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October 2008 • Issue 10 Vol 3 • Subscription RSA 180 p.a • October Print & Distrib. 7 000 copies • Full online version available at

A still from Paul Emmanuel’s 3 SAI a Rite of Passage 12 minute film that is currently taking the art world by storm. See page 12





Page 2 South African Art Times. October 2008

Formidable new art auction

EDITORIAL who has briefly rocked the art market of knowing and respecting who we
out of its depression - for now. are, were we came from and hardest
This month the Standard Bank Gallery of all where we all would like to go.

house launched with

hosts Judith Mason’s retrospective In terms of rocking it seems to that
exhibition, what a treat for all our succession battles haven’t yet ended Lastly my congratulations to the David
demons. In having said this, Judith, with Zuma this month, as mist and and Goliath Auction in Joburg last
I have realized, is a very shy and shadows surround both the country’s week. Well done to all parties in raising

industry heavyweights
extremely caring person who has a leading institutions as both the National R 450 000 for legal fees. Maybe
deep concern and love for humanity. Gallery and Joburg Art Gallery are Johannesburg has got some spunk
On a website compiled by one of her looking for suitable new directors. in getting it together now both with
children an image of her is indexed Word has it that we are down to a few the Joburg Art Fair and this auction
as “momport” which for me says that names on the SANG but a furious manifests a healthy unity in tacking
her tender relationship is reflected battle rages at the JAG. Some parties serious issues. I must say that the rare Michael Coulson economist with Standard Bank and to run before he sold.
with love and the image isn’t titled it may seem, want a token head, times when walking into Mr Price, I director of the Wits Management
“WorldFamousRockstar” as could be a celebrity that will schmooze with wonder who is flavour of the month in The established art auction houses School. When we spoke, incidentally, Welz
a suitable image title for Damian Hirst, ministers and look good in photos. terms of SA artists being copied and are about to face a new challenger was just back from running the an-
Personally, warts and all do it for me, in not credited. Maybe it’s time for Vansa backed by substantial capital and With the name Welz unavailable, nual Nederburg wine auction, which
my mind South Africa has to embrace – or someone else to start getting the expertise of the doyen of the MJ says Strauss was chosen as was specifically excluded from his
change, from the inside out,.What we something going here for working for industry, Stefan Welz. Newly carrying both English and Afrikaans restraint agreement.
The South African need is someone with a strong sense more legal rights for artists. formed Strauss & Co is already connotations at home, as well as
working on its first sale, to be held being familiar abroad and easy to Strauss has taken about 530
Art Times
of management but with a good sense
at the Johannesburg Country Club remember, and having associations sq m in a brand new building in
on March 9. with the music world. Antonie adds Houghton, still being decorated in
October 2008 Count Labia wins battle The “Strauss” of the company is
director Conrad Strauss, an econo-
that it was their idea, and Conrad
almost fell over backwards when
it was proposed that the firm take
sleek black, silver and grey. MJ
says that it was in New York that
she first saw auction houses break

- but at a cost
Published monthly by mist by training whose long career his name. away from the traditional staid Vic-
Global Art Information at Standard Bank culminated in torian ambience, and was keen to
his assumption of the chair, from Does Stefan’s re-entry into busi- replicate this modernist approach.
PO Box 15881 Vlaeberg, 8018
Patrick Burnett ment undertook to pay to have 1992-2000. He was instrumental in ness immediately after the expiry
Tel. 021 424 7733
Fax. 021 424 7732 it transferred to Labia’s name by sponsorships like Standard Bank of his 18-month restraint of trade It’s a large space, and though two
Count Natale Labia has won his May 2009. “I am very pleased that Gallery and the Standard Bank agreement with his old firm mean or three mainstream auctions a
Editor: Gabriel Clark-Brown
bid to have his childhood home re- it all went well and justice had Young Artists Award. While Strauss that he was sorry he sold? year off-site will be the main focus,
turned to him by the government. been done,” said Labia. “I am glad is one of the backers, a larger Strauss may use it for smaller
Advertising: Leone Rouse Labia had donated the property the ownership has come back to share of the capital has been put up “Definitely not,” he says. “It took exhibitions or sales, talks, or
– the Natale Labia Museum in me. I’ll look at what is possible by chairman (the term she prefers) a hell of a weight off my mind at a cocktail functions. MJ says they’d
Muizenberg – to the government to keep it going [as a museum] Elisabeth Bradley, daughter of time when I was seriously ill. I had like to fill the gap in art education
Subscriptions: Bastienne Klein in 1985 for use as a museum. but there are major problems, industrialist Albert Wessels, whose every intention of going farming, and promotion that local museums,
But the museum was later closed especially in terms of parking.” family recently sold out of major but then I was presented out of the unlike their counterparts abroad,
in 2004. Labia maintained this was Other issues that formed part of investments in Toyota SA and blue with an unexpected land claim. have left vacant.
Artwork: in breach of contract and the prop- the original case included Labia Johannesburg’s Rosebank Hotel. So when my health improved and
erty, a 20-room Venetian manor seeking compensation for the sale these guys approached me, I didn’t Strauss intends to compete on
Layout: itsalrightnowmedia
built by his father and overlooking of an adjacent piece of land next Apart from Welz, the two main take much persuading.” price as well as quantity, setting
Deadlines for news, articles and clas- False Bay, should therefore be to the museum, which was sold for players are Mary-Jane Darroll both the seller’s commission and
sifieds 20th of each month returned to him by the Department R50,000 and later resold, together (executive director) and Francis He adds, though, that he’s disap- buyer’s premium at 10% each. At
The Art Times is published in the first
of Public Works. with other land, for R950,000. Antonie (MD). Darroll – generally pointed with the general level of Welz/Sotheby, both range from
week of each month. News and advertis-
ing material need to be with the news and The museum was built by Labia’s Labia was asking for compensa- known as MJ in the art world – has expertise in the market at the 12%-17%, though 12% would be
marketing managers by the 15th- 20th of father and he lived in the house tion for this land. a wealth of experience, including moment, and makes it clear that the rate for most art works. Add
each month. many years at Welz’s former com- his business philosophy differs that to the wide respect MJ and
Newspaper rights: The newspaper re- during his teenage years in However, Labia said in order
serves the right to reject any material that the 1930s. The matter was set to avoid going to court he had pany, Stefan Welz in Association from that of the new owners of Stefan command, and they’re
could be found offensive by its readers.
down in the Cape High Court for agreed to fore-go the compensa- with Sotheby’s, and more recently his old business. But he denies certain to be serious contenders.
Opinions and views expressed in the SA
Art Times do not necessarily represent September 9, but was prevented tion claim. with the Everard Read Gallery the rumour that he’d made an Indeed, they’ve already had an
the official viewpoint of the editor, staff or from going to court due to an out Another matter involved com- in Johanesburg. Antonie, a Wits approach to buy it back, saying that impact, to judge by Welz/Sotheby’s
publisher, while inclusion of advertising
of court settlement. pensation for the loss of an 18th graduate in politics and law, later literally the only communication cancellation of its planned sale of
features does not imply the newspaper’s
endorsement of any business, product or In terms of the settlement, Labia Century painting by James Stark. studied music in London and Paris between them since the sale was contemporary SA art and rumoured
service. Copyright of the enclosed mate-
was entitled to take possession This, he said, was still in the proc- and has had a lifelong interest in an exchange of lawyer’s letters telescoping of some upcoming
rial in this publication is reserved.
of the property and the govern- ess of negotiation art; his CV includes spells as an over a charity auction he’d agreed sales into one.

Custom Stretched Canvasses

Hand made Easels

Painting & print stretching Artist: Ann Gadd

Tel: 021 448 2799 Fax: 021 448 2797 ArtStuff now available on the Garden Route
Free delivery within Cape area Call Paul Tunmer 083 2610084
South African Art Times. October 2008 Page 3




Giles Peppiatt takes the hammer at the latest Bonhams auction. Photo from Bonhams

