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

ART TIMES
Exclusive interview and photographs of Schadeberg by Jenny Altschuler
Jurgen
Schadeberg

ARTISTS’
RECORDS 2010
Irma Stern
Sold R 13 368 000, October 2010
Pieter Wenning
Sold R 1 225 400,
November 2010
Anton van Wouw
Sold R 2 228 000, March 2010
Maud Sumner
Sold R 2 450 800, November 2010
Walter Battiss
Sold R 1 336 800, March 2010
Stanley Pinker
Sold R 2 450 800, October 2010
Cecil Skotnes
Sold R 2 005 200, May 2010
Jane Alexander
Sold R 1 058 300, March 2010
Enquiries:
Johannesburg
011 728 8246
jhb@straussart.co.za
Cape Town
021 683 6560
ct@straussart.co.za
Visit our website
www.straussart.co.za
ARTISTS’
RECORDS 2010
Irma Stern
Sold R 13 368 000, October 2010
Pieter Wenning
Sold R 1 225 400,
November 2010
Anton van Wouw
Sold R 2 228 000, March 2010
Maud Sumner
Sold R 2 450 800, November 2010
Walter Battiss
Sold R 1 336 800, March 2010
Stanley Pinker
Sold R 2 450 800, October 2010
Cecil Skotnes
Sold R 2 005 200, May 2010
Jane Alexander
Sold R 1 058 300, March 2010
Enquiries:
Johannesburg
011 728 8246
jhb@straussart.co.za
Cape Town
021 683 6560
ct@straussart.co.za
Visit our website
www.straussart.co.za
THE LIE OF THE LAND
Representations of the South African Landscape
Curated by Michael Godby
15 October 2010 to 28 January 2011
Sanlam Art Gallery
2 Strand Road, Bellville
Hours : Monday to Friday 09:00 to 16:30
Telephone 021 947 3359 • Catalogue on sale • Entry Free
J.H. Pierneef (1886-1957), Leadwood trees, Bushveld, 1944, oil on canvas, Sanlam Art Collection.
Sanlam_LOTL_Ad.indd 3 9/23/10 9:37:51 AM
THE LIE OF THE LAND
Representations of the South African Landscape
Curated by Michael Godby
15 October 2010 to 28 January 2011
Sanlam Art Gallery
2 Strand Road, Bellville
Hours : Monday to Friday 09:00 to 16:30
Telephone 021 947 3359 • Catalogue on sale • Entry Free
J.H. Pierneef (1886-1957), Leadwood trees, Bushveld, 1944, oil on canvas, Sanlam Art Collection.
Sanlam_LOTL_Ad.indd 3 9/23/10 9:37:51 AM
The largest selection of paintings,
sculpture and glass by new and
renowned South African artists.
Margaret Gradwell H. Poïet
WELGEMOED GALLERY: 31 Kommandeur Rd, Welgemoed, Bellville · T. +27 21 913 7204/5 · F. +27 21 913 7206 · lindy@artpro.co.za · www.artpro.co.za
TYGERVALLEY GALLERY: Shop 589, Tygervalley Centre · T. +27 21 914 2619 · lvntvalley@artpro.co.za
ART TIMES | NEWS
The South African
Art Times
December 2010 -
January 2011
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06 SA ART TIMES. Dec 2010- Jan 2011
By Percy Zvomuya
First published in the Mail & Guardian
When the Co-op gallery opened more than a year
ago, it was the only creative space on
Braamfontein’s Juta Street.
In its vicinity, there was a car dealership, high-rise
buildings housing students, a “hotel” that still
charged hourly rates and the offces of a waste-
collection company.
Fast forward to November 2010 and Juta Street
has become the city’s newest and most vibrant
creative district. The galleries Brodie/Stevenson
and Afronova have moved to Braamfontein; the
old army surplus shop on the corner of De Beer
and Juta has morphed into 70 Juta Street, a
swanky creative space containing a coffee shop,
a forist, an architectural practice, an interior-de-
sign studio and a flm and camera company. The
mall, which has offcially been opened, completes
Juta Street’s metamorphosis; that and the news
that the French Institute of South Africa, fashioni-
sta David Tlale, visual artists Wayne Barker and
Johannes Phokela and iconic pianist Abdullah Ib-
rahim are to move into the area to establish their
studios and offces. Brodie/Stevenson has moved
from, in the words of David Brodie, a ”peculiar
part of Jan Smuts Avenue” to crouch at the foot of
the Nelson Mandela bridge.
On the other side
The gallery Afronova, owned by Frenchman
Henri Vergon, has also moved from Newtown
to De Beer, an adjoining street. On the other
side of Bertha Street the road that leads to the
Nelson Mandela bridge graffti artist Rasty and his
partners Curio and Angel have moved to a bigger
space, next to his former shop. The Wits Gallery,
to be housed on the corner of Bertha and Jorissen
streets, is slowly taking shape, and will be opened
next September or October, a development that
Brodie describes as the “single most important
event”. Brodie is looking forward to a “dynamic
exchange between himself, his artists and the
Wits Gallery”. The Mail & Guardian spoke to
Brodie on a Thursday mid-morning, a few hours
before the opening of photographer Pieter Hugo’s
exhibition Permanent Error.
The decision to be in Braamfontein “the most
exciting part of Jo’burg at the moment” was
motivated by the “idea to relocate to a part of the
city with lots of energy”.
Most of this energy exudes from the students who
attend Wits University, Rosebank College and
other tertiary institutions in the area. “You sit here
[in the gallery] and look at the bridge, an important
marker of the relationship of the city with the
northern suburbs,” Brodie says.
(continues on page 07)
Braamfontein:
from dumpster to
state of the art
NEWS | ART TIMES
SA ART TIMES. Dec 2010- Jan 2011 07
Hipper times: A cleaner, more trendy, Juta Street
in Braamfontein, Jo’burg, is refected in the
window of one of its new shops.
(Samantha Reinders, M&G)
(continued from page 06)
Connecting bridge
The naming of the bridge after the country’s
favourite citizen is, of course, an attempt to con-
nect the north and the south. The bridge connects
the multitudes who live in the south and earn their
bread in the north and the northerners who work
in Jo’burg’s CBD.
Even though Juta Street sits in the shadow of
the famous bridge, it has nothing of the saint’s
halo. In fact, the offces of Pikitup, the city’s waste
management company, are on Juta; that seemed
to be ominous.
For some time, this particular street has been the
proverbial dumpsite of Braamfontein. It was safe
only during the day. As nightfall descended, so
did an air of menace. The signs that Braamfontein
could one day sprout into life have always been
there; indeed, when the Alexander Theatre was
reopened a few years ago, most people thought it
was the moment.
A few productions later, it soon became apparent
that Braamfontein, which already has the Joburg
Civic Theatre and Wits Theatre complexes, wasn’t
quite ready to have three theatre venues.
Months later, the top-end restaurant Narina Tro-
gon on De Korte Street was opened, bringing sub-
urbanites who wanted to eat out in a place that
felt a bit like town, but without the city’s attendant
terrors. Further down the street, Rand Lords, a
high-end rooftop bar, hosts functions and parties
for the city’s high-fyers.
Much of this renewal (or gentrifcation) of Braam-
fontein has been spear-headed by Southpoint,
the property developer that owns and runs many
apartment buildings in the area (as well as Rand
Lords). The ingredients of a street life were
always there, to be sure, thanks to the teeming
student population. Braamfontein has boasted a
pavement culture that is perhaps without parallel
in the whole of Jo’burg.
Although pockets of street life exist elsewhere in
the city, for instance on 7th street in Melville or at
Arts on Main in Jo’burg’s inner city, there’s some-
thing not quite organic about a lot of it. Go to Arts
on Main on, say, a Monday afternoon, and the
only people you will see are the security guards.
Braamfontein is different; its life is lived on the
streets: barber shops, newspaper kiosks, hotels,
fats, fast- food restaurants, spaza shops and
internet cafes are evidence of the people who call
it home. Perhaps the Paris-born Vergon fnds the
Braamfontein vibe oddly familiar; Parisians, he
says, “like to live on the street”.
Moving to Braamfontein
His decision to open his gallery in Braamfontein
wasn’t motivated by monetary concerns. “If I was
considering the business aspect, I would have
gone to Parktown or Parkhurst,” he says.
It’s a decision that people questioned. Vergon
says when some heard that he was moving
to Braamfontein, “they thought it was a crazy
decision”. But he and his fellow creatives are in
Braamies to stay. His ethos reminds one of the
proverb, “a man does not plant a tree for himself;
he plants it for posterity”. So, Vergon and his fel-
low folk recently planted trees.
“We planted trees last week and one day they will
be big,” he says, while showing off his gallery to
visitors. “We have a chance to make an impact on
the city, to make it enjoyable.”
Braamfontein has something endearing about
it, something safe in its make-up. “Braamfontein
isn’t scary for a lot of people,” Vergon says. It
could be the stability that is gestured by Civic
Hill, Constitution Hill beside it and Wits University
down the road.
In spite of the shelter of being close to Constitu-
tion Hill, that bastion of South Africa’s democracy,
Braamfontein is still part of the CBD and so
fragments of fear still exist, which is why there
are some who believe that people like Vergon
“are idealists”. Vergon dismisses the idea, saying
instead, it’s because “we are free”.
One of the frst creative people to set up base in
Braamfontein was Rasty, the graffti artist. In the
three years he has been around “much has hap-
pened”, he says. He and his business partners
started with a shop that sold spray cans for creat-
ing graffti and other paraphernalia, but now have
a gallery space where graffti and tattoo artists
showcase their works.
“We want to be known as the place where cool
is happening,” he says of a space that hosts
monthly exhibitions by the denizens most in touch
with street culture. “We have the kind of work you
wouldn’t see in any other gallery space.
Everything we do has its foundations in street
culture,” Rasty says.
He’s wary of the sudden interest in Braamfontein
and its possible consequences: “When we moved
in, it was because it was a central spot, cheaply
priced. Suddenly, it’s a cool space to be. We hope
the renewed interest won’t squeeze out the young
people,” Rasty says.
When renewal happens, squeezing out follows,
but for now Braamfontein is just basking in the
spotlight.
ART TIMES | NEWS
08 SA ART TIMES. Dec 2010- Jan 2011
David Thomas
First published in The Cape Times
Car seats are often littered with miscellaneous
objects -hamburger wrappers, old books, an odd
running shoe. But an Irma Stern painting? Rarely
Yesterday the Wynberg Magistrate’s Court heard
that Hout Bay man Nazeem Said had noticed
the R2.2 million painting Still Life with Fish in a
vehicle parked outside the owner’s house and
had swiped the valuable work. Said was ordered
by magistrate Hafesa Mohamed to be remanded
in custody until November 29 while police compile
a criminal profle of him.
Last month, a Stern painting fetched a record
price when it was sold in London. Bahora Girl
was bought for R26m at a Bonham’s auction.
Prosecutor Kepler Uys said that Said, 31, had
broken into the unnamed owner’s car at 7.30pm
on November 16 by smashing a window. Two
other paintings, which were part of the same pri-
vate collection, had been stolen from the vehicle.
Paintings were stolen off car seat.
When taken together, the value of the three works
is around R3m, according to court documents,
with the 1934 Stern painting being by far the
dearest. A handful of CDs were taken along with
the paintings. Said was arrested three days later
when the police found him in possession of the
paintings at his home. The works were returned to
the owner undamaged.
Man stole R2.2m
Stern paintings
out of car
In November in Kyoto, Japan, William Kentridge
was awarded the 26th annual Kyoto Prize for
lifetime achievement in Arts and Philosophy by the
Inamori Foundation. Kentridge, the frst South
African to receive this award, was selected for his
originality as an artist whose wide-ranging activities
encompass drawing, animation, stage direction
and writing. As Japan’s highest private award for
global achievement, the Kyoto Prize honours sig-
nifcant contributions to the betterment of society.
Kentridge awarded the 26th Kyoto Prize for lifetime achievement
Landmarks
Nandipha Mntambo announced as the 2011 Standard Bank Young
Artist Award winner for Visual Art. Well known for her experimentation
with natural materials, cowhide in particular, Mntambo is as concerned
about the creative process as she is with the end result of her work.
Her creativity has crossed many national, cultural, emotional and
artistic boundaries. “My intention is to explore the physical and tactile
properties of hide and aspects of control that allow or prevent me
from manipulating this material in the context of the female body and
contemporary art,” Mntambo explained.
Nandipha Mntambo announced as the 2011
Standard Bank Young Artist Award winner for Visual Art
Born in Randfontein, South Africa in 1930, David Goldblatt has been
documenting the changing political landscape of his country for more than
fve decades. His photographic essay South Africa: the Structure of Things
Then was made into a monograph and also shown at the Museum of Mod-
ern Art, New York, in 1998. Goldblatt’s work was included in Documenta 11
in 2002, Documenta 12 in 2007, and the traveling mega-exhibition “Africa
Remix” (2004–07). His limited edition book, Particulars, won the award for
the best photography book at the Rencontres d’Arles festival, France, in
2004. Goldblatt won the 2006 Hasselblad Foundation International Award
in Photography. He received an Honorary Doctorate in Literature from the
University of the Witwatersrand in April 2008.
Subscribe to The R 320 SA Art Times Christmas Special
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David Goldblatt reaches a young 80 in November
2010_ArtTimes_70x297 10/21/10 10:55 AM Page 1
C M Y CM MY CY CMY K
NEWS | ART TIMES
SA ART TIMES. Dec 2010- Jan 2011 09
Johannesburg Art Gallery turns 100
Centenary celebrated by launch of a catalogue : One Hundred Years of Collecting:
Johannesburg Art Gallery
In 2010 the Johannesburg Art Gallery celebrates
one hundred years of collecting art. Established
by Florence Phillips in 1910, the JAG collection
has had a signifcant impact on both the local
and global art community. JAG is committed to
preserving and providing access to our national
heritage and giving due recognition to South
Africa’s neglected artists through our exhibitions,
publications and education programmes. JAG’s
collection contributes to the cultural backbone of
Johannesburg and our collection has served to
open dialogue and make a path for meaningful,
intellectual and academic debate, ultimately
contributing to change and impacting on society
at large.
In order to celebrate the centenary of the collection JAG has launched a catalogue entitled: One Hun-
dred Years of Collecting: Johannesburg Art Gallery. The publication features essays by Khwezi Gule,
Nessa Leibhammer and Bongi Dhlomo, amongst others, and has been edited by Jillian Carmen.
The initial celebrations will be followed by a strategy to improve the facilities and upgrade the building
for 2015, the year which marks the centenary of the construction of the JAG building. The centenary
publication as well as the celebration evening is sponsored by Anglo American in South Africa.
The event will centre on Transformations, an exhibition of work from the collection by women artists.
Other works displayed in the Foundation Room and the Matters of Spirit permanent exhibition will also
be on view and there will be a video performance by artist Stephen Hobbs on the same evening. Hobbs’
projection will interrogate the gap between the old and the new buildings and how this serves as a
space of aesthetic and political questioning.
The Johannesburg Art Gallery is located in Joubert Park with the entrance in King George Street
(off Wolmarans or Smith depending on the direction that you are coming from).
For further information, please contact: (t) +27(0)11 725 3184/3130 or jag@joburg.org.za
striving in our passion towards excellence
t 27(0)13 7582409 f 27(0)11 5075747
theloop@worldonline.co.za
www.theloopartfoundry.co.za & www.thelooponline.co.za
art foundry
the loop
ART TIMES | NEWS / CERAMICSA POTTER’S MARKET
Ceramics SA: Potter’s Market
Potters transform Rondebosch Park into a hub of ceramic expression
By Leila Bloch. Photos : Anna Stielau
In Cape Town, obsession with pottery is an unassuming but popular pastime.
A visit to the Rondebosch Potters Market highlights this; with over eighty
potters congregating to exchange notes, reconnect and generate a thriving
industry. This biannual event takes place in March and November and is an
intersection of art, character and functional products. Shaded by the leafy
oak trees of Rondebosch Park, regulars diarise this event well in advance
and come early to get the best of the lot. Recent clay wheel demonstrations
and guided tours make this an interactive experience which is also a direct
linkage to the ceramic network of Cape Town. Gas, wood or horsehair- fred
there is enough Pottery to make your eyes glaze over with variations of
textures and shapes.
There is a great concentration of ceramics in Cape Town. Being rich in
resources such as clay, colour, kiln and cheap electricity help make it the
ceramic capital of the world. The Potters Market has been established since
1969 and as the saying goes: “Each pot has the smell of the potter”. Rea-
sons for creating and participating are as varied as the ceramics themselves.
For reputed artist John Bauer it’s the historic value of pottery. He fnds
comfort in knowing that “every civilisation since the cavemen have engaged
with this tactile art” and pieces of this medium will be long-lasting even after
they have been lost or broken. Henny Meyer - established in galleries in
Shanghai and soon to be exhibiting at the Irma Stern Museum in Rosebank
- is drawn back to the market for the opportunity to directly engage with his
viewers. What inspires him is giving over to the chance effect of pottery
once you place it in the kiln- just like the market there is always an element
of surprise. Chairman of Ceramics SA, Ralph Johnson, is delighted by the
accessibility of so many handmade and original products, made by the fnest
local and internationally selling artists to be had at village market prices at
the Rondebosch market. Next Potter’s Market: Sunday March 20th 2011.
10 SA ART TIMES. Dec 2010- Jan 2011
OBITUARY / NEWS | ART TIMES
19 January 1921 - 3 November 2010
Shirley Cloete began her career as a glass artist
only in her early forties, but became the foremost
and, for many years the only, exponent in this feld
in South Africa.
She was born on the farm Glendower outside
Johannesburg to Colin Bain Marais, farmer and
member of the South African parliament and his
wife, Dinky. Dinky was the daughter of Sir Thomas
Cullinan, owner of the Premier mine outside
Pretoria, where the Cullinan diamond, the largest
diamond ever found, was discovered...
In 1944 Shirley met and married Sandy Bairnsfa-
ther Cloete, owner of the historic wine farm, Alphen
in the Constantia Valley. For the following 16 years
Shirley played the role of wife, mother and society
hostess. She raised money for charities and joined
the Black Sash, using this platform to protest
against the injustices of apartheid.
Shirley and Sandy divorced in 1961 and, with her
children almost adult, she found herself free to pur-
sue her artistic talents. She attended the Michaelis
School of Fine Art at the University of Cape Town
and studied design under May Hillhouse. Attracted
by the medium of glass, she scoured dump sites
for bottles and other glass to make collages, but
found the colours and shapes limiting.
From there she went to London and Annette Meech
of the Covent Garden workshop gave her her frst
lessons in glass blowing. She became a member
of the British Artists in Glass (BAG) and visited and
worked with them in London annually for many
years, extending the range of her work
way beyond her original panels.
No-one had yet attempted the technically challeng-
ing art of blowing glass in South Africa. This did
not deter Shirley. Her mother had bought the farm
Morgenster in Somerset West outside Cape Town
and she appropriated a range of farm buildings
on this beautiful Cape Dutch wine estate for her
studio. She persuaded a series of male friends with
engineering skills to set up her studio, build kilns,
annealing ovens and grinding and polishing
machinery, which they continued to maintain.
Over the years she practised and perfected her
craft, often inspired by the light and colour of the
underwater scenes she enjoyed while diving off
the Danger Point coast, where she had a seaside
cottage.
Shirley exhibited in South Africa, London,
Germany and Canada and her annual open days
at Morgenster became a pilgrimage for collectors.
She accepted many commissions, among them
one from interior designer Graham Viney for a pair
of glass sculptures for the Mount Nelson Hotel in
Cape Town. This work was one of 100 pieces out
of 2,500 international entries recognised by the
Corning Museum of Glass in New York for their
“New Glass Review 27” in 2005. Albie Sachs, judge
and anti-apartheid activist invited her to create a
panel for the new Constitutional Court in Johannes-
burg, along with works by other prestigious South
African artists. And she made 10 wall lamps, her
legacy to Alphen, home during her marriage and
now an hotel owned by her daughter Nicky. Shirley
was offcial artist in residence at the National Arts’
Festival in Grahamstown in 1996 and was asked
by Renault to exhibit at a special exhibition with
other selected artists in 2005.
Shirley died peacefully at home in the Waenhuis,
attached to her studio at Morgenster.
She leaves her daughter, Nicky Cloete-Hopkins
and son, Pieter Bairnsfather Cloete, fve
grandchildren and eight great-grandchildren.

From her website:www.shirleycloeteglass.com
Obituary
Shirley Cloete

Doyenne of South African Glass artists
SA ART TIMES. Dec 2010- Jan 2011 11
Sean O’Toole
Arts journalist
Art highlights of 2010?
In no particular order:
1. Zander Blom’s accomplished debut as a painter seemingly unencumbered
by the history of abstract painting, at Michael Stevenson.
2. The overlooked KZN narrative woven into Riason Naidoo’s From Pierneef
to Gugulective obese compilation show, especially Trevor Makhoba’s oil
on board, Pain in the Mountain (1999), on loan from the Tatham Art gallery.
Also Roger Meintjes’s portfolio of 26 photographs, entitled Van Riebeecks
Hedge - A Voyage Around an Object (1992), and Albert Newhall’s undated
photo, Lion’s Head Cave Roof, and monochromatic abstraction, Opposition
of Related Forms (1969). All wonderful.
3. Listening to Willem Boshoff talk about “the duck” at the Dada South?
Symposium, an object lesson in wit, grace and lightness of gesture.
4. Zwelthu Mthethwa’s frst New York museum show, in Harlem, at the Studio
Museum. It may have been a poor show, but that doesn’t lessen its signif-
cance, this off the back of a new monograph and record auction result.
5. Mikhael Subotzky’s photos of Ponte City on Liza Esser’s In Context exhibi-
tion at Arts on Main.
6. Gerard Benghu utterly beguiling 1926 depthless drawing of British colonial
soldiers on the soccer feld on Fiona Rankin-Smith’s Halakasha! show at the
Standard Bank Gallery
7. The Blk Jks at the opening ceremony at Soccer City. What a riot!

