BUSINESS ART APRIL 2010 | E-mail: subs@arttimes.co.

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Joburg Art Fair ‘10

- Artlogic’s slickly produced annual jamboree has come to play a
productively eclectic role in the cultural life of the city.
- The highpoint of this year’s Fair were the Alfa Romeo talks series.

Joburg Art Fair visitors Agnus Taylor’s sculpture at

The Everard Read Gallery Stand.

Alex Dodd there’s no doubting that this

Johannesburg hasn’t hosted
a biennale since late last
century and in the mean-
time, in a spirit of calculated
contingency, Artlogic’s slickly
produced annual jamboree has
come to play a productively
eclectic role in the cultural
year’s Fair was an explosion of
visual newness. An American
art circuit regular was over-
heard enthusiastically exclaim-
ing that the quality of work on
show at this year’s Fair, way Wayne Barker’s, Super Boring is showing at the SMAC Gallery, Stellenbosch. The show is an exhibition of new work which draws on themes,
exceeded what she’d seen at techniques and strategies that Wayne Barker has been utilizing and developing over his entire career. The exhibition runs until 23 May 2010.
the recent Armory Show in
New York. But for collectors,

Among the plusses Art isn’t one

life of the city. In his keynote
address on Saturday afternoon,
Klaus Biesenbach (Director of
PS1 Contemporary Art Center,
Chief Curator at Large at the
Museum of Modern Art in New
York, and Founding Director
of Kunst-Werke Institute for
Contemporary Art in Berlin)
shot down the art fair as a
trashy aesthetic supermarket,
while celebrating the biennale
as the holy ground of zeitgeist
curatorial intervention. But in
the makeshift context of this
postcolonial city, the Joburg
Art Fair complicates this tidy
binary, servicing a whole range
of different sub-cultural desires
beyond the primary level of
transactionality.
For those who don’t usually
frequent the city’s galleries,
arts writers and others im-
mersed in the local art world,
this year’s Fair wasn’t the spot
to track fresh trajectories in
artists’ oeuvres. A lot of the Melvyn Minnaar reviews The Spier Contemporary 2010
work on show had been seen
before and, apart from a few But, for all the effort - not to mention all the glorious, yummy money spent and promised - they have, alas, not delivered.
exceptions, there wasn’t much
evidence of gallerists using the
There are plusses to this ultra- nonesuch officials of our ba- promised - they have, alas, not
Fair as a platform to showcase
enterprising effort. Art that nana-republic-in-making were delivered.
new directions or forward leaps
twists the knife in your gut, or at the great opening party.)
in the careers of their artists.
frazzles your mind, is not one. Either the Spier Contemporary
This is understandable in the
If ‘contemporary’ is as loaded But even in this dilapidated 2010 signals that our pool of
context of an Art Fair, where
as it is offered in this ambitious state of the nation an optimist talent is so-so, or there was
you don’t get to see a full
showcase’s title, South African can hope that circumstances something wrong with the
body of work by any one artist
art is pretty much in limbo would elicit a few good, clever sourcing strategy. Or the team
(barring the series of sublimely
these days. cultural kicks in the groin. of selectors, who went through,
nostalgic outsize LPs exhibited
Artists are supposed to do this. it is said, more than 2 700
by Siemon Allen courtesy of
Maybe that’s to be expected in In this instance, they were pieces of art submitted, has
the gordonschachatcollection),
the run-down space of cultural sourced, it is claimed, from chucked the baby out with the
but rather one or two selected
mediocrity our country has all corners of our beloved bathwater.
items within a mix of other big
become - one where even the country. But, for all the effort
name artists.
arts minister is, well, not very - not to mention all the glori- Continued on Page 2
Continued on Page 3
well informed. (Thankfully ous, yummy money spent and