Latest Bonhams sale confirms relative

strength of blue chip SA Masters
Michael Coulson Bonhams to split the sale in Baobab Tree contributed more reached £ 72 000 (est £ 30 000-£
two. The first 217 lots were sold than 70% of the total raised. No 45 000). Only five of the Sekotos
Behind all the superlatives, there at Bonhams’ lesser gallery in fewer than 20 of the Sterns were were unsold, but prices were
were some warning signs at Knightsbridge the night before the unsold, but those that did sell unexceptional.
Bonhams’ latest London sale of SA main sale. Percentage-wise, these generally went for the upper end of
art. True, Pierneef’s magisterial actually did better than the main the estimate or even above. Among the casualties, four of the
The Baobab Tree fetched sale, with only 31% unsold, but six William Kentridges went un-
£ 826 400*, well above the previ- only four items topped £ 10 000. Top price was £ 390 000 for lot sold, as did both “Nelson Mandela”
Walter Battiss, ‘Sgraffito landscape’
ous auction record for SA art of 321, a Malay lady (est £ 200 000-£ lithos – The Window and Hand of
about £ 500 000, for an Irma Stern Part One of the sale in fact 300 000), followed by £ 356 000 Africa (est £ 12 000-18 000 and
at a previous sale, and almost grossed less than £ 500 000, the for lot 350, a still life (est £ 200 £ 10 000- £ 15 000 respectively). A showcase for the best of
three times the top of the average price of lots sold being 000-£ 300 000) and £ 334 000 for Given the debate surrounding
£ 200 000-£ 300 000 estimate. about £ 3 100. each of lots 353 (Congolese girls, these works, it’s surprising that South African Masters,
Top price was £ 19 200 for a est £ 150 000-£ 200 000) and 365 Bonhams listed them without com-
True, too, the sale grossed £ 7.1m, 19th-century view of Cape Town (still life, est £ 200 000-£ 300 000). ment and at such high estimates.
as well as some leading
£ 2m more than Bonhams’ harbour. Of more modern work, Noteworthy against the estimates contemporary artists.
January sale, but a high percent- £ 14 400 was bid for a Zanzibar were lots 339, a girl, at £ 288 000 Overall, though, apart from a
age of items remained unsold landscape by the little-known Anne (est £ 70 000-£ 100 000), and 349, couple of obvious features the
and there were a large number of Petrie, £ 13 200 for a Tretchikoff a still life, also at £ 288 000 (£ 100 general impression was of a Telephone: 021 423 6075
minor works. Of the 375 lots (not Red Lilies (est only £ 2 000- 000-£ 150 000). market consolidating rather than
450, as Bonhams’ post-sale press £ 3 000, so the renaissance in this making further advances, while
release claims – that ignores the artist is continuing) and £ 11 400 Only three Pierneefs weren’t sold, recent gains could be flushing
fact that there no lots 218-299), for a Sekoto gouache of a wom- with no prices marked for two inferior works out into the open to Mon-Fri: 10h00 - 18h00
prices were recorded for only an’s head, est £ 3 000-£ 4 000. others that were presumably sold augment the supply. Sat: 09h00 - 14h00
about 254. That means that at privately before the auction. But or by appointment
least a third of items were unsold, The main auction was flooded by only lot 388, Trees on the Veld, *All prices quoted include the 12%
In Fin Art Building
possibly more, as some for which Stern (52 paintings and drawings), fetched a noteworthy price: £ 120 buyer’s premium but not sales tax,
Upper Buitengracht Street, Cape Town 8001
prices were recorded may have Sekoto (22) and Pierneef (13). 000 (est £ 60 000-£ 90 000). which is levied only on UK-resi-
Cell: 082 566 4631
been bought in by the auctioneer. dent buyers.
The Sterns grossed about £ 4.3m, Of other bluechip names, a
Even 375 lots, though, forced so together with the Pierneef Van Essche Congolese market
Page 4 South African Art Times. October 2008

Artists rally behind Priceless paintings

Marx in landmark rotting on public
BMW case collection walls
Artist Gerhard Marx, takes BMW and their
advertising agency to court over alleged Patrick Burnett Meanwhile the South African Herit-
age Resource Agency (SAHRA),
copyright infringement. R450,000 for legal Two recent cases of neglect in- which is charged with conserving
fees raised through highly sucessful David volving paintings by South African and protecting South Africa’s
master Jacobus Hendrik Pierneef heritage, said it has had a poor re-
and Goliath art auction have raised renewed concerns sponse to its attempts to establish
about the status of art held by what kind of heritage objects are
Patrick Burnett trust which will aim to financially lesser-known public institutions. held by local authorities.
support artists against copyright Last month, South African Art SAHRA has been involved in de-
South African artists rallied behind infringement and commercial Times reported on a Pierneef veloping a database to document
one of their own in a September exploitation. painting estimated in value the extent of heritage resources in
25 auction, raising R450,000 for A publicity email about the auction between R500,000 and R700,000, South Africa.
the legal fees of artist Gerhard said: “The relationship between which was removed from Free In March, then CEO Phakamani
Marx, who is taking BMW and the arts and commercial industry State’s Dihlabeng municipality Buthelezi said the first phase of
their advertising agency to court is one in which issues of creative in July and the frame burnt for developing the database had
over alleged copyright infringe- ownership and copyright infringe- firewood. The painting was later already been completed through
ment. ment is frequently contested. It is recovered. an audit of objects at presidential
Marx is the plaintiff in a case generally financially impossible Since then another case has come residences, parliament, museums
where he alleges that BMW South for the individual artist to address to light, with Beeld newspaper and state institutions.
Africa used his work without his these issues legally when faced reporting in September that a SAHRA’s executive officer for
permission in a 2006 advertising with a corporate giant.” Pierneef hanging in the Johan- corporate affairs Herma Gous said
campaign. The case is to be heard Lace said the works on auction nesburg Regional Court had been the second phase consisted of a
on October 9. ranged from established South damaged by water. roll out of the audit to other loca-
Owen Dean, attorney acting for African artists through to younger tions and the development of the
Spoor & Fisher, who are repre- artists. The apparent disregard for art South African Heritage Information
senting Marx, said R1,5-million She said while the event was a demonstrated by these two cases System (SAHRIS) to house the
was being claimed in damages. fundraiser it was also about the ar- comes at a time when interest in information gained from this audit.
BMW denies the allegation. tistic community coming together South African art internationally Gous said the brief was that in
Spokesperson Benedict Maaga in support of a principle. is at an all-time high. Ironically, a developing the inventory it should
said: “BMW South Africa contests “The David and Goliath auction is Pierneef painting sold for more focus on heritage resources
the assertion that we have in support of Marx, but it is a larger than R11-million at a Bonhams under state ownership, including
infringed the rights of the artist issue of copyright and the damage auction in September in London. national, provincial and local gov-
Gerhard Marx or plagiarised his done to an artist when a corporate One art administrator, who did not ernment, as well as the museum
work, as has been alleged. Our takes blatantly from them.” want to be named because he sector.
comments and submissions will be Copyright infringement was an works for the government, said the
made in court and we will let the issue globally, not just between safety of art held by public institu- But as part of phase one a ques-
High Court make the final ruling corporations and artists but tions was “a huge problem”. tionnaire had been sent out to
on this matter.” between artists and artists. “There are many examples of over 1,000 respondents to assist
The auction, hosted by the The Wim Botha, one of the supporting public paintings that simply fall with the identification of collections
Bag Factory in Johannesburg, and artists, said artists made things from the walls,” he said. for inclusion in the audit.
billed as the David and Goliath that entered the public realm and However, although two recent “Unfortunately, the response was
initiative, was aimed at creating a which people picked up on at cases had involved Pierneef limited, especially from govern-
platform “through which the arts some point, but this could not be paintings, the problem was more ment departments and local
can support the arts in protect- accepted when it happened in a widespread than one particular authorities, except for the larger
ing creative ownership”, say the direct way. artist. ones.”
This image was used in organisers. “At some point something be- He said when confronted with
ART_TIMES_OCT_TP.indd 1 2008/09/30 04:47:18 PM
lasts months Whats on Bag Factory education officer comes established and associated the problem, no government Gous said the challenge faced
at Iziko in September’s Bronwyn Lace said: “We had an with one person, but when it’s department wanted to accept was how SAHRA would know
Heritage day celebra- unbelievable turn out and it was new and shortly afterwards it is responsibility. The problem could what was held unless institutions
tions column. The name definitely a success.” She said pilfered then the artist is deprived be found at municipal level, but came forward and informed them
of the photographer who about 250 people had attended of developing that.” also in museums and other public about their collections.
took this image entitled: and 64 works donated by various He said a precedent needed to be buildings.
Madosini playing the South African artists had been set that art was not freely avail-
Uhadi is Simon Lewis sold, raising R450,000. able and corporates should think
Thanks to Simon Lewis. Funds raised will go towards a “little bit harder before using Subscribe
the cost of Marx’s case, but any something”
further profits will go towards a
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Contact Bastienne at

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Stellenbosch Frans Claerhout Pieter van der Westhuizen
Tel. 021 887 8343
Sel. 076 279 2175

Tye: Ma. -Vr. : 09h00 – 17h30

Conrad Theys
Sa. : 09h00 – 13h00 Aviva Maree Rob MacIntosch John Kramer

E-pos: Skilders : Kontemporêr: Scats Esterhuyse, Hannes van Zyl, Clare Menck, Kaffie Pretorius, Robert Slingsby, Harvey Rothchild, John Kramer, Adriaan Boshoff, Terence McCaw, Gregoire Boonzaier

