kingsway Campus, T. 011 559 2099
www.uj.ac.za
Kwazulu Natal
Durban
artSPACE Durban
Until 12 July - Terri Broll and Terry King
- ‘Paintings and Process and Kieran
Smith - ‘Us’
18 July - 02 August - Bigwood2
3 Millar Road, Durban,
T. 031 312 0793
www.artspacedurban.co.za
Bank Gallery
Until 17 July - ‘DIS EASE’ - a new
generation of video art from the
Rijksakademie archives
217 Florida Road, Morningside,
Durban, T. 031 312 6911
www.bankgallery.co.za
Bat Centre
04 July – 03 August - Themba Ngema
– ‘Miniature Paintings’
27 July – 31 August - ‘Tana Bana Warp
Weft’ - Textiles Collection
45 Maritime Place, Small Craft Har-
bour (Off Victoria Embankment),
T. 031 332 0451 www.batcentre.co.za
KZNSA Gallery
08 July - 02 August - Nivea Art Award
2008 – exhibition featuring the final
works by the 25 finalists
08 July - 02 August - Carlos Motta
- ‘The People: Enemies of the State,
The Government and The Army’ - an
exhibition of three videos of street
protests (2005-2008) 166 Bulwer
Road, Glenwood T. 031 202 3686
www.kznsagallery.co.za
Western Cape
Cape Town
34 Long Fine Art
FACE 08 Group exhibition
12 August – 6 September
34 Long Street, Cape Town
T. 021 4264594
www.34long.com
The A.R.T. Gallery
No. 205, The Colosseum Building, 3
St.George’s Mall T. 021 4192679
art.b Gallery
Until 16 July - ‘Destinations’ - Land
and seascape paintings by Elizabeth
and Hester de Vos and ‘Journey to the
Heart of the Matter’ by Joy Savage
23 July - 13 August - ‘Spirit’ - paintings
by Benjamin Mitchley and ceramics by
Tania Babb
Library Centre, Carel van Aswegen
Street, Bellville, T. 021 918 2301
www.artb.co.za
AVA Gallery
Until 11 July - ‘Baring’ curated by
Eunice Geustyn
14 July - 01 August - Sibusiso Duma
- ‘The Story Teller’; Strijdom van der
Merwe - ‘HAIKOES’ and Randolph
Hartzenberg - ‘Prints in the Artsstrip’
35 Church Street, Cape Town
T. 021 424 7436
www.ava.co.za
South African Art Times.
Bell-Roberts Gallery
Until 08 August - ‘Between meaning
and matter’ - Group exhibition
176 Sir Lowry Road, Woodstock
www.bell-roberts.com
Blank Projects
02 -18 July - Norman O’Flynn - ‘The
Butterfly Project’ 02 - 30 July -
Gabrielle Alberts - ‘Fine Art’
23 - 30 July - Barend de Wet, Douglas
Gimberg and Christian Nerf - ‘Mental
Pictures’ 198 Buitengracht Street,
Bo-Kaap, Cape Town.
Heather Moore at the Soup Kitchen at
see more at Curious Whetstone &
Frankley
www.curiouswhetstoneandfrankley.com
Curious Whetstone & Frankley
02 – 31 July - A cosy collection of
handcut artworks, homemade prints,
crocheted keepsakes, fluffy ceramics
and statuesque bunnies by Jesse
Breytenbach and Heather Moore, Alta
Stegmann, Homebakes, Helon Melon,
Meld, Janin de Waal, Gussie van der
Merwe and Colleen Roberts.
87A Station Road, Observatory,
Cape Town
www.curiouswhetstoneandfrankley.com
David Krut Fine Art & Books
26 July - 21 August - Deborah Bell
Montebello Design, 31 Newlands
Avenue, Cape Town, T. 021 685 0676
www.davidkrutpublishing.com
Erdmann Contemporary
07 July - 29 August - ‘Departure’ - an
exhibition showcasing unique visual
vocabularies of four photographers
including Roger Ballen, Lien Botha,