How do you think the current recession infuenced South African
art in 2010?
Two world records at auctions in two weeks. What recession?
Zander Blom’s sell-out show. What recession?
Kizo Gallery selling a 32-piece set of prints featuring the fags of all 32
participating countries, ostensibly carrying Mandela’s signature at an asking
price of R273 600 for the full 32-piece collection, or R8 550 each. What
recession, I ask you?
What infuence has the recession had on the arts community as a
whole in 2010?
None. It still obsessively talks about money, only now the chatter focuses on
the apparent lack thereof. It’s still money talk. How boring. One year there is
too much and it is sullying the purity of the artistic impulse, the next there is
not enough to sustain every whim. Let’s ask other questions about art.

Has the recession perhaps played a positive creative role in terms of
artists producing more focused work, or has it led to artists trying to
please a shrunken commercial market?
Focussed on selling? In 2008, and the years leading up to the Joburg Art
Fair, the argument was that young artists were already too calculated and
aware of the market. Judging by this year’s MTN New Contemporaries,
Kemang’s contribution excepted, young artists are doing what they did in
2008, making focussed work that will sell. All good. But where’s the teeth in
that. As uneven as Young Blackman’s programme is, it at least manages to
focus on play.
What infuence has the recession had on the type and price bracket of
artwork bought?
Interesting question, because if we accept that 2010 was the year auction
houses got to crow from on top of the dung heap, the sad truth is that the
type of work being feted and iconised through these auctions makes me feel
that 1994 never happened. If anything, 2010 represented the victory of white
capitalist wealth propping a fake canon of overrated Moderns. Why hasn’t
Ernest Mancoba received his due? He far surpasses Stern, in my view.
Do you think the worst of the recession is over?
I don’t know. But more importantly, I think it behoves you to establish a
causal relationship that links defned economic data to art buying patterns.
No-one I know is doing this locally, not that I’m aware of. Everyone, includ-
ing myself, is extrapolating from foreign data. In the end, all we’re doing is
speculating.
Who should we look out for and what trends do you think
will emerge in 2011?
The new Wits Art Museum
A3 gatefold, spot varnished invitations with gold leaf detailing from all the
major auction houses, each touting yet another signifcant Stern. It’s almost
as ridiculous as the buzz surrounding the planned Trechikoff retrospective.
Trasi Henen’s paintings.
What would you like to see happen in the South African art in
the coming year?
I would like to have someone to phone me and say, “Sean, I know what the
question is”, and tell me. I mean this sincerely: What is the question? Surely
there is more than one? My sense, though, is that we – the visual art com-
munity – are avoiding so many obvious questions about the fundamentals
of practice, display, appreciation and commerce. I don’t care about record
prices or imprecise articulations about the white hegemony of local art. Both
are rote patterns of conversation that don’t broach the fundamentals. Kathryn
Smith is at least asking different questions. I admire her for it. Jo Ractliffe
is doing the same with her photography. Ashraf Jamal too with his angry
broadsides against our false local canon.
What other issues do you see playing a role, or somehow
affecting the arts landscape in 2011?
Critics having to eat more humble pie, or worse still, their own words.

ART TIMES | FEATURE / 2010 IN REVIEW
12 SA ART TIMES. Dec 2010- Jan 2011
2010 IN REVIEW / FEATURE | ART TIMES
Warren Siebrits
Director, Warren Siebrits Gallery
Art highlights in 2010?
Kendell Geers exhibition at Goodman Cape in June 2010 titled “Third
World Disorder”. He remains in a league of his own as a conceptual thinker
and strategist, which explains the great level of success he has achieved
internationally.
How do you think the current recession infuenced South African art in 2010?
Unfortunately it has made most collectors even more cautious and conserva-
tive in their outlook, with most people only interested in backing what they
consider to be “safe bets”. Contemporary artists and the work they make
have been the ones most adversely affected by the current mood of de-
spondency evident in fnancial and political circles at present in South Africa.
“IRMA STERN GETS 28 MILLION WHILST YOUNG SOUTH AFRICAN
ARTISTS STRUGGLE” could be an appropriate headline at present to sum
up our current situation.
The upside of the recession in 2010 is that it has highlighted the depth and
quality of South African art production, and that it is not necessary to spend
a fortune to buy something culturally and historically signifcant as the market
becomes more competitive.
Has the recession played a positive creative role at all?
Yes it has, making many artists re-think their approach to the economics of
scale.
What infuence has the recession had on the type and price bracket of
artwork bought?
In my experience buying is still being done across all the various price
brackets, clients are just more sober and discerning in the decisions they
make as a result
Do you think the worst of the recession is over?
No I don’t, I think 2011 is going to be a testing year for the art market in
South Africa, as demands on liquidity in fnancial markets is going to become
more prevalent, facilitating a trend where more sellers will be operating in the
market place than buyers, generally causing demand and therefore prices to
fall due to over-supply.
What, and possibly who, should we look out for in the coming year?
Kendell Geers, who has his frst mid-career retrospective opening at IZIKO
SA National Gallery next year. If his prices are already too high for some, I
would recommend the work of Michael MacGarry, who is a talented artist in
his own right and whose conceptual thinking has been strongly infuenced
over the years by artists like Kendell.
What would you like to see happen in South African art in the coming year?
I would like to see collectors become more broad-minded and holistic in
their approach. In my opinion there seems to be too much ego and status
involved in the acquisition of so-called “blue chip investments” like Maggie
Laubser, Irma Stern and J H Pierneef. The shrewd and more philanthropi-
cally minded collector is still in the position to put a museum quality collection
together of over a hundred signifcant artworks by leading modern and con-
temporary South African artists for the price on one non-descript and run-of
–the-mill work by the above mentioned artists, who are incidentally not really
of great signifcance in the broader scheme of things. I would rather have
a collection of Kentridge’s, Dumas’, Breitz’s, Rhode’s, Geers’, Van Zyl’s,
Hugo’s, Ballen’s, Goldblatt’s, Mofokeng’s, Hlobo’s, Schoenfeldt’s, Subotzky’s
and Botha’s, than one work by a third generation German Expressionist
painter born in South Africa. It poses the question, are you trying to make
a difference as a collector to the lives and well-being of South African living
artists, or is it all just about money, ego and investment? In the end it boils
down to foresight and emphasis.
2010 In Review
The Art Times went walk about around the SA arts community and asked some questions about 2010
SA ART TIMES. Dec 2010- Jan 2011 13
Michael Smith
Managing editor, Art Throb.
What for you were the highlights in South African art over the past year?
I would have to say a highlight for me in Johannesburg was David Goldblatt’s
mini-retrospective at the Goodman Gallery: ‘TJ: Some things old, some
things new and some much the same’.
While Johannesburg as physical and conceptual terrain seems to lure many
artists, few have the authority of an artist like Goldblatt to comment on its
inequities and vicissitudes.
Economy: how do you think the current recession infuenced art in
South Africa in 2010?
2010 defnitely had an impact on the lower-to-middle strata of the market.
I think at the upper end, where art is still readily associated with investment,
one saw records continuously being broken in the SA Modern Art secondary
market, most notably by works of Irma Stern’s.
But the lower to middle section defnitely felt the recession. There were fewer
sell-out shows, more artists and writers scrabbling for the same pieces of
the pie, and generally a bit of panic for those directly dependent on art as a
means of income.
What was the infuence of the recession on the arts community
as a whole in 2010?
I believe that one can’t look at the effect of the recession within the temporal
isolation of 2010: the effect of the recession has been accumulating for a
number of years. However, 2010 saw its share of attrition, with a few more
galleries in Johannesburg closing their doors or moving around to get better
rents.
In terms of the shift in the way artists operate, I think there is something to
the fashionable belief that a recession is good for art. Let me explain what
I mean: in SA a few years ago, i.e. before 2008, sell-out shows by young
and mid-career artists were not uncommon. There was huge incentive for
artists to be working in a product-based idiom, making drawings, paintings,
photographs, sculptures etc. for sale.
Now, as the market for these commodities shrinks, we fnd more and
more artists taking chances on non saleable art forms, like performance,
intervention, flm, etc. This is a healthy scenario, because it means artists are
critically (and sometimes combatively) engaging with market forces and the
powers they represent, rather than pandering to them.
An example of this is the recent MTN New Contemporaries, a competition
exhibition where four nominated artists make work for a curated show, and
from them a winner is selected. All four artists this year: Donna Kukama,
Kemang wa Lehulere, Stuart Bird and Mohau Modisakeng, worked in idioms
like performance and installation, showing a commitment to social commen-
tary rather than the lip-service many artists working in a product-based idiom
would pay to this kind of criticality.
What infuence has the recession had on the type and price
bracket of artwork bought?
I think one of the tragedies of the recession is the loss of major corporate
sponsor, Sasol, who each year sponsored the Sasol Wax Art Award. These
kinds of awards tended to create awareness of, and feed, works by
recognised artists into the corporate collecting market. Its demise marked the
end of an important showcase for top-end art of high social value, typically
the kind of work purchased by major corporate collectors like Hollard, Stand-
ard Bank and SABC. This is not good, as corporates have, over the past ten
to ffteen years, been far more active purchasers of good contemporary art
than government-funded institutions like the South African National Gallery
and the Johannesburg Art Gallery.
But, as I have mentioned before, the bottom end has also suffered. I often
go to shows and see works priced affordably, in the in the R3 000 – R15 000
bracket, that just don’t move. There have been some notable exceptions,
but I think, overall, most in the art world would agree that it is now more
diffcult to get buyers to take chances on young, unproven artists pricing their
work in this bracket. Buyers would rather make safe bets on lesser works
(prints, multiples) by well-known artists than risk any money on supporting
unknowns.
Do you think the worst of the recession is over?
Who knows? If I could tell you that with any authority or certainty I wouldn’t
be typing this, I’d be onto my broker at the NASDAQ, trading furiously. Earlier
this year there was some talk about a ‘double-dip’ recession, and that we
hadn’t really felt the effects of the second round of lows… I hope they’re
wrong. As much as the socialist in me thinks a healthy dose of ascetics was
just what the doctor ordered for the art world’s pre-2008 excesses, I certainly
don’t wish hardship on artists, nor do I think that the effects of long-term
fscal conservatism and safe buying are good for an art scene.
What, and possibly who, should we look out for in the coming year?
I think ex-Durbanite, now resident in Johannesburg, Vaughn Sadie, is some-
one to watch. His beautiful work has a rare combination of conceptual acuity
and good nature.
And as the gallery scene coagulates around a few powerful players, I think
the trend of pop-up galleries and artists squatting their exhibitions in disused
commercial spaces will really begin to take hold in 2011. I want to see
performances in shopping malls, installations at casinos!
What would you like to see happen in South African art over
the coming year?
I think a lot of focus on transformation in the art world has been given to gal-
lerists, artists and tertiary-level academics. While this is vital, no-one seems
to be asking, ‘where do artists start becoming artists?’ My feeling is that this
starts to happen at high school. I think transformation, or at least a more
inclusive professional fabric, needs to extend down into secondary-level art
teaching. In my day gig as a teacher I see woefully few black art teachers,
and frankly would like to see more.
Further comments:
Despite our political situation turning from a farce into full-blown Theatre
of the Absurd, I think some artists are paradoxically feeling free enough to
embrace pure aesthetics or visuality as adequate concerns around which to
base their work. I am interested to see what the next move artists like
Paul Edmunds and Zander Blom will be.
ART TIMES | FEATURE / 2010 IN REVIEW
14 SA ART TIMES. Dec 2010- Jan 2011
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1 9 t h ART SALON
A comprehensive and varied overview of the best in contemporary South African art
16 December 2010 - 17 January 2011, 10am to 6pm daiIy
IncIuding 'Salon des Confusés" - a speciaI 'saIon within a saIon' curated by Andrew Lamprecht
48 Sedgemoor Road, Camps Bay, Cape Town 8005, South Africa Tel: +27 (0)21 438 9152 Cell: +27 (0)83 261 1173 www.rosekorberart.com
Mary Corrigall
Arts writer for the Sunday Independent
Art highlights in 2010?

Nicholas Hlobo’s exhibition Paintings at Brodie/Stevenson.
Lulu Xingwana’s removal from her post as Minister of Arts and Culture.
Gimberg Nerf befriending the entire art community on Facebook before ‘de-
friending’ them.
Michael MacGarry’s solo exhibition: THIS IS YOUR WORLD IN WHICH WE
GROW, AND WE WILL GROW TO HATE YOU – at Michael Stevenson.
The way Die Antwoord appropriated Roger Ballen’s aesthetic and popu-
larised it around the world, evincing how the visual arts/performance can
operate within popular culture.
The frst Architecture Biennale in Joburg. It was an interdisciplinary confer-
ence that saw artists, writers and architects refect on the politics and social
drivers that shape Joburg’s urban landscape.
What infuence has the recession had on the arts
community as a whole in 2010?
Fewer exhibitions, longer runs. Less corporate sponsorship. Less money
being ploughed into advertising art events, which has had an impact on art
publications and audience numbers. The tightening of the purse strings in the
realm of the media has meant less reviews and reporting on the arts. Fewer
sell-out shows. Harder for young emerging artists to break into the scene.
Less room/opportunities for those producing video works, performance and
installation art.

Has it perhaps played a positive creative role in terms of artists producing
more focused work, or has it led to artists trying to please a shrunken com-
mercial market?
I don’t think artists have tried to adapt their work – gallery owners have
adapted their strategies
What infuence has the recession had on the type and price bracket of
artwork bought?
The smaller galleries are showing a range of works at different price points.
There is little change at larger galleries.
Do you think the worst of the recession is over?
No. Standard Bank has just cut their sponsorship of sporting events – clearly
large institutions are still reeling from the economic slump. Though the art
market overseas does seem to be picking up it will take some time for the
South African economy to recuperate.
Who should we look out for and what trends do you think
will emerge in 2011?
Gabrielle Goliath. Carmen Sober. More foreign curators curating local shows.
What challenges do we face in the coming year and
how can they be overcome?
The arts community is so fragmented; this has meant that it has no united
voice in political/public spheres. The Xingwana and Andries Botha elephant
sculpture debacles brought this sharply into focus as did the second
Artspeak, a public forum initiated by the NAC which took place at Africa Mu-
seum in November, where it was clear that the arts community is in a state of
crisis and needs to challenge existing government policies on the arts.
2010 IN REVIEW / FEATURE | ART TIMES
SA ART TIMES. Dec 2010- Jan 2011 15
Joost Bosland
Director of the Michael Stevenson
Gallery, Cape Town
What for you were the highlights in South African art over the past year?
This was the year of Nicholas Hlobo.
How do you think the current recession infuenced art in South Africa in 2010?
I don’t know if it infuenced the art much, I suppose less art was sold.
Has it perhaps played a positive creative role in terms of artists producing
more focused work, or has it led to artists trying to please a shrunken com-
mercial market?
I have not seen any signifcant shift in this regard in either direction from
artists I work with.
What infuence has the recession had on the type and price bracket of
artwork bought?
Anecdotal evidence suggests it has led to a renewed focus by collectors on
‘big names’, and a shift away from lesser known artists. But again, I am not
sure if I have witnessed this frsthand.
Do you think the worst of the recession is over?
Ask an economist.
What, and possibly who, should we look out for in the coming year?
2011 will probably be, again, the year of Nicholas Hlobo.
What would you like to see happen in South African art in 2011?
Time will tell. If we can keep going the way we have been for the last few
years, all should be fne.
Further comments:
Braamfontein is looking exciting.
ART TIMES | FEATURE / 2010 IN REVIEW
16 SA ART TIMES. Dec 2010- Jan 2011
Peter Machen
Arts Writer
Economy:
How do you think the current recession infuenced South African art in 2011?
I think that the art market is, for the most part, sharply segmented into two
different sectors, one of which consists of the relationship between galleries
and investors and another which consists of the relationship between the public
and artists. The former is where all the money is but not necessarily where all
the art is. The direct effects of less money means less galleries and presum-
ably less sales. But most artists I know continue to make their work regardless
of fnancial viability. That said, the galleries are vitally important in their roles as
connectors and I think most galleries and agents in South Africa provide
invaluable services. Every gallery closure hurts.
What infuence has the recession had on the arts community as a whole
in 2010?
Most artists usually struggle to pay their bills, so little is different on that front.
The closure of galleries obviously reduces the possibilities for exhibitions and
sales but most artists are driven by creativity not by money, although it is of
course a major factor in all our lives. But the lucre of commercial success
doesn’t necessarily produce great art.
Has it perhaps played a positive creative role in terms of artists produc-
ing more focused work, or has it led to artists trying to please a shrunken
commercial market?
Again, I think that only the most commercially driven of artists think about
pleasing the broad base of the art market. Which doesn’t mean that artists
aren’t interested in pleasing their agents and individual clients.
What infuence has the recession had on the type and price bracket of
artwork bought?
Do you think the worst of the recession is over – please comment?
Despite the offcial fgures, I don’t think that South Africa is in fact in a full-blown
recession. One of the frst things you’re taught in economics is that cranes
are are a visual indicator of a boom. So while certain sectors of the economy
are defnitely struggling, there are cranes all over South Africa and only a few
of them have stopped moving. So it seems that we’re having a boom and a
recession at the same time.
Additionally, the boom years of the last decade-and-a-half coincided with more
than a million people falling into unemployment and an increase in the number
of working poor. Most people struggle fnancially on a continuous basis,
regardless of booms or busts, and the same is true for artists.
Who trends do you think will emerge in 2011?
I think that a move away from ostentation and conspicuous consumerism will
continue to hold sway. I think globally we’ll start to see more galleries with
gardens and attached lifestyle spaces, and a lot of smaller galleries rising from
the ashes of the art crash.
What would you like to see happen in the art world, or South African art
community in the coming year?
I’d like to see the divisions between the three main metropolitan areas begin
to fade away. At present it often feels like we live in three different countries
– which is odd considering how mobile our artists are (and if you live and work
outside the Metros, good luck to you). I’d also really, really like to see Andries
Botha’s freeway elephants in Durban completed. And I’d like to see a whole lot
more public art in Durban.
Lloyd Pollak
Arts journalist
2010 Art highlights?
For me there were three great highlights during the course of 2010. The
frst, I can state without demur, was Katharine Smith and Roger van Wyk’s
Dada South at the South African National Gallery. For me this was undoubt-
edly the supreme art event of 2010. I thought Dada was dead and safely
interred in the pages of art history, but Roger and Katharine demonstrated
that it is a potent living force with a continuing impact on the South African
visual tradition. Dada encourages artists to bypass the glum, issue-driven
art of our past and to strike out toward the enticing subjunctive realms of
perhaps, if and maybe. Scholarship is rarely so thrilling as it was at this
exhibition that captured the authentic spirit of Dada, cast a new light on our
art history by displaying the work of many unfairly marginalized and forgotten
fgures, and providing a new take on established old masters like Walter
Battiss and Christo Coetzee.
A later exhibition at Blank Projects, the Menippean Uprising curated by
Pierre Fouche and Hentie van der Merwe, picked up where Dada South left
off, and confrmed that our art was heading in new directions.
The second revelation was Steven Cohen’s video Golgotha. I normally
consider video the Cinderella of the visual arts as 95 % of the videos I have
been subjected to are messy and self-indulgent drivel. Golgotha was a piece
of pure video art, rather than a mere flmed record of a performance and I
sincerely believe it was a masterpiece. The work, created in the wake of a
searing bereavement, mourns a victim of homophobia and presents Steven
Cohen as a Jew, a queer, a representative of all marginalized beings, even
the vanishing animal kingdom and the threatened planet. His critique of
homophobia and the fear of the ‘other’ opened out into an indictment of
capitalism and materialism, foreign interventionism and all imperialisms. Both
the imagery and the quality of imagination behind it was truly original, and
displayed a Surrealist fair for bringing disparate realms of experience into
collision in an intensely meaningful and poignant visual spectacle compli-
mented by a magnifcent sound track.
Thirdly, Jan Booyen’s show at Whatiftheworld was another eye-opener. I
was not aware of this artist’s earlier works and was stunned by his Abstract
paintings, their grandeur of scale, the density and appositeness of their
art historical references, the cerebral ingenuity of the artist’s rationale, the
deeply personal palette of unusual colours, the magisterial compositions and
the sheer painterly splendour of the work. Booyens is undoubtedly one of the
best painters at work in this country.

The effects of the recession?