Judith Mason: Shiva slowing down, oil on canvas (detail)

nesburg T. 011 788 4805, Johannesburg, Tel. (011) 327 0000, the documentary Photograph, (021) 424 7436, Highlights from 10 Years of Collecting
Eastern Cape Curated by Heidi Erdmann and Jacob for the Sanlam Collection
Lebeko. Featuring Roger Ballen, Bell-Roberts Contemporary Art 2 Strand Road, Sanlamhof, 7532,
Gallery MOMO Pretoria Zander Blom, Lien Botha, Jacques Gallery Bellville,Tel. (021) 947 3359,
East London 06 Oct – 04 Nov, Group Exhibition Coetzer, Abrie Fourie, Nomusa Until 24 October Caveman Space-
52 7th Avenue, Parktown North, Alette Wessels Kunskamer Makhubu, Zwelethu Mthethwa, man, Nigel Mullins
Ann Bryant Art Gallery Johannesburg T. 011 327 3247, Exhibition of Old Masters Barbra Wildenboer, Dale Yudelman, 176 Sir Lowry Road, Woodstock, Urban Contemporary Art
16 Oct – 01 Nov, Solo Artist Maroelana Centre, Maroelana, GPS : Bernie Searle. 29 Oct – 15 Feb 09, 28 October – 28 Nov. The Bijou burns
Exhibition, Chanelle Staude S25º 46.748 EO28º 15.615 Indian Ink, Indian South Africans in again, various artists (See advert)
9 St Marks Road, Southernwood, Goodman Gallery Tel: 012 346 0728, Cell: 084 589 the media: A photographic history of Blank Projects 46 Lower Main Road, Observatory,
East London T. 043 722 4044 25 Oct – 15 Nov, Willie Bester 0711 propaganda and resistance 2, 9, 16, 23 Oct 8h00 – 19h30, Data Cape Town T. 021 447 4132,
163 Jan Smuts Avenue, Parkwood, Second Floor, City Hall, Smith Street, capture: a muse. Drawing perform-
Johannesburg, Durban, 031 3006238 ances, Featuring Models: Barend
Port Elizabeth
Centurion Art Gallery
de Wet, Brendon Bussy, Ed Young, What if the World…
01 – 31 Oct, Elsa Blem School of
Creative Art DUT Art Gallery Willem Bosshof From 02 Oct, The Matt Sparkle, Paint-
Nelson Mandela Metropolitan Art
GordArt Gallery Tel: +27 (0)12 358 3477, Until 08 Oct, Contemporary Existence 198 Buitengracht Street, Bo-Kaap, ings by Jan-Henri Booyens
Until 18 Oct, Probably Spiked, Susan & the Moveable Arts Feast, Sabelo Cape Town, www.blankprojects. First floor, 208 Albert Road Wood-
09 Oct – 26 Nov, Africa Rifting/Blood-
Jowell Khumalo, Nothando Mkhize and Nozi- stock T. 021 448 1438,
lines, Georgia PapaGeorge
Until 18 Oct, Storie, Persian inspired Fried Contemporary Art Gallery pho Zulu
04 Oct – 26 Nov, Relationships,
illustrations and jewellry & an anima- 04 - 25 Oct, On the Globe, Titus Mati- 1st Floor Library building, Steve Cape Gallery
Comparing British and South African
tion installation, Diek Grobler & Marna yane, Diek Grobler, Pieter Swanepoel Biko Campus, Durban University of 26 Oct – 15 Nov, Recent Oil Paint- Franschhoek
Schoeman 430 Charles Str, Brooklyn, Pretoria, Technology, T. 031 373 2207 ings, Peter Gray
1 Park Drive, Port Elizabeth, Tel.
GordArt Project Room Tel: 012 346 0158, 60 Church Street, Cape Town T. 021 Gallery Grande Provence
(041) 586 1030, www.artmuseum.
Until 18 Oct, M18J92T, Murray Turpin Fat Tuesday Gallery 423 5309, 19 Oct – 13 Nov, Paintings by Han-
72 Third Avenue Melville, 07 -18 Oct, Modern Icons, Helena nes van Zyl and ceramics by Ralph
Johannesburg T. 011 726 8519 Magpie Gallery Vogelzang David Krut Publishing: Fine Art and Johnson Until 16 Oct, Painting: Now, New Block e Bellevue campus Bellevue Books Main Road Franschoek T. 021 876
Paintings by Elfriede Dreyer, Mariki Road Kloof T. 031 717 2785, Until 23 Oct, CT Month of Photogra- 8600,
Free State Johannesburg Art Gallery Van Graan, Norman Catherine, phy, Damon Hyland Photographs
05 August -12 October - Dinkies Maryna Joubert, Andre Naude, Pieter 25 Oct – Nov 20, Drawings and Edi-
Sithole - ‘Shrine Rituals’ Swanepoel, Zondi Skosana Kizo tions, Ryan Arenson Stellenbosch
King George Street, Joubert Park, 06 – 28 Oct, xpanded Perspectives, 31 Newlands Avenue, Cape Town T.
Bloemfontein Johannesburg T. 011 725 3180
Shop 21B, Southdowns Shopping
Alternate Fields, Lambert Moraloki & 021 685 0676, Dorp Straat Gallery
Centre, Centurion T. 012 665 1832, Until 23 Oct, Wood, Drawings by Brigitte Hertell
Oliewenhuis Art Museum Nelie Kuhn, Oil paintings by Paul
Museum Africa 06 – 28 Oct, Awaken, Paintings by
Until 28 Oct, Mid-career Birchall, driftwood furniture by Gordon
05 – 26 Oct, Gigapan Conversations: Pretoria Association of Arts Tracy Payne Erdmann Contemporary /Photogra-
Retrospective, Johann Louw Rattey,wooden bowls by the Water-
Diversity and Inclusion in the Com- 05 Oct – 18 Oct, Some Old Some Shop G350 Palm Boulevard Gateway phers Gallery
16 Harry Smith Street, Bloemfontein front Woodturners and sculptures by
munityA selection of the high-resolu- New: an exhibition of landscape Theatre of Shopping Umhlanga Until 31 Oct . Barbara Wildenboer
T. 051 447 9609 Desmond Smart
tion panoramas created by learners orientated sculptures, Mike Edwards T. 031 566 4322 Present absence/ Absent Presence
at Lavela High School (Soweto), 63 Shortmarket Street, Cape Town 144 Dorp Street, Stellenbosch
173 Mackie Street, New Muckleneuk, T. 021 887 2256,
Falk Middle School (Pittsburgh) and Pretoria Tel. (012) 346 3100, KZNSA Gallery T. 021 422 2762,
Manchester Craftsmen’s Guild (Pitts- Main Gallery, Until 12 Oct, Ultra Red,
Gauteng burgh). Also shown are selections of Silent listen
Sasol Art Museum
conversations between learners from Pretoria Art Museum Nivea Gallery, Until 12 October, Goodman Gallery, Cape
across the two continents. Themba Shibase, The Skeptic 11 Oct – 01Nov, Clive van den Berg 08 Oct – 29 Nov, An Eloquent Picture
Tel:(012) 344 1807/8, Gallery, Curated by Keith Dietrich
16 Seventh Avenue, Parktown North, 166 Bulwer Road, Glenwood, T. 031 10 Sep – 05 Jan 09, New Photogra-
Johannesburg Johannesburg Tel: (011) 447 9000 PAM- South Gallery 2023686, phy 2008, Josephine Meckseper & 52 Ryneveld Street, Stellenbosch. Mikhail Subotzky 7600
South African Art focusing on the
Apartheid Museum school syllabus, from the Museum’s 3rd Floor, Fairweather House
Until 31 Dec, Rooke Gallery 176 Sir Lowry Road Woodstock, University of Stellenbosch
permanent collection Art Gallery
Transitions, Paul Emmanuel 09 Oct – 30 Nov, A Claude Glass’: a Cape Town T. 021 462 7573/4,
Northern Parkway & Gold Ref Road photographic exhibition, Liam Lynch
PAM-North Gallery Northern Cape Until 09 Oct, Timo Smuts Art Prize
Until 21 Nov, Permanent Collection, A Visual Arts Department, Stellenbosch
Ormonde 37 Quinn Street Newtown variety of artworks from the Museum’s
Johannesburg, Irma Stern Museum University
permanent collection
Art Extra PAM-Henry Preiss Hall Kimberly 21 Oct – 06 Nov, Exhibition, Nichola 16 Oct – 15 Nov, Ceramics (solo),
Until 29 Oct, Fortune Telling in Black, Sally Thompson Gallery Leigh & Diamond Bozas Ruan Hoffmann
30 Sep – 24 Nov, Artists by Artists, cnr of Bird and Dorp Streets,
Red and White, A solo exhibition by Until 16 Oct, Defining Moments, By From the Museum’s permanent col- William Humphreys Art Gallery Cecil Road, Rosebank, Cape Town T.
Lawrence Lemaoana Billy and Jane Makhubele, Jurgen 07 - 21 Oct, Art Against Crime, An 021 685 5686, Stellenbosch, 7600
Until 29 Oct, Extra Extra 001, Fred Schadeberg, Susan Woolf, Johannes PAM-Albert Werth Hall exhibition of prison art and craft from
Clarke: Drawings and mixed media Maswangani, Beverly Price and Roy the Northern Cape Iziko South African National SMAC Art Gallery
09 Oct – 30 Nov, CANSA Exhibition, Until Oct, Collection 10, A group
collage Ndinisa Sanna Swart, Lynette ten Krooden, 22 Oct – 12 Nov, Exhibition bylectur- Gallery
373 Jan Smuts Avenue, Johannes- 73, 2nd Ave, Melville, Tel. (011) 482 ers of the Fine Art Department of the Until 16 Nov, Journey on a tightrope, exhibition showcasing previous and
Loeritha Saayman, Philip Badenhorst, recent works by twenty contemporary
burg T. 011 326 0034, 2039 Marthinus Höll, Nola van der Merwe Univ. of the Free State, Ben Botma, Albert Adams Charlayn von Solms, Janine Allen and Government Avenue, Company’s artists selected by the gallery. Includ-
and Guy du Toit ing Johann Louw, Sam Nhlengethwa,
Spaza Art Gallery PAM-East Gallery Jaco Spies Garden T. 021 467 4660,
Art on Paper From 05 Oct, Turquoise, Paintings by Civic Centre, Cullinan Crescent, Kay Hassan, Anton Karstel, Wayne
11 Oct – 02 Nov, For Sale Project Barker, Beezy Bailey, Willie Bester,
19 Oct – 08 Nov, Human Contella- Tandi Sliepen Exhibition, The Art Museum’s Educa- Kimberley, Tel. (053) 831 1724,
tions, Kim Lieberman Tel: (011) 614 9314,19 Wilhelmina João Ferreira Gallery David Koloane, Peter E Clarke, Ar-
tion Assistants’ annual exhibition lene Amaler-Raviv, Philip Badenhorst,
44 Stanley Ave, Braamfontein Werf Street, Troyeville 08 Oct – 01 Nov, Lyrical abstracts
(Milpark), Tel. (011) 726 2234, Part 2 of Michael Pettit’s double Ricky Burnett, Jake Aikman, Gail
Alice Art Gallery Hartbeespoort Catlin, Matthew Hindley, Elizabeth Standard Bank Gallery 18 – 26 Oct, Art with Heart Art Fes- exhibition
Until Dec 06, Judith Mason Loop Street, Cape Town Gunter, Andrè Naudè, Ndikumbule
Artspace - JHB Retrospective Exhibition
tival, Portchie, Glendine, Cornelius Western Cape Ngqinambi and Francois van Reenen.
Bosch and various other well-known De Wet Centre, Church Street,
Until 18 Oct, The Royal Invisible Cnr. Simmonds & Frederick Streets, artists Lindy van Niekerk Art Gallery
142 Jan Smuts Avenue, Parkwood, Johannesburg, 2001,Tel: 011 631- 12 – 22 Oct, October Art Spectacular, Stellenbosch T. 021 887 3607,
110 Scott straat, Schoemannsvlle,
T. 011 482 1258, 1889 Cape Town Bi-annual exhibition of SA Artists 33 Chantecler Avenue,
Unity Gallery 34 Long Eversdal,Durbanville, Tel. (021) 913 Stellenbosch Art Gallery
Worldart 04 - 22 Oct, Wasted, Mandy Coppes, 07 Oct – 01 Nov, All Rights Reserved, 7204/5, Permanent exhibition of Conrad
Until 11 Oct at Worldart, Prince of Newtown, Robyn Field, KwaZulu-Natal A private view of new editions by Theys, John Kramer, Gregoire
Bollywood, Hollywood, Nollywood, Nkosinathi Thomas Ngulube, Flip Takashi Murakami from the gallery Michael Stevenson Contemporary Boonzaier, Adriaan Boshoff and other
Mentor Tanya Poole; Mentees Lindi Hattingh, Patrick Mabena, Lebogang collection Until 11 Oct, Berni Searle & Youssef artists.
Arbi, Nomusa Makhubu Tshetlo, Vuyo Seripe and Irene Mde- Nabil 34 Ryneveld Street, Stellenbosch
95 Commissioner Street buka and Goge. Tel. (011) 726 2686,
Durban 34 Long Street, Cape Town
Ground Floor, Buchanan Building, T. 021-8878343,
T. 021 426 4594,
Johannesburg T. 011 901 5045, 2nd Floor, Kruis House, 19 Harries 160 Sir Lowry Road, Cape Town
Art Space - DBN Street, Cnr Kruis Street, CBD Art B Gallery T. 021 462 1500
06 – 25 Oct, Migration of Symbols,
Paintings by Hussein Salim Until 22 Oct, Picturing Piketberg, Knysna
David Krut Art Resources University of Johannesburg Arts Paintings by a group of Piketberg
06 – 25 Oct, Nice to Meet you, Paint-
Until 11 Oct, Drawing Show, An Centre Gallery artists Rust-en-Vrede Art Gallery The Dale Elliott Art Gallery
ings by Elizabeth Sparg
exhibition featuring exclusive new 13 Oct – 05 Nov, SASOL Wax Art Until 18 Oct, Over 60’s’ Exhibition in Until 16 Oct, Lynie Olivier, Andrew Oyster Festival exhibition on Knysna
3 Millar Road, Durban T. 031 312
artworks by 12 of South Africa’s lead- Award the Bellville Library Foyer Munnik and her surrounding areas
ing graphic designers and illustrators. Tel. (011) 559 2099/2556, University Library Centre, Carel van Aswegen 10 Wellington Rd Durbanville, Tel. Woodmill Lane Shopping Centre,
16 Oct – 10 Nov, Ryan Arenson of Johannesburg, Auckland Park Street, Bellville T. 021 918 2301, 021-9764691, www.rust-en-vrede. Knysna, 6570 Tel: 044 3825 646,
Bank Art Gallery
142 Jan Smuts Avenue, Parkwood, Kingsway campus cor Kingsway en com
Until 30 Oct, Furniture and Products
Johannesburg T. 011 447 0627, Universiteits Rd, Auckland Park
from the internationally renowned Association for Visual Arts (AVA) Salon91 Contemporary Art Col-
Warren Siebrits Modern & Contem-
EGG Studio, A Retrospective217
Until 24 Oct, Figurative paintings by, lection Villiersdorp
Florida Road, Morningside, Durban T.
Everard Read Gallery Jhb porary Art Part 1 of Michael Pettit’s double exhi- 10 – 24 Oct, Under These Skies,
031 312 6911, The Elliott’s Art Gallery
Until 12 Oct, Etchings 1946-2004, Until 24 Oct, Terreno Ocupado, bition. Until 24 Oct, Seed of Memory, Wesley van Eeden and Senyol
Lucian Freud Jo Ractliffe Exciting Winter exhibition of latest
Durban Art Gallery Ian Engelbrecht
6 Jellicoe Avenue, Rosebank, Johan- 140 Jan Smuts Avenue, Parkwood, Sanlam Art Gallery works by Dale and Mel Elliott.
Until 31 Jan 09, Construct: Beyond 35 Church Street, Cape Town,Tel.
80 Main Rd, Villiersdorp, 6848, Tel:
Tuesday 21 October 2008 at 10am, 2pm and 7pm
Wednesday 22 October 2008 at 10am
Property of various owners including
Estates Late Mr B Bloom, Mr JF Van Reenen and Mr MH Visser