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PAGE 02
Among the plusses Art isn’t one - Melvyn Minnaar reviews The Spier Contemporary 2010
From Page 1
There are plusses to this ultra-enterprising effort. Art that twists
the knife in your gut, or frazzles your mind, is not one. If ‘contem-
porary’ is as loaded as it is offered in this ambitious showcase’s
title, South African art is pretty much in limbo these days.
Maybe that’s to be expected in the run-down space of cultural me-
diocrity our country has become - one where even the arts minister
is, well, not very well informed. (Thankfully nonesuch officials of
our banana-republic-in-making were at the great opening party.)
But even in this dilapidated state of the nation an optimist can
hope that circumstances would elicit a few good, clever cultural
kicks in the groin. Artists are supposed to do this. In this instance,
they were sourced, it is claimed, from all corners of our beloved
country. But, for all the effort - not to mention all the glorious,
yummy money spent and promised - they have, alas, not delivered.
Either the Spier Contemporary 2010 signals that our pool of talent
is so-so, or there was something wrong with the sourcing strategy.
Or the team of selectors, who went through, it is said, more than
2 700 pieces of art submitted, has chucked the baby out with the
bathwater.
They finally selected 132 art works from 101 artists, according
to the media bumf. Was this over-filtering? Or have the organis-
ers not cracked a vigorous enough response, despite the allure of
riches and prizes? Some serious rethinking is needed.
Given that the majority of selected artists are just over thirty years
of age - in other words, teenagers at the time of our liberation and
that optimistic era of a cultural dawn - it seems that challenging
confidence, not to mention creativity, has taken a serious knock in
the ensuing years. Where have they been? (And where are those,
oh so, ‘established’?)
For all its aspirations, the project falls short on the very essentials
that should propel it: verve and seduction, and, yes, excitement.
Missing is the crucial electricity of wow! Deflated, both cerebrally
and otherwise, by the average and deficiency of invention, a visitor
might feel done in. Even the most generous of post- or alter-mod-
ernists, with Danto in their hearts (prompted by limped, excusing
catalogue texts), may stifle a yawn at the dullness, the simply
superficial and derivative.
There are one-liners that don’t go beyond the door. The old studio
sin of indulgence abounds. (For goodness sake, how original is the
idea of cyberspace as space? How many carved footballers and
caricatures of politicians do we need? What wit is there in pictures
of presidents with ribbons? Is a ‘Vlakplaas memorial’ not a hor-
rible mis-conceptualisation?)
Not a thing comes across as dangerous here. Few pieces have even
a whiff of insolence. (The performative works, uncomfortable as
they sit within the context and concept, may be the more daring
and adventurous. Not that the video documentaries of those pieces
are particularly interesting. Real performances require real audi-
ence time and commitment.)
Could it be that the art fair syndrome - art for money; not much
thought; commodity for neat, yuppie spaces - has infected the
idea of a cutting-edge art expo? No dare, just something you can
acquire?
So what are the plusses of the Spier Contemporary 2010?
Top of the list is the wonderful invasion of the glorious, old Cape
Town city hall for this, a first time ever, exhibition of contempo-
rary art in the centre of the city. You can walk right in, for gratis,
off the street.
Having convinced the city authorities, in a remarkable, deft move,
to allow the neglected, shabby spaces of the old library in the
magnificent building to be utilised, the Africa Centre, organisers
of the event, spent a fortune on fixing up the interiors. It is money
well spent.
Not only is the installation world class, with wonderfully large
rooms, airy passages and high-ceilinged spaces most professional-
ly refitted for big art, it proves an important point about re-utilising
this great facility as cultural space. (It had stood empty of years,
after the library moved, with no-one having an idea what to do
with it.) Cape Town, as many have said, can do with a permanent
space for contemporary art - and this project shows how it can be
done. (Most of the fixing-up work has now been done.)
In some cases, like fine stage-management, the installation even
raises fairly mediocre stuff up a notch. (The central video room - a
BUSINESSART | APRIL 2010
Photo: Cecile Mella
big dark dramatic space with bright oranje monitors - is, in itself, a
treat. And Swift’s Aspire outside an exciting, towering presence.)
Other plusses are the lovely little coffee café and art goodies shop
in the corner. This is just what a show like this needs: a place for
visitors to sit and talk. The clear, simple catalogue is another plus,
although the printed images are somewhat insipid, the texts a little
warbled, and it could do with more information.
As to the art. It will be unfair to write off all as average. It will be
equally wrong to discourage Capetonians and visitors not to take
the opportunity to visit this major effort. There is a little ‘empow-
erment tool’ built into the project: a people’s choice vote for ‘best’
artwork that you can drop into the glass box as you leave. It’s
worth the effort.
It’s also worth to give a couple of pieces more than a second look.
These may include art by the likes of David Bloomer, Melanie
Cleary, Araminta de Clermont and Dave Robertson (great photo
studies); Jessica Gregory and Dan Halter (simple video clout);
Kurt Pio (splendid historical space conceptualisation); Zakhele
Moses Hlatshwayo, Arie Kuijers, Wilhelm Saayman, Xolile Mazi-
buko, Colin Payne (grimly witty and goofy stuff); Christopher
Swift, Jacky Lloyd, Sicelo Ziqubu (clever sculptural explora-
tions); Richard Bollers, Elizabeth Buys, Rudolph Tshie, Sentso
Lele, Motseokae Klass Thibeletsa (real painting power); and, for
old-fashioned purity of visual impact, David Koloane and Helen
Sebidi.
If this seems somewhat of a hop-scotch list, it’s exactly what it
is. The selectors and judges clearly had their turn (and stand to be
judged as well), why not every Capetonian?
Of course, the biggest plus of the Spier Contemporary is that it is
taking place at all - and that there are sponsors funding the costly
project. With the country, province and city’s culture bureaucrats
ignorant, or at a lost as to the promotion of the visual arts, this is
indeed a brave undertaking. Wide appreciation and applause are
required. But there also needs to be a rethinking on the African
Centre’s strategy if it is to showcase truly smart contemporary
South African art in future.
This review first appeared in The Cape Times.
 BUSINESSART | APRIL 2010
(Above) Zwelethu Mthethwa and Samson Mzungu
(Below) The opening on Thursday night.
Joburg Art Fair 10
Continued from Page 1
But some moments of fresh-
ness or exertion did stand out.
At Art on Paper, I felt the jazz
in encountering a brand new
series of black and white Sam
Nhlengethwa prints depicting
Miles David and John Coltrane
– a return to the essential tune
in the work of Nhlengethwa,
some of whose recent collages
have grown too visually noisy
for my eyes. At David Krut’s
stand I was struck by a new and
poignant delicacy of touch in a
series of drypoint etchings by
Diane Victor, whose work nev-
er seems to flag or wane. And
at Afronova, two immaculately
detailed fabric works by Billie
Zangewa evidenced an artist
taking her practice to a more
reflective and poetic level.
But for me the highpoint of
this year’s Fair lay in the
richly packed Alfa Romeo talks
series. I was lucky enough
to catch the presentation by
the effortlessly charming
Tomaso Galli, who succeeded
in transporting the audience
to the epicentres of hyper-
funded global haute culture
and offering fruitful insight
into the intercourse between
the worlds of art and fashion.
Galli who was Director of
Corporate Communications for
the Gucci Group until 2004,
spoke at length about his more
recent work with Prada, and
of how the Prada Foundation’s
support of the contemporary
arts has had to remain virtu-
ously exempt of the company’s
commercial imperatives in the
interests of ultra-cool, ultra-
subtle branding.
South African companies could
learn a thing or two about the
power of not slathering their
brands all over the arts initia-
tives they support. Then again,
perhaps that kind of ultra-hip
understatement is best left to
the Venetians and would be
lost on the denizens of this
brash young metropolis. (So,
well done FNB for putting
your moolah into popularising
contemporary South African art
in this enduringly sport-crazed
nation.)
Speaking of the metropolis, a
small crowd of Sunday morn-
ing Art Fair devotees were
treated to a refreshingly honest
and poetic presentation by the
painter Mary Wafer, who draws
inspiration from the hectic
spatial realities of gritty post-
industrial Johannesburg. Wafer
spoke of how she immerses
herself in a cocoon of music,
listening to certain songs
again and again on her iPod,
in order to create the mood of
intensity that fuels her dark
and deliciously depopulated,
semi-abstract oils. Her almost
forensic attention to recreating
the mood of particular urban
spaces is also influenced by the
dark romance of detective nov-
els by writers like Ian Rankin
and Henning Mankel. ‘For a
long time, I actually wanted to
be a detective,’ said Wafer. ‘I
even joined the police force,
but discovered that I really
wasn’t cut out for it.’
This attraction to the film-noir
aspects of the detective genre
made me think of Kathryn
Smith’s collaboration with the
crime writer Margie Orford.
Her hauntingly evocative
crime diorama – in which she
explores the ways in which
rumours and traces of real/fic-
tional crime fuel her own abun-
dant imagination through the
persona of a platinum-blonde
broad, called Sophie – was the
draw card at this year’s Good-
man Gallery stand.
The mangled postmodern deca-
dence of contemporary culture
was one of the more seductive
strands that I enjoyed tracing
through the work of Tracey
Rose, Liam Lynch, Athi-Patra
Ruga and Matthew Hindley.
And of course there were other
fertile strands of meaning and
traces of trends that could be
tracked across the work on
show at various gallery booths.
But for now, after three days
of hyper-attentiveness beneath
the white lumo lights of the
Sandton Convention Centre,
it’s time to take a deep breath
and let it all settle in the dark
sub-strata of my consciousness,
where the only truthful work
prevails.
Giles Peppiatt
By Michael Coulson
It’s five years since London
auction house Bonhams started
to hold sales of SA art. Giles
Peppiatt, who runs this arm
of the business, concedes that
the international market for
SA art is still developing, but
is adamant that the exercise is
worthwhile and believes that
the potential is excellent.
Though Peppiatt’s original spe-
ciality was English watercol-
ours, he’s been interested in SA
art for 20 years. “We noticed
that some SA art works did
well on other sales. In particu-
lar, we sold a Sekoto self-por-
trait for more than £100 000.
At that time, the SA market
was dominated by Sotheby’s/
Stephan Welz, which we felt
was showing some of the signs
of, shall I say, complacency
that you often find in a near-
monopoly situation.
“So we decided it was a market
worth getting into. Indeed, we
like to think that we’ve largely
created the international market
in SA art.“ While some recent
sales haven’t been unalloyed
successes, he refers more than
once during our 90-minute talk
with obvious pride to the first
R100m-plus sale of SA art, 18
months ago.
“We got the first really big
prices for Irma Stern. We were
Art Leader
lucky. It was just before the
Lehman Brothers collapse, with
all that did to the art market.
But we’re still committed to
hold two sales of SA art each
year, in the [northern] spring
and autumn.”
On top of that, Bonhams now
also holds sales of art from the
African continent. In practice,
these will be annual, alter-
nating between London and
New York, though this is not
a rigid policy. As in the most
recent sale, in New York this
month, they include SA items,
though the focus is elsewhere,
notably Nigeria, arguably the
only other country south of the
Sahara with the population and
wealth – and, for that matter,
the product -- to sustain an art
market.
Peppiatt is unbowed by the
poor results of the New York
sale. “It’s always tough starting
out in any new market, and
the climate for African art is
probably better in London. But
we had a good reception in
New York, and attracted some
new buyers. We also got huge
media coverage, especially on
the Nelson Mandela graphics,
even though they didn’t sell. So
we’ll definitely persevere.”
Peppiatt sees the international
market for SA art as multi-di-
mensional. “There are foreign-
ers who’ve bought property
in SA who want good-qual-
ity local art on their walls.
Conversely, there are South
Africans who’ve emigrated
who want art that reminds them
of their homeland. Then there
are older expats whose children
consider themselves Australian,
or Canadian, or whatever, who
don’t have their parents’ sen-
timental feeling for their Stern
or Pierneef, and are astounded
when they discover how much
it can be worth.”
Art, he argues, can also be a
way for SA organisations to
reach out to the SA diaspora.
“The night of the sale, Stellen-
bosch University held a dinner
in New York for US-based
alumni. Others who’ve linked
events to our sales include Old
Mutual, Standard Bank and the
Nelson Mandela Foundation.”
Finally, he believes Bonhams’
auctions have been positive
for the art market within SA.
“It helps dealers and galleries
when they can show that SA art
has a value internationally.”
Peppiatt gives short shrift to
the argument (propounded by,
among others, veteran SA auc-
tioneer Stephan Welz) that it’s
too expensive for SA residents
to sell works of art in London.
“That’s taking too parochial a
view. Firstly, if you can get a
premium price in London, that
can more than compensate for
the higher cost. Secondly, it
assumes that seller, buyer and
Page 03
art work are all tied to SA. If an
SA picture is destined to end up