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

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

The South African art world remains desperately immature and the proof of
this is the astronomic price often shelled out for totally unexceptional Sterns
marred by many fagrantly unresolved details. It would be wonderful if peo-
ple started to judge by quality, rather than by name, and evinced a healthy
distrust of the auctioneer’s puffery and shtick and the press’s obsession with
meaningless prices. Auction houses are businesses committed to the proft
motive, and not the cause of art, and we should never forget this.
South Africa has always been a philistine society, and the newspaper indus-
try is contributing further to that philistinism and dumbness by abandoning
its traditional responsibility of enlightening the general public by cutting down
drastically on arts coverage.

What other issues do you see playing a role, or somehow affecting the
arts landscape in 2011?
In the past the canon of indisputable masterpieces was established by a con-
sensus between the visually educated elite of collectors, dealers, critics, art
historians, curators and museologists. With the decline of connoisseurship,
this has changed, and in our media-saturated world, the new touchstone
of quality is increasingly becoming the infated prices paid by uninformed,
mega-wealthy, nouveau riche collectors at auction.
The obvious result is general critical unrefectiveness, the triumph of spin
and spiel and the dumbing down of the art market. Paul Harris’s contem-
porary art collection at Ellerman House embodies this tendency - it is an
assembly of indifferent works of art by all the currently fashionable names.
The collapse of critical standards plays straight into the rapacious hands of
auction houses that now have the power to manipulate the market through
the excessive publicity the press gives them.
I have no doubt that in 2011 the art world will become even more
undiscriminating and subject to covert manipulation, and that the sun of
stupidity will shine ever more brightly.
2010 IN REVIEW / FEATURE | ART TIMES
SA ART TIMES. Dec 2010- Jan 2011 17
Because art in South Africa happens every hour of everyday, we cover it on our daily updated
news agency website at www.arttimes.co.za . Catch up to our daily SA Art News on our
website www.arttimes.co.za it’s where we take daily and breaking SA Art news seriously
Photo: Jenny Altsculer
Louis Khehla Maqhubela – A Vigil of Departure
A Retrospective 1960-2010
27.10.2010 - 13.02.2011
Roger Ballen and Boarding House
Photography
06.11.2010 - 17.04.2011
Imagining Beauty
Body Adornment including young SA designers
27.11.2010 - 03.04.2011
In Context
Contemporary international and SA artists
27.11.2010 - 13.03.2011