Patricia Driscoll & Abrie Fourie
63 Shortmarket Street, Cape Town,
T. 021 422 2762
www.erdmanncontemporary.co.za
Everard Read Gallery
Until 10 July - Olivia Musgrave
- ‘Bronzes’
3 Portswood Road, V&A Waterfront
T. 021 418 4527
www.everard-read-capetown.co.za
Goodman Gallery - Cape
Gallery closed unil July 29
7 August - 30 August: Monomania
3rd Floor, Fairweather House
176 Sir Lowry Road
Woodstock, Cape Town
www.goodmangallerycape.com
Iziko South African National Gallery
Until 31 July - Ernest Cole - ‘Chronicler
in the House of Bondage’
Until 31 August - Pancho Guedes -
‘An Alternative Modernist’
Government Avenue, Company’s
Garden, T. 021 467 4660
www.iziko.org.za
João Ferreira Gallery
02 July - 02 August - ‘Abstraction’ - a
show comprising of both local and
international artists including Anton
Karstel, Mark Hipper, Kevin Atkinson,
Mark Francis and Douglas Portway
02 July - 02 August - Louise Linder’s
- ‘From Here to Eternity’
70 Loop Street, Cape Town,
T. 021 423 5403
www.joaoferreiragallery.com
July 2008
Rust-en-Vrede Gallery
10 Wellington Road, Durbanville
T. 021 976 4691
www.rust-en-vrede.com
Michael Stevenson Gallery
10 July - 23 August - Guy Tillim –
‘Avenue Patrice Lumumba, Ângela
Ferreira – ‘For Mozambique’ and
Manthia Diawara Maison – ‘Tropicale’
Ground Floor, Buchanan Building,
160 Sir Lowry Road, Cape Town,
T. 021 462 1500
www.michaelstevenson.com
The Cape Gallery
Until 26 July - ‘Desire’ - a group
exhibition
27July - 16 August - ‘From Precept to
Concept’ - Artworks by Juli Jana and
Oil paintings by Mike Wolfson & John
Robert
60 Church Street, Cape Town,
T. 021 423 5309
www.capegallery.co.za
UCT Irma Stern Museum
Until 26 July - Nicolaas Maritz –
‘Unmentionables’
29 July - 16 August - exhibition
sponsored by Irma Stern Trustees
Cecil Road, Rosebank, Cape Town,
T. 021 685 5686
www.irmastern.co.za
Whatiftheworld Gallery
Until 26 July - ‘Prints and Editions 08’
05-30 August - Rowan Smith –
exhibition
First Floor, 208 Albert Road
Woodstock, T. 021 448 1438
www.whatiftheworld.com
Franschoek
The Gallery at Grande Provence
01 June-09 July - ‘Decadance’, group
exhibition by Angus Taylor, Diane
Victor, Gordon Froud, Jacki McInnes,
Musha Neluheni, Paul Boulitreau,
Rosemarie Marriott and Ulricke
Lourens
Main Road Franschoek
T. 021 8768600
www.grandeprovence.co.za
Knysna
The Dale Elliott Art Gallery
Oyster Festival exhibition on Knysna
and her surrounding areas
Woodmill Lane Shopping Centre,
Knysna, 6570 Tel: 044 3825 646
www.daleelliott.co.za
Stellenbosch
Die Dorpstraat Galery
144 Dorp Street, Stellenbosch
T. 021 8872256
www.dorpstraatgalerie.co.za
SMAC Gallery
Until August 29 : Abstract South African
Art from the Isolation Years Part 2
De Wet Centre, Church Street,
Stellenbosch. Tel: 021 887 3607
www.smacgallery.com
Villiersdorp
The Elliott’s Art Gallery
Exciting Winter exhibition of latest
works by Dale and Mel Elliott.
80 Main Rd, Villiersdorp, 6848
Tel: 028 840 2927
www.daleelliott.co.za
Send your Gallery’s show details
(text and images) to:
show@arttimes.co.za
before the 20 th of each month
South African Art Times. July 2008 Page 9