in, say, Portugal, it makes no
difference whether it’s sold in
Jo’burg or London.”
Bonhams’ buyers are split
roughly 50:50 between SA
residents and others.
He sees similarities between
the internationalisation of the
SA art market and how expats
from the likes of Russia and
China have boosted the mar-
kets for their national artists.
But SA art has one advantage
over some others – it’s virtually
forgery-free. “I’ve only even
seen one fake Irma,” he says,
“and it was palpable. Even
the Brett Kebble Tretchikoff
wasn’t a fake, it just wasn’t
the painting it purported to be.
I sometimes think the SA art
market will only reach maturity
when we’re faced with a flood
of fake Irmas and Pierneefs!”
He stresses that SA art is no
one-man show at Bonhams,
paying particular tribute to the
contributions of colleagues
George Plumptre (who, ironi-
cally, was made redundant last
year) and the house’s SA-born
director of press and market-
ing, Julian Roup. So however
great you judge Bonhams’ im-
pact to be, it’s clearly in for the
long haul. Local auction houses
will ignore it at their peril.
PAGE 04
Free State
Bloemfontein
Oliewenhuis Art Museum
18 March–18 April, Free State
Ceramics Competition,
Exhibition and Workshops.
08–23 April,
Terra: above and below Very
large drawings and infused glass
works by Jeanette Unite.
22 April–30 May,
Retrospective Melted plastic,
wall-hung works by Mbongeni
Buthelezi.
(Main building)
16 Harry Smith Str.,
Bloemfontein
T.051 447 9609
Clarens
Johan Smith Art Gallery
A fine selection of paintings,
ceramics, glass, bronze and
other works of art.
Windmill Centre Main Street
Clarens
T. 058 256 1620
www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel
Sculptures, Functional Art,
Photography, Ceramics.
Windmill Centre Main Street
Clarens
T. 058 256 1757
www.bloudonki.co.za
Gauteng
Johannesburg
Art on Paper
During April,
Sara Baartman by
Senzeni Marasela.
44 Stanley Ave.,
Braamfontein Werf (Milpark)
T. 011 726 2234
www.artonpaper.co.za
Artspace –Jhb
31 March-21 April, 2012 group
show”, The 2012 phenomenon
is a present-day cultural meme
proposing that cataclysmic or
transformative events will occur
in the year 2012. This exhibi-
tion asks artists to engage on
man’s fleeting presence on earth
and step outside of the paradigm
that places man at the centre of
his world.
Chester Court, 142 Jan Smuts
Ave., Parkwood, Johannesburg
T. 011 880 8802
artspace@wol.co.za
www.artspace-jhb.co.za
Brodie/Stevenson
Until 30 April, Men Only/At
Home photographs by Sabelo
Mlangeni (the winner of the
Tollman Award for the Visual
Arts 2009.)
373 Jan Smuts Ave.,
Johannesburg
T. 011 326 0034,
www.artextra.co.za
www.brodiestevenson.com
CIRCA on Jellicoe
08-25 April, Recent works by
Simon Stone.
2 Jellicoe Ave. T. 011 788 4805
gallery@circaonjellicoe.co.za
Cool Art Space
Until 06 April,
The Visible World by
Terry Borain.
17 6th Street, Parkhurst.
T. 011 422 6469
CO-OP
Until 17 April, The spirit is
not an idea, says the penguin
a group show of contemporary
artists from Johannesburg and
Cape Town.
68 Juta Str., Braamfontein
T. 011 023 0336
info@co-opjoburg.com
www.co-opjoburg.com
David Brown Fine Art
18 March-18 April, Passages
an exhibition by Carl Jeppe and
Ariana van Heerden.
36 Keyes Avenue, off Jellicoe,
Rosebank.
T.011 788 4435
david@dbfineart.co.za
www.davidbrownfineart.co.za
David Krut Projects
Until 10 April,
William Kentridge, The Nose
Series, 2007—2010. New
Etchings by William Kentridge.
The prints will be launched,
along with the book
Nose: Thirty Etchings.
140 Jan Smuts Ave., Parkwood,
Johannesburg
T. 011 447 0627
www.davidkrutpublishing.com
Everard Read Gallery Jhb
Until 19 April, The Great South
African Nude Group Show
Until 04 April, works by
Kerri Evans
6 Jellicoe Ave., Rosebank,
Johannesburg
T. 011 788 4805
www.everard-read.co.za
Gallery 2
08 May-15 June,
Transition Artists participating
will include: Paul
Blomkamp, Hannelie Coetzee,
Wilma Cruise, Karin Daymond,
Bronwen Findlay, Phillemon
Hlungwani, Grace Kotze, John
Kramer, Colbert Mashile,
Joshua Miles, Hermann
Niebuhr, Carl Roberts, Jenny
Stadler, and Réney Warrington.
140 Jan Smuts Ave,Parkwood.
T. 011 447 0155/98
gots@mweb.co.za
www.gallery2.co.za
Gallery MOMO Norscot Manor Centre,
Until 12 April, Blur Zone an
exhibition of new works by
Lyndi Sales.
15 April- 10 May, works by
Shepherd Ndudzo.
52 7th Avenue, Parktown North,
Johannesburg
T. 011 327 3247
www.gallerymomo.com
Gertrude Posel Gallery
This gallery has a permanent
exhibition of traditional south-
ern, central and West African
art.
University of the
Witwatersrand, Senate House,
Jorissen Street, Braamfontein
Tel: 011 717 1365
julia.charlton@wits.ac.za
Goodman Gallery featuring works by Rodney
Until 10 May,
Kudzanai Chiurai.
(Project Space at Arts on Main.)
(Arts on Main Precinct, Corner
Main Street and Berea Street,
Downtown Johannesburg,
163 Jan Smuts Ave., Parkwood,
Johannesburg
T. 011 788 1113
www.goodman-gallery.com
Johannesburg Art Gallery
Until 25 April, In celebration of
the MarketPhoto Workshop’s
20th anniversary, the acclaimed
photography exhibition I am
FREE STATE, GAUTENG AND MPUMALANGA SHOW LISTINGS
not afraid. The exhibition is
curated by Christine Frisinghelli
and Walter Seidl to celebrate
the publication of no.100 of the
journal Camera Austria, which
was dedicated to this exhibition.
21 Feb-02 May, Gae Lebowa an
exhibition by George Mahashe.
Gae Lebowa translates to home
North in this exhibition George
Mahashe begins his travels
north to seek the wisdom of his
ancestry.
21 Feb-18 April,
Time’s Arrow live readings of
the JAG collection curated by
Anthea Buys. Opening @ 5pm
on 21 Feb.
King George Str., Joubert Park,
Johannesburg T. 011 725 3130
Email: khwezig@joburg.org.za
www.joburg.org.za
Market Photo Workshop
Until 25 April,
The exhibition I am not afraid
is being exhibited at the
Johannesburg Art Gallery.
10 Feb-02 April, Considering
documentary is the third in a
series of exhibitions commemo-
rating the 20th anniversary of
the Market Photo workshop.
(Market Photo Workshop
Gallery)
Market Photo Workshop
2 President Street, Newtown,
Johannesburg. T. 011 834 1444
info@marketphotoworkshop.
co.za
www.markettoworkshop.co.za
Manor Gallery
Until 30 April, 83rd National
Open Exhibition of the Water-
colour Society of South Africa
– top watercolourists exhibit.
Artworks for this exhibition
are sourced nationally and
internationally & include works
by new aspiring artists who
have recently obtained their as-
sociateship status. Among these:
Arthur Atkins, Colleen Dryer,
Helen Lamprecht, Margaret
Mason and Susan Kimber. This
is a juried exhibition. Edward
Selematsela, Malaki Ndlovu
and Elias Sewape from the
Black Like Us group will also
display their work.
Penguin Drive.
T. 011 465 7934
gallery@wssa.org.za
www.wssa.org.za
Museum Africa
Until 24 Dec 2010, l’Afrique: A
Tribute to Maria Stein-Lessing
and Leopold Spiegel Co-curated
by Nessa Leibhammer and
Natalie Knight.
11 May-11 July, Space:
Currencies in Contemporary
African Art.
121 Bree Str., Newtown,
Johannesburg
T. 011 833 5624
www.knightgalleries.net
Resolution Gallery
Until 01 June, Foreign Affair
Place and Leila Anderson.
Opening @ 6:30 pm.
142 Jan Smuts Ave., Parkwood,
Johannesburg
T. 011 880 4054
www.resolutiongallery.com
Rooke Gallery
Until 31 May, Chaos
paintings by Olaf Bisschoff
By Appointment, the Newtown,
37 Quinn Str., Newtown,
Johannesburg
T. 072 658 0762
www.rookegallery.com
SPAZA Art Gallery
Towards end April,
Works by Nikki Swanepoel.
19 Wilhelmina Street,
Troyeville
T. 011 614 9354
Cell.082 494 3275
Seippel Gallery
From 01 April, Plastic paintings
by Mbongeni Buthelezi, Plastic
(the main space.)
Paintings by Linda Shongwe
(project space)
Here and there photography by
Paul Weinberg.
Opening 6-8pm on 01 April.
Arts on Main,
Cnr of Fox and Berea,
Johannesburg T. 011 401 1421
www.seippel-gallery.com
Standard Bank Gallery
Until 08 May, Umtshotsho by
Nicolas Hlobo (SBYA)
Cnr of Simmonds & Frederick
Str., Johannesburg, 2001
T. 011 631 1889
www.standardbankgallery.co.za
Unity Gallery
This gallery exhibits works by
emerging artists, young and old,
handcrafted figures and hosts
spoken-word events.
Currently on show new work by
unity artists, including Robyn
Field, Lebohang Goge, Jack
Matjie, Thomas Ngulube,
Vuyo Seripe and many more.
Bus Factory, 3 President Street,
Newtown.
Tel: 082 584 9924
info@unitydesign.co.za
www.unitydesign.co.za
University of Johannesburg
Art Gallery
14 April-26 May, Rendezvous
focus original lithography
an exhibition of lithographi-
cal works from the extensive
Elisabeth Pons collection in
Paris, France. Includes works
by artists such as Pablo Picasso,
Wassily Kandinsky and Ossip
Zadkine, William Kentridge,
Judith Mason, Pontso Sikho-
sana, and Philemon Hlungwani.
University of Johannesburg
Auckland Park Kingsway,
Campus Cnr. Kingsway and
Universiteids Rd., Auckland.
T. 011 559 2099/2556
www.uj.ac.za/artsacademy 17th Century.
Pretoria
Alette Wessels Kunskamer
Exhibition of Old Masters and
selected leading
contemporary artists.
Maroelana Centre, Maroelana.
GPS :
S25º 46.748 EO28º 15.615
T. 012 346 0728
C. 084 589 0711
alette@artwessels.co.za
www.artwessels.co.za
Sabelo Mlangeni: Forgotten Land 2004. Silver gelatin print. To be seen at www.brodiestevenson.com
Association of Arts Pretoria
Until 07 April, The bluebirds
gift by Ilona Petzer.
Until 15 April, A sip of vodka by
Isabel Le Roux.
16 April-05 May, Silence,
Beauty & a Cup o’Tea by Uta
Widera-Kleinsorge.
Opening 16 April @6pm.
173 Mackie Street, Nieuw
Muckleneuk, Pretoria.
T. 012 346-3100
artspta@mweb.co.za
www.artsassociationpta.co.za
+27 Design Café
Until 15 April, A man
called Neels.
Photographs by
Mariki van Graan.
Cnr South and Duncan Street,
Hatfield, Pretoria.
T. 012 362 4975
Fried Contemporary
Until 18 April, Collateral
featuring Guy du Toit, Richard
Forbes, Carla Crafford, Collen
Maswanganyi, Gordon froud,
Bongi Bengu and others.
430 Charles St, Brooklyn,
Pretoria.
T. 012 346 0156
www.friedcontemporary.co.za
Gallery Michael Heyns
Until 13 April, New works by
Michael Heyns in his gallery.
17 April-08 May, Exhibition of
mixed media works by guest
artist Martie Bothma Heyns.
351 Lynnwood Road
Menlo Park Pretoria
T.012 460 3698,
Cell.082 451 5584
www.michaelheyns.co.za
Platform on 18th
01-23 April, Postscript mixed
Media and Performance Art by
Maaike Bakker and
Francois Jonker.
232 18th Str., Rietondale,
Pretoria
T. 084 764 4258
www.platformon18th.co.za
Pretoria Art Museum
Until 25 April, Enter Exit pho-
tography exhibition by Pierre
Crocquet De Rosemond.
05 March-31 April, Lady
Michaelis Paintings by Dutch
and Flemish masters from the
Until 31 April, South African
Art –North Gallery featuring
Various South African Artists
and a variety of mediums.
Permanent exhibition, South
African Art. From the earliest
artworks up until now (School
Syllabus) – South Gallery.
Corobrik Collection Ceramic
artist in South Africa. This col-
lection represents the develop-
ment of studio ceramics and
the work of the rural traditional
potters of South Africa.
BUSINESSART | APRIL 2010
North Gallery and Preiss Hall,
T.012 344 1807/8
www.pretoriaartmuseum.co.za
Pretoria Trent Gallery
10-22 April, Doodles, Group
show including Otto Klar,
Jaco Benade, Hardus Koeke-
moer, Diek Grobler, Johann van
Heerden, Jan-Henri Booyens,
Erna Bodenstein.
Until 08 April,
Botanical Exhibition, Gillian
Condy and her art group
198 Long Street, Waterkloof,
Pretoria.
T. 012 460 5497.
strent@oldmutual.com
www.trent-art.co.za
The Tina Skukan Gallery
From 11 April, The Sacred
Everyday/ Alledaags Heilig
an exhibition of paintings and
etchings by Zak Benjamin and
sculptures by Gert Swart.
Opens 11:30am.
6 Koedoeberg Rd, Faerie Glen,
Pretoria.
T. 012 991 1733
www.tinaskukangallery.co.za
UNISA Art Gallery
Until 30 April, An Evolving
Consciousness exhibition in
collaboration with the Johan-
nesburg Art Gallery. Artists on
show include Maggie Laubser,
Lefifi Tladi, John Muafangejo
and others.
Main Campus, Theo Van Wijk
Building B-block, 5th Floor
T.012 429-6255/6823.
Ukun1@unisa.ac.za
Mpumalanga
White River
The Loop Art Foundry &
Sculpture Gallery
Casterbridge Complex Corner
R40 and Numbi Roads
White River
T. 013 751 2435
www.tlafoundry.co.za
Dimitrov Art Gallery
03 April-03 May,
Expression of freedom by
Branko Dimitrov.
Lifestyle Complex, shop no.4
on Cnr. Teding Van Berkhout
& Hugenote / Naledi Streets,
Dullstroom, Mpumalanga.
T.013 254 05 24
info@dimitrovartgallery.co.za.
www.dimitrovartgallery.co.za
Send us your
listings to:
show@arttimes.co.za
 BUSINESSART | APRIL 2010
Alex Dodd
Stills from the video installation, Representation: A Discourse, by Christopher Marsberg and Francois van Tonder, featured as part of the Spier Contemporary 2010 exhibition.
A bit of a mad night to schedule a performance, if you think about
it. The night before the three-day mania of the Joburg Art Fair (or
the ‘Art Unfair’, as someone with oodles of streetsmarts, but not
so much expendable income recently called it). But still somehow,
despite the threat of imminent aesthetic and social glut, I managed
to screech down to Fordsburg, skid past the evening worshippers
looking like an Essop Brothers photograph against the mosque all lit
up against the gritty dusk skyline, and slip into the Bag Factory for
the launch of Losing Virginity.
The show is the culmination of a three-month Johannesburg
residency by artists Su Tomesen (Netherlands), Beate Spitzmueller
(Germany) and Pauline Marcelle (Dominica/Austria). Tomesen
Alex Dodd’s Column
– whose work evolves out of the context of the location where it
is presented – had transformed the dead space just in front of Sam
Nhlengethwa’s hopping studio into a live action shebeen, and I was
quickly drawn into the dark looseness of that space by the voice of
an earnest young poet who goes by the moniker of Quaz and hangs
with a collective of scribes and wordsmiths at the Keletketla Library
at the downtown Drill Hall.
Quaz’s poignant vocal timing, choice of words, direct approach and
punchy take on the social and political issues of the moment made
me think about how cynical so many in the sushi-nibbling upper
middle class confines of the art world have become about trans-
gressing the ghettoes of class and culture that still keep us so
Page 05
fractiously divided in this post-rainbow nation. What is it about
inequality that inspires such long sentences?
It kind of had to be a Dutch artist who brought the shebeen into the