‘Free-fall’ (2008) oil on canvas, 2 x 1.6m by Virginia MacKenny whose Artist Niel Jonker gives a rusty shave to fellow artist Joshua Miles at The
exhibition entitled:Foam Along the Waterline was held at the Irma Stern Baardskeerdersbos Art Route near Gansbaai in September. See more at
Gallery recently.

Friday 17 October 10am to 5pm
Saturday 18 October 10am to 5pm
Sunday 19 October 10am to 5pm
Bianca Baldi: Him and Her held at Blank Projects recently see more at Lizo Manzi: Civil War is a Disgrace oil on board, one of the works to be Old Mutual Conference & Exhibition Centre, seen at Sanlam’s Highlights from 10 Years of Collecting for the Sanlam Kirstenbosch National Botanical Gardens, Rhodes Drive,
Art Collection on show until 16 January Newlands, Cape Town
Enquiries and Catalogues
Cobus Nienaber (far left) is the winner of the Cape Town Office: 021 794 6461
Sanlam Vuleka Art Competition 2008. His At the Saleroom, Kirstenbosch from Friday 17 October
artwork titled, Tankman won him this acco- Tel: 021 761 4288 Fax: 021 761 8298
laid. His Tankman (Beijing 1989), an enamel e-mail:
on wood installation, has landed him a cash Catalogues can be viewed on our website:
prize of R10 000 and a return flight to Paris,
France. Mboramwe Makakele (middle) from
Irma Stern (1894-1966)
Belhar (originally from the DRC) for his Red WOMAN IN THE KITCHEN
Funky (best painting in oil, water or acrylic);• signed and dated 1941, 76 by 68cm
Adriaan de Villiers (right) from Bellville for R 5 000 000 - 7 000 000

Warted Church (best three-dimensional

work; ceramics included);

Diamond Bozas and Nichola Leigh

Nichola Leigh Kirstenbosch Gardens 08
Diamond Bozas Thorn trees, Ulundi 05

22 October - 8 November 2008

UCT Irma Stern Museum
Cecil Road, Rosebank, Cape Town •Tues - Sat 10h00-17h00 •Tel 021 6855686

Walk-about with the artists and Julia Meintjes Thursday 23 October 11h00
Presented by Julia Meintjes Fine Art 083 6751825
Page 8