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

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

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

The New Bell-Roberts Gallery: If Meaning Truly Matters

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

By Melvyn Minnaar

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

Premier Dealers in Fine Art

The Brait Foundation

Celebrating the winner of the

Brait - Everard Read Art Award 2008

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

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

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

Illustration: Francki Burger, Magersfontein II, hand-printed fibre based silver gelatin prints, 188 x 226cm
Page 12
Nicola Danby: life after BASA
By Michael Coulson
When I went to see Nicola Danby
at Business & Arts SA – gener-
ally known as Basa – I reminded
her that the last time I was there,
we’d had to evacuate the building
prematurely, because of a fire in a
neighbouring office. She laughed
and said the staff had been remi-
niscing about that only recently.
Now Danby is about to evacuate
the office permanently, not out
of compulsion but because she’s
resigned as Basa CEO with effect
from the end of July.
Having run Basa for 11 years,
virtually since its inception, Danby
feels she’s achieved as much for
it as she can, and that it needs
a fresh approach to advance to
the next stage. She could also be
forgiven if she’s had enough of
the struggle of wheedling money
out of big business, who prefer to
sponsor such intellectually unchal-
lenging but higher profile sports,
like rugby.
A study commissioned by Basa
from BMI-Sport Info (Pty) last year
suggested that direct sponsorship
expenditure by business on sport
sponsorship rose from R207m to
R2bn-plus in 2006, while in 2007
arts and culture sponsorship drew
R304m, of which R148m went into
music. Danby reckons that sports
sponsorship rose to R2.8bn last
year.
Apart from the direct spend, she
puts additional, or leveraged,
spending at R1.6bn on sport and
R60m on arts and culture.
Back in 2000, she estimates arts
and culture sponsorship totalled
R30m, with another R15m in
leveraged spending. So business
sponsorship of the arts has beaten
inflation, but has barely grown as
a percentage of the sponsorship
cake.
BASA appoints new CEO
The Board of Directors of Business
& Arts South Africa is pleased to
announce that Michelle Constant
has been appointed as Chief Ex-
ecutive Officer of BASA, effective
1st August, 2008 Well known as a
media personality and arts journal-
This in spite of the fact that
BMI-Sport Info found that, with
only minor variations among race
groups, adults polled felt that it’s
as important for children to learn
about arts and culture as sport.
Danby stresses that, with its
limited resources, Basa’s function
is not to fund projects, but to
encourage business to put up
finance. And this in turn depends
on persuading business that it will
benefit from this spend. The annu-
al Business Day-Basa sponsorship
awards are a key way to recognise
successful sponsorships.
Fortunately, over the years she’s
been at Basa business attitudes
towards sponsoring the arts have
changed significantly for the better.
In 1997, Basa had 49 corporate
members; today, 135.
But, she argues, it’s not only the
attitudes of the business sector
that have to change. Arts organi-
sations and creators like to pose
as helpless, subservient creatures,
divorced from the harsh disciplines
of business. This too must change:
the arts must be run in accordance
with good corporate governance
and sound business principles
if they are to attract business
support.
If business doesn’t see that it will
derive benefit from sponsoring the
arts, it will go elsewhere.
In 2001 Basa launched its first
part-time interdisciplinary courses,
in association with the Institute of
Marketing Management, the De-
partment of Arts & Culture, and the
National Arts Council. Danby says
the toughest task was to persuade
not-for-profit bodies that they are
still businesses; when achieved,
the mere change in mindset was
extraordinarily positive.
Aspects like marketing and brand-
ing came to be appreciated as
important.
Building on this, three years
ago Basa launched a mentoring
project, in association with Barlow-
orld. Executives agree to devote
a few hours a week to consulting
on projects, looking not just at the
product but at areas like pricing
and marketing. Danby says a
spin-off is that the business people
have not only been impressed by
the energy, commitment and hard
work put in by the arts practition-
ers, but have often come up with