gallery because a lot of contemporary South African artists would
look down their noses at this kind of boundary-bashing gesture
and decry it as being ‘oh so Eighties – been there and done that’.
The problem is, we may have ‘been there and done that’ in the late
Eighties and early Nineties, cosying up at the Blue Parrot in Yeo-
ville to the sounds of Neneh Cherry and Youssou n’Dour’s Seven
Seconds, but those seven seconds passed, and the gulf of inequity
and general kwere-kwereness amongst ourselves never did. So now
what? ‘So-we-to’, as the fashion label quips? I really hate to say it,
but I think I might be with Julius Malema on this – on the need for
an urgent and acute wake up to the reality of black poverty in this
country. Steve Hofmeyer can strip his moer over Malema’s injunc-
tions to ‘kill the boer’ and revert to racism as a reaction to racism.
But getting aggressively reactionary in response to the gluttony and
ineptitude of the ANC and the bruising idiocy of a warmonger like
Malema will only make things worse. You can bitch about bad gov-
ernance till the cows come home, but that doesn’t alleviate the very
real struggles of the majority of hardworking human beings trying to
earn an honest buck in this vile kleptocracy.
So right… back to art – and why I raised my middle-class white fist
at the end of Quaz’s half-heard poem. Because I sense artists in this
country coming alive again – in that acute, burning, fevered sense
of the word ‘alive’. In that ‘we can’t stand for this any more’ sense
of the word ‘alive’. The directly satirical mood underlying much of
the art at this year’s Spier Contemporary Art Awards is similar to
the angry, exasperated mood I experienced at a recent meeting put
together by Antoinette Murdoch at the Johannesburg Art Gallery
in response to Minister of Arts and Culture Lulama Xingwana’s
homophobic and morally conservative reaction to photographer
Zanele Muholi’s images. It is worth noting and appreciating the
fact that artists in this country are making real use of the freedom of
expression clause in our Constitution, in the uneasy knowledge that
it is starting to feel all the more precious in relation to grim weekly
headlines in the Mail & Guardian. Art has always been our litmus,
our nerve barometer – and the legacy of great courage among artists
and writers in this country is fresh and real. I was interested to dis-
cover that there will be no opening address by the Minister of Arts
and Culture nor any other representative from the ministry at the
opening of the Joburg Art Fair tonight. I wonder why…
PAGE 06
Eastern Cape
East London
Ann Bryant Gallery
The Main Gallery
Until 02 April, ABSA Atelier
Art Competition Regional
Exhibition
20 April-03 May, Oil on canvas
by Lorna Bradfield
08-25 April, SAN(D) TO
SAN(D) and RECYCLE RE-
USE by Bev Samler.
15 Apr-08 May, An
exploration of the Southern
African geography” from
the South African National
Association for the visual arts
multi-media display.
05-09 April, The East coast
Quilters Guild. (Coach House)
9 St Marks Road Southern-
wood East London
T. 043 7224044
annebryant@intekom.co.za
www.annebryant.co.za
Port Elizabeth
Montage Gallery
During April and May, a
mixture of Eastern Cape art
on show, which will include
paintings, ceramics and graphic
work.
59 Main Road, Walmer,
Port Elizabeth. T. 041-5812893
montage1@iafrica.com
www.montagegallery.co.za
Nelson Mandela Metropoli-
tan Art Museum
Until end of April, Animals
in art various artists, various
mediums. Part of the gallery’s
collection.
Until 11 April, A selection of
selection of 20th Century South
African Art.
17 April- 15 May, Insight
photography and video from
the Nelson Mandela Metropoli-
tan Art Museum’s Permanent
Collections.
Permanent exhibition, Art in
Mind
1 Park Drive, Port Elizabeth.
T. 041 506 2000
www.artmuseum.co.za
Northern
Cape
Kimberly
William Humphreys Art
Gallery
Permanent collection on
exhibition.
Civic Centre, Cullinan
Crescent, Kimberley.
T. 053 831 1724
artmuseum@whag.co.za
www.whag.co.za
Western Cape
Cape Town
34 Fine Art T. 021 876 8600
Until 17 April, Random
Graphics from Private
Collections –
William Kentridge.
Second Floor Hills Building,
Buchanan Square
160 Sir Lowry Road,
Woodstock.
www.34fineart.com
Alliance Française
Until 19 April, Works by Pierre
Florenchie.
During April, L’esprit du
sport soccer photographs
from around the world shot by
Amélie Debray.
155 Loop Str., Cape Town.
T. 021 4235699
www.alliance.org.za
Art b
Until 07 April,
25th ABSA L’Atelier Regional
Competition Exhibition.
14 April–05 May,
Solo exhibition of sculptures
by Ann Marais.
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
Artscape
Until 03 May, 3rd space exhibi-
tion featuring Tony Mhayi,
Angeline Lea and Tania Milner.
ARTSCAPE Theatre Foyer
space (Nico Malan) D F Malan
Street, Foreshore, CT.
T. 021 410 9800
artscape@artscape.co.za
Atlantic Art Gallery
A permanent display show-
casing leading contemporary
South African artists.
25 Wale Street, Cape Town.
T. 021 423 5775
AVA
06-30 April, We already know
how this will end Gretchen Van
Der Byl. & Pooof! by
Karen Lijnes.
Association for Visual Arts,
35 Church Street, Cape Town.
T.021 424 7436
art@ava.co.za
www.ava.co.za
Blank Projects
Until 03 April, Works by Irène
Hug, a Berlin-based Swiss
Artist.
07-30 April, Ndizakuyivula
iBhayibile-Mea Culpa by
Khanyisile Mbongwa.
113-115 Sir Lowry Rd,
Woodstock, Cape Town.
T.072 1989 221
blankprojects@gmail.com
www.blankprojects.com
Cape Gallery
Until 17 April, oil paintings by
Paula Vize, Elinor Carleton-
Smith and ceramics by
Theo Ntuntwana.
18 April-08 May, works by
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.
66 Vineyard Rd., corner
Cavendish Str., Claremont
T.021 671 6601
Constantia Village Shopping
Centre, Main Rd., Constantia
T. 021 794 6262
Christopher MǾller Art
Dealers in South African
contemporary art and South
African masters.
82 Church Str., Cape Town
T. 021 439 3517
www.christophermollerart.
co.za
David Porter Antiques
Buyers and sellers of South
African art.
T. 021 683 0580/083 452 5862
EASTERN, NORTHERN AND WESTERN CAPE SHOW LISTINGS
david@davidporterantiques.
com
Erdmann Contemporary /
Photographers Gallery
Until 24 April, Matters con-
ceptual a group show. Opening
nights: 7, 14 and 21 April @
6pm.
24 April- 29 May, Group show
by Deanne Donaldson, Johann
Louw, Brownwen Vaughan-
Evans and Elizabeth Gunther.
Opens 28 April @ 6pm.
63 Shortmarket Str., Cape
Town T. 021 422 2762
galleryinfo@mweb.co.za
www.erdmanncontemporary.
co.za
Everard Read Gallery - CT
Until 15 April, Threshold four
painters - Anton Brink, Brad
Gray, Anthony Scullion and
Peter van Straten - use
distortion, fantasy, surrealism
and satire (amongst other de-
vices) to investigate the realm
between sanity and insanity,
dreams and reality.
3 Portswood Rd., V&A
Waterfront T. 021 418 4527
www.everard-read-capetown.
co.za
Focus Contemporary
01 April-01 May, A solo show
of portraits by Marie Stander.
67 Long Street, Cape Town.
T. 021 419 8888
info@focuscontemporary.co.za
www.focuscontemporary.co.za
Gallery F
Contemporary and archival
South African Art.
221 Long Str., Cape Town
T. 021 422 5246
www.galleryf.co.za
Gill Allderman Gallery
During April, Works by Dathini
Mzayiya, Donovan Ward,
Donna McKellar, Pincus Cat-
zel, Sophie Peters, Velile Soha,
Lionel Davis, Geof Hayland,
David van Staden, Isaac Make-
leni, Gill Cowen and Giovanna
Biallo.
278 Main Road, Kenilworth,
Cape Town T. 0835562540
gallery@new.co.za
Goodman Gallery, Cape Town
Until 24 April, Two projects
featuring Mikhael Subotzky
with Patrick Waterhouse.
29 April-29 May, Recent works
by David Koloane.
3rd Floor, Fairweather House,
176 Sir Lowry Rd., Woodstock,
Cape Town T. 021 462 7573/4,
www.goodmangallerycape.com
Greatmore Studio
22-29 April, Mentorship exhi-
bition hosted by
One Minute Video.
47-49 Greatmore Street,
Woodstock. T. 021 447 9699
info@greatmoreart.org
www.greatmoreart.org
Houtbay Gallery
Until 04 April, works by Koos
De Wet, Anastasia Sarantinou
and Mariette Bergh
71 Victoria Avenue, Houtbay.
T. 021 790 3618/ 021 790 0137
art@houtbaygallery.co.za
www.houtbaygallery.co.za
i Art Gallery
Until 13 May, An exhibition of
Zwelethu Mthethwa’s
mural-sized photographs,
which have never before been
shown in South Africa.
71 Loop Street, Cape Town.
T. 021 424 5150
www.iart.co.za
iArt Gallery Wembley
Until 03 April, Visitor: The
Square by Liza Grobler.
07-30 April,
Collective Memory by
Madelein Marincowitz.
Wembley Square, Gardens,
Cape Town T. 021 424 5150
www.iart.co.za
Infin Art Gallery
A gallery of work by local
artists.
Wolfe Street Chelsea, Wynberg
T. 021 761 2816 and
Buitengracht Str. Cape Town
T. 021 423 2090
www.infinart.co.za
Irma Stern Gallery
Until 10 April, German and
South African trio exhibit,
Josef Lange-Grumfeld, artist
and former cattle farmer from
Ankum, Northern Germany,
will be exhibiting with fellow
countryman, Gerhard Philipp
and South African,
Theo Ntuntwana.
Cecil Rd, Rosebank
T. 021 685 5686
www.irmastern.co.za
Iziko SA National Gallery
Until 15 April, Gallery is
closed in preparation for FIFA
2010.
15 April -30 September,
1910-2010: From Pierneef to
Gugulective a re-hang of the
entire gallery is being curated
to showcase the very best of
South African art.
25 Queen Victoria Street,
Cape Town T.021 481 3934
Joao Ferreira Gallery
14 April-15 May,
New paintings by
Aaron van Erp.
70 Loop Street, Cape Town.
T. 021 4235403
info@joaoferreiragallery.com
www.joaoferreiragallery.com
Johans Borman Fine
Art Gallery
10 – 23 April,
An exhibition of oil paintings
by Hennie Niemann Jnr
In-Fin-Art Building, Upper
Buitengracht Street, Cape
T. 021 423 6075
art@johansborman.co.za
www.johansborman.co.za
Kalk Bay Modern
07 April-07 May, The assas-
sination of Shaka woodcuts by
Cecil Skotnes.
1st Floor, Olympia Buildings,
136 Main Rd, Kalk Bay.
T.021 788 6571
kbmodern@iafrica.com
www.kalkbaymodern.com
Michael Stevenson
Contemporary
Until 17 April, Solo shows by
Angela Ferreira and Natasja
Kensmil. Walid Raad will
exhibit concurrently as part of
the FOREX project series.
22 April-29 May,
Anton Kannemeyer will
exhibit concurrently with
Zanele Muholi and, as part
of the FOREX series, Glenn
Ligon.
Ground Floor, Buchanan
Building, 160 Sir Lowry Rd,
Cape Town T. 021 462 1500
www.michaelstevenson.com
Michaelis Gallery
Until 09 April, Stock by
Catherine Price.
Hiddingh Campus, University
of Cape Town, 31-37 Orange
Street, CT.
T.021 480 7170
cath@resonating.co.za
Raw Vision Gallery
11 Feb-14 Sep 2010, African
Odyssey 20 Internationally ac-
claimed photographers
exhibiting.
89 Sir Lowry Rd, Woodstock,
info@rawvisiongallery.com
www.rawvisiongallery.com
Rose Korber
During April, Group show
featuring Richard Smith,
William Kentrige,
Deborah Bell, Pamela Stretton
and more.
48 Sedgemoor Rd, Camps Bay,
Cape Town
T. 021 438 9152
roskorb@icon.co.za
www.rosekorberart.com
Rust-en-Vrede Gallery
Until 15 April, In Translation
a body of new work in mixed
media by Theo Paul Vorster.
Paintings by Tania Rosenbroch.
20 April–13 May, Salon A:
Still by Theo Kleynhans.
Salon B: Slice curated by
Theo Kleynhans.
Participating artists: Jean de
Wet, Marike Kleynscheldt,
Wendy Gaybba,
Christo Basson, Jan du Toit,
Lionel Smit, Marlise Keith,
Marié Stander,
Madelein Marincowitz
Salon C: Organic Matter by
Marie Peacy.
The Cube in the Clay Museum:
Tea Bowls by 37 ceramists.
10 Wellington Rd, Durbanville.
T.021 976 4692
www.rust-en-vrede.com
Salon 91
1-24 April, Out of Africa digital
print, screen print and sculpture
by Adam Shear and Neill
Wright.
Opening night 07 April @
7:30pm.
28 April-22 May, Sifting
through the madness featuring
Andrew Sutherland, Senyol,
Candice Jezek, Jade Klara,
Daniel Ting Chong and Gabri-
elle Raaff. Opening night 28
April @ 7:30pm.
91 Kloof Street, Gardens,
Cape Town. T 021 424 6930.
info@salon91art.co.za
www.salon91art.co.za
South African Museum
Until end July, Subtle Thresh-
olds, the representational
taxonomies of disease, a mixed
media show curated by
Fritha Langerman.
25 Queen Victoria Str., Cape
Town T. 021 481 3800
http://www.iziko.org.za/sam
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 Print Gallery
Until 30 April, Black on White
Straight from the African Art
Centre, Durban. In line with
the Mission of The African Art
Centre, which is to promote
the work of artists and crafts
people mainly from KwaZulu-
Natal, but also from the other
provinces in South Africa. The
group exhibition of eleven art-
BUSINESSART | APRIL 2010
ists represented by the African
Art Centre, namely Ezequiel
Mabote, Gabisile Nkosi,
George Msimang, Judas Mahl-
angu, Linga Diko, Malibongwe
Shangase, Thabani Msomi,
Mxolisi Sithole, Thulani
Makhaye, Vukile Teyise and
William Zulu.
107 Sir Lowry Rd, Woodstock,
Cape Town. T. 021 462 6851
info@printgallery.co.za
www.printgallery.co.za
These Four Walls Fine Art
Until 03 April, Ulwando by
Velile Soha and Leboana
Lefuma. 16 April- 08 May, The
Baiting tree photographs by
Lise Hanssen from the Spotted
Hyaena project.
Opening @ 6pm 16 April.
169 Lower Main Road,
Observatory
T. 021 447 7393
Cell. 079 302 8073
janet@thesefourwalls
www.thesefourwalls.co.za
Waterkant Gallery
Until 31 May, The Flow of
Stone, Scenes from the Desert
a solo show of photographs by
Bettie Coetzee Lambrecht.
123 Waterkant Street, Cape
Town. T. 021 421 1505
info@waterkantgallery.com
www.waterkantgallery.com
Wessel Snyman Creative
Until 15 April, Prospects of
chaos and complexity
drawings, digital prints, film
and installation pieces by Kris-
tine Kronje.
16-30 April, City Slickers Post-
er Show by Bigwood Collective
and Revolution Skateboards,
featuring some of the top
current local illustrators,
designers and graffiti artists, as
well as international talent, the
show exhibits limited edition
poster prints as well as
merchandise featuring almost a
100 different illustrators.
17 Bree Street, Cape Town.
T. 021 418 0980.
What if the World…
01 April-01 May, Tectonic
paintings by
Jan-Henri Booyens.
First floor, 208 Albert Rd,
Woodstock, T.021448 1438
www.whatiftheworld.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 14 April, Recent works by
Johann Moolman.
18 April-19 May, Current Mat-
ters by top South African up
and coming, award winners as
well as SA masters.
Main Road, Franschoek.
gallery@grandeprovence.co.za
www.grandeprovence.co.za
Send us your
listings to:
show@arttimes.co.za
 BUSINESSART | APRIL 2010 Melvyn Minnaar ’s Column Page 07