South African
National Gallery
NELSON MANDELA
METROPOLITAN ART MUSEUM
1 Park Drive, Port Elizabeth, 6001, South Africa
Telephone: +27 (0)41 5062000
Fax: +27 (0)41 5863234
E-mail: artmuseum@mandelametro.gov.za
website: www.artmuseum.co.za
COLLECTIONS
South African art (particularly that of the Eastern Cape), British art,
international printmaking, Oriental art (including Indian miniatures
and Chinese textiles).
EXHIBITIONS
Showcasing artworks from the permanent collections, supplemented
by an active programme of temporary exhibitions.
EDUCATION AND OTHER SERVICES
Guided tours, lectures, films, workshops, research library, souvenir
shop.
OPENING HOURS
Weekdays 9:00 to 18:00 (closed Tuesday mornings)
Saturdays, Sundays 13:00 to 17:00; Public holidays 14:00 to 17:00
First Sunday of the month 9:00 to 14:00
Ilona Petzer (AWSSA)
“My paintings are highly personal, influenced
by memories, experiences, pain, joy, and visual
stimuli. Yet can be understood by each viewer
who experiences their own “reality” when
confronted with the complete art work”
Founder: Lowveld Association of Arts
Art Curator: Innibos Kunstefees 2008/9/10
AWSSA
082 893 6718
cpetzer@soft.co.za
ilona-petzer.artistwebsites.com/
LOWVELD ASSOCIATION OF ARTS
Promoting and supporting visual arts
contact: Ilona Petzer 082 893 6718
Proceeds of the auction, in which 12 decorated retro 80s ‘Pottz Twin Fin’
surfboards will be sold by funny man Mark Sampson, goes to ocean charities
such as the NSRI, Shark Spotters and Ticket To Ride Foundation.
Look out for the asymmetrical, manga-on-acid-like-characters of Black Koki
and 35ten73, from the Love and Hate crew. Enjoy and decipher the out-there
tapestry of underground grafster Ice7. Ewok, renowned beat poet and graffti
legend works with underground talent Bones on their board. Cape Argus
cartoonist and Kommetjie charger Chip Snaddon brings extra surfng cred to
the party. Stalwart ND Mazin, the author of What’s so Funny?, a cartoon history
of South Africa, and You Must Be Joking - The Year in Cartoons, works on a
celestially-charged commentary on the darker side of humanity in the Mystic
Duiker. Also with the old guard, come the Durban-based design duo of Scott
Robertson and Kim Longhurst who share a board for a two-sided view of their
cryptic wit.
For more info go to www.wavescape.co.za or call 079 0260 669
Wavescape Surfboard Art Exhibition From this heady mix fows the juice that concocts the creative result of the Wavescape Surfboard Art Exhibition that
runs 1-7 December at the Depasco Café on Kloof Street, and culminates in the Wavescape Art Auction on Wednesday 8 December.
Catalogues, special
teaching guides and dvd’s
available.
Walking tours can be
arranged for tourists and
the outing can be fun for
the whole family.
Enquiries: Natalie Knight
011 485-3606
nknight@icon.co.za
Last chance to view the
unique array of AFRICAN
ART AND ARTIFACTS
(collected by Maria Stein-
Lessing from the mid
1930’s) which has been
assembled from the
collections of WITS, JAG,
MUSEUM AFRICA and
NATALIE KNIGHT
Extended until 31, January 2011
121 Bree Street, Newtown
Maria Stein-Lessing and Leopold Spiegel
SOUTH AFRICAN
GALLERY GUIDE
Photo: Brett Murray by Jenny Altschuler
Experience the abundance of
South African artistic talent by
prominent South African Artists.
www.artandwine.co.za
anton@artandwine.co.za
Tel/fax: 058 256 1298
Cell: 082 341 8161
279 Main Road, Clarens
Alexander Rose-Innes
Still life with Roses
Oil on Board, 45 x 35
Bruce Hancock
Old Cape
Oil on Board, 35 x 50
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Free State
Bloemfontein
Oliewenhuis Art Museum
04 November - 16 January, “Rendezvous” a group
graphic design exhibition. (In the Main Building)
Until 05 December, “Escape Artists”
Planet Pixl Student Exhibition 2010
Until 05 December,
“Plug” Fractal Young Artist Exhibition 2010
16 Harry Smith Street, Bloemfontein
T.051 447 9609
Gauteng
Johannesburg
Art Afrique
25 November-07 December, “Dissolved Boundaries”
by Petros Ghebrihiwot.
Shop U45, Level 4, The Da’Vinci Hotel, Legacy Corner,
Cnr 5th & Maude Streets, Sandton. T. 011 292 7000
art@artafrique.co.za www.artafrique.co.za
Art One Sixty
Until 09 December, Rhythm and Hues by
Glen Josselsohn.
160 Jan Smuts Ave, Parkwood, Jhb.
T. 011 447 4967 www.artonesixty.co.za
Artspace –Jhb
Until 29 January, “OPPITAFEL X 2010” will be presented
in two venues: Thirty artists (OPPITAFEL 20+10) will be
exhibiting at the Artspace Warehouse
ten artists (OPPITAFEL 20(10) will be exhibiting at Art-
space’s main gallery. The exhibitions close 11 December
2010, re-open on 11 January.
1 Chester Court, 142 Jan Smuts Ave., Parkwood, Jhb. T.
011 880 8802
artspace@wol.co.za www.artspace-jhb.co.za
Artspace Warehouse
Until 29 January, “OPPITAFEL X 2010” will be presented
in two venues: Thirty artists (OPPITAFEL 20+10) will
be exhibiting at the Artspace Warehouse, ten artists
(OPPITAFEL 20(10) will be exhibiting at Artspace’s main
gallery. The exhibitions close 11 December 2010, re-open
on 11 January.
3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802
artspace@wol.co.za www.artspace-jhb.co.za
Bag Factory
02 December, A side of Audience 2010, a one night event
where artists Min Kim and Moon Choi from South Korea
will present their works: a virtual-audience entitled “Aside
of Audience 2010”, and
“Find your ring size, and take rings as you can.”
The event will run from 5pm to 8pm on the evening of
Thursday 2 December.
10 Mahlatini Street, Fordsburg, Jhb. T. 011 834 9181
info@bagfactoryart.org.za www.bagfactoryart.org.za
Brodie/Stevenson
Until 15 December, “Permanent Error” a solo exhibition of
new work by Pieter Hugo. 20 January - 18 February 2011,
Works by Billy Monk.
62 Juta Street, Braamfontein, Jhb.
T. 011 326 0034, www.brodiestevenson.com
Carol Lee Fine Art
07-15 December, Photography by British photographer
Emma O’Brien. http://emmaobrien.com Documentary
and portrait photographs taken in and around
Johannesburg. upstairs@bamboo Cnr
9th Street & Rustenburg Road, Melville, Jhb.
T. 011 486 0526
CIRCA on Jellicoe
Dec/Jan, “Homage to Hermes” by Angus Taylor.
2 Jellicoe Ave. T. 011 788 4805
gallery@circaonjellicoe.co.za
David Brown Fine Art
Until 15 December, “A Subtropical vision” group show.
39 Keyes Avenue, off Jellicoe, Rosebank
T. 011 788 4435 david@dbfneart.co.za
www.davidbrownfneart.co.za
David Krut Projects
27 November 2010- Early February 2011, Collaborations
II, a solo exhibition by Deborah Bell. To accompany this
exhibition, David Krut Publishing has produced Deborah
Bell’s Alchemy; a publication dealing with the last ten
years of Bell’s collaborative printmaking.
140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627
www.davidkrutpublishing.com
5th Avenue Auctioneers
12 December 2010, Auction
404 Jan Smuts Ave., Craighall Park, Johannesburg
T. 011 781 2040
www.5thaveauctions.co.za
Gallery 2
From 02 December, Graduates of the
Artists Proof Studio.
140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98
gots@mweb.co.za www.gallery2.co.za
Gallery AOP
From 04 December, silkscreen exhibition by
Walter Battiss
From 29 January, Solo exhibition by Mark Kannemeyer.
44 Stanley Ave., Braamfontein Werf (Milpark),
T. 011 726 2234 www.artonpaper.co.za
Gallery MOMO
Until 31 December, Group show featuring Mary Sibande,
Theresa- Anne Mackintosh, Rodney Place, Lyndi Sales
and Ransome Stanley.
Until 31 December, Dumile Feni Sculptures.
52 7th Avenue, Parktown North, Jhb. T. 011 327 3247
www.gallerymomo.com
Gertrude Posel Gallery
This gallery has a permanent exhibition of traditional
southern, central and West African art.
Address: University of the Witwatersrand, Senate House,
Jorissen Street, Braamfontein.
Tel: 011 717 1365 julia.charlton@wits.ac.za
GoetheonMain
until 15 December, “Aleph” an installation by James
Webb
GoetheonMain, 245 Main Street, City & Suburban, Jhb.
T. 011 442 3232
Goodman Gallery
Until 16 December, Resonant Structures by
Stefanus Rademeyer.
Until end January, “Layers” a conversation between two
artists and a curator about the same and new ideas over
again with an aim to create new Meanings. Curated by
Nontobeko Ntombela. (Jhb Project Space-Arts on Main)
Gallery Closed from 17 December-11 January.
163 Jan Smuts Ave., Parkwood, Jhb. T. 011 788 1113
www.goodman-gallery.com
Grayscale Gallery
until 22 Dec: “Conscience Under Pressure”, a group show
of artworks made from used spray-paint cans. The artists
that include graffti writers, illustrators and tattoo artists.
33 De Korte St, Braamfontein. (above Signarama)
16 Halifax
Works by Michael Heyns can now also be viewed by
appointment in Johannesburg at 16 Halifax Street Bryan-
ston. Dana MacFarlane 082 784 6695
dana@michaelheyns.co.za
Johannesburg Art Gallery
Until end January, “Transformations: Woman’s art from
the late 19th century to 2010” artists taken from JAG’s
Collection.
Until 11 January 2011, “Apartheid – Struggle – Freedom,
South African Photography 1950 – 2010”
Until 16 January 2011, Refex| Refexión,
a group exhibition
28 November-30 January, Gerard Sekoto Festival
and exhibition.
King George Str., Joubert Park, Johannesburg
T. 011 725 3130 khwezig@joburg.org.za
www.joburg.org.za
Jozi Art:Lab
Until 31 January 2011, “bitter fruit/ bittervrug” Photo
and sound installation by Photo and sound installation.
(Curated by Indra Wussow)
Arts on Main, cnr of Berea Street, 076 501 4291
info@jozi-artlab.co.za www.jozi-artlab.co.za
Manor Gallery
Until 25 January 2011, “The Year End Fine Art Sale 2010”
a selection of paintings- framed and unframed.
Gallery closed 14 December-10 January.
Norscot Manor Centre, Penguin Drive. T. 011 465 7934
gallery@wssa.org.za www.wssa.org.za
Market Photo Workshop
Until 01 December, Borders Master class exhibition.
Closed 17 December-05 January.
2 President Street, Newtown, Jhb. T. 011 834 1444
info@marketphotoworkshop.co.za
www.marketphotoworkshop.co.za
Museum Africa
Until 31 January 2011, “l’Afrique: A Tribute to Maria
Stein-Lessing and Leopold Spiegel” co-curated by Nessa
Leibhammer and Natalie Knight.
121 Bree Str., Newtown, Jhb. T. 011 833 5624
www.knightgalleries.net
Nirox Foundation (Arts on Main)
Until 15 December, “The Mystery of the Elements” featur-
ing works by the Spanish artist Enric Pladevall (Nirox
Sculpture Park.
Corner Berea and Main Street, City and Suburban, Jhb.
comm.culture@ifas.org.za www.artsonmain.co.za |
www.niroxarts.com | www.ifas.org.za/culture |
www.ericbourret.com
Nirox Projects (Arts on Main)
Until 05 January, New paintings by Anton Karstel.
Obert Contemporary
Until 31 Dec: “Life Staged” by Michael Meyersfeld
14 the High Street, Melrose Arch
hours: 11am to 7pm daily
Braamfontein: 6th f, 155 Smit Street, Braamfontein
hours: appointment only
T. 011 684 1217 michael@obertcontemporary.com
Resolution Gallery
Until 11 January 2011,
“Public Perception” a poster show by Andy Robertson.
142 Jan Smuts Ave., Parkwood, Jhb. T. 011 880 4054
www.resolutiongallery.com
FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 23
Sam Nhlengethwa
Kind of Blue
lithographs, 2010
Miles Davis on Break, Hand printed lithograph, 45 x 38 cm. Edition 25.
The Artists’ Press
Box 1236, White River, 1240 • Tel 013 751 3225
mark@artistspress.co.za • www.artprintsa.com
Art Times Sam advert Nov. 2010.i1 1 23/11/10 09:33:57
GALLERY GUIDE | FREE STATE, GAUTENG, MPUMALANGA
wilma cruise
recent works
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Right on the Rim Gallery
From 04 Dec, “Primal” an exhibition by Ashley Johnson.
Opening Saturday, December 4 • 2:00pm - 5:00pm.
Arts on Main, 264 Fox St City & Suburban Johannesburg
T. 011 6 222 444
Rooke Gallery
Until 17 December, “Study of Trees” photography
by Garth Meyer.
The Newtown, 37 Quinn Street, Newtown, Jhb.
C. 072 658 0762 www.rookegallery.com
Seippel Gallery
Until 30 January 2011, “Floating Underwater Dreaming”
by Jill Trappler.
Arts on Main, Cnr of Fox and Berea, Jhb.
T. 011 401 1421 www.seippel-gallery.com
Spaza Art Gallery
From 27 November, “Christmas Show” group multi-media
exhibition.
19 Wilhelmina Street, Troyville. T. 011 614 9354
C. 082 494 3275
Standard Bank Gallery
Until 04 December, “People, Prints and Process-Twenty
fve years at Caversham”
Until 04 Dec, “Translations: Art into Jewelry.”
Cnr of Simmonds & Frederick Str.’s, Jhb.
T. 011 631 1889 www.standardbankarts.com.
Strauss & Co
01 November, Auction of Important Paintings
and Sculpture. Country Club Johannesburg, Woodmead
Corner Lincoln Road & Woodlands Drive, Woodmead.
www.straussart.co.za
Pretoria
Association of Arts Pretoria
Closed from 15 Dec-11 Jan 2011.
173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012
346 3100 artspta@mweb.co.za
www.artsassociationpta.co.za
Brooklyn Theatre in association with Trent Gallery
Until 30 January, “Deux ex Machina”, group exhibition.
Greenlyn Village Shopping Centre, Thomas Edison
Street, Menlo Park. Stuart @ 082 923 2551
trent.art@gmail.com daniel@brooklyntheatre.co.za
www.brooklyntheatre.co.za www.trent-art.co.za
Centurion Art Museum
03-17 December, Rene Naude School of Creative Art
Group show. Opening @ 6:30pm.
c/o Cantonment and Unie Avenues, Lyttelton
T. 012 671 7477
Fried Contemporary
24 November - 22 January 2011,
“UP Fine Arts Staff Show”
430 Charles St, Brooklyn, Pretoria. T. 012 346 0158
art@friedcontemporary.comwww.friedcontemporary.com
Gallery Michael Heyns
Until 09 December, “R5,000 & less” Michael Heyns ends
off the year with an eclectic exhibition of his paintings and
clay works priced at R5,000 and less.
The gallery closes for the festive season on 9 December
and re-opens on 25 January with an exhibition of new
work.
351 Lynnwood Road Menlo Park Pretoria.
(next to Schweickerdt Art Shop)
T.012 460 3698 C.082 451 5584
www.michaelheyns.co.za
Imaginarium Art Gallery at Lucit Restaurant
01 – 24 December, “R1000 & below” Affordable art and
craft items by a variety of Pretoria and Cape-based
artists.
Gallery hours: Tues – Sat 11:00 – 15:00 or
by appointment
Jennifer Snyman 082 451 5584 / Gideon van Eeden 083
306 2830 www.lucit.co.za
Platform on 18th
18 November - 04 December, “12 Altaarstukke”, Solo
exhibition of paintings and mixed media by
David Smuts.
232 18th Street Rietondale, Pretoria.
T. 084 7644 258 www.platformon18th.co.za
Pretoria Art Museum
02 December-23 January, Student exhibition. TUT De-
partment of Fine and Applied Arts. The exhibition will be
opened on 2 December @ 6pm for 7pm by Dr Mzo Sirayi,
Executive Dean, Faculty of the Arts.
Until 15 December, “A Story of South African Art”
04 December-31 January, “Children’s Tile Art Project
2010” North Gallery and Preiss Hall. T.012 344 1807/8
art.museum@tshwane.gov.za
www.pretoriaartmuseum.co.za
The Tina Skukan Gallery
Until 18 December, An exhibition of handcrafted furniture
and décor, wooden sculptures, Suzanis and other hand
embroided textiles, the best of central Asia.
6 Koedoeberg Rd, Faerie Glen, Pretoria.
T. 012 991 1733 www.tinaskukangallery.co.za
Trent Gallery.
26 November - 09 December, solo exhibition by
Jan-Henri Booyens.
11-24 December, “Boudiccea Castings show” Featuring
Susanna Swart and Kay Potts. Opening Friday 11
December at 6:30pm. Curated by Klaus Fischer.
198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.
Trent.art@gmail.com www.trent-art.co.za
Unisa Gallery
04 December-21 January, Final level exhibition of visual
arts and multi media students 2010 Opening @ 12:30.
Main Campus, Theo Van Wijk Building B-block, 5th Floor
T.012 429-6255/6823. ukun1@unisa.ac.za.
Mpumalanga
Dullstroom
Dimitrov Art Gallery
Ongoing, “Expression of freedom” by Branko Dimitrov
Lifestyle Complex, shop no.4 on Cnr. Teding Van
Berkhout & Hugenote/ Naledi Street, Dullstroom, Mpu-
malanga. 9:00am to 4:00 Wednesday till Monday T. 013
254 5024 C. 082 679 5698
info@dimitrovartgallery.co.za
www.dimitrovartgallery.co.za
White River
White River Gallery
From 29 November “Strange Acquaintances”, sixty pastel
paintings over monotype by Gregory Kerr.
Casterbridge centre, R40 cnr Numbi gate rd and R 40 to
Hazyveiw. White River.
whiteriverg@gmail.com C.0825538919
The Loop Art Foundry & Sculpture Gallery
Casterbridge Complex Corner R40 and Numbi Roads
White River
T. 013 751 2435 www.tlafoundry.co.za
FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 25
“Study of Trees” photography by Garth Meyer to be seen at The Rooke Gallery (See listings above) www.rookegallery.com
Te South Afican
Directory 2011
R 189, 00
Art Information
Vat Inclusive
The most complete listing of South African art resources and infrastructure for visual artists.
Get your copy of the
SA Art Information Directory 2011
The most comprehensive SA Art Information Directory: The White and Yellow Pages of SA Art Infrastructure
Now available from selected outlets throughout South Africa
Introductory Special : Purchase the Directory at R 199 from Global Art Information directly
at 021 424 7733 and we will send your copy - postage and handling included.
Offer lasts until 31 January 2011
Find your closest SA Art Information Directory 2011 outlet see www.saaid.co.za
R 199.00
Vat inclusive
Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729
Alette 082 652 6663 Gerrie 084 589 0711
alette@artwessels.co.za gerrie@artwessels.co.za
Maroelana Centre, 27 Maroelana Street,
Maroelana, Pretoria
OPEN: Mon to Fri 09h00 - 16h00 Saturday 09h00 - 13h00
Closed 20 Dec - 10 Jan 2011
A quality selection of SA masters and
selected contemporary art
www.artwessels.co.za
May the miracle of Christmas touch your heart
with peace and joy!
iART GALLERY
71 LOOP STREET, CAPE TOWN
+27 (0) 21 424 5150 / INFO@IART.CO.ZA / WWW.IART.CO.ZA
i ART GALLERY WEMBLEY: A PROJECT ROOM FOR CONTEMPORARY ART
WEMBLEY SQUARE, CNR SOLAN & WEMBLEY STREETS, GARDENS, CAPE TOWN
+27 (0) 21 424 5150 / INFO@IART.CO.ZA / WWW.IART.CO.ZA
MEMORY AND DESIRE
BY LOUIS JANSEN VAN VUUREN
29 NOVEMBER - 31 DECEMBER 2010
9 LINOCUTS
DECEMBER 2010
THE GIFT OF FINE ART
DECEMBER 2010
Western Cape
Cape Town
Absolut Art Gallery
Until 19 December, a group exhibition featuring works by
Ryan Loubser, San-Maré Raubenheimer, Pieter Uitlander
and Raché Gerber.
Ongoing, permanent exhibition with some of the best
Masters and contemporary artists. Namely Irma Stern,
JH Pierneef, Cecil Higgs, Adriaan Boshoff, Tinus De
Jongh, Adolf Jentsch, William Kentridge, to name but a
few. Shop 43 Willowbridge Life Style Centre, Carl Cronje
Drive, Bellville, CT. T. 021 914 2846
info@absolutartgallery.co.za www.absolutart.co.za
Alliance Française of Cape Town
29 November- 18 December, “Couleur Mouvement
Forme” Painting Exhibition by Marie-Anne Vorlet
In partnership with the General Consulate of Switzerland.
T. 021 423 5699
capetown@alliance.org.za www.alliance.org.za
/A Word Of Art
14-16 January 2011, “Guten Tag” We Are Visual Gallery
will be colonizing the the Woodstock Industrial Centre
from Hamburg Germany,3 Artists will be inhabiting and
creating in the space as part of the new /A WORD OF
ART/ Woodstock Industrial Centre residency program of-
fcial launch. This will culminate with an installation made
of materials and objects salvaged from the streets of
Cape Town as well as a 3 day exhibition of paper works
from the Gaengeviertel artist squat in Hamburg and local
Cape Town artists curated by /A WORD OF ART and We
Are Visual.
25 January-11 February, “Body of Work” presented by
Cape Town Tattoo Convention. An exhibition of custom-
ized hands and Tattoo inspired artwork Curated by
Manuelle Grey (Wildfre.) Opening 25 January 6pm-9pm.
66 Albert Rd, Woodstock Industrial Centre.
T. 021 448 7889
rickylee@writeonafrica.com www.a-word-of-art.co.za
Art b
Until 03 December,
“Santam’s Child Art travelling exhibition.”
06-12 December,
Prestige Academy fnal year photography students
14 December- 19 January,
Permanent Collection Exhibition
The Arts Association of Bellville, The Library centre, Carel
van Aswegan Street, Bellville. T. 021 918 2301
info@artb.co.za www.artb.co.za/gallery.htm
AVA
Until 10 December, “Milnerton Market” photography by
David Southwood
13 December - 21 January 2011,
“Monotype by Warren Editions.”
13 December - 21 January 2011, “Category Error 2”
group exhibition. Participating artists: Joanne Bloch,
Jann Cheiftz, Mandy Darling, Josie Grindrod,
Verna Jooste, Leora Lewis, Lynne Lomofsky,
Khanyisile Mbongwa, Philip Miller and Jane Solomon.
Association for Visual Arts, 35 Church Street,
T.021 424 7436 art@ava.co.za www.ava.co.za
Barnard Gallery
Until 26 January, “In my Backyard” by Willie Bester.
55 Main Street, Newlands. T. 021 671 1666
gallery@barnardgallery.com www.barnardgallery.com
Blank Projects.
09-30 December, The immanent inauguration of the
5th corner - From a series of paintings in progress by
Dorothee Kreutzfeldt. Opening 09 December @ 6pm by
Peter Anderson.
06 - 29 January, Works by Jaques Coetzer comprising
photography, sculpture & installation.
113-115 Sir Lowry Rd, Woodstock, CT. T.072 1989 221
info@blankprojects.com www.blankprojects.com
Cape Gallery
Until 04 December, “Natures & Patterns” recent work by
Christopher Langley.
06 December-08 January 2011, New Works by
David Kuijers.
09-29 January, “Montagu, Bruges and Burgundy”
New paintings in oil by Roelof Rossouw.
30th January 2011 – 19th February 2011,
Recent work by: Lesley Charnock, Jenny Parsons,
Veronica Reid, Sheilagh Price, Anne-Marie Sloan and
Frederike Stokhuyzen.
60 Church Street, Cape Town. T. 021 423 5309. web@
capegallery.co.za www.capegallery.co.za
Carmel Art
Dealers in Fine art, exclusive distributers of
Pieter van der Westhuizen etchings.
Relocation of their Claremont and Constantia galleries
is now complete visit the new gallery at the Cape Quarter
Square –Cape Town’s newest upmarket and trendy
shopping mall where Leonard Schneider and Beila
are available to assist you.
Cape Quarter Square, 27 Somerset Road Green Point
(on the frst foor above the Piazza & restaurant level)
T. 021 4213333 www.carmelart.co.za
Casa Labia
17 November - 29 January 2011, Africa Nova presents
Casa Labia in Bloom - a celebration of indigenous fow-
ers. Casa Labia in Bloom is a multi-media festival of art,
inspired by South Africa’s indigenous fora developed by
Margie Murgatroyd of AFRICA NOVA. The exhibition will
feature works in a range of media and styles, including
painting, ceramics, photography, sculpture and jewellery.
192 Main Rd, Muizenberg. T. 021 788 6067
info@casalabia.co.za www.casalabia.co.za
Cape Town School of Photography
Until 03 December, “Inner and outer landscape
impressions” by Michel le Sueur.
4th Floor, 62 Roeland Street, Cape Town.
T. 021 4652152 info@ctsp.co.za
Cathy’s Studio
09-10 December, “Studio Sale” paintings by
Cathy Layzell and Amanda Dinan.
2 Ocean View Flats, Winsor Rd, Kalkbay.
T. 0794491311 or 021 7882011
Cedar Tree Gallery
30 November - 06 February 2011, Photography by
Malcolm Dare. Opening 30 November @ 6pm.
Rodwell House, Rodwell Road, St James, CT.
T. 021 787 9880 cedartreegallery@gmail.com
www.cedartreegallery.co.za
Centre for African Studies Gallery
Until 18 December, “Juggling with the Familiar II : Exhibi-
tion of Works in Progress” the exhibition brings together
photographic and mixed media projects by South African
female artists who utilize extreme subjectivity and
intimacy within their methodology and style in one way
or another. Artists included are: Ingrid Masonda, Tracey
Derrick, Suzanne Duncan, Sophia Claassens,
Siona O’ Connell and Jenny Altschuler.
Harry Openheimer Building, Engineering Mall,
Upper Campus, UCT. T. 021 650 2308
Club Voom Voom
03 December-16 January, “The seven year bitch - fashion
meets victim” by Veronique Malherbe.
Opening 03 December @ 9pm.
70 Loop street, Cape Town T. 021 426 2011
David Krut Projects Cape Town
December, Collection of new prints from the
Johannesburg print studio including works by Deborah
Bell and William Kentridge.
Montebello Design Centre, 31 Newlands Avenue, CT.
T. 021 685 0676
alastair@davidkrut.com
www.davidkrutprojectscapetown.com
David Porter Antiques
Buyers and sellers of South African art.
T. 021 6830580/083 452 5862
david@davidporterantiques.com
The Donald Greig Bronze Foundry and Gallery
Donald Greig is a specialized wildlife sculptor and his
sculptures ranging in size from life-size to paperweights
will be on display at the gallery. The foundry will do a
bronze pour on most days and the entire ‘Lost Wax Cast-
ing Process’ can be viewed by the public through special
glass windows.
The Nautilus Building, No.14 West Quay Road, V&A
Waterfront, Cape Town. T. 021 418 4515
greig@intekom.co.za www.donaldgreig.com
Duende Contemporary Art & Framing
Until 05 December, “h-u-m-a-n book 1” Surisa-Surisa
shows acrylic on canvas together with word paintings.
7-18 December, “Revival” by Stuart Valentine-Rambridge
in the mezzanine gallery and group show including Niall
Molloy, Miche, Tyrone Appollis downstairs.
21 Dec-10 January,
“Always” by Richard Lawrence (in mezzanine)
13-27 January,
“Contentment and other stories” by Nicolas Truman Baker
Shop 1, Trafalgar Place, Regent Road, Sea Point.
T. 021 434 5022 debbiegrewe@gmail.com
Erdmann Contemporary /Photographers Gallery
20 November-end January 2011, “Summer group exhibi-
tion” featuring works by Lindeka Qampi, Fanie Jason,
Karlien de Villiers, Lien Botha, Nomusa Makhubu, Johann
Louw and Barbara Wildenboer.
63 Shortmarket Street, Cape Town.
T. 021 422 2762 galleryinfo@mweb.co.za
www.erdmanncontemporary.co.za
Everard Read Gallery
Until 31 Jan 2011, “Untamed”, an installation by Dylan
Lewis at Kirstenbosch Gardens.
Until 05 December, “Never & Always” by Mark Sheilds.
We will be showcasing some of our fnest works by
leading contemporary artists during December & January.
Please note that we are closing early on the 24th & 31st
of December (2pm). We will be closed for the days of
December 25th & 27th & the 1st of January 2011.
3 Portswood Road, Victoria and Alfred Waterfront
T. 021 418 4527 ctgallery@everard.co.za
www.everard-read-capetown.co.za
34 Fine Art
09 November - 15 January 2011, “Then: Now” a group
exhibition featuring William Kentridge, Damien Hirst, Mar-
lene Dumas, Asha Zero, Norman Catherine, Roelof Louw,
Takashi Murakami, Willie Bester, Robert Hodgins, Bettie
Cilliers-Barnard, Lionel Smit and Cindy Sherman.
www.vgallery.co.za / www.34fneart.com
C. 082 354 1500
Focus Contemporary
29 November-12 January, “The Best of Summer 2010”,
featuring Karin Miller and Christian Diedericks.
67 Loop Street, Cape Town. T. 021 422 5996
info@focuscontemporary.co.za
www.focuscontemporary.co.za
WESTERN CAPE | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 29
91 Kl oof Street | CPT
M| +27 82 679 3906
info@salon91art.co.za
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‘Coppertone 77’ | Summer Salon. 4 Dec 2010 - 14 Jan 2011.
A selection of works by Sanell Aggenbach, Tom Cullberg, Marlise Keith, Jade Klara,
Motel7, Lorenzo Nassimbeni, Gabby Raa, Dave Southwood, Paul Senyol, Frank
van Reenen, Leonora van Staden, Michael Taylor & Zelda Weber to mention but a few...
91 Kl oof Street | CPT
M| +27 82 679 3906
info@salon91art.co.za
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‘ The Jacaranda Girls & Other Stories’ | 18 Jan - 19 Feb 2011
A solo exhibition of oil painting, watercolour & print by Katrine Brink Claassens
CONSERVATION
FRAMERS & GILDERS
Est. 1997
Archival Framing
Gilding & Restoration
Tel: 021 448 9220/021 448 3466
Fax: 086 670 7805
Email:
conservationframers@tiscali.co.za
39 Lower Main Road,
Observatory 7925
G2 Art
24 November - 10 December, “Road trip” Paintings by
Roelie van Heerden. Opening 24 November @ 6pm.
61 Shortmarket Street, Cape Town. T. 021 424 7169
di@g2art.co.za www.g2art.co.za
Gallery F
Contemporary and archival South African Art.
221 Long Street, Cape Town. T. 021 422 5246
info@galleryf.co.za www.galleryf.co.za
Gill Allderman Gallery
Continuous Exhibition, “Exhibition # 36” A Group exhibi-
tion featuring abstract art, graffti, paintings, drawings.
278 on Main Road, Kenilworth.
www.alldermangallery.co.za gallery@new.co.za
C. 083 556 2540
Goodman Gallery, Cape
20 November - 08 January 2011,
“Hail to the Thief” by Brett Murray.
3rd Floor, Fairweather House, 176 Sir Lowry Rd., Wood-
stock, CT. T. 021 462 7573/4,
www.goodmangallerycape.com
iArt Gallery
Dec/January, “9 Linocuts” in association with The Artists’
Proof Studio. A selection of embroidered/beaded work will
be on show alongside the linocuts.
During December, “The Gift of Fine Art”, as part of “Sum-
mer in the City 2010.” Small affordable works of art.
12 January-16 February, “After Baines” by John Walters.
Walters’ long-awaited exhibition of Masters work, and his
frst solo exhibition outside of the university environment.
71 Loop Street, Cape Town. T. 021 424 5150 info@iart.
co.za
www.iart.co.za
iArt Gallery Wembley
29 November - end December, “Tempermes” by Louis
Jansen van Vuuren. Louis Jansen van Vuuren will launch
his frst and long-awaited anthology of Afrikaans poetry,
entitled Tempermes. The book will be accompanied by an
exhibition of painting entitled “Memory and Desire”
Wembley Square, Gardens, Cape Town. T. 021 424 5150
www.iart.co.za
Infn Art Gallery
A gallery of work by local artists.
Wolfe Street, Chelsea Village, Wynberg. T. 021 761 2816
and Buitengracht Str. Cape Town. T. 021 423 2090 www.
infnart.co.za
Irma Stern Gallery
14 December- 15 January,
“Ceramics Clementine exhibition.”
Cecil Rd, Rosebank, CT. T. 021 685 5686
www.irmastern.co.za
Iziko SA National Gallery
Until 30 January 2011, Borders presents a distillation of
work from the Bamako Encounters 8th African Photo-
graphic Biennale, 2009. Mali’s pan-African exhibition is
travelling for the frst time to Sub-Saharan Africa, provid-
ing South Africans with a unique opportunity to engage
with contemporary photographic production from across
the continent and its diaspora. Curated by
Michket Krifa and Laura Serani.
Until 13 March 2011, “In Context” group exhibition of
contemporary international and South African artists.
Curated by Liza Essers.
06 November - 17 April 2011, “Boarding House”
photographs by Roger Ballen.
27 November - April 2011, “Imagining Beauty”
body adornment from Iziko collections and young
SA designers.
25 Queen Victoria Street, Cape Town
T. 021 467 4660
www.iziko.org.za
Iziko Michaelis Collection
Until 30 January 2011,
“Home and Away: A Return to the South”
curated for the ifa lethu foundation.
Iziko Michaelis Collection, Old Town House, Greenmarket
Square, Cape Town. T. 021 481 3800
hproud@iziko.org.za
Iziko Good Hope Gallery
Until 31 January 2011, “Ghoema & Glitter: New Year
Carnival in Cape Town”
Ongoing, William Fehr Collection
Buitenkant Street, opposite the Grand Parade, Cape
Town. T. 21 464 1262 kmooney@iziko.org.za
Iziko SA Museum
Until September 2011,
“Made in translation: Images from and of the Landscape.”
9 December to 13 March 2011,
“Wildlife Photographer of the Year 2010 exhibition.”
25 Queen Victoria Street, Gardens, Cape Town
T. 021 481 3800
info@iziko.org.za
Johans Borman Fine Art Gallery
13 November - 04 December, “Seebriewe” an exhibition
of oil paintings by Jacobus Kloppers.
06-10 December, The Homestead Annual Online Charity
Auction. Paintings by Walter Meyer, Hennie Niemann Jnr,
Marlene von Dürckheim, Ben Coutouvidis and Hussein
Salim have been donated by the artists and the gallery.
In Fin Art Building, Upper Buitengracht Street, Cape
Town. T. 021 423 6075.
art@johansborman.co.za
wwww.johansborman.co.za
Kalk Bay Modern
15 Dec 2010 - 15 January 2011, Textile & Jewellery
Exhibition. Opening Wed 15 December @ 6 pm. 35
Designers on display.
1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay.
T.021 788 6571
kbmodern@iafrica.com www.kalkbaymodern.com
Kanon 21
06 December, “15 x 15”, Miniature Art Group exhibition
presented by “The Haas Collective”
Friday Evening, 10 December, 6 pm onwards and Satur-
day morning, 11 December from 10am - 1pm.
A great selection of miniature art works by many well and
lesser know contemporary SA artists at very affordable
prices!
40 Dorp Street, Bo-Kaap. Haas Design Collective:
T. 021 422 4413 C. 083 290 1638
Liebrecht Art Gallery
3 November - 28 January 2011, “Slice of Life” a group
exhibition. In what must surely be one of the largest
national exhibition projects ever undertaken by a small
privately-owned gallery - run by one gallerist and his dog
– in this country, 630 paintings by 63 artists from all cor-
ners of South Africa are being showcased in the Liebrecht
Gallery in Somerset West for a period of three months.
Opening 03 November @ 6:30pm.
34 Oudehuis Street, Somerset West. T. 021 852 8030
C. 082 304 3859
Michael Stevenson Contemporary
02 December 2010- 15 January 2011, 15th annual sum-
mer exhibition. Michael Stevenson’s 15th annual summer
exhibition will comprise fve solo shows, by
Anton Kannemeyer, Viviane Sassen,
Claudette Schreuders,
Serge Alain Nitegeka and Hylton Nel.
20 January-26 February 2011, Works by Wim Botha
and Daniel Naude.
Ground Floor, Buchanan Building, 160 Sir Lowry Rd,
Woodstock, CT.
T. 021 462 1500
info@michaelstevenson.com
www.michaelstevenson.com
Red! The Gallery
27 November-15 December, Double Vision’ Derrick van
Rensburg, Donna Mckellar.
Steenberg Village, Reddam Ave, Tokai
T. 021 701 0886
WESTERN CAPE | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 31
Collector wishes to buy paintings by
GEORGE BOYS
AILEEN LIPKIN
HAROLD VOIGT
PAUL BLOMKAMP
please send images and details to
saartcollector@me.com
20 February - 23 March 2011
Opening speaker : Johann du Plessis | Curator : Carina Bekker
MJ Lourens
16 January - 16 February 2011
Henry Hopkins Craig Muller
Main Road Franschhoek POBox 102 Franschhoek 7690 Western Cape South Africa T+27 21 876 8630 F + 27 21 876 8601 gallery@grandeprovence.co.za www.grandeprovence.co.za
For reservations : T +27 21 876 8600 F +27 21 876 8601
 Expert advice
 Extensive range of moulding profiles
 Custom made hand-finished frames
 Conservation framing with museum glass
 On-site consultation can be arranged
 All work done in our own workshop
 Original art by local contemporary artists