ist, Ms. Constant has extensive
experience in radio and television
both as producer and presenter.
She brings her knowledge of both
the arts and cultural sector and
corporate South Africa to the posi-
tion. BASA Chairman, Sikkie Kajee
of KPMG, welcomes the appoint-
ment, saying: “Ms. Constant is a
consummate professional in all
ideas they can apply in their own
companies.
Two current projects are with the
Institute of Directors on corporate
governance in the arts, and with
BEE rating agency Empower-
dex. Danby says it’s important
to develop a BEE template that
meets the specific needs of arts
and culture, as a BEE status will
give funders credit on their own
scorecards.
Empowerdex’s data bank will also
give access to a pool of potential
black candidates for the boards of
arts organisations, not just to give
BEE credibility but also provide
legal, financial, marketing and
other skills.
If Danby has one regret, it’s that
Basa has been unable to negotiate
with government tax conces-
sions to arts donors, which have
have had a very positive impact
elsewhere.
What drew her to Basa in the first
place? After graduating from UCT,
she lived abroad for 13 years. Re-
turning to SA and Durban in 1984,
she joined the municipally-funded
Durban Arts Association as editor
of d’Arts magazine and organiser
of various arts projects.
In 1987, she moved to Johan-
nesburg as manager of the Vita
arts awards, which covered the
visual arts as well as craft, poetry,
theatre, music, dance and other
genres. No doubt 10 years of that
demanding task was also exhaust-
ing, so when the Basa opportunity
came up she applied, and got the
job.
And what’s next for Danby? She
may feel she needs to be ref-
ereshed, and says she views the
future with some trepidation. She
doesn’t want to be a full-time em-
ployee again, but at the same time
it’s difficult to leave a space you’ve
been immersed in for so long.
Danby says she’s already had a
couple of attractive approaches,
but she doesn’t want to jump in.
Still, don’t be surprised if, pretty
soon after she leaves Basa on
July 31, she re-emerges in another
dynamic arts initiative.
STOP PRESS
Nicola Danby has joined
Artinsure’s board with effect from
14 July, as reported from Gordon
Massie.
that she does, and the Board has
no doubt she will continue to grow
our activities around the country,
for the benefit of business and the
arts.” Ms Constant replaces Nicola
Danby, who has successfully led
BASA for the past 11 years and
who will be pursuing personal
interests in the sector.
Titia Ballot:
Aktivis vir
versoening
In n onderhoud me the Burger
koerant is aangekondig dat Titia
Ballot pas met n erepenning deur
die SA Akademie vir Wetenskap
en Kuns vereer. Dit het nog
net twee ander grafiese kun-
stenaars te beurt geval: Katrine
Harries in 1973 en Diane Victor
in 2004.
Die kunstenaar se: “Ek het dit nie
verwag nie, want dis hoe ek uit
my belewenis my werk aanpak.
Ek staan self krities teenoor my
werk, en wat ek oordra, beleef ek
intens”.
Sy vertel hoe sy geworstel het
met begrippe op soek na hierdie
bevryde identiteit om Mrikaan of
Afrikaner te wees. “My werk is
my enigste kommunikasiemiddel.
Ons moet werk met ons stories
hier in Afrika.” Ballot is nou met
proteskuns besig. Sy protesteer
teen vooroordele oor ons
gesamentlike verlede wat verde-
lend is.
Sy pleit In haar werk vir bevry-
ding. Die seggingskrag van haar
werk is versoenend, met die
potensiaal om helend in te werk.
South African Art Times.
Broken glass becomes a
magnificent work of Ark
“...and if one green bottle would
accidentally fall, you would have,
no green bottles hanging on the
wall.”
Artist Mary-Ann Orr has redefined
this old nursery rhyme through
a year long collaboration, with a
group of underprivileged children
creating livelihoods through mu-
nicipal dumps within the Eastern
Cape.
Mary-Ann sources much of her
own materials from found objects,
spending her time sifting through
local municipal rubbish dumps.
While there she met children
who’s livelihoods were dependant
on these locations. She began col-
laborating with these children, and
noticed their delicate eye for
objects of beauty amongst the
waste that inspired joy.
Gradually a small menagerie of
paired ceramic creatures were
discovered, as if Mary-Ann’s team
were excavating an archaeologi-
cal midden from Noah’s Ark. Thus
was born the breathtaking sculp-
Original Art, Etchings, Sculpture, Ceramics.
July 2008
ture, entitled The story-teller’s
chair- Noah’s Ark. As perplexed as
Noah with his Ark, after creating
the chair Mary-Ann wondered,
“what do I do with this work of
ARK?” Having successfully exhib-
ited the work within her gallery in
Stellenbosch,