Piketberg De Wet centre, Church Street,

Anthea Delmotte Gallery
Until 26 April, Group show
featuring Annelie Venter,
Anthea Delmotte, Clare
Menck, Glynnis Creamer,
Jacolene de Haan, MURG
informal academy, Neville
Creamer, Sandra Hanekom, Su-
san Kemp, and Teresa Harling.
Opening @ 7pm on 26 Feb.
Feathers Inn, 1 Church Str,
Piketberg 073 281 7273,
anthea@lantic.net
Stellenbosch funding.
Art on 5
Permanent exhibition of paint-
ings and ceramics by Maryna
de Witt, Pera Schillings, and
Karen Kieviet.
7b Andringa Str., Stellenbosch
T. 021 887 7234
Dorp Straat Galery
10-30 April, Group show
featuring Cathy Layzell, Mila
Reyneke and Zelda Weber.
Church Street, Stellenbosch.
T. 021 887 2256
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
Red Black and White Art
Gallery in Conjunction with
amacoola.com
15 April-06 May, An exhibition
of works by Caryn Munting,
Coral Fourie, Leanette Botha
and Fiona Rowett.
5A Distillery Road, Bosman’s
Crossing, Stellenbosch.
T. 021 886 6281
feedback@amacoola.com
Sasol Art Museum
Until 16 April, Woordfees with
Andries Botha.
52 Ryneveld Str., Stellenbosch.
T. 021 808 3029
SMAC Art Gallery
Until 23 May, Super Boring by
Wayne Barker.
Stellenbosch.
T. 021 887 3607
www.smacgallery.com
Tokara
Until 25 April, The spaces
between, from looking to
depicting celebrating Estelle
Marais and her Karoo.
Crest of Helshoogte pass on
the R310 between Stellenbosch
and Franschoek.
T. 021 808 5900
www.tokara.com
George
Strydom Gallery
04–30 April,
Drawing Conclusions?
Strydom Gallery’s annual
theme exhibition of
South African art - a response
by a few selected artists
08 June-17 July, Annual Winter
Exhibition of Southern
Cape Art
Selected artwork from artists
of the Southern Cape.
79 Market Str., George
T. 044 874 4027
www.artaffair.co.za
Knysna
Knysna Fine Art
08-25 April, Recent works by
Simon Stone.
During April, A show by
Claude Jammet, An
international artist who lived in
Knysna for many years.
8 Grey Str., Knysna,
T.044 382 5107
www.finearts.co.za
Hermanus
Abalone Gallery
Until 10 April, Lynette Ten
Krooden, Ancient Playground.
12-30 Apr, Printed IV – Group
exhibition of graphic works
and photography by: Diane
Victor, Lien Botha,Braam
Kruger, Cecil & Pippa Skotnes,
Judith Mason, Hannes Harrs,
Dirk Meerkotter and Lien
Botha.
2 Harbour Rd, The Courtyard,
Hermanus. T.028 313 2935
www.abalonegallery.co.za
Melvyn Minnaar
The Art of Sponsorship
A few days after the Spier Contemporary 2010 opened in Cape
Town and brought the neglected hallowed halls of the grand old
city hall gloriously to life, a couple of NGOs filed an urgent court
application to force the National Lottery Board to release funds for
their survival. One of the NGOs pursuing court action is involved
with culture, and was about to cease operation without urgent
Bureaucratic mismanagement (so what’s new?) seems to have kept
a massive R6 billion locked up somewhere in the NLB’s coffers, it
was testified. Meanwhile the arts (and the poor) are starving.
The same day, the Cape Argus reported that Cape Town City Bal-
let, which has been going for 75 years, faces closure because of “a
cut in government funding, dwindling box-office sales and three
failed applications for National Lottery Board funding”.
In the days running up to the Spier Contemporary’s jolly opening,
Mirjam Asmal-Dik sent out a sad, urgent note, indicating that her
seven-year-old organisation, Cape Africa Platform, was about to
expire as well. This too relates to funding money not effectively
channelled by the NLF. But it is also the result of the balls-up with
the over-ambitious TransCape project when Cape had to hand over
a sum of money to settle a somewhat curious claim Gavin Jantjes
pursued against it. The previously oh-so-happy members of the
board ran out of steam and decided to round up the Section 21
company.
At the time of writing, this had not been sorted out, but unless
Cape Africa Platform is completely rehabilitated - include finding
funding - it seems that the organisation, which has, for all its faults
and mishaps, done pretty well for art and culture in Cape Town,
will be no more.
The sad thing about those NGOs, the Cape Town City Ballet and
Cape is that, like all such organisations, once they die they simply
cannot easily be conjured up again. It’s the thing about culture and
trust: it doesn’t operate to clinical business rules.
Sponsorship of the arts is essentially an investment that cannot be
quantified within the stratagems of capitalism. (Of course, having
to play the money game, cunning cultural operators use the jargon:
‘marketing value’, ‘job-creation’ - that sort of thing.) The real pay-
off has to do with things more esoteric - the human condition, the
enrichment of the spirit, whatever.
Although that may lead to the promotion of “social cohesion and
nation building” ( the misinformed arts and culture minister’s
limited view, expressed when she shuddered in horror at a nude or
two), these can never be the prescriptions for art and its industry.
It is this open-mindedness by the sponsors of the Africa Centre
- the not-for-profit organisation that gave us the current Spier
Contemporary 2010 and it predecessors, the wonderful Badilisha!
Poetry X-Change and the zippy groundbreaking Infecting the City
- that is so highly commendable.
While the physical results of the present art expo may not be much
to write home about, the financial investment by Spier (and others)
in the project - and allowing it to run as openly as possible - run
into millions of rands. The return is not budgeted for. It is called
the art of sponsorship.
One of the amazing by-products of the investment of the Spier
Contemporary 2010 in Cape Town is what it has done to the old
Victorian city hall. Having stood derelict for two years after the
library books migrated next door from that delightful theatrical
environment (with officials at a lost what to do with the magical
spaces), this exhibition shows what can be done there. Perhaps it
also suggests very boldly what should be done there.
Cape Town, it has often been said, needs a contemporary art space.
If not a museum, then an institution which can court cutting-edge
art, present it professionally, handle outreach programmes - and be
a vigorous cultural asset to the Mother city. The superbly prepared
spaces of the old hall are, as they are now, just the place. It will be
a sad day, with no other ambition in the hearts and minds of the
city bureaucrats, if all that has been done for the present show and
to the space is removed.

Until 17 April, Random Graphics from Private Collections –

William Kentridge. Second Floor Hills Building, Buchanan Square
160 Sir Lowry Road, Woodstock.www.34fineart.com
Cover Artist: Wayne Barker at SMAC
Brad Grey, On the
other side: from the Wayne Barker’s amjor show, Super Boring is opening at SMAC Gallery on Saturday at 6pm. The show is not a mid-career retrospec-
Threshold four paint- tive but rather an exhibition of new work which draws on themes, techniques and strategies that Wayne Barker has been utilizing and
ers - Anton Brink, developing over his entire career. In this sense it is not just a summary of his work to date but also a glimpse into what the future holds.
Brad Gray, Anthony The exhibition does show brand new work as well as older important pieces.
Scullion and Peter van
Straten - use distortion, Super Boring is a curatorial collaboration between Andrew Lamprecht, SMAC Art Gallery and Wayne Barker. A catalogue contextualis-
fantasy, surrealism and ing his new work in terms earlier bodies of work entitled; Wayne Barker: Super Boring with text by Andrew Lamprecht and contribu-
satire (amongst other tions by Simon Njami, Carol Brown and Thembinkosi Goniwe will be launched during the Joburg Art Fair, 25 – 28 March 2010, Booth
devices) to investigate 06.
the realm between
sanity and insanity, When asked for his comment on the show, cuartor Andrew Lamprecht said: “Super Boring has been billed as a ‘twenty five year retro-
dreams and reality. 3 spective’ in the press. This is true, but not really in the way most people will expect. While many pieces from the past are included the
Portswood Rd., V&A majority of the work is entirely new and shown here for the first time. This recent work looks back on two and a half decades of unceas-
Waterfront ing production and marks a point in an artist’s life; it may as well be called a ‘25 year pro-spective’ (if Wayne will grant us that!)”.
www.everard-read-ca-
petown.co.za The opening will be followed by a ‘super boring’ party that promises not to live up to its name.
PAGE 08
Dathini Mzayiya and Alexandra-raised Godfrey Majadibodu, who participated in the prestigious international Glenfiddich Artists in Residence Programme.
Glenfiddich invests in local artists
Eastern Cape-born artist Dathini Mzayiya and Alexandra-raised
Godfrey Majadibodu, who participated in the prestigious interna-
tional Glenfiddich Artists in Residence Programme, recently pre-
sented a selection of their works inspired by their three month stay
at the Glenfiddich Whisky Distillery in Scotland at The Rainbow
Experience Gallery, Mandela Rhodes Places in Cape Town.
Grant Sayers, Marketing Manager for Glenfiddich, explained
that creating fine works of art, and the art of creating fine Scotch
Whisky has many similarities.
“These artists deserve recognition in their own country, and many
South Africans are interested in the work of our up and coming
artists. It is an outstanding opportunity for an artist to gain inter-
national recognition and exposure as well as to grow.”
Artists have no set brief and have fairly open access to the distill-
ery complex and all the production facilities in Scotland, and are
able to create whatever work they desire. The intention being that
the art of making fine Scotch Whisky, the heritage, history and
tradition, the production and ageing process, the people, as well
as the local Scottish environment, will provide inspiration for the
artists.
Mzayiya who participated in the residency programme in 2009
exhibited his work entitled “Untitled scenes from the cooperage”
- a series of six works in oil pastel and paint, and charcoal and
chalk on cask staves. “The work was inspired by the cooperage
Zim artist arrested for exhibition criticizing Mugabe
Work Titles: Nkomo signs
accord, Ndebele votes flushed,
artist Owen Maseko. See artists
website at:www.owenmaseko.
com
environment and the facial expressions of the coopers while they
craft these casks. During the process of making this series I was
assisted by one of the coopers to collect damaged casks, decon-
struct them, and to steam the wood and re-construct it to suit the
surface that I wanted to work with,” said Mzayiya.
Each work carries a portrait of one of the coopers, some recog-
nisable, while others appear to be composites of one or more.
Mzayiya who has worked on animal skins and wood, wanted to
work with unusual material, as well as providing a strong link to
one of the materials central to the whisky making process.
During his 2007 residency Majadibodu painted a large oil on
canvas entitled “Busy as usual” which was one of a few artworks
on exhibition. Majadibodu was attracted to the art of the coopers
through his appreciation of hands on experience and his practical
nature. He spent time at the cooperage where he observed the
coopers at work, and even took the opportunity to have a try at
building his own barrel.
Since its inception in 2002 the programme has seen 63 leading
international artists from 14 different countries living and working
at the Glenfiddich distillery in Dufftown. Each year between six
and eight artists from around the world are invited to Scotland
for a three month residency to be inspired by the surroundings,
community and the distillery itself and to create art. During the
residency programme artists have a unique opportunity to live
with other artists from around the world and to exchange ideas.
Peta Thornycroft
Zimbabwean artist Owen Maseko was arrested on Friday at a Bu-
lawayo exhibition of his paintings which depict President Robert
Mugabe murderous 1980s campaign against Zapu leader Joshua
Nkomo
The most striking work shows Nkomo seated at a table with Mu-
gabe, and signing a unity accord to enter a coalition government
with him to stop the violence against his mostly –Ndebele- speak-
ing supporters. Nkomo, slumped over the table as he signs, has
blood pouring on to his shoulders against a background of men all
wearing dark glasses.
The exhibition had only been open a few hors when police
swooped and arrested Maseko and took him o the Bulawayo
Police Station.
In another raid on an artist three days earlier, police arrested
photographer Okay Machisa, and confiscated all his pictures at an
exhibition of his images of the violence of the 2008 elections. Hu-
man rights activists went to court to force the police to return the
photographs were hastily put back in place at the Delta Gallery,
for the opening of the exhibition by Movement for Democratic
BUSINESSART | APRIL 2010
These works form part of the Glenfiddich Collection in Scotland
which comprises of over 100 art pieces produced by the 63 artists
who have participated in the residency programme to date. These
works by Mzayiya and Majadibodu were especially shipped to
Cape Town for the exhibition.
The programme represents an annual investment of £100 000 plus
by Glenfiddich, the world’s leading single malt Scotch Whisky,
in the Visual and Contemporary Arts. The programme curator, in
conjunction with a network of galleries and curators builds up a
selection list from around the globe to select the final six to eight
artists who go to live and work at the Glenfiddich Distillery in
Scotland each summer for the three month residency.
The Glenfiddich Distillery is located in the town of Dufftown
which has a population of 2000 and is situated in the beautiful
Scottish Highlands.
Originally open to artists working in Europe, in 2005 the Glenfid-
dich Artists in Residence programme opened to artists worldwide.
The Glenfiddich Artist in Residence Exhibition is also open to the
public until 30 March 2010. The Rainbow Experience Gallery,
Mandela Rhodes Place, 23 Church Street, is open Monday to
Friday 09:00 – 18:00, Saturdays 09:00 – 18:00, and
Sunday 10:00 – 14:00.
Change leader, Prime Minister Morgan Tsvangirai.
After the opening, police returned and took the photographs away.
The exhibition was held to mark Human Rights Day.
One of the photographs showed Tsvangirai’s beaten, swollen face
after police detained him and scores of his party leaders after a
street protest in March 2007.
That picture went around the world and widely believed to have
played a major role in spurring the Southern African Development
Community (SADC) to intervene in the Zimbabwean crisis, lead-
ing to the now paralyzed inclusive government.
The MDC narrowly won the parliamentary elections in March
2008 and Tsvangirai easily beat Mugabe in the first round of the
presidential election, but he pulled out of the second round after
hundreds of his supporters were killed, thousands were detained
and even more were forced to leave their rural villages.
Many of the people photographed are now in police custody, or
were victims of Zanu-PF violence against the MDC.
First published in The Sunday Independent
 BUSINESSART | APRIL 2010 Page 09