Why settle for “run-of-the-mill” framing when you can have
something custom made at an affordable price?
If you are going to frame it, show it off at its best!
Wolfe Street  Chelsea  Wynberg  021-761 2816
Buitengracht Street  Cape Town  021-423 2090
email: gallery@infinart.co.za  web: www.infinart.co.za
est. 1977

wide selection of works by leading South African contemporary artists
Exclusive distributors of
Pieter
van der Westhuizen
etchings
full selection on website
1st oor
Cape Quarter Square
27 Somerset Road,
Green Point
Ph: 021 421 3333
email: carmel@global.co.za
website: www.carmelart.co.za
Raw Vision Gallery
16 December - January 2011, Marina Cano wildlife
exhibition
89 Sir Lowry Rd, Woodstock, CT. T. 076 581 9468 info@
rawvisiongallery.com
www.rawvisiongallery.com
Rose Korber Art
Until 12 December, “Abstraction and Meaning” New oil on
canvas by a master of Minimalism, J P Meyer.
16 December 2010 - 17 January 2011, “19TH Annual Art
Salon” An exciting innovation this year will be the inclu-
sion of a ‘Salon within a Salon’, presented by well-known
Cape Town curator, Andrew Lamprecht, and entitled the
Salon des Confuses. He will present a varied mix of
younger, emerging artists, alongside some well-known
names, but with a focus on the unusual, unexpected and
surprising. At the opening event, two performances by
Angelique Kendall and Gerald Machona will also take
place as part of his contribution.
48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152
roskorb@icon.co.za
www.rosekorberart.com
Rust-en-Vrede Gallery
Until 15 December, “From the Vine”, Jewellery designed
by Ilke & Marc Whitehorn; “Alternative Realities” oils by
Janna Prinsloo; “Legkaart” oils by Lynie Olivier; In the
Cube in the Clay Museum: Rice Bowls by various potters.
10 Wellington Rd, Durbanville. T.021 976 4691
www.rust-en-vrede.com
Salon 91
04 December-14 January, “Coppertone 77”, Summer
Group Salon. Various media.
18 January-19 February, “The Jacaranda Girls and
Other Stories”, solo exhibition of oil painting, print and
watercolour by Katrine Brink Claasens. Opening Tuedsay
18 January @ 7:30pm.
91 Kloof Street, Gardens, Cape Town. T 021 424 6930.
info@salon91art.co.za
www.salon91.co.za
South Gallery
Showcasing creativity from KwaZulu-Natal including
Ardmore Ceramic Art.
Fairweather House, 176 Sir Lowry Rd, Woodstock,
Ground Floor.
T. 021 465 4672 info@southgallery.co.za
South African Jewish Museum
Until February 2011, “Kith, Kin & Khaya”, South African
Photographs by David Goldblatt. Over 100 of Goldblatt’s
fnest gelatin silver prints.
In the Company’s Garden, 88 Hatfeld Street, Gardens,
Cape Town.
T. 021-465-1546
info@sajm.info www.sajm.info
South African Print Gallery
11 December-15 January 2011, new works by
Joshua Miles.
A wide selection of Fine Art Prints by South African
Masters and contemporary printmakers.
New prints in stock
107 Sir Lowry Rd, Woodstock, Cape Town.
T. 021 462 6851
info@printgallery.co.za www.printgallery.co.za
These Four Walls
03-11 December, Sadly these four walls will be closing.
Please join us for the last exhibition opening Fri 3 Dec,
at 6pm, to celebrate the gallery’s many happy and
successful years.
169 Lower Main Road, Observatory, Cape Town.
C. 079 302 8073
janet@thesefourwalls.co.za
Waterkant Gallery
Until 08 December, “African Archival Photography”
123 Waterkant Street, Cape Town. T. 021 421 1505
info@waterkantgallery.com www.waterkantgallery.com
Wessel Snyman Creative
Until 07 December, “Ocean Drive Series”, guache on
paper by Wayne Durno.
08 Nov -08 January, “Early Retrospective”, photography
by Stuart Sandford.
11 - 23 January, “Human Earth & Bigwood Collective”,
a mixed media exhibition.
27 January - 12 February, A solo exhibition of oil paintings
by Danny Shorkend.
17 Bree Street, Cape Town. T. 021 418 0980.
wesselsnymancreative@gmail.com
What if the World…
10 November - 04 December, Solo Exhibition by
Andrzej Nowicki.
08-15 January 2011, “WITW Summer Group Show”
First foor, 208 Albert Rd, Woodstock, T. 021 448 1438
www.whatiftheworld.com
Worldart Gallery
16 December-14 January, Group Painting exhibition
featuring Richard Scott, Gavin Rain, Alex Hamilton,
Thembinkosi Kohli and Ayanda Mabulu.
54 Church Street, Cape Town. T.021 423 3075
charl@worldart.co.za
www.worldart.co.za
Youngblackman Gallery
Until 12 December, “The Body in Question IV: La Mamma
Morta” by Athi-Patra Rugha.
69 Roeland Street, Cape Town. T. 083 383 0656
www.youngblackman69.com
Franschhoek

Galerie L’ Art
A permanent exhibition of old masters.
Shop no 3, The Ivy, Kruger Str., Franschhoek
T. 021 876 2497
www.galart.co.za
The Gallery at Grande Provence
Until 01 December, “Painters who Print-Art on Paper”
an exhibition that celebrates some of the artists who have
worked at The Artists Press.
Until 01 December, “Fragile Earth”
by Jeannette Unite (The Project Room)
05 December- 12 January, “Angels V”, the ffth annual
Christmas exhibition featuring works by selected SA
artists. Opening 05 December @ 11am with opening
speaker Johann du Plessis. Curator: Carina Bekker.
16 January-16 February, Works by Henry Hopkins and
Craig Muller; The Shop: Sally Arnold; Project Room-
George Hugo.
Main Road, Franschoek. T. 021 876 8600.
gallery@grandeprovence.co.za
www.grandeprovence.co.za
Is Art
05 December-Mid February, A group exhibition of paint-
ings, sculpture, ceramics and jewellery.
Opening 05 December @ 11am.
Ilse Schermers Art Gallery at Le Quartier francais,
6 Huguenot Street, Franschhoek. T. 021 876 8443
George
Strydom Gallery
From 27 November, “George 24”, 42st
Summer Exhibition of South African Art.
Opening Saturday, 27 November @ 6pm with opening
speaker Prof Lize van Robbroeck (Art historian,
Stellenbosch University)
79 Market Street George. T. 044 874 4027
info@artaffair.co.za www.artaffair.co.za
www.fnearts.co.za
Hermanus
Abalone Gallery
During Dec/Jan, Main Gallery: “Inspired by Africa”, works
by Raymond Andrews (wooden panels), John Clarke
(pastel drawing), Hannes Harrs (collages and totems),
Leonard Matsoso (oil pastel ), Carl Roberts (sculpture),
Solomon Sekhaolelo and Lynette ten Krooden (painting).
Side Gallery: Collection of graphic and photographic
works by: Hardy Botha, Lien Botha, Norman Catherine,
Braam Kruger, Judith Mason, Dirk Meerkotter,
Cecil Skotnes, Andrew Verster.
2 Harbour Rd, The Courtyard, Hermanus.
T. 028 313 2935 info@abalonegallery.co.za
www.abalonegallery.co.za
Bellini Gallery and Cappuccino Bar
During December, “Summer selection”, Works by
Annette Barnard, Anna Barth, Ed Bredenkamp, Maeve
Dewar, Annemarie du Plooy, Charlene Langguth,
Elizabeth Miller-Vermeulen, Shannon Phillips, Alison
Riordan, Vernon Swart, Louis Stroh van der Walt.
03 -12 December,
“People and Places” paintings by Alyson Guy.
167 Main Road, Hermanus. T. 028 312 4988
www.bellini-gallery.co.za
Harbour Road Art Gallery
Until 15 January, Kirstenbosch Biennale artists exhibit
in Kleinmond.
Hangklip, Kleinmond. T. 028 271 5689
Municipal Auditorium, Hermanus
“Opportunity Art” will be hosted by Overstrand Hospice on
7 January 2011 at the Municipal Auditorium in Hermanus,
which in short is a fundraising event focusing on Art, and
includes an Art Sale and Auction. All artists (professional
and amateur) are encouraged to donate a painting(s) to
this event. All donated paintings, except the painting do-
nated for auction, will be sold at very reasonable prices,
ranging from R100 to R500.
Artists include Gail Catlin, Tay Dall, Lynda de Wet,
Carol Mangiagalli, Hennie Niemann, Hennie Niemann Jr,
Helmut Starcke, Charles van der Merwe,
Louis van Heerden, Derick van Rensburg, Jan Vermeiren
and Angela Key.
07 January, “Opportunity Art”, art sale and auction.
Preview 07 January 12am. The art sale and auction will
start at 4pm. For more enquiries, contact Dieter Odendaal
at Overstrand Hospice on 028 312 4679 fundraising.
hospice@hermanus.co.za
Knysna
Dale Elliott Art Gallery
Garden Route and Knysna themed exhibition by
Dale & Mel Elliott
Woodmill Lane Shopping Centre, Knysna.
Tel:044 382 5646 www.daleelliott.co.za
Knysna Fine Art
From December, Working drawings by Peter Cazalet.
(The primary costume designer for theatre, opera and
ballet, both locally and internationally)
Continuous exhibition, paintings by Leon Vermeulen.
Knysna Fine Art has relocated to Thesen House,
6 Long St, Knysna.
T. 044 382 5107 C. 082 5527262 gallery@fnearts.co.za
WESTERN CAPE | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 35
The Cape Gallery, 60 Church Street seeks to
expose fine art that is rooted in the South
African tradition, work which carries the
unique cultural stamp of our continent.
Featured above is artist Xolile Mtakatya
American express,
Mastercard, Visa
& Diner cards are
accepted. Reliable
arrangements can
be made to freight
purchaces to foreign
destinations.
THE CAPE
GALLERY
Open: Mon - Fri: 9h30 - 17h00
Sat: 10h00 - 14h00
Tel: 27 21 423 5309
Fax: 27 21 424 9063
E-mail: cgallery@mweb.co.za
Web: www.capegallery .co.za
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in the Companies Garden
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Oudtshoorn
Artkaroo Gallery
Until 18 December, mixed & multi media and lithographs
by Chris Spies supported by ceramics by
Elsable Pretorius.
107 Baron van Reede, Oudtshoorn. T. 044 279 1093
janet@artkaroo.co.za www.artkaroo.co.za
Paarl
Hout Street Gallery
25 November - 28 February 2011, “Annual Summer
Salon.” this exhibition features an extensive range of
paintings, ceramics and sculptures by more than thirty
South African artists.
270 Main Street, Paarl. T. 021 872 5030
zetler@icon.co.za www.houtstreetgallery.co.za
Piketberg
AntheA Delmotte Gallery
25 November - 15 December, “16 days of activism”
47 Voortrekker Street, The Old Bioscope, Piketberg. 073
281 7273, anthea@lantic.net
Stellenbosch
Art on 5
Permanent exhibition of paintings and ceramics by
Maryna de Witt, Pera Schillings, and Karen Kieviet.
7b Andringa Str., Stellenbosch. T. 021 887 7234
Dorpstraat Galery
Dec/Jan, Group show featuring Walter Meyer, Shany van
den Berg, Nora Newton, Greg Lourense, Eugenie Marais,
Frank van Reenen and Vincent da Silva.
10 Oude Bank Church Street, Stellenbosch.
T. 021 887 2256
info@dorpstraatgalery.co.za
www.dorpstraatgalery.co.za
Glen Carlou Estate
On exhibition is The Hess Art Collection, including works
by Deryck Healey, Ouattara Watts and Andy Goldsworthy.
Simondium Rd, Klapmuts. T. 021 875 5314
www.glencarlou.co.za
SMAC Art Gallery
08 December-27 February,
New paintings by Johann Louw.
De Wet Centre, Church Street, Stellenbosch.
T. 021 887 3607 www.smacgallery.com
Stellenbosch Art Gallery
25 November - 31 January 2011,
“2010 Gala Summer exhibition.”
34 Ryneveld Street Shop 1 Ryneveld Plaza.
T. 021 887 8343 mjg@kingsley.co.za
University of Stellenbosch
11 November - 14 Febuary 2011, “Mother Nature.
Art and Psychology in conversation.” A multi-media group
exhibition. Curated by psychologist Elzan Frank.
Cnr Dorp & Bird Street, Stellenbosch
T. 021 808 3524/3489
Stellenbosch University
Until 12 December, “Gradex 2010” an exhibition of works
from the graduate students of the
Department of Visual Arts.
Department of Visual Arts, Stellenbosch University.
US Art Museum
02 December-08 January, “Huis, paleis, pondok..” by
Brahm van Zyl;
“Mnemonic Devices by Madelein Marincowitz.
Cnr of Dorp and Bird Streets, Stellenbosch.
T. 021 808 3524/3489
Villiersdorp
Dale Elliott Art Gallery
Festive Season Exhibition of latest oil paintings by
Dale & Mel Elliott. Demonstration programme available.
T. 028 840 2927 www.daleelliott.co.za
GALLERY GUIDE | WESTERN CAPE
Kwa Zulu Natal
Durban
The African Art Centre Durban
17 December - 05 December,
A solo exhibition of landscape paintings by
Derrick Nxumalo.
08 December - 09 January 2011,
A New Range of Summer Jewellery and a selection of
artwork in a variety of mediums by the Velobala Group.
94 Florida, Durban. T. 31 312 3804/5
africanartcentre@afri-art.co.za www.afriart.org.za
Artisan Contemporary
Until 04 December, “Coastal Refections” paintings by
Jenny Meyer and Jewellery by Bianca Ladds.
08 December-15 January, Recently published works
by the Artist Proof Studio. Accompanying the prints on
display is jewellery and ceramics by leading South African
artists including Sarah Walters, Loren Kaplan,
Martha Zettler, Katherine Glenday, Evette Weyers
and Catherine Brennon.
344 Florida Rd, Morningside, Durban.
T. 031 312 4364 www.artisan.co.za
ArtSPACE Durban
29 November - 15 January 2011,
“8th Annual Affordable Art Show”
24 Jan – 12 Feb, Petros Ghebrehiwot paintings.
3 Millar Road, Stamford Hill, Durban. T.031 312 0793
info@artspace-durban.com www.artspace-durban.com
Durban Art Gallery
Until February, Monty Naicker.
26 November- Until 13 Feb,
“Samsara – A Continuous Pursuit (1860s settlers)”
04 December-23 January, Jabulisa 2010”
Until end December, “Frequency Luness”,
a sound exhibition.
2nd Floor City Hall, Anton Lembede St (former Smith St)
Durban.
T. 031 311 2264 strettonj@durban.gov.za
DUT Art Gallery
07 – 09 Dec, Jewellery & Fine Art Exhibition
13 – 15 Dec, Emma Smith Exhibition
10 – 31 Jan, Exhibition of works by
Celeste van der Merwe
T. Nathi 031 373 2207
Fat Tuesday
Dec, Exhibition of photographic work by Lesley Goodman
entitled “In the rain” as well as beautiful ceramic by
Helen Vaughan, De Holley and Catherine Brennon and
magnifcent carvings from Zambia in ebony of Noah and
His ark along with all the animals
Dec, Illana Lloyd’s “Art for Life” creative Christmas
workshops for children aged 6 and up and bear
Hansen’s Cartooning course for all ages.
Bellevue Road, Kloof. Shannon T. 031 717 2785
Kizo Art Gallery
Dec & Jan: Keith Calder’s impressive 3m bronze entitled
Slide Tackle will be on exhibition together with an
enormous collection of artworks from the
2010 Fine Art Collection and others.
Gateway Theatre of Shopping
T. 031 566 4322/4 www.kizo.co.za
KZNSA Gallery
14 November – 09 January 2011,
“Buzz Art” Christmas gift fair extravaganza.
25 Jan –19 Feb: “The Bold and The Beautiful:
Annual Member’s Exhibition”
166 Bulwer Rd., Glenwood.
T. 031 2023686 www.kznsagallery.co.za
Nourish Café on Kensington:
Dec & Jan: First exhibition of photographs by
amateur photographer Annelise Willis
Nourish is a place where art and food can be mutually
experienced.
Kensington Drive, Durban North. T. 031 564 3126
The Village Green, Umhlanga:
4 Dec: 9:30am – 3pm North Coast Art Group open-air art
exhibition in aid of Animal Anti-Cruelty T. 031 568 1957
Margate
Margate Art Museum
Museums art collection on display.
T.039 312 8392 C.072 316 8094 huey@hcm.gov.za
Pietermaritzburg
The Blue Caterpillar Art Gallery
01-30 December - Spanish artist Didier Lourenço’s
watercolour and original oil paintings will still be on view in
the gallery and on our website.
02-31 January, Still lifes and landscape oil paintings by
Jocelyn Boyley and Charmaine Eastment both artists
where infuenced and tutored by the late Errol Boyley.
The Blue Caterpillar art gallery at Butterfies for Africa
37 Willowton Road, Pietermaritzburg. T. 033 387 1356
art@butterfies.co.za or bluecaterpillarart@hotmail.com
www.butterfies.co.za
Tatham Art Gallery
05 December-16 January 2011 ,
“Circles of Tranquility” by fbre artist- Jutta Faulds.
Cnr of Chief Albert Luthuli (Commercial) Rd. and Church
Str. (Opposite City Hall) Pietermaritzburg.
T. 033 342 1804 www.tatham.org.za
Eastern Cape
East London
Ann Bryant Gallery
The Main Gallery
Until 04 December,
East London Fine Art Society’s Annual exhibition.
The Coach House
02-16 December, Group Mosaic exhibition.
9 St. Marks Rd, Southernwood, East London.
T. 043 722 4044
annbryan@intekom.co.za
www.annbryant.co.za
Vincent Art Gallery
01-07 December, Ceramic exhibition by
Charmaine Haines, Taking Place at the
The Vincent Park Centre. From 10am-6pm.
Usual Gallery Hours Tues-Fri 9am-5pm; Sat 10-1.
2 Donald Road Vincent, East London.
T.043 726 4356 C. 083 700 4711
vinceart@lantic.net
Port Elizabeth
Alliance Francaise
Until 03 December, “Réunion Chroniques”
(Reunion Chronicles), a photographic exhibition from
Reunion Island.
7 Mackay Street, Richmond Hill T. 041-585-7889
Epsac Gallery
Until 10 December, Works by Niek Hiemstra.
03-15 December, Fixated. An exhibition of fashion,
photography and flm by NMMU School of Art & Design
students. 36 Bird Street, P.E.
T. 041 585 3641 gallery@epsac.co.za
Montage Gallery
Until 23 December, “Nexus”, oil paintings by
Greg Schultz and sculpture by Wehrner Lemmer.
59 Main Road, Walmer, P.E.
T. 041 581 2893
montage1@iafrica.com
www.montagegallery.co.za
Nelson Mandela Metropolitan Art Museum
Permanent exhibition, “Art in Mind”
Until 05 December, “RE.SPONSE” Lecturers, students
and Alumni from the Nelson Mandela Metropolitan
University School of Music, Art and Design.
Until 12 December,
“Fauna and Flora” images and ceramics
10 December - 06 February 2011,
Nelson Mandela Metropolitan Art Museum
Biennial Exhibition and Award 2010.
18 December - 18 March 2011, “Faces and Places”
An exhibition of paintings, photographs, prints and
ceramics from the Art Museum’s Permanent Collection.
1 Park Drive, Port Elizabeth. T. 041 506 2000
www.artmuseum.co.za
New Creations
Until 16 December, Ceramics SA Eastern Cape
Regional exhibition.
13 Newington Street, Richmond Hill
For enquiries T. Stephanie Liebetrau at
041 3737136/ 082 8774138
letrau@agnet.co.za
P.E. Summer Arts fair
10-12 December 2010, a 3-day event which includes a
fashion show, live performance competition and drama
production as well as art exhibitions.
www.summerartsfare.yolasite.com
Ron Belling Art gallery
From 29 November,
Architecture Student exhibition from
Nelson Mandela University.
30 Park Drive, P.E. T. 041 586 3973
ronbelling@mweb.co.za
www.ronbelling.co.za
EASTERN CAPE | KZ- NATAL | GALLERY GUIDE
SA ART TIMES. Dec 2010- Jan 2011 37
ART
THE SOUTH AFRICAN
Life
Lloyd Pollak interviews Brett Murray regarding his show entitled:
“Hail to the Thief” currently on at The Goodman Gallery, Cape.
Photo: Jenny Altschuler
We are currently inviting submissions for our
forthcoming Cape Town and Johannesburg auctions.
Entries close end December 2010 and
mid March 2011 respectively.
Enquiries:
Johannesburg 011 728 8246 jhb@straussart.co.za
Cape Town 021 683 6560 ct@straussart.co.za
www.straussart.co.za
Irma Stern, The Lemon Pickers, signed and dated 1928,
oil on canvas, 100 by 95cm R10 000 000 - R14 000 000
Cape Town, Monday 7 March 2011
We are currently inviting submissions for our
forthcoming Cape Town and Johannesburg auctions.
Entries close end December 2010 and
mid March 2011 respectively.
Enquiries:
Johannesburg 011 728 8246 jhb@straussart.co.za
Cape Town 021 683 6560 ct@straussart.co.za
www.straussart.co.za
Irma Stern, The Lemon Pickers, signed and dated 1928,
oil on canvas, 100 by 95cm R10 000 000 - R14 000 000
Cape Town, Monday 7 March 2011
Text by Lloyd Pollak
Photos: Jenny Altschuler
I succumbed to the period charm of Cromdale Villa, the home of Brett Murray,
his wife, Sanell Aggenbach, and their daughter, Lola, as soon as I glimpsed
its stately mustard façade from the road. The blocky cubic silhouette of this
spruce turn of the century Cape Georgian villa is crowned by a lofty pediment
with Greek revival detailing, and the ensemble exudes the security, solidity and
stability of the British Empire at the height of its glory. Trim iron railings and
walls divide the property from the street. Graceful arched double front doors,
spacious sash windows and a deeply shaded verandah, patiently await you,
giving the villa a convivial air of invitation.
So sturdy and robust is its construction that I felt my Claremont bonk-box
was made of Styrofoam. The slate walls are thick enough to survive a siege.
Ceilings are lofty, and proportions so perfect they immediately induce a sense
of restful harmony. There is an expansive generosity about the Edwardian
architecture: the tall, broad windows are equipped with folding wooden shutters
and ledges so deep and wide they can comfortably accommodate even the
plumpest of buttocks.
No corners were cut. The carved marble freplaces surround cast-iron grates
relieved with foral tiles. Weighty marble slabs are interspersed between
the parquet in all the doorways, and elaborate plaster ceiling roses burst into
bloom on high.
Back in the days of the Dutch East India Company, this was a farm. Later when
Woodstock became a seaside suburb with the beach just down the road, the
seashells provided the raw material for the Kalkbrandery Lime factory. The
previous owner was Signore Lorenzi, an Italian stone mason who embellished
Deco buildings with carved ornament, and staged operatic recitals in Sanell’s
study where ringed marble columns support a beam from which fringed and
tasseled velvet curtains once parted to reveal Tosca hurling herself from the
ramparts of the Castel St Angelo.
This is a house with a history, and it wears that history with pride. Brett and
Sanell’s policy is one of loving neglect, and the signs of wear and tear only en-
hance the character of their home. Neither are twee titivators. There is nary a
fower-box, hanging basket nor coach lamp to be seen. The lid of the splendid
mahogany lavatory seat is not embellished with ribbons and bows. It is what
it is, and rather like its owner, it is honest and down to earth in character. Brett
has certainly stamped his forthright lack of airs and graces upon his surround-
ings. Furniture is minimal; taste, austere, and nothing interferes with the easy
fow of space from room to room.
Although this is a suburban home, Brett and Sanell are most emphatically
artists, and not suburbanites. Their décor eschews bourgeois status symbols
and hints at student digs, the artist’s garret and the counter culture. What
they love about Cromdale villa is its aura of bygone days, and they have
preserved even its quaint inconveniences. The vast, and defantly un-modern-
ized, kitchen oozes nostalgia for the 1940’s when women wore aprons and
baked, and hapless husbands did not come home to boxed pizza delivered by
students in dinner jackets.
Brett’s wacky humor expresses itself in a passion for kitsch. The connois-
seur of tack continually regales the eye with bizarre conclaves of animals and
fgures rising from the top of freplaces, bookshelves, tables and ledges. An
African crocodile in charred wood nestles up to a matronly Russian babushka;
a wooden aeroplane prepares for take-off next to a tin Cadillac. Pageants of
skittishly juxtaposed colon fgures, catholic religious icons, African airport art
and plastic toys, process along every available surface. Sanell’s life-size black
sheep vainly attempt to graze a bedroom’s parquet foors, and gaze out of the
window with hopeless longing for the rasping grass of the Karoo. The spoils of
the church bazaar rub shoulders with paintings and sculpture by Kevin Brand,
Lisa Brice, Conrad Botes, Lindy Sales, Doreen Southwood, Andrzej Nowicki,
Zander Blom, John Murray and Hylton Nel, and although such works are
valuable, they are nonetheless displayed with a throwaway insouciance that
subverts the very notion of display.
The sunny spring morning lures us outside. I seat myself on a swing, and
interview Brett in the midst of a ramshackle patio where two arthritic old olive
trees provide pools of shade. This secluded pocket of garden is walled, and
overlooked only by Table Mountain which peeps over a crumbling brick wall to
eavesdrop on our conversation. All is charming disorder. Rambling bougainvil-
leas and climbing vines tug at the walls, and rosemary and lavender grow
any which way. Sanell does not patrol the herbaceous borders armed with
sécateurs, and weeding, I observe, is not Brett’s strong suite.
Tea materializes, rather than is served, and in the course of conversation,
we drift into the large modern studio to view the subject of our discussion,
the work in progress for Brett’s forthcoming exhibition at the Goodman, “Hail
to the Thief!” Brett’s art works are little ticking bombs artfully disguised as
suppositories to be placed in the fabby rectum of our ANC government, and
his antagonism to it is so overt, that many gallery goers were outraged at
Saturday’s opening, and complained bitterly to the staff.
Further faecal matter will surely hit the fan. Earlier this year the then Minister
of Arts and Culture, Lulu Xingwana demanded to know why Zanele Muholi’s
controversial exhibition examining black lesbianism, had not been censored. I
suspect that Brett is playing the agent provocateur and deliberately throwing
down the gauntlet at Xingwana’s successor, Pallo Jordan, and challenging
him to close the exhibition, or remove certain works, in order to prove that the
freedom of the artist, and by extension that of every citizen, is in jeopardy.
Brett is playing a dangerous game to defend our civil liberties and one can only
applaud the artist’s courage and shout ‘Viva Brett!” and ‘Bravo, Bravo, Bravo!’