Mary-Ann finally found the Mount
Sinai to rest the chair. The chair
has been donated to Biblioneef an
NGO which sources African chil-
dren stories and translates them
into 12 South African languages.
Large editions of top quality books
are printed and then distributed for
free to schools, libraries and
organizations operational in under-
privileged communities.
The story ‘within’ the storyteller’s
chair will be presented as an
opening feature and live installa-
tion at the 2008 Cultavaria FNB
Private Clients and De Kat exhibi-
tion at the KWV Cathedral Cellar
in Paarl on the morning of the 27
September 2008 at 11:00
We represent these artists:
Ben Coutouvidis
Alice Goldin
Wendy Rosselli
Lyn Smuts
Phillipa Allen
Hardy Botha
Theo P. Vorster
Judy Woodbourne
David Riding
Cecil Skotnes
and others.
South African Art Times. July 2008
Tay Dall, Artist was given the commission to paint
Good business is the best Art
By Tay Dall
I am an artist and a business-
woman. I have been in business
for 15 years. I run my office like
any corporation only I am smaller.
My business world consists of
the following: A. Administration/
Employees B. Production/Paint-
ings/Exhibitions C. Workshop/Art
Materials/Canvases D. Logistics/
Transport E. Representatives/Gal-
leries F. Marketing/Strategy
Planning
Andy Warhol said that ‘Being good
at business is the most fascinating
kind of art. Making money is art
and working is art and good busi-
ness is the best art’. I have been
fortunate with my art because a lot
of people have purchased my work
over the years, but it has taken
determination, risk, and consist-
ently producing new work. There
is no down time; there are phone
See more of Steven’s work at
www.davidkrutpublishing.com
South African learners need to be
protected from the naked truth,
it seems. According to the The
calls, shipments, exhibitions,
marketing deadlines and business
meetings to attend to. I have two
galleries of my own called the Tay
Modern in Hermanus and Greyton.
I have 35 representatives with
about 800 pieces of art in circula-
tion worldwide. It’s a lot of effort to
keep everything running smoothly,
but I have no reason to believe
that there is nothing else better
than making a living doing what
you love to do!
Stats. So far in 2008 I have sold
91 works. Of the 91 works 47
sold to South Africans and 44
sold to overseas clients. This year
my largest sale has been for a
R59,000 art work.
Paintings Sold
2005 – Sold 306 paintings
2006 – Sold 326 paintings
2007 – Sold 218 paintings
2008 – Sold 91 paintings
Artist too nude for learners
Teacher newspaper -. the Educa-
tion Department disclosed that it
has removed controversial artist
Steven Cohen from the visual arts
curriculum’s prescribed list, saying
his works are not suitable for
school learners.
Performance artist Cohen was
removed from the list at the end of
the first school term this year. The
exclusion of Cohen, regarded as
one of South Africa’s premier living
artists sparked debate among the
visual arts fraternity.
Issues Cohen deals with include :
In 2007 I didn’t push my art as in
previous years because I had a lot
of important private and corporate
commissions to give my focus
to. In 2007 I sold 218 paintings
ranging in value from R10,000 to
R58,0000. Of the 218 paintings
148 sold to South Africans, 70 to
overseas clients. I did 28 commis-
sions with the largest work selling
for R58,000. Of the 218 works,
110 were to direct clients and 108
were via galleries.
homophobia, racism, xenophobia,
genocide and state repression.
Bronwen Law-Viljoen of David
Krut Publishing, the house which
publishes Cohen’s art said she is
certain schoolchildren could
learn from Cohen’s work.”Just as
one might say that children will
learn something from looking at a
Picasso painting”.
What they take from his art de-
pends on the context in which they
are viewing the work, the guidance
they are given by their teachers
and the knowledge of art they
already possess”.
Destiny
The Tay Modern - Hermanus
No. 3 Long St. Hermanus
Anton Neethling 072-980-9096
072-116-9029 tayd@hermanus.
co.za www.taydall.com
The Tay Modern - Greyton
Greyt Oak No. 1 Main St.
Greyton
Joshua Rossouw
083-228-8651 072-116-9029
tayd@hermanus.co.za
www.taydall.com
In “The Teacher” Len Lordan,
national examiner of art history
at the Independent Examination
Board, argued that it is impera-
tive that students are exposed
to such art forms. Lordan said
learners face all forms of explicit
material and Cohen addresses
societal issues that are education-
ally sound to facilitate informed
engagement. Lordan said she
would rather teach Steven Cohen
in the classroom than have learn-