The honourable minister Xingwana Image: André Clements

Peter Machen
So what’s the difference between art and porn? The question may
well have been deliberated for millennia but the answer is simple,
although it may – or may not – offend our Minister of (Arts and)
Culture who, now famously, walked out of an exhibition featur-
ing Zanele Muholi’s portraits of naked women in bed together.
So here’s a definition: With porn, you stop looking after you’ve
climaxed. That may sound facetious or just plain provocative but
it’s the simple honest truth. Pornography is made to masturbate
over, and while millions are the wayward who have masturbated
to art at some point in their autoerotic lives, art is made with a
wider purpose.
Which, in the game of call-and-response that passes for dialogue
most of the time in this country, will no doubt lead to charges of
intellectual wankery from all sides. But I’ll stop there and sug-
gest that the discussion over porn and art is a one-way street and
not particularly useful in any nation-building dialectic. And for
examples of just how nation-building things can get, check out the
forum on The Times website in response to the story. For the most
part, the respondents, who usually seem to spend their time tossing
racial epithets at each other, are united in their view that the min-
ister is right in her response to the work – which was featured on
the website. They are, surprisingly enough, nearly all men. While
dialogue is great, it’s possible that an ongoing trade in knee-jerk
reactions might in fact not help to create a more cohesive society.
Porn is porn and art is art and no amount of discourse will change
that. They are made for entirely different purposes although of
course artists enjoy blurring the boundaries. And of course many
porn directors genuinely think that their output is art. And if they
installed it in a gallery or a similar space, it would be – just as a
urinal, a painting or a plastic lobster attached to a telephone would
be. And if ever you’re in doubt, try the wank test.
But of course the debate continues regardless and despite my
suggestion that the argument is a tired one, I still consented to take
part in a panel discussion on the subject organised by Vansa and
the Centre for Civil Society at the University of KwaZulu-Natal.
It should be noted that most of the panel also thought that we were
flogging a dead horse – which is one of the largely unspoken is-
sues at the core of the discussion. The art versus porn discussion
usually devolves into two camps: those who work in the culture
industry and those who don’t.
And I think that’s for the very simple reason that most artists have
already had the discussion with themselves and in great depth.
‘What is art’ sits at the very core of art history, and the answer
seems always to be expanding. It should of course be pointed out
that Van Gogh was derided by many as “not art” in his time, as
were many sung and unsung creative geniuses before and after
him.
One of the things that did emerge from the discussion though, was
concern over the impact of explicit images on children. But as
Cheryl Potgieter, a psychologist from UKZN with a deep and rig-
orous grasp of sexuality and gender, pointed out, it is the parents
not the children who are offended.
Kids, it seems, have a far less dogmatic approach to things, a point
which was beautifully illustrated by my four-year old niece when
she wandered into the KZNSA gallery where some of Deborah
Poynton’s large scale nude figures were occupying the gallery
walls. Having been removed from the painting not because of the
nudity but because of the pink icing sugar that was all over her
hands, she returned a little later to show her younger sister one of
the male subject’s “dong”. The two children thought it was
hilarious. Lulu Xingwana would no doubt be a little disturbed.