Far from the Ma

Judith Mason has resisted the limelight but a retrospe

Tombs of the Pharaohs of Johannesburg (triptych), Mixed

media. Collection: Tatham Art Gallery, Pietermaritzburg.
As if to block the world out to socio-political realities of the hasn’t kept records of her work
Photo credit: Justin James
while she muddles through her contemporary milieu and, of and hasn’t seen some of the
thoughts, Judith Mason some- course, Mason’s iconic monkey artworks in a long time. But she
times closes her eyes when she motifs. It is bound to be one of the is her harshest critic and she is
is conversing. It can be slightly showstoppers of the retrospective. slightly anxious whether all her art-
disconcerting for the listener but It may also debunk the myth that works will meet the high standards
it is indicative of Mason’s retiring Mason has past her prime. she so obviously demands of her-
persona. Mason’s shyness ex- self. Mason says her long career
tends to her professional life too; Coinciding with the month of her has not been without regrets; her
she is uncomfortable with offering 70th birthday, the retrospective, choice to remain independent with
up her art for public scrutiny. So entitled A Prospect of Icons, will no formal affiliations to any gallery
despite her large talent, this is give art lovers and Mason herself meant she “lived from hand
why she has maintained such a an opportunity to reflect on how
low profile over the last couple of her vast oeuvre has developed to mouth.” In tough times she was
decades. However, that is all set over her forty year long career. forced to sell paintings before they
to change this month when a large “I am inquisitive to see what graph were finished.
retrospective of her work opens my work makes.” “Sometimes I let works go before
at the Standard Bank gallery in Ever the self-deprecating artist, they were completely resolved. I
Johannesburg, where around 50 Mason has often been convinced am well aware I have damaged
of her artworks dating from 1963 that her art hasn’t progressed in my reputation by doing that. As
to 2008 will be on exhibit. Initially a linear way but rather diversified a freelance artist you sometimes
the gallery first enquired about into different streams of expres- fall back on panic rather than an
exhibiting her earlier work, but sion or “unconsidered branches”, income.”
Mason wasn’t open to the idea. as she puts it. Nevertheless, Mason says she
“I was afraid that the retrospective has enjoyed a happy and produc-
“An argument has been made that would be an anthology of Mason’s tive career. A career she suggests
my work was better when I was a ‘emotional tantrums.’” that wasn’t founded on a proficient
young woman then it is now. But I However, after reading curator, talent but rather driven by obses-
don’t share that argument I simply Wilhelm Van Rensberg’s essay sion and hunger.
can’t afford to otherwise I would for the catalogue she realised that As the title of the retrospec-
have a little cry and stop painting.” “they weren’t just making a thesis tive implies, the exhibition will
After spending two years complet- out of rubble” and that her oeuvre be centred on the iconography
ing a large commissioned artwork has in fact followed a coherent that have dominated Mason’s
for a private client based on Dante trajectory. art. Self portraiture is one of the
Alighieri’s Divine Comedy, Mason, leitmotifs that has characterised
uncharacteristically, felt proud. “I found it restorative to find that her aesthetic. Self-portraiture was
And the introverted artist was my work was more like an ill put attractive to Mason as she found
gripped by the desire to exhibit together novel rather than a lot of that she didn’t have the ability to
again. Walking With and Away short stories.” instantaneously capture the es-
from Dante, is the piece’s title and sence of sitters.
it includes a 2 x 6 metre paint- When all the fanfare around the “It would be a long, laboured slog
ing of Purgatory, which sees a opening of the retrospective has for me to get there and I never
confluence of hellish and religious Catwalk Girl, 1999. Oil on hardboard. Collection: Lettie and Michael died down, Mason looks forward enjoyed it.” Self Portrait as my own Ventri
iconography, references Gardiner. Photo credit: Bob Cnoops to perusing the exhibition. She lection: Mrs Jill Wentzel. Photo
South African Art Times. October 2008

addening Crowd
ective of work will change all that, writes Mary Corrigall

ates energy off the wall. It is like

Monkey shrine The Man who Sang and the Woman who kept Silent (painting from Pippa Skotnes said during one of
triptych), 1998. Oil on canvas. Collection: Constitutional Court. Photo her professorial speeches; ‘art is
credit: Bob Cnoops sacramental it is like taking bread
As an introverted character, self- emotional or intellectual discon- and wine and creating the body
portraiture also suited Mason’s nection from religion means that of Christ.’ When you put things
self-referential impulses. she is able to reinvest and project together (during the act of art mak-
“You can take risks with your own new meanings into the religious ing) you don’t’ make wallpaper,
image. A couple of the images I symbols she employs. This can you make something that matters
have done are very ugly where I create conflict, especially when for a second, five seconds or half
have gone to town on the bits of the symbols she appropriates are a lifetime.” Mason says the ener-
my body that I don’t like and bits weighed down by predetermined getic or transcendental dimension
of my attitude. With yourself as connotations. of art defies description.
the ‘fall guy’ you can make the “If I do a figure on a cross, I am “But that is the excitement of being
points quite sharply. There is a thinking of it as a non-religious an artist; it is in trying to hunt that
sort of energy that comes from a crucifix. Christ was one of thou- energy down and pin it to a wall.”
slightly contemptuous discourse sands of people who were cruci- • Judith Mason’s retrospective
with one’s own image and I do fied, it was a common degradation exhibition at Standard Bank
enjoy that.” and it is the act of degradation that Gallery in Johannesburg will
Mason’s art is characterised by I want to explore. People don’t’ run until December 6
the diverse iconography that she look long enough at symbolic work
appropriates. Although as an art to deconstruct the meaning. One
student she was disparaging of has this fight as a symbolic painter
symbolists, she is fixated by sym- against the (received) text about
bolism. In the manner that writers symbols.”
devour the pages of dictionaries,
Mason pores over encyclopae- Mason views painting as the act of
dias of symbols. Her interest in creating “encoded worlds.” In this
iconography is rooted her past, way the medium has served her Wild Dog, 1962. Oil on board. Col-
she observes. well and with such a high capacity lection: The Pretoria Art Museum.
for engendering illusion, painting Photo credit: Brian Farrell
“I was brought up in a very has also facilitated Mason’s
austerely atheist environment and predilection for creating fantastical
low middle class family, which was or other worldly locales.
very limited in terms of aesthetics “I do inhabit alternate realities
and aesthetic things so I have when I am working. I live in a
always had a very strong visual picture when I am doing it. When
hunger.” I am living within that space it is
completely real to me. It (painting)
Impressed with the “grace, is a majestic way to make sense
beauty and luminosity” of Gothic, of your life.”
Romanesque and Renaissance Ultimately, with each of her paint-
art, Mason’s aesthetic has always ings Mason strives to conjure up
aspired to high drama and drawn a transcendental experience for
inspiration from religious iconog- viewers or engender that elusive
raphy. While she admires and re- energy that only art is cable of
veres religious faith she describes summoning. Not being able to Paint, 1992. Oil on canvas. Collection: Johan and Judith Mason 2008
iloquist, 1996. Oil on board. Col-
herself as an atheist. But her “A work is successful when it radi Gardiol Bergenthuin. Photo credit: Brian Farrell Photo: Tamar Mason
o credit: Bob Cnoops
Page 10 South African Art Times. October 2008

Talk of the Town

What’s happening in Johannesburg, Durban and Cape Town

humans and and the fierce animal Two of them, Michael MacGarry classical.”
selves lurking just beneath the and Bopape have left our shores
mannered surfaces of our civilized while Themba Shibase remains Well, that’s a pretty fair and
personae. Mason’s canvases growl in the city, lecturing fine art at the nicely-wide motivation for the truly
and yelp with animal life – dog, Durban University of Technology. spectacular art festival that we are
fish, hyena, snake, bird, ram… Shibase has just had a show at experiencing right now.
Similarly, Victor’s work teems with the KZNSA gallery (the gallery
dogs, sharks, bears and horses, has also shown both other Dur- Altogether some 115 photogra-
all interacting with humans in a ban nominees in recent months) phers from all over South Africa, as
manner that recalls the relation- which reconfigures history, well as international guests, have
shown up for the party. With an