Elevenses with the dark Prince of Pop
ART LIFE | FEATURE / lLLOYD POLLAK INTERVIEWS BRETT MURRAY
42 SA ART TIMES. Dec 2010- Jan 2011
Jurgen Schadeberg in his hotel November 2010 Jenny Altschuler 2010
Jurgen, you are an iconic fgure in our country’s history, photographically
because of the 52 years of photographing and documenting in South Africa
from your arrival in the early 50s up until this 1st decade of the 21st Century,
and also politically, because of your ongoing deep socio political concerns and
investigations into the social development of South Africa. You have made flms
on topics such as Nelson Mandela and the Rise of the ANC in 1990; Voices
from Robben Island in 1994 and you published Voices from the Land – a major
photo essay on the conditions on South African Farms, in 2005. You have lived
for long periods of time elsewhere so why has South Africa’s state of being
consumed you so wholly?
Well, South Africa became my home. All in all I have lived in South Africa for
the longest periods of time; round about thirty fve years in total if you add it all
together. The frst thirteen began in 1950 and that period scanned my formative
career period from the age of 19, through my 9 years at Drum Magazine as
photographer and photo editor and later as freelancer until I was coerced out
of the country in 1964 by the police and immigration restrictions. I returned
twenty years later on a visit in 1984, to fnd and fetch my work. I had been
afraid to try and carry the negatives out in the 60s in case they would be found
on me and destroyed by the apartheid police. I did fnd my work in some aban-
doned cabinets on the Bailey farm, and then I returned a year later in 1985
with Claudia to begin realisation of the many documentaries we had planned
together. We stayed till 2007 and produced many of those documentaries on
South Africa in video and flm during those twenty two years.
Voices from the Land was shot during this time, late in 2005. Not many people
know about this body of work and some of those that did see it as an exhibition
or book, misunderstood its’ intention, calling it a continuation of apartheid ob-
session. I had intended an expose of the fact and the conditions on the farms,
which were still steeped in gross inequality systems present under the old
regime. Even now there are still grey areas such as this and I fnd that hard to
ignore. It is not only the poverty that I wanted to draw attention to, but also the
systems and the power relationships still in place. The project also highlighted
the positive elements in daily life on the farms and hopefully in time this will be
apparent.
Jurgen Schadeberg
Interview and photographs of Schadeberg by Jenny Altschuler. November 2010.
Schadeberg lived in Britain on and off for roughly 20 years between 1964 and 1984 between his long periods of living in South Africa. He has also lived and worked in Spain,
Germany and a number of cities on the African continent. He currently resides in France in a village just outside Paris.
JURGEN SCHADEBERG / FEATURE | ART LIFE
However Germany is also your country. You were born, raised and educated in
Berlin and are back here in Cape Town at the preset moment as the guest of
the Cape German Consulate with your exhibition, Mauerbilder 1961: Images
of the Berlin Wall that forms part of the Cape Town German Cultural Weeks
festival hosted by the Consulate. Even though you live in France currently, you
were chosen as the visiting cultural fgure because the dual nature of your con-
cerns, the artistic and the political, (in this case German and South African), ft
the dual focus of the program: celebrating the parallel 20 years of the fall of the
Berlin wall and the 20 years since Nelson Mandela was released from prison.
Avoiding the Pass Johannesburg. c. Jurgen Schadeberg 1955

Yes, my life’s work has had resonance on both these levels, the artistic and
the socio politic. The works that are going to be viewed by the city during the
festival, have been circulating internationally for a long while , and are apt
examples of what I have engaged myself in, as a photographer, a socio political
flm maker and someone who continues to mentor South African photogra-
phers. Contributing to the German interest of the festival is the exhibition of the
1961 body of work, Mauerbilder: Images of the Berlin Wall, showcasing at the
Photographers’ Gallery ZA. This body of work has been travelling and showing
internationally at the Goethe Institutes around the world since 1998. It was not
a planned project. I happened to get an opportunity to visit Berlin in 1961, and
to my surprise I found myself in the middle of the Cold War. The space was
flled with the soldiers and other battle icons and the rest of the city went on
almost innocently about its daily mechanics.
Back in South Africa you had left Drum magazine, after being extremely
infuential in the documentation of the life and atmosphere of the black culture
of writers, poets, music and theatre, as well as the living conditions and general
life in South Africa under apartheid.
Jurgen Schadeberg at the opening of Mauerbilder at the
Photographers GalleryZA Photograph: Jenny Altschuler November 2010
Miriam Makeba posing for Drum cover
c. Jurgen Schadeberg 1955
It was during this period that Schadeberg photographed the life and struggle of South Africans during Apartheid and documented pivotal moments at important historical events such
as during The Defance Campaign of 1952, The Treason Trial of 1958, The Sophiatown Removals and the Sharpeville Funeral in 1960. “When I arrived in South Africa in 1950 from
Germany I found two societies running in parallel with each other without any communication whatsoever…As a newcomer and outsider I managed to quite easily hop from one world
to another…for example in the evening I might photograph a white masked ball in The City Hall, the next morning an ANC Defance Campaign meeting, or a shebeen in Sophia-
town….all followed by The Durban July” (Schadeberg on the publication of The Black and White Fifties in 2002).
The exhibition is presented courtesy of the Johannesburg Goethe Institute where it was exhibited in 1998 as one of the legs of an exhibiting tour of all the Goethe Institutes worldwide.
ART LIFE | FEATURE / JURGEN SCHADEBERG
All Residents of West Berlin, waiting to get passes to visit the eastern town of
the newly constructed wall. c. Jurgen Schadeberg 1961
Waiting for the Trucks, Sophiatown
c. Jurgen Schadeberg 1958
Nelson Mandela during the Treason Trial
c. Jurgen Schadeberg 1959
You had yourself amassed a huge amount of poignant images of the times as
well as cultivated and nurtured the blossoming of black photographers who
evolved to be this countries historic photographic fgures, among these, Ernest
Cole, Peter Magubane and Bob Gosani, all of who you assisted with your
mentorship, cultivation through your books you showed them on a daily basis
of international photographers and with the photographic bravado you encour-
aged and supported them through. By this time in 1961, among other things,
you had completed a photographic project, on the San (Bushmen), where you
accompanied a research expedition into the Kalahari Desert that studied the
lives of the tribe. Other photographers have researched and photographed this
since but that was the frst. However that series only got published in 1982 in
The Kalahari Bushmen Dance. Other long term projects also began in those
earlier years and only became realised for you in the mid 90s after the change
in Government.
Documenting the state of affairs is never an easy task. But to my mind, if this
is your intention, you need to engage in many layers of research and visual
consciousness. You need to able to see up, down, side ways and through.
This is what I tell the photographers who I mentor and mentoring is one of the
activities I have dedicated myself to throughout my life, even past the Drum
era. Claudia and I have taken on interns continuously also because we are
always involved in projects at different points through their progression. One
such partnership was with Vatiswa Ruselo who interned with us and I mentored
with her series of portraits of Black South African veteran boxing champions.
She was a pleasure to work with but afterwards the series was linked with the
Market Photo Workshop and my input was never acknowledged. I have And
that is what I will do here for the festival too. As we were already coming all
the way from France for the exhibition, it was natural that I should be involved
with a few additional side events. So I have been involved in a masterclass
to photographers who have been working on substantial projects and who
asked for my input and guidance. I spent a full day with the photographers all
together but looking at separate projects, one by one, through different stages
of their progress.
I was moved by your ability to home in to the real essence of most of the
photographers’ intentions as well as your intuition about the things they were
as yet unaware of that was coming across. Often you mentioned a quality or
deduction that no-one else had thought of and then it became clear to all. Even
when suggesting an unexpected shift or additional context that the photogra-
pher might have been surprised at initially, your suggestion defnitely made us
all think bigger, broader than ourselves, broader than the South African context
and opened up ways of continuing that could register more specifcally and
more universally. I did however sense a barrier towards contemporary Fine Art
photography and the gallery space. What is your experience of this market in
Europe and the international world?
The gallery market is indeed a diffcult context for documentary photographers.
On one hand many of the newer galleries do not understand the medium really
and wish and need to make money off pictures that people want on their walls,
but on the other hand there is little space and money any more in the media
for documentary photographers to show their work satisfyingly. Museums are
indeed a better bet, but the newer development of the portfolio of a curator
also disturbs the purer showcase. In the old days there was no such thing as a
curator. You would ask the people you trusted to help you edit and you would
do everything yourself. Nowadays you have to frst get the museum to want to
showcase “you” and then the curator to make all the choices. In our experience
many of them have had no research experience around your subject or knowl-
edge of the variety of contexts of your work or the documentary side of things.
It is left to a large extent up to the individual photographer to make a mark and
push to become seen. Make sure you have a website. Do research and active
marketing of your work and completed projects. Nurture your own archives
as well as network. Don’t do the fnal edits all by yourself though. Ask other
photographers, artists, writers. Ask a bank manager. See which pictures speak
to others. Then fnd out who is interested in buying the kind of work you do.
You have worked extensively in the larger range of the photographies, in both
the still and motion disciplines. The Schadeberg Movie Company has produced
flm and video documentaries such as the Voices from Robben Island (1994),
screening at the Alliance Francaise for this festival). Your style is distinct with
beautifully shot footage, in this case, of the Island, intertwined with one on one
highly intimate studio interviews of historic characters pertinent to the issue. In
the Robben Island flm ex political prisoners, including Mandela, Walter Sisulu
and Govan Mbeki, father of previous president Thabo Mbeki, recount their
experiences during their incarceration as well as their comments, opinions and
personal statements on the signifcance of the events in retrospect. This seems
to draw a more intimate and poignant picture of the place and the atmosphere
of the societies that built and lived under the systems that created it. In this
way the atmosphere of times is re-created and the viewer can imagine into
this haunting place. The voice over also traces a general history of this territory
(which has been a symbol of expulsion from society) from its 17th Century role
as a leper Colony to its time as a maximum security prison. The other videos
and flms also have these same intimate qualities. The Ernest Cole flm for ex-
ample, combines an explicit memorial to Cole’s genius in photography, his own
presence through photographs and interviews of him by others, later interviews
of signifcant from his life, as well as your insights and memories of the photog-
rapher who grew from your mentorship as a young intern. The 52 minute movie
creates an intimate understanding of the photographer against the backdrop of
the South African atmosphere under apartheid and in fact, world attitude at the
time towards Black people. These movies should be part of our history and art
history education syllabi.
Jurgen Schadeberg studies each set of photographs brought by participants to the Masterclass in Cape Town. Jenny Altschuler November 2010
Schadeberg’s biography and CV with biographical details, a long list of exhibition and lists of books, video and flm projects can be viewed at http://www.jurgenschadeberg.com/
In 1987, George Mendonça fled a lawsuit against Time Inc. in Rhode Island state court, alleging that he was the sailor in the photograph and that both Time and Life had violated his
right of publicity by using the photograph without his permission. In 2008, after public claims by many others to be the subject in the image, Glenn McDuffe was legally recognized on
his 81st birthday as the “Kissing Sailor”.
JURGEN SCHADEBERG / FEATURE | ART LIFE
Yes, but it does not seem that the learning institutions here offer history of
photography or related subjects.
We have not had requests for the movies for this. We have produced many
educationally valuable projects and we have often spent a long time getting
a project realised. Claudia and I plan them, research and produce them over
considerable periods of time while looking for funding. We are not always suc-
cessful in attracting funders as the projects are not really commercial ventures.
However lack of outside funding does not deter us and should not disillusion
one. Perseverance is essential and the willingness to work really hard. At
times I have had to double up as the director, the photographer and the sound
technician, even more. One particular recent flm project, the entire venture
was produced by Claudia and I alone, hands on, as we could not get funding.
Yet it has been one of our most successful, travelling and screening all around
Europe at the moment. But you are right, at any point in time I might be in the
middle of shooting a project at specifc times during the week (such as the
French village series that I have been working on over the past year and a half
in our home village close to Paris), but I would also be printing towards a series
of photographs going into an exhibition or that have been purchased, at home
on other days, fnishing the fnal design for a book to be published, such as my
latest, Horizon of Hope and planning another book already for 2011. I make the
mock ups myself in the In Design program before I look for a publisher.
France has very strict laws pertaining to the photographing and usage of pho-
tographs for publication of people in public places. How does one deal with this
and how did you manage to photograph your village and all the people in it?
Well frstly there are those restrictions but no-one really abides by them. Then
if there are more than fve people in a picture, it is considered a crowd and that
is alright. If you are going to publish something in an advertising context or use
a picture for a public poster, even an art poster, you had better have consent.
The famous Eisenstaedt photograph, V-J Day in Times Square taken of a sailor
kissing a nurse, in 1945, was the centre of a long running lawsuit between
an alleged subject of the photograph and the magazines that had used them.
Sagas such as this are the reason for the copyright laws. The mayor of our
village gave the go-ahead for us to do the project after approaching, and in
some cases convincing, members of the community to participate. But it is also
personal ethics that makes all the difference. Getting permission is especially
important if you are focussing on contexts where people’s personal lives are
involved, but stopping your process to make in-depth contracts with every per-
son who is going to come into under your lens in public spaces, is impossible.
You too have been involved in a copyright lawsuit over images on the bailey
archive site. Has this been resolved? I have read that other photographers
have sworn that they shot the images that you claim are yours.
No, unfortunately it has not been resolved. There were about 400 images that
I had shot that were on the site, one after each other, all together as a body of
work. After we made our claim public the images were scrambled on the page,
other photographers’ work was inserted around and in between them so it was
more diffcult to single mine out. Some images were even attributed to other
photographers. We have two really good pro bono lawyers working on this, one
German and one South African, and we are persisting.
Can you comment on your latest work in colour. On The Beach 2004, Tales
from Jozi 2008, as well as the images from your currently launched book, Hori-
zon Espérance, (Horizon of Hope) all of which are mostly works in colour. You
were also still choosing to shoot in black and white during that same period,
such as your small body of work on The Young String Orchestra also shot in
2004, which I see as an interesting connection to and continuation out of your
long attraction to photographing Jazz which began in Sophiatown for Drum
magazine. Can you elaborate?
Horizon Espérance (Horizon of Hope) is a combination of selected works
from many projects shot during the last nine years including works from On
the Beach and Tales from Jozi. I combined digitally shot colour images with
those shot in colour flm. All my black and white images are shot in negative. I
do all that printing myself as well, whether in the darkroom or digitally through
the computer and printers. Colour is a whole different medium and although
everyone moved over to colour in the 1960s when it surfaced originally, and I
did a bit here and there, most of my serious life’s work until around the 2000s
was with black and white flm. I have also always printed in my own darkroom
or with assistants that I have mentored. Peter Magubane and Bob Gosani were
among the earliest candidates of those whom I taught the darkroom processes
to. Nowadays when I have interns, I take them through it all and they need to
know how to negotiate the digital technology and the digital ‘darkroom’.
So at 79 years of age, what do you envisage for your future?
Claudia and Jurgen Schadeberg at their hotel in Cape Town.
Jenny Altschuler 2010.
Claudia and I do the planning and execution of all projects together. We feel
about things the same way. `We have a number of projects already on the
horizon, some still in various conceptual stages and some about to complete.
The French Village will be launched in December this year. I am going back to
print over 100 of my images, for an exhibition that is planned for next year. I will
be working on a series edited from my many years of shooting in Britain. The
body of work will show daily life in the city as well as in the countrysideand we
will be producing it as an exhibition and of course a book. And I have another
idea that I’m playing with at the moment, in In Design on my computer...