Kwazulu- Natal Art Show Listings

Imbizo Gallery
Until 30 April, Shapes and Scapes
Richard Scott, Katherine Wood
and Philip Briel.
Shop 7A, Ballito Lifestyle
Centre, Ballito,
T. 032 946 1937
info@imbizogallery.co.za
Durban
ArtSPACE Durban
29 March-17 April Mixed
media by various artists
(The Main Gallery)
Works by Isaac Sithole
A work from:
(Middle Gallery)
Deborah Poynton:
19 April-08 May, Waters a
Everything Matters
23 March 2010 – 17 April 2010
travelling exhibition featuring Jill
Trappler, Kristina Korpela,Leena
showing at
Patola, Witty Nyide, Jaana Par-
The KZNSA Gallery
tanen and Eunice Geustyn.
3 Millar Road, Stamford Hill,
Durban. T.031 312 0793
info@artspace-durban.com
www.artspace-durban.com
Durban Art Gallery
Until 01 August, The Interactive
Street Child Experience
Until 10 May, Dialogue among
civilisations an Art for
Humanity Project.
Until 04 April,
Suitcase of memories
Durban University of
Technology in association with
Kulturladen
Huchting, Bremen.
2nd Floor City Hall, Anton Lem-
bede St (former Smith St) Durban
T. 031 311 2264
strettonj@durban.gov.za
Durban University
Art Gallery.
Until 01 April, As part of the Art
for Humanity’s conference titled
“Art and social justice” guest
Curator Kim Berman will present
an exhibition titled “Art as Advo-
cacy: An AIDS action exhibition
from Artists Proof Studio”
Steve Biko Campus, Steve Biko
Road T. 031 373 2207 artgal-
lery@dut.ac.za
Elizabeth Gordon Gallery
A variety of new South African
artworks, including paintings by
Hugh Mbayiwa, Nora Newton,
Wheildon and Hussein Salim.
120 Florida Rd., Durban.
T. 031 303 8133
eqqart@iafrica.com
www.elizabethgordon.co.za
KZNSA Gallery
20 April-02 May, PPC (the Pro-
fessional Practice Course run over
3 months at the gallery, which
culminates in a group show)
exhibiting in the Main gallery and
the Mezzanine gallery.
James Webb exhibiting in the
Park Gallery and with an installa-
tion on the outside wall.
166 Bulwer Rd., Glenwood.
T. 031 2023686
www.kznsagallery.co.za
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
Until 30 April, paintings by
Marion Townsend.
The Blue Caterpillar Art Gallery
at Butterflies for Africa
37 Willowton Road, Pieterma-
ritzburg. T. 033 3871356 art@
butterflies.co.za
or bluecaterpillarart@hotmail.
com www.artsales.co.za
Tatham
Until 04 April, “Curriculum Cur-
ricula” a Visual Arts supplemen-
tary exhibition for grades 10-12
using the National Curriculum
Statement syllabus.
Until 27 April, “African colour
notes” an exhibition of acrylic
paintings by Nicky Chovuchovu
Until 23 April, “The Whitwell
collection” (Perimeter Gallery,
first floor) Cnr of Chief Albert
Luthuli (Commercial) Rd. and
Church Str. (Opposite City Hall)
Pietermaritzburg T. 033 342 1804
www.tatham.org.za
PAGE 10
Peter Magubane receives further international
acclaim with winning The Cornell Capa Award
The International Center of Photography in New York has an-
nounced the annual 2010 Infinity award winners, arguably the
most important in the world of photography. Among those to be
honoured is South African veteran photographer, Peter Magubane.
Magubane will be in illustrious company in New York on the
evening of Monday, May 10, when the ICP honours the nine
recipients of the 26th annual Infinity awards, the country’s leading
awards for excellence in the field of photography. The ICP says it
is an opportunity to “acknowledge some of those image-makers
whose work has allowed us to see the world anew, and that ena-
bles us to better grasp the richness and diversity of our common
humanity”.
Praising the winners’ contribution to the photographic medium,
ICP Ehrenkranz Director Willis E. Hartshorn sais, “They share a
commitment to the overarching power of photography and how it
can express what is both enduring and new in the human condi-
tion. Whether documenting significant historical and contem-
porary events, shedding light on the dynamism of unfamiliar
cultures, or extending the languages we use to describe and better
understand who we are, they have provided us with opportunities
to re-grasp and re-envision our world.”
Peter Magubane is to receive the Cornell Capa award (named after
the famous photographer and founder of Magnum). The Lifetime
Achievement award is being made to famous photo editor John G.
Morris. Other winners are Gilbert C. Maurer/Hearst corporation
(ICP trustees award); Raphaël Dallaporta (young photographer);
Luc Sante (writing); Looking In: Robert Frank’s “The Ameri
cans” by Sarah Greenough (publication); Lorna Simpson (art);
South Africa’s photographer, Peter Magubane, is led away by police while covering a story in Alexandra.
During the time of Apartheid, he was shot at, detained, and imprisoned.
Reza (photojournalism) and Gentlemen of Bacongo by Daniele
Tamagni (applied photography).
ICP’s ongoing mission is to present and champion the variety
inherent in the photographic experience. The Infinity awards, first
presented in 1985, were created to recognize the contributions of
influential photographers and emerging young talent. This pro-
gram attracts an audience of more than 700 prominent guests an-
nually from the photography, art, and fashion worlds. It celebrates
an international group of accomplished individuals who are
receiving what is widely recognized as the most coveted honour
in photography. Recipients are chosen by a jury from submissions
compiled by a changing international nominating committee.
The Lifetime Achievement award and Cornell Capa Award honou-
rees are selected by the ICP board of trustees, president’s council,
and senior staff. The Trustees award is periodically given by the
board for outstanding contributions to the field. The 2010 selection
committee comprised publisher Chris Boot, Carol McCusker of
the museum of photographic arts, San Diego, and Peter MacGill,
president of the Pace/MacGill gallery in New York.
Past winners of the top awards have included Robert Frank, Mary
Ellen Mark, Marc Riboud, André Kertész, Henri Cartier-Bresson,
Berenice Abbott, Richard Avedon, Harold Evans, Bernd and Hilla
Becher, Alexander Liberman, Gordon Parks, Helen Levitt, Annie
Leibovitz, Lee Friedlander, William Klein, Susan Meiselas, Roy
de Carava, Malick Sidibé, and Karl Lagerfeld.
Peter Magubane was born in 1932 in Vrededorp and grew up in
Sophiatown in the suburbs of Johannesburg, South Africa. First
published in Drum magazine in 1954, Magubane covered many
important political events in the 1950s, including treason trials and
BUSINESSART | APRIL 2010
demonstrations. After freelancing in London in the early 1960s, he
returned to South Africa and worked for the Rand Daily Mail from
1967 until 1980.
From 1969 to 1976, Magubane was repeatedly arrested and inter-
rogated for his activities, jailed or kept in solitary confinement for
months at a time, and banned from his position at the Rand Daily
Mail for five years. In 1976, he was hospitalized after his nose was
broken by the police and his house was burnt down. In 1985, he
was shot seventeen times at a student’s funeral in Natalspruit.
His coverage of the uprisings in Soweto (June 1976) brought
worldwide acclaim and led to a number of international photo-
graphic and journalistic awards, including the American National
Professional Photographers Association Humanistic award in
1986, in recognition of one of several incidents in which he put
his camera aside and intervened to help prevent people from being
killed. From 1978 until 1980, Magubane worked as a correspond-
ent for Time magazine, after which time he moved to New York.
Magubane has photographed for several United Nations agen-
cies, including the High Commission for Refugees and UNICEF,
and his photographs have appeared in The New York Times, Life,
Time, Newsweek, National Geographic, Paris Match, and The
Washington Post, among others. His honours include the Missouri
Honor Medal for Distinguished Service in Journalism from the
University of Missouri (1992) for his lifelong coverage of apart-
heid, the Robert Capa Award (1986), and Lifetime Achievement
Award from the Mother Jones Foundation (1997). He has received
honorary doctorate degrees from several universities in South
Africa and will be awarded an honorary doctorate from Columbia
University in New York in 2010.
 BUSINESSART | APRIL 2010
Robert Hodgins 1920 - 2010
“For me, it is very simple. The act of painting at a particular
moment is able, for reasons I neither understands, nor even try
to understand, to open up the whole world of my experience, my
thinking, my aspirations. “
Robert Hodgins was born on 27 June 1920 in Dulwich, London.
In 1938, he immigrated to South Africa, and joined the Union
Defense Force in 1940. In the Second World War, he served in
Kenya until 1941, then in Egypt until 1944. During the same year
he returned to England and was discharged after the end of the war
in 1945.
From 1947-1950, Hodgins studied part-time and from 1950-53,
he studied full-time at the Goldsmith’s College of` Art, University
of London. He first studied teaching, and then art. In 1951, he
obtained an Arts and Crafts Certificate, and in 1953 a National
Diploma of Design, the equivalent a major in painting.
He returned to South Africa in 1954. Between 1954-62 he taught
painting and drawing at the Pretoria Technical College, and from
1962-66 he worked as a journalist, art critic and then Assistant
Editor of Newsweek. As senior lecturer he taught at the Depart-
ment of Fine Art of the University of the Witwatersrand from 1966
to 1983. Thereafter he painted full-time.
Robert Griffiths Hodgins
(27 June 1920 – 15 March 2010)
The Goodman Gallery shares in the sad loss experienced by his
many friends and colleagues when Robert Hodgins died around 4
a.m. on Monday the 15th of March, 2010. He had suffered respira-
tory illness for 3 months, and had been hospitalized. Born in June,
1920 in Dulwich, London, England, Hodgins first emigrated to
South Africa in 1938, returning to the UK and wartime service
in North East Africa soon afterward. He later completed his art
education at the prestigious Goldsmith’s College, University of
London, and returned to South Africa in 1953. He lectured at the
former Pretoria Technical College and was for a time a journalist
and critic with Newscheck magazine. From 1966 until he retired to
paint full time in 1983, Hodgins lectured in painting at the
University of the Witwatersrand.
He was a national treasure: a towering talent, an important influ-
ence on generations of students and followers of the fine arts, a
Dear Editor
Robert Hodgins taught me at Wits, many years ago, and he was
one of very few inspirational tutors who was genuinely ‘awake’
and interested in the students and our work and our minds, and not
only in his own work, his own mind and his own ego.
He once gave us an essay to write, and I produced mine in back-
ward-written handwriting - he had to sit in front of a mirror for a
few hours in order to read my copious essay - then he responded in
Despite having exhibited since the early 1950’s, it was until 1981
when he was properly recognised. In the 1980’s, many artists be-
gan to develop unique styles, and made anti-apartheid or socially
conscious statements. Robert Hodgins was not the exception, and
began satirizing figures of power. The impact of these works was
such that the Standard Bank National Arts Festival hosted a major
retrospective exhibition in 1986.
Robert Hodgins can be described as an expressionistic painter and
graphic artist of historical events, images, figures and impressions.
His icons of malevolent businessmen in pinstriped suits, prison
cells, historical references and political tyrants still reappear in his
recent works.
Although the human form is the subject matter of many of his
paintings, it is colour, space and placing that plays a very impor-
tant role in the works.
“There are paintings that stem from memory and from a sombre
look at the human condition. Paintings about the construction and
confusion of contemporary urban life, but also paintings about
the pleasures of being alive, pleasures that crowd in upon the
pessimism everywhere - that crowd in and refuse to be ignored”.
respected mentor, a massive positive force of energy, an inspira-
tion to many and fount of knowledge and understanding – he was
all these things to those who knew him, and more. Just a won-
derful man, dear friend, and terrific human being, who was also
widely regarded as South Africa’s greatest contemporary painter.
We at the Goodman Gallery are saddened at his passing which will
leave an enormous gap in our lives.
Possessed of a mischievous and curious eye with which to criti-
cally evaluate the doings of humankind, a lively wit, the sensi-
tivity to include himself in his impressions of our species and a
healthy cynicism, Robert was the keenest observer of life one
could meet. We are all much the poorer for his passing, and he
will be sadly missed even by many who knew him only through
his output of paintings and graphics. Writing this, I am aware that
our sadness is for ourselves, those who are left behind, in a world
which will always be less exciting, less colourful, less amusing
and less intelligent without him. He was a human treasure house
of knowledge, and the loss of his prodigious mind and memory for
poetry, mythology, music and literature with him, seems like the
mirror-writing too...
Over the years whenever we met up, he was as welcoming,
forthright and engaging as always..
Genuine, humourfilled, insightful, un-gimmicky, and a bloody
marvelous painter.
A great person and a great artist,and a great S African.
Page 11
(Goodman Gallery 2000)
He works in oil, acrylic, tempera, and in various graphic media.
Although the human form is the subject matter of many of his
paintings, it is colour, space and placing that play an important
role in the works. In his own words:
“Being an artist is about putting something into your subject
matter that isn’t inherently there. You are not at the mercy of your
subject matter, it’s the content, and what you put into it, what you
do with it, what extract from it, and what you put it with, that is so
exciting. If you are aware of this, then you begin to build on the
content of your whole life.
Before you know where you are, you’re already thinking about
the next work, and you could live to be 300. Paintings can be one-
night stands or lifetime love-affairs - you never know until you get
cracking”.
Hodgins has exhibited extensively in South Africa, Lon-
don, France, the United States and Netherlands for over six
decades.(From SA History Online)
Image: Artists Press
loss of the great ancient library of Alexandria. (Robert would say:
“less of the ancient, if you please!”) We shall miss Robert greatly,
but feel sure his adventures will continue wherever he is now.
Robert Hodgins lived a long and successful life, and found being
ill “tedious, dear boy, just too tedious!” He was aware the end of
his life was near, and “quite ready to depart this mortal coil if I
cannot paint!” He was an accomplished and well-loved artist, a
great friend and an extraordinary human being in that he was so
constantly and energetically involved in The Great Human Drama,
right to his last day. Fortunately he has left a legacy of excellent
work behind him, which in our museums, academic and other
public collections will continue to enrich our lives for many years.
Neil Dundas
The Goodman Gallery
Johannesburg
I count myself lucky to have met and known him.
My condolences to his beloved ones.
Robert, I salute you!
Arlette Franks,
Artivist, Polokwane City/Limpopo
PAGE 12
Next up at Strauss & Co’s Johannesburg sale on 24 May.
Irma Stern, 1894 - 1966
Still Life with Dahlias and Fruit
Signed and dated 1960
Oil on canvas
100 by 92,5cm
R4 000 000 – 6 000 000
A magnificent Irma Stern painting entitled Still Life with Dahlias
and Fruit is one of the many impressive works coming up for auc-
tion at Strauss & Co’s Johannesburg sale on 24 May 2010.
For Irma Stern, still life painting was a genre that allowed her to
explore colour combinations, spatial dynamics and composition,
without being constrained by mimesis. While portraiture required
some degree of similitude, still life was for her the ideal genre in
which to experiment. When compared with earlier interpretations
of the same subject, this painting ably demonstrates how far she
was able to push the medium.
Two earlier versions of the same subject have been sold by Strauss
& Co’s much admired auctioneer, Stephan Welz. A Still Life with
SOUTH AFRICAN ART AUCTION HOSES BUSINESSART | APRIL 2010
Fruit and Dahlias, painted in 1946, sold at auction in November
1999 in Johannesburg and is featured on the catalogue cover and
Still Life with Dahlias, painted in 1947, which is included in
Marion Arnold’s handsome monograph, Irma Stern: A Feast for
the Eye.
Reflecting on the two earlier paintings in relation to the later work,
Welz says, “It’s rare that one can trace an artist’s development so
clearly. Throughout my many years in the art field, there’s been an
assumption that earlier works are superior to later works. Yet the
versatility of this later work disproves that. In Stern’s many travels
she must have come across Abstract Expressionist paintings and
the European Lyrical Abstractionists and she would have been
excited by the freedom with which they approached painting. I’ve
no doubt that she revisited this subject with renewed passion.”
In both earlier works, Stern employ modulated colour, tonal values
and shadows to achieve convincing three-dimensional form.
However, in this later version of the same subject, painted in 1960,
the brilliant colours and complementaries are splashed across the
canvas revealing a freedom of expression not evident in her earlier
paintings.
Her colour was never freer or bolder. An almost delirious explo-
sion of brilliant, hot colour - vermillion, cerise, peach, Naples
yellow, pink, mauve - holds the centre of the painting while com-
plementaries of blue, green and purple reverberate with visual ex-
citement at the edges. Painting the dahlia petals with thick impasto
and radiating lines gives the impression of whirling dervishes
confirming the artist’s palpable enjoyment of paint.
By contrast, the saturated, luminous citron yellow of the vase
continually draws the eye back to the pulsing heart of the picture.
Beside it, the unexpected clash of papaya on a pink cloth, with
magenta highlights and green swirls, is entirely unpredictable.
Painted in 1960 when the artist was 66, and clearly demonstrating
her confidence to paint with abandon, this is one of the finest ex-
amples of her later paintings where she luxuriates in the pleasure
of paint. Her lack of interest in persuading the viewer that these
are ordinary objects existing in convincing space and her com-
mitment to treating the picture plane as a flat surface on which to
enact her painting, suggest that Stern was closer in spirit to her
international, post-war contemporaries than she has been given
credit for.
 BUSINESSART | APRIL 2010
Stephan Welz & Co. Johannesburg Art Auction 21 April
Johannesburg Two day, five session auction with focus on painting
Stephan Welz & Company one thousand lot sale leads up to two
sessions of Paintings on 21 April
- Church, Port Elizabeth, is estimated at R100 000- R150 000.
A slight change to the session sequencing of the first Johannesburg
sale of the year will see the 20 & 21 April Stephan Welz & Com-
pany auction ending with two sessions of paintings. The first day
of the auction is comprised of three sessions and includes carpets,
furniture, ceramics, decorative arts, silver, watches, clocks and
jewellery. On 21 April, the focus switches to Paintings, with a wide
array of works on offer ranging from British and Continental Paint-
ings, Watercolours and Prints to South African Paintings, Watercol-
ours, Drawings, Prints and Sculptures, including both Traditional
and Contemporary works.
At 14h00 on Wednesday 21 April, the fourth session of the sale
(and the first of the day!) commences with Books, Maps, Africana
Pictures, Prints and Memorabilia and then moves on to the Paint-
ing section of approximately 120 lots. Amongst the artists up for
offer in the session are Sydney Carter, Erich Mayer, Dorothy Kay,
William Timlin, Cecil Higgs, Ruth Squibb, Kenneth Baker, Walter
Battiss, Christopher Tugwell, Wessel Marais, Sydney Kumalo, Dan
Rakgoathe, Joe Maseko, Nat Mokgosi, Winston Saoli and Joseph
Sithole. Two interesting works in this session are Rupert Norman
Shepard’s, Young Ndebele women in a village setting featuring a
pre-sale estimate of R6000 – R9000 and the nonfigurative Nico
Roos, Abstract landscape, estimated at R7 000 – R10 000. The ses-
sion ends with several contemporary works, including the likes of
Braam Kruger, Nicolaas Maritz and Judith Mason.
The evening session , the final session of the entire sale, commences
at 18h30 with four classic and collectable cars being offered at low
estimates ranging from R250 000 for a 1949 MG TC up to R1 400
000 for a 2005 Bentley Continental GT. The session then moves
on to a five lot charity auction for the South African Ballet Theatre
(SABT), including Lot 831, a pair of autographed pointe shoes worn
by the late Dame Margot Fonteyn and Lot 833, a Walter Battiss
painting, titled The Dancer. All proceeds received from the sale of
these lots will help ensure the continuation of the SABT.
The remainder of the session, dedicated to approximately 170 paint-
ings, beginning in customary fashion with the British and Continen-
tal paintings and prints, features works by Alfred Wheelers, Marino
Marini and Andy Warhol.
The Traditional and Contemporary South African Art section
features a wide array of paintings, prints, drawings and sculptures
including the names of Frans Oerder, Hugo Naudé, Erich Mayer,
Sydney Carter, Irma Stern, Maggie Laubser, Maurice van Essche,
Gregoire Boonzaier, Alexander Rose-Innes, Vladimir Tretchikoff,
Anton Van Wouw, Edoardo Villa, Walter Battiss, Alexis Preller,
Cecil Skotnes, George Pemba, Ephraim Ngatane, Adriaan Boshoff,
Fred Page, Robert Hodgins, Sam Nhlengethwa and William Ken-
tridge.
The cover lot, Lot 916, is an early Alexis Preller, Still life with
chair, featuring influences from both Vincent van Gogh and Paul
Gauguin and the unmistakable yellow chair. This work has a pre-
sale estimate of R600 000 – R900 000. Another Preller, Lot 917,
Study with skull, a later work, is also expected to draw interest at its
pre-sale estimate of R400 000 – R600 000.
The South African section begins with offers from our Traditional
artists. Three Oerders from the early 1900’s are on offer: Lot 844,
Going to the market, (R300 000 – R500 000) and Lot 845,Two
horses with a cart, (R80 000 – R120 000), both works capturing the
essence of rural life in Holland. Lot 846, Christ appears to the dis-
ciples, (R200 000 – R300 000) is one of only five known religious
works to have been painted by Frans Oerder during the First World
War. Also featured early in the session is a moderately large Erich
Mayer Lot 853, Kroonstad, vaal river, an exquisitely painted Sydney
Carter Lot 858, African figures around a camp fire, and a Willem
Hermanus Coetzer, Lot 881, View from the drakensberg, one of the
few works to feature snow-capped mountains in the distance. All
three works carry a pre-sale estimate of R50 000 – R80 000. Also
up for offer is a sizeable Nils Andersen Lot 879, A farm yard scene,
estimated at R30 000 – R50 000.
Two portraits by Maurice van Essche which have been captured
with sensitivity and estimated at R200 000 – R300 000, can be seen
in Lot 887, Portrait of a young boy, and Lot 888, Pensive woman.
Lot 872, Portrait of an austrian woman, a portrait larger than most
works by Maggie Laubser, carries an estimate of R500 000 – R800
000. Staying in the tradition of portraits, Lot 923, Seated figure on a
blue chair, a bold carved and incised wood-panel by Cecil Skotnes
is estimated at R400 000 – R600 000. There are several works by
Skotnes on sale, including two other carved and incised wood-pan-
els and a selection of portfolios.
Lot 901, STILL LIFE WITH POINSETTIAS by Vladimir
Tretchikoff, is a vividly captured still life, estimated at R250 000
– R350 000. An Irma Stern gouache, Lot 875, Still life with flowers
Page 13
and a pumpkin, carries an estimate of R400 000 – R600 000, whilst
the more impressionistic work Lot 873, Two nude women in profile,
is comparatively estimated at R150 000 – R200 000. A sombre
toned and somewhat futuristic work by Fred Page, Lot 986, Old
The sale’s sculpture section offers a wide selection of traditional and
contemporary works. Lot 902, The dagga smoker, an exceptional
vignali casting, is believed to have been produced during Anton van
Wouw’s life and approved by the artist before leaving the foundry, is
estimated at R250 000 to R350 000. An early Edoardo Villa, lot 912,
ABSTRACT FORMS, of just under 1m in height, has a pre-sale
estimate of R70 000 – R100 000. Also on offer are works by Anton
Smit, Zoltan Borbereki, Norman Catherine and Laurence Chait.
A punchy and bright Walter Battiss oil Lot 913, The family, is con-
servatively estimated at R80 000 – R120 000. Two works of equal
vibrancy and animation, Lot 988, Three characters in search of a
painter and 989, Man in a shiny suit, by Robert Hodgins are respec-
tively estimated at R120 000 – R160 000 and R80 000 – R120 000.
Also featured in the contemporary section is lot 990, Interior Scene
With Red Couch, a fresh and quite substantial Sam Nhlengethwa
estimated at R60 000 – R90 000 and a few works by Braam Kruger. Irma Stern gouache, Lot 875, Still life with flowers and a pumpkin,
William Kentridge, a well known name to the contemporary art estimate of R400 000 – R600 000
market is featured in several works on this sale, including a charcoal
and pastel drawing, Lot 992 Arc/Procession 6, estimated at R200
000 – R250 000. The session ends with a number of smaller works
by contemporary artists such as Kim Berman, Conrad Botes,
Claudette Schreuders and Judith Mason.
Venue
All auction sessions and pre-auction viewings will take place at:-
Stephan Welz & Company
13 Biermann Avenue (cnr Oxford Road)
Rosebank, Johannesburg
Viewing Times
Friday 16 April 10h00 – 17h00
Saturday 17 April 10h00 – 17h00 Lot 916, is an early Alexis Preller, Still life with chair, featuring
Sunday 18 April 10h00 – 17h00 influences from both Vincent van Gogh and Paul Gauguin and the
unmistakable yellow chair. This work has a pre-sale estimate of
R600 000 – R900 000
Auction Session
Tuesday 20 April 10h00 Session 1 : Lots 1 -169
Carpets and Rugs; Ceramics; Electroplate; Silver
Tuesday 20 April 14h00 Session 2 : Lots 170 - 350
A Piano; Furniture; Clocks; Watches
Tuesday 20 April 18h30
Session 3 : Lots 351- 550
Diamonds; Jewellery; Unset Gemstones
Another Preller, Lot 917, Study with skull, a later work, is also
Wednesday 21 April 14h00
expected to draw interest at its pre-sale estimate of
Session 4 : Lots 551 - 820
R400 000 – R600 000.
Books; Maps; Africana; British & Continental Paintings;
Traditional & Contemporary
South African Paintings
Wednesday 21 April 18h30
Session 5 : Lots 821 - 1005
Charity Auction for the SA Ballet Theatre
British & Continental Paintings; Traditional &
Contemporary South African Paintings & Sculptures
Please address all enquiries to the Johannesburg office of
Stephan Welz & Company
011 880 3125
For further information, online catalogue and
absentee bid forms, please visit www.swelco.co.za Robert Hodgins, Lot 988, Three characters in search of a painter
PAGE 14
Bonham’s London - SA art auction sale
Anton van Wouw (South African, 1862-1945)
‘Kruger in ballingschap’ Sold for £19,200 inclusive of Buyer’s Premium
Gerard Sekoto (South African, 1913-1993) Market Street Scene, Cape Town
(circa 1943) unframed Sold for £192,000 inclusive of Buyer’s Premium
Walter Whall Battiss (South African, 1906-1982)
Abstract with colour block Sold for £27,600 inclusive of Buyer’s Premium
BUSINESSART | APRIL 2010
By Michael Coulson
Bonhams’ latest, seventh, offshore sale of SA art may not sup-
port the auction house’s view that London has become the centre
of the SA art market, but was much more positive than some of
its predecessors. The historic SA flag and copy of the Freedom
Charter were sold before the auction and the remaining 133 lots in
the main evening session were 71% sold by number and 82% by
value. The session grossed just under GBP2.4m (including buyer’s
premium but not taxes), about 16.5% above the low estimate of
just over GBP2m.
Some works went for well above their high estimates. Top price
was GBP356 000 for a Pierneef landscape (estimate GBP180
000-GBP250 000), followed by GBP192 000 for a Gerard Se-
koto Cape Town market street scene (est GBP120 000-GBP180
000),GBP168 000 for another Pierneef (est GBP100 000-GBP140
000) and GBP120 000 for an Irma Stern flower study (est GBP100
000-GBP120 000).
Nine of the top 12 estimates (lows of GBP40 000 and upwards)
sold, those not already mentioned going within their estimate
ranges. Good prices lower down the scale included GBP45 600 for
a Maggie Laubser Woman in a Landscape and GBP50 400 for a
Laubser portrait of a woman (both est GBP20 000-GBP30 000).
Of the two Tretchikoffs, Kwela Boy fetched GBP22 800 (est
GBP15 000-GBP20 000) and The Try GBP8 400 (est GBP7 000-
GBP10 000). The works attributed to Nelson Mandela failed to
sell.
The SA flag signed by Mandela, Thabo Mbeki and F W de Klerk
and flown at Mandela’s inauguration was bought by a London-
based SA businessman and will be returned to the SA government,
while the copy of the Freedom charter, signed by the vendor Leon
Levy, then president of Sactu, and the presidents of the four other
signatory bodies was bought for the nation by a consortium of
Lonmin, Lord Renwick (a former UK ambassador to SA) and the
Mantis group (parlayed out of the Shamwari game reserve into an
international upmarket game reserve and boutique hotel group by
Port Elizabeth’s Gardiner family).
The prices paid for these have not been disclosed, but it’s ru-
moured that the Freedom Charter went for GBP50 000.
At the afternoon session of minor works, 61 of 97 lots were sold,
or 62.9%, a gross of GBP100 000 being 98.5% of the low estimate
of GBP101 500. There were no notable prices.
Bonhams values the whole sale at GBP2.6m, equating to R28.5m.
This appears to include an element of rounding; by my count the
gross was just under GBP2.5m, or about R27.2m at the exchange
rate on the day of the sale of R10.96 and 116% of the total low
estimate of about GBP2.14m.
The sale may not have set many artists’ records but overall justi-
fies the optimism of Giles Peppiatt, Bonhams’ director of SA art
that the sale marks the “start of a long march to real international
recognition and appreciation.”
Dorothy Kay (Irish, 1886-1964) ‘A Bit of Glamour’, a portrait of
May Hunt Sold for £6,600 inclusive of Buyer’s Premium
Jacob Hendrik Pierneef (South African, 1886-1957) A Cape ave-
nue, possibly Worcester Sold for £60,000 incl of Buyer’s Premium
 BUSINESSART | APRIL 2010 Page 15