ers accessing explicit content from
magazines and other sources, that
lack meaning.
Bonhams next SA art sale expected
to be biggest of its kind in the world
Staff writer
Bonhams fourth and largest sale
of South African Art, consists of
450 lots divided into two sales,
one at Bonhams in Knights-
bridge on September 9 and one
in Bonhams in Bond Street on
September 10.
The sale features the iconic
Pierneef image, The Baobab
Tree, which is estimated to sell for
£300,000.
While Charles Te Water was
serving as the South African High
Commissioner in London, Pierneef
the murals for South Africa House
in London. On 27 June 1933 the
Pierneef family left Pretoria for
London Pierneef completed the
murals by May 1934 and accepted
a further commission from Te
Water to paint five works for the
dining-room in South Africa House.
The room was officially opened on
31 May 1934 and was known as
the ‘Pierneef Room’.
Go for the best, advises
antiques appraiser
The Argus reported Paul Myson,
the auctioneer and appraiser with
Ashbeys Galleries in Cape Town,
saying there is a large range
of material that one can collect
- from furniture and ceramics to
glassware, silverware and
memorabilia. For novice collectors,
Myson suggests they follow a few
basic rules. First, always buy from
a reputable dealer, and insist upon
a receipt with a full description of
the item.
Second, compare prices of similar
items that various dealers may
have on offer, and third, ask if any
restoration has been undertaken
on the item, and if so, to what
extent it has been restored.
Condition is paramount when It
comes to antiques. The reason
they are so regarded and valuable
is that they have survived the pas-
sage of time and If damaged they
wifi be less desirable.
On whether he thought art and
antiques were a good alternative
to the stock market, the Argus
reported Myson advising “The
Page 13
This painting is unquestionably a
product of Pierneef at his finest.
The majestic baobab tree stands
proud dominating the landscape,
with the five people at the foot of
the tree and the signs of human
habitation in the background,
dwarfed by comparison. It is rea-
sonable to assume that The
Baobab Tree was painted around
1934.
The Bonhams South African Art
Sales include the most significant
collection of Irma Sterns yet seen
in London, no fewer than 38
paintings.
Giles Peppiatt, Head of South
African Art at Bonhams, said of
his next sale: “We have had such
a growth of interest that we have
had to extend the sale to two days
and two venues to allow us to
exhibit the works as they deserve.
We are seeing a maturing market
for South African Art with a greater
appreciation by non South African
buyers”.
South African as well as the
mternational contemporary art
market have seen fantastic growth
in the last few years, with world
record prices achieved for a
number of artists.
With the recent instability in the
world financial markets as well as
the ever increasing oil prices we
would expect that the art market
would reflect the sentiments held
by investors.
At a recent auction South African
works of art proved in demand,
with a Maurice van Essche Nude
fetching R145 000 and a Gregoire
Boonzaier Still Life R130 000.
Ashbeys Galleries are accepting
entries for their next fine art and
antiques auction on the August 22.
VALUE: Piet van Heerden s Elim
Street Scene, above left, went
for R62 000; Frans Claerhout s
Mother and Child R75, 000, and
Maurice van Essche’ s Nude
R145 000
 art
Page 14 South African Art Times. July 2008

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

You are cordially invited to

SPIRIT
An exhibition of oil paintings by
BENJAMIN MITCHLEY

Host: The Arts Association of Bellville

Guest speaker: Marina Eillers of www.southafricanartists.com

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

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

THE ARTS ASSOCIATION OF BELLVILLE

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

Cape Town’s largest contemporary art gallery

exhibiting works by leading South African artists

Exclusive

Carmel Art distributors of

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

AROUND THE GALLERIES

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

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

Legendary landscape artist

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

From The Bolander Newspaper.

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

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

Hout Street Gallery

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

The Philip Harper Galleries

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