Alex Emsley
ship between the castaway Indian politics and masculinity with a
boy and the tiger in Yann Martel’s sceptical eye. Shibase’s painted overarching theme of Emergence
Booker Prize winning novel The political figures – unlistening and Emergency - which leaves
Life of Pi. for the most part as politicians plenty of thematic space to explore
Radically uncompromising, the tends to be – worked beautifully visually - Altschuler and col-
work of these two artists is often THE ART in relation to the exhibition that THE ARTFUL leagues have issued a generous,
ART PIG but also challenging invitation to
difficult to stomach. And yet an in-
explicable, almost alchemical, kind COWBOY
occupied the rest of the gallery.
The work of radical art collec- VIEWER Capetonians to come to terms with
of relief comes from with sitting with tive Ultra-Red, Silent|Listen is a contemporary photography.
Alex Dodd their images, breathing through sound and installation based
the painful truths they offer up. It’s
Peter Machen Melvyn Minnaar Let’s hope more and more make
As much as I might enjoy a glass in this strange aftermath that the use of the opportunity to go and
of good bubbly, some Saturday humour often becomes apparent… “If you build it they will come.” have a look. The Mother City is a
A Month of Photo Indulgence
Night Fever action on the dance It’s a paraphrased line from good home for the art of photog-
floor or a picnic in the park with a Victor and Mason are both one of my favourite Hollywood raphy.
A friend, who normally contem-
small clutch of fellow hedonists, draughtsman of the highest order, flicks that has made its way into Cape Town has always been
plates carefully matters of culture
when it comes to art and literature with that rare ability to use a pencil popular culture. The actual film, blessed with top photographic
and cash, recently bought a
I’m a sucker for full blown tragedy, as if it were a wand. Neither is Field of Dreams, is of all things, artists. Of course, the setting and
photograph. A real image, taken by
unmitigated honesty, slow feverish afraid of hours of painstaking a baseball film, and the only people may have to do with the fact
that great man from Soweto, Santu
engagements with doom and labour to produce a work of awe- sports film ever to garner any that, on the high-commercial side,
Mofokeng, of an enigmatic town-
gloom… inspiring subtlety and detail. In the warm critical feeling from me. It like fashion and advertising, some
ship scene, had been printed on
presence of works by both of is a film that teeters on the edge top lense operators have been
paper in black and white, and my
I’d rather spend five hours reading these artists, you become aware of ludicrous sentiment, but just based here.
friend paid a fair amount of money
Philip Roth on death and dying again of the idea of art as a kind of manages to get away with it, in But it is also home to some of the
for it. He had previously bought
than tune into Oprah’s daily self- calling – not so much a matter of the process creating a genuine most formidable original talent.
Themba Shibase: some rather nice prints and even a
congratulatory love fest celebrating being chosen from on high, but of and moving exploration of non- Younger artists such as Pieter
Whose Heritage ll small painting or two, but this was
the joys of public confession, hours of relentless, self-sacrificial religious faith. Hugo and Michael Subotzky are
his first photograph.
It’s also a line that applies to the research exhibition that engages already international stars. (Both
small but consistently expanding directly with the personal and are, as we speak, for example, tak-
‘Photography as art’. Doesn’t just
circle of gallerists in Durban, from political struggles around HIV ing part in international exhibitions;
saying it, bring on a frisson of
such modest concerns as Gallery and Aids. The haunting exhibition with Subotzky featuring in, no less,
sorts? Yes, there is hardly an argu-
415 in Umgeni Road to the large- includes recordings of multiples a show at New York’s Museum of
ment here anymore, but there we
scale commercial space of Kizo voices discussing aspects of the Modern Art.) The brothers Husain
were, two friends, after the deed
Gallery in Gateway Theatre of epidemic as well as an inves- and Hasan Essop, recent Michaelis
had been done and the cheque
Shopping (to the give monolithic tigation into the aesthetics of boykies, make eye-catching stuff
written, we brought out photo
shopping centre its full title) and performance of organisation. and are winning wider audiences
albums of family and friend snaps
particularly to Kizo’s hosting of It is one of several research by the day. And Araminta de Cler-
(perhaps consolidating our status
the expansive Heritage Arts Fes- based exhibitions to have show mont’s astounding Life After visual
as picture collectors, although my
tival in and around Gateway over essay, which Joao Ferreira has just
friend’s had now taken a more seri-
the course of the last month. introduced, is destined for global
Judith Mason: Resurrection at the taxidermy ous vein) in a ritual to talk though
But perhaps it applies mostly acclaim.
the old questions of art again.
success and guilt-free donuts. The dedication to a chosen path of cogently to the Heritage Auction,
splendour of dark art lies in its un- action. during which the work on display Not that we take the likes of Guy
To say we are mid-season in plenty
compromising hyperbolic extremity. in the Heritage Exhibition (the Tillim (his recent show at Michael
of photo talk is an understatement.
When you read the final chapters The title of the Mason exhibition, central element of the festival) Stevenson was brilliant), David
This is, after all, the glorious month
of JM Coetzee’s Disgrace, in which A Prospect of Icons, is a reference will be auctioned off, rather than Lurie (Fragments from the Edge
of October when the fourth Cape
the doomed protagonist spends his to her use of religious imagery, a sold during the exhibition as is is a wow), George Hallett (Made
Town Month of Photography has
free time voluntarily euthanasing central concern in her work. Her usually the case. An undercurrent in France series is at the Iziko SA
the city buzzing with camera and
dogs, your own dire soap opera paintings consist of recurrent and here is the perception that cor- Museum) or even maestro David
print fever.
starts to feel comfortingly mild by ambiguous symbols and anatomi- porate investors and well-heeled Goldblatt for granted.
comparison. cal allusions, such as the wing, the individual art buyers are thin on Themba Shibase: Economic As- And while the brilliance of American
Particularly exciting about the Cape
eye, the heart, the female breast, the ground in Durban. It is this cendence - A New Battle Ground Stephen Shore (a must-see at the
Town Month of Photography - this
In his book Against Happiness: the plait of hair, wire mesh and perception – which few galler- Iziko SANG, and don’t miss his
time orchestrated by Jenny Alts-
In Praise of Melancholy, Eric G under-vest. She harnesses these ists or artists in Durban would at the gallery recently, and at the talks later in the month) is a cherry
chuler and the group who keeps
Wilson, a professor of English through a trajectory of religious deny – that the auction seeks to KZNSA’s AGM this year, one of on top of the CTMoP, there is the
the South African Centre for Pho-
literature, extols the creative power iconography and mythological challenge. Whether the challenge the Society’s members wanting exciting start-out work by Mandla
tography alive - is not that it brings
of gloom, arguing that in our relent- figures, such as Arachne and the proves to be quixotic or manages to know how such research could Mnyakama and Lindeka Qampi
into the spotlight the multitude of
less contemporary pop-cultural pur- Minotaur. Skulls, raw flesh, ghoul- to illustrate an effective demand constitute art. A brief discussion of the Iliso Labantu group. They
talent around us and beyond, but
suit of happiness, we demonstrate ish phantasms and intimations for art in KZN will have been of the hoary banality of is-it-art are showing work at their studio in
makes a vigorous effort to bring the
a ‘craven disregard for the value of of great bloodiness haunt her determined by the time you read started to ensue but was cut Commercial street.
art of photography to the public in
sadness’, which is the muse behind canvases, which would be in good this. The breadth of the festival’s short by a majority who simply the broadest manner possible.
much art, poetry and music. company alongside the work of content and its engagement with didn’t want to go there. But it is It is most fitting too that the organis-
The formal galleries and museums
Francis Bacon or Edvard Munch. figures such as ceramicist Clive telling that these research-based ers are paying tribute to Neville
are hosting particularly fine shows,
For those who have embraced Sithole and artist/curator Khwezi exhibitions have not engaged Dubow. Part of the Talking Images
but there are also photographs
the fact that creativity stems from In many of Victor’s works, ‘the reli- Gule also signals a sea-change the public as much as other Digital show-and-tell projections
in unusual spaces, broadening
discontent, this promises to be a gious structures that are upheld in in the way that Kizo operates in shows, although that’s an unfair at The Biocafe at the CityVarsity
the experience of both artists and
bumper week on the art circuit, with Gothic imagery are seen as part of KZN. What was once derided by phrasing; it’s really the public School of Media and Creative Arts,
viewers. Many famous names pop
Diane Victor exhibiting solo as this the problem’, writes Karen von Veh. some as a commercial gallery is who not engaged the works. Now is an event scheduled for October
up, but also unknowns and fun stuff
year’s festival artist at Aardklop in ‘Not only do we find corrupt clergy increasingly engaging with its lo- there’s a can of worms and a 6.
made by kids abound.
Potchefstroom and Judith Mason’s and evil personified in religious cal and national context and mor- lack of space... Finally, I spent a The ever-well-spoken and informed
retrospective, A Prospect of Icons, devotees, but the very core of bibli- phing into a more contemporary lazy Sunday afternoon exploring Neille Dubow did a great deal to
As Jenny Altschuler - not an unac-
opening at the Standard Bank Gal- cal teaching is subjected to scrutiny hybrid. Of course, this approach the work on show in Construct promote photography, and the quiet
complished photographer herself,
lery. Victor and Mason are two my and found wanting.’ is standard practice in most parts currently on show at the Durban elegant works he himself made
and a curator who has worked
favourite South African artists and Although both have, in their own of the world, but in Durban the Art Gallery. Curated by Erdmann from behind the lens (those Paris-
very hard to pull this whole CTMoP
they have more than few things in ways, ruthlessly tackled the dogma words commercial and contem- and Jacob Lebeko, the exhibi- ian street scenes, for example), are
together - wrote: “There is not one
common. and hypocrisy of Christianity, porary are still seen by many as tion explores the increasingly safely in the permanent collection
kind of photograph or one way of
absorbing their work is a strange mutually exclusive, no doubt one blurry edges of the documentary of the Iziko SA National Gallery.
using photography. Photography
Firstly, there is courage. Both are affirmation of faith in the rigours of the reasons why so many KZN photograph, ultimately positing has many purposes, from telling
artists who refuse outright to prettify of expression. You can’t stand artists leave the province. the unworded question: is all pho- Like my pal who acquired his first
the social story to selling a com-
or tone down their views of them- in a gallery of works by either of Which is an appropriate if tography documentary photogra- serious photographic art work,
mercial product, or giving visual
selves or the frequently brutal world these two artists without being somewhat belated point at which phy? It’s a fascinating show, and Dubow will be much cheered by the
pleasure with colour, composition
in which they find themselves. gobsmacked by a sense of their to congratulate Dineo Bopape for one which bears repeated visits. activities of one whole (and more!)
and design. Photographers use
It’s a ‘dog eats dog’, ‘survival of absolute dogged commitment winning the MTN New Contem- Thankfully, its up until the end of Cape Town Month of Photography.
the medium in the same way as
the fittest’ kind of place, and both to the disciplines of their chosen poraries Award for 2008, and January so there’s plenty of time. musicians create music, choosing
Mason and Victor have repeatedly media. also to mention that three of the If you’re in Durban over the next Enjoy!
genres ranging from rap to jazz or
explored the fine line between four nominees hail from Durban. few months, don’t miss it.
South African Art Times. October 2008 Page 11

Irma Stern “Still life of Blossoms in Vase” Oil on Canvas,

signed and dated 1944 (60 x 55 cm)