School Playground, London. c. Jurgen Schadeberg1968
Athough Schadeberg answers generously and immediately with ease as if it is all frozen right there in the front of his mind’s archive, what he does not exactly remember, he confers
with Claudia who is clear and voluptuous with her offerings. There is spontaneous laughter between them and sometimes a short spate of sadness when sharing a less positive detail,
but generally the sense of commitment and pleasure for their partnered role in the relay of life shines through. The trust and collaboration is complete in every instance.
ART LIFE | FEATURE / JURGEN SCHADEBERG
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Casa Labia in Bloom
Te Labia family has long been
involved in the art world and the
reins are now passed to Count
Luccio Labia’s daughter Antonia
Labia Hardes-Williams as she
manages the new contemporary
South African art gallery at Casa
Labia. Her passion for African art and
design combined with her heritage has
fuelled her desire to create a space
that celebrates the best of South
African art.
Adding a new dimension to Casa
Labia’s more historic rooms, the
Galleria’s current exhibition is
a must-see for all residents and
visitors to Cap Town this Summer.
Curated by Margie Murgatroyd of
AFRICA NOVA, Casa Labia in Bloom
is a festival of art, inspired by South
Africa’s indigenous fora. Te multi-
media exhibition is open to the
public from Tuesday to Saturday
between 10:00 hrs and 16:00 hrs
until 29 January 2011.
Casa Labia in Bloom is a
celebration of our unique foral
kingdom and is also a reminder
of our role as custodians of this
extraordinary heritage. Te
exhibition features works produced
by some of South Africa’s most creative
talents across a range of media and
styles including: painting, ceramics,
photography, sculpture and jewellery.
Indigenous plants in a range of
unique African containers are
also on sale; and the Africa Nova
boutique (located in the former
boudoir) will be open throughout
the exhibition with its trademark
collection of the best of South African
contemporary art, craf and design.
For information on how to exhibit your
own work at Casa Labia Galleria, or for
a complete schedule of the festivities
during Casa Labia in Bloom please
contact Sally on 021 788 6068 or
email her at info@casalabia.co.za
Tracy Payne
1. Wildflower-I
2. Bobbejaantjie
3. Wildflower-II
Claudia Gurwitz
4. Malawian Plant #5; Oil on Canvas; 80cm x 100cm
5. Pincushion #3; Oil on Canvas; 100cm x 80cm
Pippa Lea Pennington
6. Sabie Aloes with Starling
7. Ngwenya Aloe
1
2
3
4
5
6
7
Casa Labia in Bloom
Te Labia family has long been
involved in the art world and the
reins are now passed to Count
Luccio Labia’s daughter Antonia
Labia Hardes-Williams as she
manages the new contemporary
South African art gallery at Casa
Labia. Her passion for African art and
design combined with her heritage has
fuelled her desire to create a space
that celebrates the best of South
African art.
Adding a new dimension to Casa
Labia’s more historic rooms, the
Galleria’s current exhibition is
a must-see for all residents and
visitors to Cap Town this Summer.
Curated by Margie Murgatroyd of
AFRICA NOVA, Casa Labia in Bloom
is a festival of art, inspired by South
Africa’s indigenous fora. Te multi-
media exhibition is open to the
public from Tuesday to Saturday
between 10:00 hrs and 16:00 hrs
until 29 January 2011.
Casa Labia in Bloom is a
celebration of our unique foral
kingdom and is also a reminder
of our role as custodians of this
extraordinary heritage. Te
exhibition features works produced
by some of South Africa’s most creative
talents across a range of media and
styles including: painting, ceramics,
photography, sculpture and jewellery.
Indigenous plants in a range of
unique African containers are
also on sale; and the Africa Nova
boutique (located in the former
boudoir) will be open throughout
the exhibition with its trademark
collection of the best of South African
contemporary art, craf and design.
For information on how to exhibit your
own work at Casa Labia Galleria, or for
a complete schedule of the festivities
during Casa Labia in Bloom please
contact Sally on 021 788 6068 or
email her at info@casalabia.co.za
Tracy Payne
1. Wildflower-I
2. Bobbejaantjie
3. Wildflower-II
Claudia Gurwitz
4. Malawian Plant #5; Oil on Canvas; 80cm x 100cm
5. Pincushion #3; Oil on Canvas; 100cm x 80cm
Pippa Lea Pennington
6. Sabie Aloes with Starling
7. Ngwenya Aloe
1
2
3
4
5
6
7
55 Main Street,
Newlands,
Cape Town
Tel: 021 671 1553
Fax: 021 683 2630
www.barnardgallery.com
55 Main Street,
Newlands,
Cape Town
Tel: 021 671 1553
Fax: 021 683 2630
www.barnardgallery.com
La bellezza resiste
Beauty fights back
In January this year, Ryno Swart had
a small one-man-show in Venice. The
theme of this exhibition was “Beauty
fghts back”, chosen, in a city of beauty,
now ravaged by commercialism and
visual brutality, to celebrate the revival
of an art founded in truth.
From his youth in Springbok, Ryno
loved drawing and admired the art
of the masters. Their skill and their
sense of beauty and truth were the
inspiration for a life dedicated to
understanding the secrets of vision, of
imagination, and of light. Around the
age of 14, in an essay, he named his
greatest ambition in life as “learning to
see.” To his surprise, he found his true
teachers in nature, frst in the intense
concentration of an eagle, and later
in the colour vision of a butterfy. The
chief lesson, however, was that we
see not by the light of sun nor lamp,
but by the light of attention, and that
everything we see, ugliness or beauty,
is a choice.
Much of the history of art in the
20th century is the celebration of the
ugly, and the rejection of beauty. It
was against this that Ryno Swart set
his ideal as truth, and his muse as
beauty. Much of his work revolves
around music, eros, and the dance.
In search of his ideal, he travelled,
frst to Paris, and later to the Indian
Ocean islands, the U.K, Holland,
Greece, Venice and the U.S, resulting
in one-man-shows in Den Haag, Paris,
Chartres, Venice, and recently, in
Montana.
In a debate with an opponent who
challenged him to defne art, he wrote:
“All art is celebration. Good art is the
celebration of a good mind, and great
art, the celebration of a great mind.”

We only paint what
we love.
If we love beauty,
we paint beauty.
Every artist in every
creative act has a
duty to himself
and to humanity.
His current one man show runs
until the end of January at
the Ryno Swart Art Gallery
in St George’s Street,
Simon’s Town.
Phone number: 021 786 3975.
Ryno Swart’s work can be seen
on his website at
http://artistvision.org
and you can subscribe to his
newsletters by emailing him at
ryno@artistvision.org.
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.
La bellezza resiste
Beauty fights back
In January this year, Ryno Swart had
a small one-man-show in Venice. The
theme of this exhibition was “Beauty
fghts back”, chosen, in a city of beauty,
now ravaged by commercialism and
visual brutality, to celebrate the revival
of an art founded in truth.
From his youth in Springbok, Ryno
loved drawing and admired the art
of the masters. Their skill and their
sense of beauty and truth were the
inspiration for a life dedicated to
understanding the secrets of vision, of
imagination, and of light. Around the
age of 14, in an essay, he named his
greatest ambition in life as “learning to
see.” To his surprise, he found his true
teachers in nature, frst in the intense
concentration of an eagle, and later
in the colour vision of a butterfy. The
chief lesson, however, was that we
see not by the light of sun nor lamp,
but by the light of attention, and that
everything we see, ugliness or beauty,
is a choice.
Much of the history of art in the
20th century is the celebration of the
ugly, and the rejection of beauty. It
was against this that Ryno Swart set
his ideal as truth, and his muse as
beauty. Much of his work revolves
around music, eros, and the dance.
In search of his ideal, he travelled,
frst to Paris, and later to the Indian
Ocean islands, the U.K, Holland,
Greece, Venice and the U.S, resulting
in one-man-shows in Den Haag, Paris,
Chartres, Venice, and recently, in
Montana.
In a debate with an opponent who
challenged him to defne art, he wrote:
“All art is celebration. Good art is the
celebration of a good mind, and great
art, the celebration of a great mind.”

We only paint what
we love.
If we love beauty,
we paint beauty.
Every artist in every
creative act has a
duty to himself
and to humanity.
His current one man show runs
until the end of January at
the Ryno Swart Art Gallery
in St George’s Street,
Simon’s Town.
Phone number: 021 786 3975.
Ryno Swart’s work can be seen
on his website at
http://artistvision.org
and you can subscribe to his
newsletters by emailing him at
ryno@artistvision.org.
T
h
e

w
h
i
t
e

f
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.
Treat yourself to Frederike Stokhuyzen’s new book: Born to be an Artist
Cape Gallery, 60 Church St. Cape Town | Clarke’s Bookshop, 211 Long St, Cape Town
Select Books, 232 Long St, Cape Town | Wordsworth Books- Cape Town area
Fogarty’s Bookshop, shop 20, Walmer Park, Port Elizabeth
Thorold’s Bookshop, 3rd Floor, Meischke’s Building, 42 Harrison St, Johannesburg
Hout Street Gallery, Paarl | Stellenbosch Gallery, Stellenbosch | Art and Wine Gallery, Clarens
Harbour Road Gallery, Kleinmond | Walker Bay Gallery, Hermanus

For further enquiries contact Frederike Stokhuyzen, email jandfwhite@y.co.za
www.nieljonker.co.za
Final level exhibition of
Visual Arts and Multimedia students 2010
UNISAArt Gallery invites you to an exhibition by the
Visual Arts and Multimedia final level students in the department of
Art History, Visual Arts and Musicology
To be opened by
Saturday, 4 December 2010 at 12h00 for 12h30
The exhibition closes on Friday, 21 January 2011
Please take note that the exhibition will be closed over the
festive season from 23 December 2010 to 5 January 2011
Gallery hours: Tuesday-Friday, 10h00 to 16h00
Ania Krajewska
Unisa Art Gallery, Kgorong Building (New Entrance Building)
Ground Floor, Main Campus
Preller Street, Pretoria, 0003
Email: ukun1@unisa.ac.za
Tel: (012) 441-5683
Still from animation piece by Meshak S llo ahlan u e M g
Thijs Nel
• Paintings • Sculptures
• Ceramics • Books
49 Raubenheimer Drive, Oudtshoorn
Tel 044 272 0713 Cell 082 854 5131
thijsnel@mweb.co.za
Keeping up with Carl
www.richardscott.com
P
h
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www.thecarlsmythcollection.com
My Red Sky - 200 x 200cm
Impasto and Acrylic on Canvas by Richard Scott
The Onrus Gallery
2 Lagoon Drive, Onrus River, 7201 Tel: 028 316 2103 Fax: 028 316 2821
Derrick: 082 566 8324 info@theonrusgallery.co.za www.theonrusgallery.co.za
Hennie Niemann and Derrick Benzien rst formed
a friendship and then a unique partnership to
market the works of both South African Old Masters
and more contemporary artists by establishing The
Onrus Gallery at the beginning of 2008.
Today Hennie numbers among the country’s senior
and most revered living artists, with a career of
virtually ve decades and his knowledge of South
African Art is well regarded.
Hennie’s own paintings are marketed exclusively
through The Onrus Gallery. An impressive CV
containing his best works is available to browse
through. Derrick has been dealing in art across the
country for several years and has a sound repport
with many galleries, auction houses, collectors
and artists. Derrick’s passion and expertise in art is
evident in the tasteful manner in which he display
works in an atmosphere that is conductive to
promoting its dignity.
The gallery houses works by Irma Stern, Maggie
Laubser, JH Pierneef, Marjorie Wallace, Hugo
Naude, David Botha, Gregoire Boonzaier, Paul Du
Toit, Piet Van Heerden and other important names.
Corporate and Collectors of Investment Art are well
accommodated.
Irma Stern, Boats, Madeira, Oil, signed and dated
1958, 86 x 68
“Free Evaluations”
Monday - Sunday 9am - 5pm
Derrick 082 566 8324
Irma Stern, Mother & Child, Oil, 54 x 69
BUSINESS ART
BUSINESS ART
South African Art Graduate 2010 Feature inside
To see more comprehensive grad school listings go to www.arttimes.co.za
Art Students of TUT, Pretoria go through their paces
Michaelis School of Fine Art (University of Cape Town, Western Cape)
60 SA ART TIMES. Dec 2010- Jan 2011
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Christine Gouws
Ian Grose
Lauren Franklin
Rose Kotze : Water Babies (Vudu Lounge Foam Party, City Bowl) 2010
Rose Kotze: Staying at a Friend (Club Bliss, Claremont)
Safa Stodel
Samantha McCulloch
Sarah Ferguson-Brown
Stefanie Schoeman
Tatum Paulsen
Debbie Loots
Karin Groenewald
Rose Kotze
Michaelis School of Fine Art (University of Cape Town, Western Cape)
SA ART TIMES. Dec 2010- Jan 2011 61
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Alice Gauntlett Cameron Richards
David Brits
George Chapman
Grant Arendse
Io MakandalPlasti
Suzelle Stander
Tamarin Phillips
Tamryn Kirby Lauren Franklin
Rhodes Art School (Grahamstown, Eastern Cape)
62 SA ART TIMES. Dec 2010- Jan 2011
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Amirah Tajdin
Amy Tarr
Emalie Bingham
Jessica Foli
Nicole Robinson Siphesihle Biyela
Warren Kernick
Willem Venter
Xanthe Jackson
Ruth Prowse Art School (Cape Town, Western Cape)
SA ART TIMES. Dec 2010- Jan 2011 63
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Adele van Heerden
Anya Kovacs
Ashley Wood
Bianca de Klerk detail of installation
Jacques de Jager
Katharina Forster
Lydia Richter
Stuart Fairbairns detail of installation
Taahira Daniels
Katharina Forster
Jacques de Jager
University of Johannesburg : Department of Fine Arts (Johannesburg, Gauteng)
64 SA ART TIMES. Dec 2010- Jan 2011
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Claire Attewell
Chivonne Naude
Amber Jade Geldenhuys
Loreal Muller
Michael Erasmus
Nadine Froneman
Nkosinathi Simelan
Siyasanga Madyibi
Eva Faerch
Claire Attewell Claire Attewell
d e s i g n | b o o k s a n d c a t a l o g u e s | l a r g e f o r ma t g r a p h i c s | a r c h i v i n g | s p e c i a l i s e d r e t o u c h i n g | i n s t a l l a t i o n s | e x h i b i t i o n d i s p l a y s | d i g i t a l s c a n n i n g
www. s c a n s h o p . c o . z a
r u s s e l l j @ s c a n s h o p . c o . z a
SA ART TIMES. Dec 2010- Jan 2011 65
NMMU : Department of Art (Port Elizabeth, Eastern Cape)
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Angela Ah Hing
Bantu Mtshiselwa
Luxolo Bukani
Clanelle Burger
Mary-Ann Kella
Leminah Chifadza
Chumisa James
Machela Liefeldt
Emma Minkley Muller
Liam Pretorius
Mellaney Ruiters
Josua Strumpfer
Wilmot
Zeiss
Roberts
Stellenbosch University : Department of Fine Art (Stelllenbosch, Western Cape)
66 SA ART TIMES. Dec 2010- Jan 2011
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Abri de Swardt - the father my father
Alexandra Meyer
Andrea Burger
Christien Laatz
Georgia Fane Hervey (middle)
Dedrik Ruben Lourens
Hilde Malan
Jeannie Roux
Johan van der Merwe
Lyn Sieborger
Stuart Cairns
Darren van der Merwe
Hedwig du Toit
Kate van Zyl
Stuart Buttle Magicon (far left)
Nastasha Buratovich (left)
SOCIAL PAGE | BUSINESS ART
SA ART TIMES. Dec 2010- Jan 2011 67
Art Graduate 2010 Feature. For more comprehensive profles, titles and essays see: www.arttimes.co.za
Dedrik Ruben Lourens
Stuart Buttle Magicon (far left)
Nastasha Buratovich (left)
As seen at the Casa Labia in Bloom Show : Margie Murgatroyd and Antonia Labia Hardres-Williams, Antonia Labia Hardres-Williams and Sylvia Labia, Meiskine Driesens
and Grant Donson (Below) Joanna Orr and Claudia Gurwitz, Shirley Tobias and Katherine Spindler, Hanien Conradie
Dale and Mel Elliot (Art Classes in Villiersdorp) donned their Auctioneer caps for a worthy cause, at their organised Art Auction at the Castle, Cape Town.
The Auction raised over R 50 000 for Anchors Away charity.
The opening of Duende Art Gallery, Sea Point, Cape Town with the artist Surisa Surisa (acrylic and word).
Art Action held @ St Lorient Fashion & Art Gallery, Pretoria. Paintings were inspired by perfume and its magic. Over R80 000.00 for charity was raised . Photographer: John Coumbias
Carl Barnardi (the auctioneer) with a piece from Anton Gericke. Paul Boilitrau and curator Celia de Villiers. Lucy Anastasiadis wearing a piece by Hester Viles around her neck made from a
used Versace perfume bottle with Carl Barnardi.
SA Art Times: (AT) : This year you have ‘come out of the bottom drawer’ somewhat. You have left your 10 year head of department of photography post, been
creating lighthearted photo essays on the culture hubs of Kalk Bay, False Bay, Woodstock and Observatory, had work exhibited in 1910-2010: From Pierneef to
Gugulective at the Iziko SA National Gallery, Juggling with the Familiar II at the Centre for African Studies UCT and had 4 portraits published as covers for the SA
Art Times. What are all these changes about?




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

Jenny Altschuler 2010 . SA Arttimes covers:
If you wanted to pinpoint what I am busy photographing,
you could also ask me where I spend my life living. Most
times I am photographing what I am living. The public
only really gets to see the commercial images like the
SA Art Times covers but that’s a small percentage of my
photographic output.
Deon, Cape Town Stroller Here for Moments A Pinhole Collaboration 100 year Sleep from Inside Out: A Family Album
Jenny Altschuler 1984 Jenny Altschuler and Tim Timlin 2010 Jenny Altschuler 2010.
Dad at home May 2010 Dad in the City October 2010
Art Times Profle on Jenny Altschuler
Platform 24 Jenny
Altschuler. Photoquai
Paris 2007
Above: About to Return: Outside Wellington 09. (Below) Honeymoon through the Karoo 09.
By Michael Coulson
Fears that the non-recurrence of a focal interest point like the Brett Kebble sale
would crimp activity in the local art market this year proved wide of the mark,
as record on record was broken. And there was no fading away as the year ran
down, with the two highest grosses and sell-through rates coming in the fnal
three sales.
Nor was interest restricted to the local front. Though offshore sales of SA art
had decidedly mixed results, the highest gross of the year for SA art – and
probably the second-highest ever, anywhere – was set in London, by Bon-
hams, within weeks of the two big grossers in SA.
Just to clarify, the table includes only sales from leading art auctioneers with
printed catalogues. Many other auctioneers sell art, ranging from well-estab-
lished frms like the Bernardis in Pretoria and Ashby’s in Cape Town to some
with less savoury reputations, but I would guess the majors command at least
90% of the market. And remember that, in line with international practice, gross
sales fgures, unlike the estimates, include buyer’s premium and any taxes.
Given those caveats, the SA art market was “worth” just under R250m this
year, almost 30% up on 2009’s R193m. On the rule of thumb generalisation
that auction sales are usually about half the total value of traded art, this im-
plies that total sales of visual art in SA this year will be about R500m; not that
much, considering the hordes of artists, gallerists and other hangers-on whose
mouths must be fed.
Remarkably, too, and somewhat contrary to my expectations, Strauss & Co,
led by the redoubtable Stephan Welz, showed that its debut year was no fash
in the pan. Unlike many cricketers, it more than maintained its averages in its
second season, with gross sales of almost R175m, or 70% of the total, up
from R94m, or 50%, last year. Strangely, Strauss’s main rival, Welz’s previous
frm Stephan Welz & Co (Swelco), with R64m, held its market share, at 25%;
the casualty was Graham Britz Fine Art Auctioneers, which couldn’t repeat its
2009 success with the Kebble sale.
Britz’s May sale was the major fop of the year, realising only 35% of the
low estimate – a result that took an unconscionable time to emerge, and
constituted only a 5% market share. Britz cancelled its proposed second sale
of the year, scheduled for November – when the competition would have been
awesome – and it remains to be seen whether it will re-emerge next year.
The overall gap between Strauss and Swelco may be less than these fgures
suggest. Strauss claims a total turnover this year of R184m-plus, implying that
sale of other lines are less than R10m. Swelco, with a more varied product
range, may outdo this. Last year, Swelco deputy chairman Jack Rosewitz told
me 20% of the house’s sales were in furniture, motor cars and the like.
While the year brought increased interest in the likes of Walter Battiss, Cecil
Skotnes, William Kentridge, Stanley Pinker and Alexis Preller, the old favour-
ites continued to hog the headlines. Streets ahead, of course, was Irma Stern,
with Pierneef as runner-up and the likes of Maggie Laubser, Maud Sumner
and Anton van Wouw also fnishing strongly. Indeed, on occasion Stern and
Pierneef accounted for more than half of a sale’s gross take.
Remember, it was only in 2009 that a Stern set the then record of R7.24m.
That was just beaten by Strauss in May and pushed up to R13.4m by the same
house in October, almost immediately smashed by the equivalent of R26.3m
by Bonhams in London – happily, not for one of her assembly-line foral vase
still lifes, but for a delightful portrait of a Zanzibari Indian woman.
Even Strauss won’t be able to talk that away, though its web site still claims
that its November sale was the highest gross for SA art anywhere in the world.
Strauss is suffciently well regarded not to need such porkies: as I’ve pointed
out, even if you take only the Bond Street session of major work, Bonhams’
October sale topped this, if not by much. Indeed, Bonhams think this was the
second highest sale for SA art ever, surpassed in rand values only by its own
sale some years ago.
Emphasising Bonhams’ success is no mere debating point. By my count,
sales of SA art in London last year grossed only about GBP2.9m; this year, in
London and New York, almost GBP9m. This equates to almost 30% of the total
market in SA art, of just under R350m. True, one swallow doesn’t make a sum-
mer, but if this can be built on, Bonhams’ desire to make London the leading
market for SA art will come just a little bit closer to fruition.
Of course, there can’t be buyers without sellers. The converse of the high
prices recorded this year is the quality of work on offer. Stephan Welz at-
tributes this largely to a generational factor: those who picked up Stern and the
like for a song in the 1940s, 1950s and 1960s are now, for various reasons,
scaling down, and high prices bring out even more sellers. So the standard
of work in the sale rooms should be maintained next year; question is, will the
buyers still be there, especially if the tempo of economic recovery slackens
both in SA and the wider world.
Table One – local art auctions