Strauss & Co. Cape Sale

By Michael Coulson

It may not have matched the hype of last year’s maiden outing
at the Jo’burg Country Club, but a gross of R33m for Strauss &
Co’s first auction of 2010 – this time, at Cape Town’s Vineyard
Hotel – is satisfactory enough by any standards. True, that R33m
includes items other than SA art, but the gross for the latter, of
about R28.2m, is itself pretty impressive.

Six lots went for R1m or more, including several artist records,
but what is perhaps more testimony to the resilience of the market
is that both the afternoon session of minor works and the main,
evening session realised more than 100% of the aggregate low
estimates.

The afternoon session went particularly well. Of 135 lots of

SA art, 110 sold, or 80.9%, but a gross of just over R3.1m was
123.4% of the low estimate of R2.5m (adjusted for the no-show of
lot 229, a minor John Meyer). Not surprisingly, the Timlins were
the features. Only five of the 30 failed to sell, and above-estimate
prices included R189 000 for The Arrival and R123 000 for
The Building of a Fairy City (both estimated at R80 000-R120 Anton van Wouw, R2 228 000 Bad News (Slegte Nuus)
000). Others fetched R89 000, R78 000 (twice) and R56 000 (also Record for Anton van Wouw Record for a South African Sculpture
twice). No other works in the afternoon session reached R100 000.

In the evening session, 92 of the 123 lots sold, or 74.8%, for a

gross of R25.1m, 106.5% of the low estimate of R23.5m. The tone
was set early, when Anton van Wouw’s Bad News, was bid up
to R2.228m (est R1.2m-R1.4m), a record not only for the artist
but for any SA sculpture. The cover lot, Walter Battiss’s Bathers,
went for R1.337m (est R900 000-R1.2m), a Cecil Skotnes painted
wood panel for R1.225m (est R600 000-R900 000) and Jane
Alexander’s Racework R1.058m (est R800 000-R1m). Just below
R1m, but also an artist record, was R947 000 for Stanley Pinker’s
Night (est R500 000-R600 000).

The other seven-figure prices were R2.117m for an Irma Stern

beach scene (est R2m-R3m – considering that quoted prices
include buyer’s premium and any taxes, this was actually below
estimate) and R1.058m for a Freida Lock interior (est R800 000-
R1m) – like Pinker, Lock is attracting increasing attention on auc-
tion. A landscape of hers went for R724 000 (est R600 000-R800
000). Jane Alexander R1 058 300, Racework – in the event of an earth-
quake Record for Jane Alexander
All 13 top estimate works (low estimates of R500 000 or more)
sold. Those not previously mentioned are R501 000 for a Maggie
Laubser seascape (est R500 000-R700 000), R891 000 for a Piern-
eef landscape (est R800 000-R1.2m), R947 000 for a Jean Welz
portrait (est R500 000-R700 000) and R780 000 and R613 000 for
two more Skotnes panels (est R600 000-R900 000 and R600 000-
R800 000 respectively).

Adding the two sessions together, 202 of total 259 lots (78.0%)
sold for R28.2m (108.3% of the low estimate of R26.1m). In the
sale-within-the-sale, all but two of the 20 lots from the Dodo col-
lection sold, for R1.4m, no less than 145.7% of the low estimate
of R965 000.

H Pierneef R668 400 Limpopo River, Record for a casein by

Pierneef
 Nicholas Hlobo:
Standard Bank
Young Artist 2009:
Umtshotsho
Standard Bank Gallery
31 March to 8 May 2010
Monday to Friday: 8am - 4.30pm
Saturday: 9am - 1pm
Tel: 011 631 1889
www.standardbankarts.co.za

Moving Forward

Nichola Hlobo, Ingubo Yesizwe, 2008 (detail). Leather, rubber, butchers hook, gauze,
ribbon, acoustic cover, fabric, wood, zippers and steel. Installation view, Tate Modern,
London. Photo: Marcus Leith and Andrew Dunkley, Tate photography SBSA 41011