Decorative & Fine Arts Auction
Images included from MoP4 are Paul Weinberg, David Goldblatt, Guy Tillim, George Hallett, Graeme Williams, Cedric Nunn,
Eric Miller and Giselle Wulfsohn at The Castle, Cape Town 2-31 October
Thursday 16 October @ 10:00
Established 1891

The 4th Cape Town Month of Photography 2008

Antique and Fine Art Auctioneers

43 to 51 Church Street, Cape Town

Telephone : 021 423-8060
Web :
2 - 31 October, various venues, Cape Town Mail :

- We exhibit the very best in good gavel manners -”

Festivities have already begun in showcasing top photographic by the youngest photographers on Barry White, Nic Bothma and
leading up to the South African artist, Berni Searle as well as the festival, 5th Grader Greyton Madge Gibson.
Centre for Photography’s 4th Egyptian-Parisian, Joussef Nabil. pupils, will run concurrently in the
Cape Town Month of Photog- The AVA Gallery in Church street national gallery’s Annexe, as a Then and Now, probably the most
raphy 2008, or MoP4, as the will open with Ian Engelbrecht’s reference point also for a large prestigious exhibition on the fes-
Photographic world knows it. Seed of Memory on the 6 October schools photography workshops tival, compares images shot both
Officially set to open at the Iziko after an exhibition by 5 female programme, already running from before and after South Africa’s
Castle of Good Hope on Thursday photographers calling themselves 1st September. This exhibition has transition to democracy by South
evening 2nd October at 6pm, this The Leage of Anachronistic Ahis- just returned from the prestigious Africa’s most well known photogra-
triennial festival will showcase a toric Photographers Specialising Heresford Photographic Festival in phers, most of whom were active
huge range of our South African in Archaic Processes showcasing England. Producing mobiles in The in the Afrapix agency during the
photographers, from conceptualist from 13 September to 3 October. Happy Mobile workshop, concep- struggle, Paul Weinberg, David
fine artists to photojournalists and The Photographers Gallery ZA in tualized by Shani Judes of Word of Goldblett, Guy Tillim, Cedric Nunn,
studio photographers. Curated by Shortmarket Street has the already Art, and partnered by Cape Africa Eric Miller, Giselle Wulfsohn,
The American Master photographer Steven Shore is currently
photographer and educational- successful new masters graduate, Platform and the Iziko Education Graeme Williams, George Hallett.
showing at Iziko National Gallery
ist, Jenny Altschuler, this year’s Barbara Wildenboer with her dis- team, will encourage children to Also at the Castle is an exhibition
festival promises to be an exciting sertation series, Present Absence/ see the most positive sides of life balancing an extending past the
balance of exhibitions, workshops, Absent presence. and think on others less fortunate documentary genre style of as well as Andrew McIlleron, Sean with something for everyone,
walkabouts, show - tell evenings The Alliance Francaise in Loop than them. The mobiles will be do- Then and Now exhibiton, called Wilson, Michael van Rooyen, Brett from newcomers to the medium
and other events, celebrating the Street will open on 9 October with nated to children’s homes around Construct. The Photographers Rubin, Damien Schumann, Sharon to specialists working in photog-
versatile range of visual expres- Marie-Stella Von Saldern’s Mira- the peninsula. Gallery ZA will present work for Peers, Melinda Stuurman, Zandile raphy for many years. Please
sion and talent of a large selection cles of Lourdes, France and Sean Down the pathway from the this exhibiton by Dale Yudelman, Tisani and Candice Chaplin will call 0214624911, 0826815513
of our country’s photographers. Wilson’s Memento Vevere series National Gallery, at the Iziko South Abrie Fourie, Nomusa Makhubu, also present new and exciting bod- or 0829355522 for the full daily
The education component offers as well as Henk Mulder’s series on African Museum, 13 Photogra- Roger Ballen and Lien Botha, with ies of work in this show. schedule.
long standing photographers as Beyond the body. phers will be showcased from more conceptualist themes. A balanced series of exhibition
well new learners and the lay National Heritage day opening at A third exhibition at the castle, shops, talks and master classes See for
public opportunities to participate It is not often that international 2pm with marches and musical under the theme of Emergence will run the length of the festival the full bonanza.
in photography related experi- exhibitions can be afforded by performances leading up to the and Emergency, curated which is
ences that could extend their own our local cultural institutions, but opening. The public is invited to also the overall theme of the 2008
capacities. the triennial this year has been partake of the images, snacks Cape Town Month of Photography,
granted a bonus by the Roger Bal- and celebration of photography. will showcase young upcoming
Cape Town city’s most prominent len foundation who is bringing the Showing in this space from 24 photographers, not yet well known
art and photo galleries will host the highly acclaimed American Master September to 24 November but with strong bodies of work.
core exhibitions and workshops of Photography, Stephen Shore, are George Hallett and Santu Among these are 7 Gauteng
with large components in the to Cape Town with a retrospective Mofokeng, 2 of South Africa’s photographers, photographers,
National museum and National exhibition of will run for 2 months most prominent photographers, Buyaphi Precious Mdledle, Anneke
gallery sites. Joao Ferreira Gallery from Heritage day 24 September, as well as acclaimed West African Laurie, Christelle Duvenage, Mal-
will present acclaimed award 6pm at the Iziko South African photographer, Sergio Santimano, colm Phafane Dhlamini Jabulani,
winner, David Lurie’s new body of National Gallery. Shore will also American South Africans Ian van Whitney M. Rasaka and Chris
work, Fragments from the edge, hold Masterclasses while he is Coller and Tessa Gordon, Tracey Kirchhoff as well as German Jess
and Araminta de Clermont’s Life here during October. My Life, an Derrick, Jenny Altschuler, Raquel Meyer and English Richard Mark
After. The Prestigious Michael exhibition of colourful representa- de Castro Maia, Colin Stephenson, Dobson. Cape Town based brother
Stevenson Gallery is already tions of their home environments, Garth Stead, Pieter Bauermeister, team, Husain and Hasan Essop,
Page 12 South African Art Times. October 2008

Above and below, stills from Paul Emmanuel’s 3 SAI a Rite of Passage

Fine Artist shows flare for video

Artist Paul Emmanuel’s 12 minute film is both a visual and intellectual triumph, writes Mary Corrigall
It wasn’t the typical setting for exhibition is focused on transfor- that are designed to induce mean- link between our cognitive and
a film preview. With an array of mation, the shifts in male identity. ing. Emmanuel’s film, however, emotional selves. Emmanuel has
garden, lounge and dining chairs captures slices of reality. The also achieved what no South
lined up in front of a white wall that Billed as a cinematic art film 3 SAI individuals in his film may be per- African video artist has to date: he
would function as the screen, Paul (the Third South African Infantry formers but they are presented as has created an artwork which fully
Emmanuel had created a make- Battalion), A Rite of Passage real-life folk undergoing change. utilises or exploits the qualities that
shift cinema in his loft apartment in promised to be something different only film can offer.
Milpark for the screening of 3 SAI from the outset. And it didn’t disap- The poetic or lyrical imagery
A Rite of Passage, which is part point. Emmanuel is an obsessive depicting picturesque landscapes So many artists today are wont to
of his Transitions exhibition at the art maker; not in the sense that that are spliced in between creates employ various mediums in their
Apartheid Museum. he is simply fixated with his craft these two parallel worlds: one of art making, including photography,
but the meticulous and detailed control and order and another of digital art and film, but more often
Haunted by the Hansie movie pre- etchings for which he is known are wild, sensual abandon. They could than not they have no techni-
view, the small clutch of arts jour- clearly the result of a compulsive also signify the contrast between cal mastery over their medium.
nalists gathered in Emmanuel’s loft hand and thinker. How was this one’s empirical and emotional How can they, when they flit from
apartment looked apprehensive. approach going to translate into experiences of the world. Neither paint to photography and then to
It also didn’t help knowing that the film? realm is static, however, even sculpture? And though the value of
discipline of film is a completely the seemingly untouched natural art is no longer measured by the
new avenue for Emmanuel. He is And, more importantly, how did landscapes. artist’s proficiency with his or her
a fine artist by trade, and though Emmanuel concede control of medium, one can’t deny the impact
he has five solo exhibitions under his art? After all, creating a film is Using time-lapse photography that a well-crafted object can have
his belt, he is not known as a video not a solo project; ultimately, its techniques, Emmanuel shows this on the overall communication.
artist - the designation for those success depends on the chem- outwardly unchanging topography This is why big-wig artists such as
who employ film as their medium istry between all its co-creators. to be in a constant state of flux. In Damien Hirst pay folk to make his
of expression. Perhaps this is why Emmanuel’s contrast, young men are shown art for him rather than fiddling with
art film took so long to craft. It is having their hair shaven as they mediums that he is not completely
Video art has experienced a bit of mind-blowing to think that it took enter the army in real time, pre- au fait with.
a revival on the South African art Emmanuel and his team more senting a different kind of shift.
scene. The Spier Contemporary than four years to produce just 12 With 3 SAI A Rite of Passage,
Award exhibition earlier this year minutes of film. The two worlds aren’t necessarily however, Emmanuel has created
boasted quite an array of video separate and, as the film progress- an artwork that has value as a
artworks and the exhibition that Si- Drawing from art, photography and es, elements in the young men’s cinematic initiative and not just as
mon Njami curated for the Jo’burg the documentary film genres, Em- lives filter into or are echoed in, an art object. Most video artworks
Art Fair, called As You Like It, was manuel’s film probes the politics the empty landscapes, such as the in this country have absolutely no
dominated by video art. Almost of male identity through a series physical connection between blond visual appeal; they are completely
every important exhibition of late of non-narrative vignettes that hair falling and the honey strands concept driven. But 3 SAI A Rite of
has featured a video artwork. move between images of vast and of grass blowing in the wind. Passage is as aesthetically pleas-
barren landscapes to army recruits ing as it is intellectually exciting.
It’s an immediate form of expres- being inducted into the South Whatever compromises Em-
sion that demands viewers African National Defence Force. manuel may or may not have 3 SAI A Rite of Passage is part
attention in ways that static objects In this way Emmanuel juxtaposes made in assuming this new me- of Transitions, an exhibition by
can’t. But it is mostly prized by reality with abstraction or truth with dium, the end result is impressive. Paul Emmanuel that is showing
artists for its capacity to repre- lyricism. The film’s intellectual or concep- at the Apartheid Museum until
sent altered states. Its dynamic tual dimensions are challenging, December
nature allows artists to visibly map Most video art tends to draw on stimulating and rich: probing white
change. This is probably why it performance art; a set of artificially identity, maleness, race and, on
appealed to Emmanuel; his new constructed or contrived actions a more transcendental level, the
South African Art Times. October 2008 Page 13