House Venue Month No of lots % sold Low est (Rm) Gross (Rm) Top price (Rm)
Swelco CT Feb 232 74.0 10.5 8.6 1.74: Pierneef landscape
Strauss CT Mar 259 78.0 26.1 28.2 2.23: Van Wouw sculpture
Swelco Jhb Apr 278 62.2 10.8 8.3 0.90: Preller still life
Britz Jhb May 281 47.0 34.5 12.0 1.71: Stern still life
Strauss Jhb May 273 61.2 34.9 40.1 7.58: Stern still life
Swelco CT Jun 228 58.0 12.6 14.7 1.68: F Lock, Hout Bay
Swelco Jhb Aug 241 53.9 11.1 7.1 1.23: Pierneef landscape
Swelco CT Oct 344 59.0 18.1 14.7 2.24: Kentridge drawing
Strauss CT Oct 171 79.5 22.5 40.7 13.4: Stern still life
Strauss Jhb Nov 206 82.0 44.2 65.8 11.1: Stern still life
Swelco Jhb Nov 298 57.7 9.9 9.0 0.56: Pierneef l/s, Van Wouw sculpture
Total 2 8711 235.2 249.2
Table 2 – Offshore sales
House Venue Month Low estimate Gross % sold Rand equivalent (Rm)
Bonhams New York Mar US$158 000 $14 000 12.5 0.1
Bonhams London Mar GBP2.14m GBP2.5m 67.8 27.2
Phillips de Pury New York May US$372 000 US$220 000 55.0 1.7
Bonhams London Oct GBP3.71m GBP6.3m 60.6 69.9
Total 98.9
Coulson’s last word : A staggering year for art on auction
BUSINESS ART | SA ART AUCTIONS 2010 REVIEW / COULSON’S LAST WORD ON SA ART AUCTIONS 2010
70 SA ART TIMES. Dec 2010- Jan 2011
Top South African fne art auctioneers Strauss & Co are upbeat at the end
of 2010, with turnover for the year clocking in at R187-million, an increase of
86% over the same period last year.
Chairman Elisabeth Bradley said the performance, following their maiden
year in 2009, reaffrmed the strong demand for premier South African art,
notwithstanding the unpredictable economic climate.
“Our market share remains the highest not only in South Africa, where we
lead the market and have done so since our inception, but also worldwide,
despite our lower commission rates and buyer’s premium.”
Irma Stern had dominated 2010 auctions, with three of four catalogue covers
dedicated to masterpieces by her, and two major records established.
The trend had started in 2009, with Magnolias in an Earthenware Pot selling
for R7,200-million.
This had been followed by the sale of the “captivating” portrait of Carla and
six months later Still Life with Gladioli and Fruit had sold for R7,480-million.
“Undoubtedly the highlight of our year was the record price of R13,368-mil-
lion paid for Gladioli in October, the highest price ever for any South African
painting sold at auction in South Africa,” said Bradley.
Masterpieces by Pierneef and Maggie Laubser were snapped up, with a top
price of R7,575-million being paid for Pierneef’s Baobab Tree.
Other artists that achieved records were Anton van Wouw, Maud Sumner,
Pieter Wenning, Stanley Pinker, Walter Battiss, Cecil Skotnes and Jane
Alexander, among others.
In the R2-million plus price bracket, a Maud Sumner oil on canvas, Nature
Morte, fetched a record R 2,450 800 in November 2010. Stanley Pinker’s oil
on canvas. The Wheel of Life also achieved R 2,450 800 in October 2010.
And a Cecil Skotnes, ‘African Figures’ just pushed over the R2-million mark,
fetching R 2,005,200 in May 2010.
In the R1-million plus price bracket, a record R 1,336,800 for Bathers’ by
Walter Battiss was achieved in March 2010. Jane Alexander’s Racework - in
the event of an earthquake sold for R 1,058,300 in March 2010.
Bradley believes that packed venues and competitive bidding herald well for
the future.
“In addition to the familiar faces of our loyal clients, we saw a marked
increase in new, active and competitive buyers bringing renewed confdence
in a market which is now sustained by a growing number of players.”
Strauss & Co.
SA Art Auctions 2010 Review
STRAUSS & CO. / SA ART AUCTIONS 2010 REVIEW | BUSINESS ART
SA ART TIMES. Dec 2010- Jan 2011 71
Irma Stern : Gladioli, Sold: R13,368,000, October 2010 / Pieter Willem Frederick Wenning : The Apies River and Union Buildings, Sold:1,225,400, /
Maud Frances Eyston Sumner, Nature Morte: Sold: R 2,450,800 Cecil Edwin Frans Skotnes, African Figures: Sold: R2,005,200 /
Walter Whall Battiss : Bathers: Sold: R 1,336,800
Bonhams: Old masters defy economic collapse
On the back of record sales of South African “masters” in 2010, British auction
house Bonhams is confdent enough to state that “without doubt the market is
in very good state”.
Director of South African art at Bonhams Giles Peppiatt describes the 27 Octo-
ber sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a
“defning moment for South African art and in particular Irma Stern’s work”.
“The sale of this work for such a high price does illustrate that this market is no
different from all the other international markets in which we deal. The master-
pieces are fetching ever higher prices.” Peppiatt said the bidders on Bahora
Girl showed that the market for Stern’s work had achieved global interest, with
interested parties coming from collections in the US, UK and Europe.
Anyone lucky enough to be in possession of a Stern work would be “delighted”
by this development. However, Peppiatt conceded that the sky-high price
obtained for Bahora Girl had not translated her lesser works.
“There are very few £2.4 million Sterns out there!” But Stern was not the
only South African artist rising in popularity. Apart from Stern, interest in J.H.
Pierneef was on the up. “His work is so redolent of South Africa, his images
can represent no other place and it is this facet that makes his work so strongly
marketable.” Prices for Pierneef’s work had increased substantially. The cur-
rent world record, achieved in a sale two years ago, was R11-million paid for
The Baobab Tree.
His paintings had “a great impact with South Africans, both at home and
abroad who wish to place a piece of the ‘veld’ on their wall.”
Stern contemporary Frieda Lock’s paintings were also fetching “respectable
prices”, a development that was “highly deserved as she is hugely underrated
artist and for many years lived in the shadow of her great rival Irma Stern.”
Alexis Preller (1911 – 1975) had also seen a “signifcant jump” in prices.
Peppiatt also mentioned Gerard Sekoto. “His pre-exile (1947) work is very
rare. These works are wonderful and the prices for these works will increase
dramatically as collectors realise the supply of these works is very limited.”
Peppiatt predicts that, following on Modern British and other markets, the
sculpture “will and does deserve a renaissance”.
Works on paper would continue to be “sluggish” performers.
“Buyers are always so concerned with condition on these works and unless
you have a museum environment, it is diffcult to preserve this.”
An exception, however, would be William Kentridge, who worked almost
exclusively on paper. “His later work with the biting political statements will, in
my view continue to be good buys.” With turbulent economic times continuing
in the global economy, Peppiatt believes that even higher prices will be paid for
the masterpieces because they were in short supply and came onto the market
rarely.
As for the middle market, Peppiatt said he thought it was “pretty robust”, al-
though managing client expectations when the top end of the market was rising
so fast was a very diffcult balancing act.
“The low end of the market is always going to be tricky and I see no change
here,” he said.
Bonhams, London, UK
SA Art Auctions 2010 Review
BUSINESS ART | SA ART AUCTIONS 2010 REVIEW / BONHAMS
72 SA ART TIMES. Dec 2010- Jan 2011
Bonhams Giles Peppiatt describes the 27 October sale of Irma Stern’s Bahora Girl for a world record price of R25-million as a “defning moment for South African art and in particular
Irma Stern’s work”.
Contemporary South African art has stepped up to the plate in 2010, say
fne art auctioneers Stephan Welz & Co. Phillippa Duncan, from the Stephan
Welz & Co. paintings department, said million-rand fgures were no longer
reserved exclusively for South African masters like Irma Stern and J.H.
Pierneef.
In 2010, world records had been set for Edoardo Villa’s Mapogga Man,
which had fetched R1,232,000, and William Kentridge’s Drawing for the flm
stereoscope, which had sold for a “breathtaking” R2,240,000.
“This was a world record for the artist and most certainly the highest price
paid for a contemporary artist on South African soil,” said Duncan.
South African masters still dominated auctions in 2010, but the year saw
previously overlooked South African masters also making headlines.
Duncan said Freida Lock and Maud Sumner had risen amongst the ranks of
“those being chased at auction”.
Lock’s Hout Bay Valley had sold for a “staggering” R1,680,000 in June this
year. “This year’s sales across the board have proven that top quality South
African art is sought after by collectors. Collectors are showing a greater
appreciation for South African art and given the positive international profle
that South African art now enjoys this is unsurprising,” said Duncan.
The main trend was the search for quality, she said.
“Whether it be painting, sculpture or work on paper, collectors and investors
are vying for the best. This has been proven by minor works by well-known
names failing to sell on the day of a sale.”
Duncan said Stephan Welz & Co. believed 2011 would be a “platform for
records to be reset and benchmarks raised”.
She said the top-end of the market had until now remained “relatively
unscathed” by the world economic crunch and this had been proven by sales
internationally. As London reported with each sale that new records had
been broken, local sales had followed suit.
In this market, collectors will no doubt be looking forward to the February
2011 Stephan Welz & Co. sale, which will show-case Irma Stern’s Zulu Girl.
This work, painted by Stern in 1935, was last seen at auction in November
1996
Stephan Welz & Co.
SA Art Auctions 2010 Review
STEPHAN WELZ & CO./ SA ART AUCTIONS 2010 REVIEW | BUSINESS ART
SA ART TIMES. Dec 2010- Jan 2011 73
William Kentridge : Drawing for the flm stereoscope, R2,240,000 / Freida Lock : Hout Bay Valley : Sold: R1,680,000 /
Irma Stern : Zulu woman : Pre-sale estimate: R16,000,000 - R20,000,000 (To be sold in Cape Town on 22 Feb 2011)
While South African art has held its ground both locally and internationally in
a volatile market, the trend has moved towards collectors being a lot more
conservative and selective in their acquisitions. That’s the view of Michael
Bernardi, owner of Bernardi’s Auctioneers, who believes this trend will
continue into 2011 due to the globally depressed markets.
But on a positive note, Bernardi believes buyers will always look to “alterna-
tive avenues of income returns” and this includes art, even if the approach
might be more cautious.
Bernardi said the trend in the South African market both locally and interna-
tionally, had been to collect the “old masters” which had “a tried and tested
track record”.
However, he said there was a “revived interest” in the contemporary market.
William Kentridge’s prices and popularity had risen dramatically since the
demand for his work - locally and internationally - exceeded the supply.
Walter Battiss, Robert Hodgins, Johann Moolman, Alexis Preller, Dianne
Victor, Gerard Sekoto and Ephriam Ngatane had all gained in popularity and
price.
In terms of what came under the hammer in 2010, Bernardi said it had been
“wonderful to witness” the contemporary artist Dianne Victor’s triptych No
Hope, No Guts, No Glory fetch a new auction record of R72,500.
On the Pierneef scale, he said the linocuts and etchings had increased
dramatically in value, with prices reaching R 27,000 for Kameeldoringboom.
Another highlight had been Keith Alexander’s oil Grasplatz Revisited, which
sold at R130,000, a “generous price for a small work estimated at R40,000
- R60,000”.
In terms of trends coming into the market, Bernardi said there seemed to be
a “marked increase” in South West African art and artists, especially the “old
masters”, who had worked both in South Africa and Namibia. Sculpture had
also awakened a new following, with bidders paying in excess of a million
rand for works by both old masters and contemporary artists.
This again illustrated the “strong, yet fckle demand for works both privately
and through auctions”.
Art buyers are becoming very selective with their purchases, but good quality
works are selling with ease, says Philip Bishop from 5th Avenue Auctioneers.
Bishop, the 5th Avenue Auctioneers appraiser, said the middle to lower qual-
ity works that used to be good sellers were not attracting the interest they
used to.
“I think the economy has dictated that people are very careful with what they
spend their money on. They no longer want to fll a spot on the wall, but want
to see a return.” But he said that “across the board, art of good quality is sell-
ing, but buyers are not squandering their money on mediocre art”.
The highlight for the year at 5th Avenue Auctioneers had been the sale of a
Walter Battiss oil, Interior theme with abstract fgures, in May for R429,000.
This had been followed closely by a Gregoire Boonzaire oil, Groote Kerk,
Kerk Straat, Kaapstad, which had sold in October for R352,000. An Ephraim
Ngatane work had sold for R242,000 and a Keith Alexander item called New
Arrival, had sold in July 2010 for R231,000.
Bishop said artists that were rising in both price and popularity were Conrad
ThEys, Kobus Louw, Mike Parsons and Adelio Zagni Zeelie.
“These are the ones that people are asking for repeatedly. People are trying
to stockpile these works, covering their bases for when it does sell. You can
just see they are going to be old masters in the future.”
He said works from these artists had all increased steadily in price.
Bishop said he believed 2011 would continue to show increased interest in
art as an investment.
“With buyers keen to get quality examples of the top artists they will be
prepared to pay to get exceptional examples,” he said, adding that prices
would continue to rise, but buyers would be more inclined to buy a proven
name rather than on spec.
“Buyers that are prepared to hold on to their paintings will reap bigger
rewards in the long term rather than fash buying,” he said.
Bernardi’s Auctioneers
5th Avenue Auctioneers
SA Art Auctions 2010 Review
BUSINESS ART | SA ART AUCTIONS 2010 REVIEW / BERNARDI’S / 5th AVE AUCTIONEERS
74 SA ART TIMES. Dec 2010- Jan 2011
Diane Veronique Victor : No Hope, No Guts, No Glory Sold R 72 500 / Keith Savel Alexander : Grasplatz Revisited: Sold: R130,000
SA ART TIMES. Dec 2010- Jan 2011 75
By Nushin Elahi
Deep in the seedy heart of Soho, a pop-up art gallery is causing waves in
London. Guerrilla art goes mainstream here, with cardboard doodles tagged
at over £1,000. The elusive street artist Banksy has brought graffti art to the
sales room, where his work, once painted over zealously by councils, now
reaches sums of fve fgures. Using the kudos of his name, this venue has
the punters lining up to see what all the fuss is about. The organisers expect
people to be sleeping in the snow to be able to buy a Banksy print, although
they do concede that the recession has affected sales somewhat. For nearly
a month Londoners can view Banksy originals, alongside works by an artist
called Dran, who specialises in cartoon children – a sort of modern day
Dennis the Menace.
In a publicity stunt few could hope to equal, the tabloids have also placed
an unknown Muslim artist from Bristol on the map. Mark Sinckler’s depiction
of one of the buses in the 7/7 bombing with the passengers portrayed as
Rococo angels ascending to heaven has caused such outrage that he will no
doubt soon be able to match Banksy’s price tags.
Canaletto’s picture postcard views of the shimmering canals of Venice are
on display at the National Gallery. For the rich English aristocrat of the 18th
century, this was the ultimate souvenir to bring back from your Grand Tour,
with the result that there are more in British country houses than in Venice
itself. His monumental scenes of the city may seem light years away from
controversy, yet during the Fifties more than one British landowner discov-
ered that his prized Canaletto was in fact painted by the artist’s nephew Bel-
lotto. In fact, some Bellotto’s here still wear their Canaletto plaque. Boston’s
Museum of Fine Art has a work on display which was bought in 1949 from
Castle Howard, Yorkshire (the setting for Brideshead Revisited), a year
before a devastating fre destroyed all the castle’s remaining Canaletto’s.
The paintings are displayed chronologically, and Canaletto’s earliest work is
surprisingly moody, depicting light on the lagoon in a manner which heralds
his successor, Guardi, whose delicate and poetic scenes depict atmosphere
rather than place. Canaletto’s superlative views offer such sharp focus and
crisp outlines that viewers pour over every work to appreciate the details of
buildings and ships, and the outrageous splendour of Venetian spectacle.
The Courtauld is one of London’s fnest small museums and the paintings
by Cézanne form the heart of its rich collection. Samuel Courtauld declared
that when he frst saw the artist’s work in 1922 at the Burlington Fine Arts
Club, “I felt the magic, and I have felt it in Cézanne’s work ever since.” As a
result, the artist is represented by twelve oils, many of them evocative land-
scapes of Normandy and Aix-en-Provence. Figure studies include two of
peasants, and it is around this theme that the intimate exhibition Cézanne’s
Card Players has been built.
Considered the man who freed art from its traditions, and whose infuence
is still felt in modern art, there is irony in his theme of time-honoured rituals.
He said: “I love above all else the appearance of people who have grown
old without breaking with old customs.” In conjunction with New York’s
Metropolitan Museum of Art (which hosts the exhibition from 9 Feb to 11 May
2011), three of the fve group studies of peasants playing cards, as well as
individual portraits and preparatory studies have been assembled. There is
still debate as to why the artist couldn’t “get two eyes to tally” as Walter Sick-
ert complained, or for that matter, a pipe to originate in a mouth rather than a
cheek. The paintings are muted in tone, but they capture an intensity in look
and a fatality of expression that brings the French peasant alive.
Health and Safety reared its ungainly head in a terse statement from Tate
Modern, which stopped public access to the Chinese artist Ai Weiwei’s Sun-
fowers Seeds shortly after it opened. The 100 million handmade porcelain
replicas of seeds had taken Chinese artisans two years to produce, but “the
enthusiastic interaction of visitors resulted in a greater than expected level
of dust in the Turbine Hall.” The “sensory and immersive” experience was
summarily halted, and looking at them from a distance has proved about as
exciting as looking at a gravel driveway.
You can, however, get close enough to experience the sheer monumental
scale and power of Fiona Banner’s installation of two fghter planes in the
neo-classical elegance of the Tate Britain. The Harrier jet is in a perpen-
dicular nose-dive, like a monstrous grey bird, suspended by two single wires
while the Jaguar fghter jet, huge and gleaming silver, lies incongruously
belly-up on the foor of the Duveen Hall, allowing visitors to revel in the pat-
terns of their refections.
When in London catch:
Street art at Marks and Stencils, 1 Berwick Street until 23 December 2010
Venice: Canaletto and his Rivals, National Gallery until 16 January 2011,
(then National Gallery of Art, Washington, from 20 Feb to 30 May 2011)
Cézanne’s Card Players, The Courtauld Gallery, Somerset House until 16
January 2011
The Unilever Series: Ai Weiwei, Tate Modern, Bankside until 2 May 2011
Fiona Banner, Harrier and Jaguar, Tate Britain, Millbank until 3 January 2011
London Letter by Nushin Elahi
Left: Banksy’s show in Soho, (M) Cézanne’s Card Players (R) Fiona Banner’s silver birds at The Tate
De Wet Centre, Church Street, Stellenbosch, 7600 | 021 887 3607 | info@smacgallery.com | www.smacgallery.com
Smac_Art Times_Advertorial_Final.indd 10-11 11/29/10 12:32:38 PM
De Wet Centre, Church Street, Stellenbosch, 7600 | 021 887 3607 | info@smacgallery.com | www.smacgallery.com
Smac_Art Times_Advertorial_Final.indd 10-11 11/29/10 12:32:38 PM
Irma Stern
STILL LIFE WITH POPPIES AND FRUIT
WORLD RECORD FOR A STILL LIFE ON PAPER BY THE ARTIST
sold R 1 344 000
Francois Krige
SPRINGTIME
WORLD RECORD FOR THE ARTIST
sold R 896 000
Keith Alexander
THE CALLER
WORLD RECORD FOR THE ARTIST
sold R 672 000
Alexis Preller
STILL LIFE WITH CHAIR
sold R 896 000
William Kentridge
DRAWING FOR THE FILM STEREOSCOPE
WORLD RECORD FOR THE ARTIST
sold R 2 240 000
Cape Town
next auction
22 & 23 February 2011
021 794 6461
ct@swelco.co.za
Johannesburg
next auction
19 & 20 April 2011
011 880 3125
jhb@swelco.co.za
www.swelco.co.za
Edoardo Villa
MAPOGGA MAN
WORLD RECORD FOR THE ARTIST
sold R 1 232 000
Freida Lock
HOUT BAY VALLEY
WORLD RECORD FOR THE ARTIST
sold R 1 680 000
Lucas Sithole
STANDING FIGURE
sold R 168 000
Irma Stern
STILL LIFE WITH POPPIES AND FRUIT
WORLD RECORD FOR A STILL LIFE ON PAPER BY THE ARTIST
sold R 1 344 000
Francois Krige
SPRINGTIME
WORLD RECORD FOR THE ARTIST
sold R 896 000
Keith Alexander
THE CALLER
WORLD RECORD FOR THE ARTIST
sold R 672 000
Alexis Preller
STILL LIFE WITH CHAIR
sold R 896 000
William Kentridge
DRAWING FOR THE FILM STEREOSCOPE
WORLD RECORD FOR THE ARTIST
sold R 2 240 000
Cape Town
next auction
22 & 23 February 2011
021 794 6461
ct@swelco.co.za
Johannesburg
next auction
19 & 20 April 2011
011 880 3125
jhb@swelco.co.za
www.swelco.co.za
Edoardo Villa
MAPOGGA MAN
WORLD RECORD FOR THE ARTIST
sold R 1 232 000
Freida Lock
HOUT BAY VALLEY
WORLD RECORD FOR THE ARTIST
sold R 1 680 000
Lucas Sithole
STANDING FIGURE
sold R 168 000
Joshua Miles
An exhibition of new prints opening Saturday 11 December 2010
Until mid January 2011
107 Sir Lowery Road, Woodstock (along the Gallery Strip). See our website at: www.printgallery.co.za info@printgallery.co.za
The South African Print Gallery
exclusive gallery for quality fne art prints by South African artists, is proud to present:

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