David Krut reads from one of his many TAXI Artist series books

Art Community Profile: David Krut

Michael Coulson chats with multi talented David Krut
an art gallery at his Dion discount photography. in Johannesburg, Krut regards Michael MacGarry, is imminent.
store (today Game) in Wynberg. himself as a publisher, facilita-
Diplomatically, Krut won’t com- tor and educator rather than a His initial space in Parkwood was
Krut was also instrumental in ment on how his relationship with gallerist. rented to accommodate Egon
bringing Dan Cornwall-Jones out Knight developed, but it’s generally Guenther’s old printing press to
to run Friedland’s gallery, and thought that today they don’t In 1999, he learnt that funding was establish a print workshop. Colbert
regards Cornwall-Jones as his exactly exchange birthday cards. available for books on contempo- Mashile and Amos Letsoala – now
mentor. “He taught me what it is to rary SA artists. Krut insisted that curator of the Polokwane museum
help collectors. You can only learn In 1993 Krut came back to SA for this had to be a sustainable series, – were among the first to use the
about the art market from talking what he thought might well be the not just an occasional project, and facility.
to artists and the highest-level last time, to attend his friend the in theory has been producing three
dealers like him, you can’t pick it writer and arts critic Robert Greig’s Taxi books a year ever since. But, like Topsy, it just grew and
up from books.” wedding. There he happened to grew. First, surplus space was
meet actress Grethe Fox, his part- Reality is that artists, writers used to accommodate a bookshop.
In 1980 Krut decided to become ner ever since, and though he’s – who he sees as being as much Then, another vacant space a
an art dealer himself. “Art was still nominally based in London, the beneficiaries of the series as couple of doors away was taken
still affordable in those days,” he his links with SA were reforged the artists –and designers don’t on as a dedicated gallery, after
recalls. “I used to sell Hockney unbreakably. always meet their deadlines, so its previous tenants, who sold
prints for 100 pounds or so.” the Taxi series numbers 13 to date. traditional West African art and
Meanwhile, in the 1980s he’d also He doesn’t see any necessary artifacts, did a midnight flit. And,
The following year he published started to deal in contemporary art, end. “Taxi books are intended to most recently, Krut also took over
his first print, by Joe Tilson, a con- for which there was no market in celebrate artists in mid-career, the bookshop at the Johannesburg
temporary of Hockney and Richard SA, so he extended his activities so by definition new people are Art Gallery which, he says, doesn’t
Hamilton at the Royal College of to North America and Australia. In becoming eligible subjects all the make money, but is an essential
Art. While he had no intention of 1985 he held a big Andy Warhol time.” It may be tough to maintain service.
opening a gallery, he saw potential show in Sydney, selling works quality, but on the evidence to
in travelling exhibitions. Appro- for $1 000 that now command date the Taxi books are the most With more or less permanent es-
priately, he started with a Tilson $90 000. “I wish I’d kept a few for attractive and authoritative series tablishments in London and New
show, which he brought to various myself,” he says ruefully. SA has yet produced. York as well as Johannesburg,
One of the more versatile char- He was approached for advice by venues in SA. Krut is uniquely placed as a funnel
acters on the local art scene is Fernand Haenggi, who wanted to But although he has a space, es- And he’s about to launch a new both to take SA art to the world,
David Krut, a qualified account- set up an offshoot of his Gallery 21 That opened his eyes to the op- sentially a print workshop, in Chel- series of books. Clumsily titled and bring international art to SA.
ant (BCom, CA, Wits) who went – once well known in Johannes- portunities for contemporary art sea, the centre of the New York Skill Set: Knowledge Resource &
to London in 1972 to become burg – in London. While he didn’t in SA. In association with Natalie art world (“There are 400 galleries Education Series, it aims to pro- The only question is, where will
a banker but changed course a get directly involved, he learnt a lot Knight, he brought out a selection in Chelsea,” he says – he opened vide instruction in various design this protean entrepreneur and art
couple of years later when the about the art market after introduc- of Italian artists in 1983 and Berlin his the day before 9/11), as well disciplines, including graphic, set, lover break out next.
financial sector when through one ing Haenggi to Dion Friedland, an art in 1984. His last import was in as being the pioneer of what has fashion and industrial design. The
of its regular upheavals. art collector who for a while had 1989, to celebrate 150 years of developed into Parkwood’s art strip first volume, Graphic design, by
Page 14 South African Art Times. October 2008

A panoramic view at Beautiful Inside My Head Forever (BIMHF) Auction held at Sotheby’s London September 15 and 16 2008. Photo’s from Sotheby’s London

Hirst sale delivers new chapter in art marketing

Michael Coulson gross and 40% more than the total
of Bonhams’ latest sale of SA art.
Opinions are sharply divided The estimate for this was
whether Damien Hirst is a great £ 8m-£ 12m.
artist. Before his record-breaking
sale at Sotheby’s in London in The theoretical losers on the show
September, one eminent critic, were Hirst’s regular galleries, the
Robert Hughes, called his work White Cube in London, which
“simple-minded” and the artist gritted its teeth and congratulated
a “pirate”, while another, The Hirst on being a “mould-breaker
Observer’s Peter Conrad, was without equal”, and New York’s
converted from considering him a Gagosian. In fact, White Cube
“greedy, cynical, overpaid show- founder Jay Jopling bid on many
off” to an admirer of his “wit and lots, laying out several million
ingenuity in wrestling with notions pounds, whether to replenish the
of mortality and death.” gallery stock or just to support the
market one can only hypothesise.
What’s undeniable, though, is
his commercial genius. The sale, (Incidentally, recent news that
entitled Beautiful Inside My Head Jopling and his wife of 11 years,
Forever, grossed £ 111m. With photographer and video artist Sam
the auction house waiving its Taylor-Wood, are to part breaks up
usual seller’s commission, deduct- one of the London art world’s top
ing the 12% buyer’s premium left power couples.)
Hirst with a staggering £ 96m,
just above the upper estimate of The decision to sell through the
£ 98m.. auction is largely credited to Frank
Dunphy, Hirst’s business manager
Even had Sotheby’s charged its and eminence grise for the past 13
normal commission, probably years – whose own commission
12%, it would still have been a on all Hirst’s sales is thought to be
lot less than the 40%-50% most about 10%, making him another
commercial galleries now levy. major beneficiary of the two-day
So while the innovation may have sale. Dunphy also master-minded
been risky, the potential rewards Hirst’s expansion into production-
were considerable – and it paid line art, through 180 employees
off. and five studios.

The previous record for an auc- Hirst has admitted he had financial
tion dedicated to a single artist problems when he and Dunphy
was £ 11.3m, for 88 Picassos at got together, but before the sale
Sotheby’s New York in 1993. Even Dunphy claimed that the artist is
allowing for inflation, the latest now worth £ 500m. His assets
figure is staggering. reportedly include a £ 200m art
collection and no fewer than 40
Well under 10% of the 223 new properties, and he’ll be able to ex-
works apparently failed to find pand both portfolios after two days
buyers, while 24 lots went for that boosted his wealth by 20%.
£ 1m or more.
Typically, Dunphy watched the
Top price was £ 10.3m for The sale from the back of the hall,
Golden Calf, a bull in formalde- but Hirst, who said he found the
hyde adorned with hooves and an occasion too stressful, retreated to
18-carat gold disc above its head a snooker hall in north London and
– not far short of the 1992 Picasso kept in touch by phone.
Damien Hirst infront of his work entitled: The Golden Calf Photo: Johnnie Shand-Kidd
South African Art Times. October 2008 Page 15

Fiona Ewan Rowett


Cape Town’s largest contemporary art gallery

exhibiting works by leading South African artists


Carmel Art distributors of

66 Vineyard Road, Claremont van der Westhuizen
Ph: 021 671 6601
Website: full selection on website

Hout Street Gallery

David and Gail Zetler

270 Main Street, Paarl, 7646.

Phone + 27 (0) 21 872 5030

Fax + 27 (0) 21 872 7133

Artwork: Bea Jaffray,

Ceramic No.3 Green - Gold Border