The South African Art Times June Supplement

van der Schijff’s

“strange connection”

Photo: Jacqui van Zyl

Page 2 South African Art Times. June 2008

Mike van Graan: Chasing the continental vision

Mike van Graan, the new director
of The Africa Centre
By Patrick Burnett
It’s late May in Cape Town and
the dark weather sweeping across
the city seems appropriate for
the times: South Africa has just
emerged from a month of wide-
spread xenophobic violence that
has shocked the nation to its core,
but playwright Mike van Graan
is the clichéd ray of sunshine,
showcasing a spark in his eyes
and enthusiasm in his voice.
Not that Van Graan in uncon-
cerned about the crisis or blind
to the artistic implications; he’s in
the middle of a week during which
he has attended a meeting to talk
about the violence at the Africa
Centre, of which he is the newly-
appointed executive director, and
mentions a civil society rally he
attended at St George’s Cathedral
which was called to take a stand
against xenophobia.
It’s obvious that for Van Graan the
latest angst to confront the country
is about far more than providing
subject matter for forthcoming
plays, of which he has been a
prolific writer and producer in the
last few years, but goes to the
heart of his mission at the Africa
Centre, an institution which aims
to create an international arts and
cultural centre in Africa that will
highlight the continent’s visual and
performing arts.
With this mission in mind, the
issue of xenophobia - and how
different nationalities in Africa see
each other and relate to each
other – clearly has major implica-
tions for his new role.
“It’s completely huge,” he says
about the xenophobia issue,
describing it as “completely and
utterly fundamental”.
Xenophobia, he states, is about
the notion of ‘Other’, about identity,
about how people make sense
of the world and who they are
in terms of religion, history and
values.
“It has to do with people all living
within a kilometre from each other,
but who are completely alienated
because they just don’t know each
other.”
In this situation, ignorance makes
it easy to see the other as a
convenient scapegoat – a target
to lash out at when threats arise,
he says.
“What really needs to happen is
long-term and has to do with peo-
ple going to school together, living
in the same communities together,
spaces being created where peo-
ple from different communities can
get to know each other,” he says.
For the artistic community, Van
Graan argues that the relevance is
that while there is a philosophical
understanding of the concept of
‘Other’, “I’m not sure that we as
artists have an understanding of it
sufficiently to be able to do things
other than have the odd benefit
concert to somehow respond to
the symptom of something.”
It seems as if Van Graan feels
that a reaching out needs to take
place. On the back of his experi-
ence at the St George’s Cathedral
meeting, he throws out the idea of
a “forgiveness tour” where artists
would get together and go to
Mozambique and Zimbabwe and
say “sorry and how ashamed we
are and really how much help we
need”.
“It’s not,” he says, “time for
Africans to desert us but to be
challenging us. I think that’s a role
that art can play.”
Van Graan has long been involved
in the arts, both as a lobbyist and
activist and as a prolific playwright,
with plays such as Bafana Repub-
lic, The General and Green Man
Flashing acclaimed for their com-
mentary about South African life.
Bafana Repuplic, for example, has
been compared by one critic as
the equivalent of a Zapiro cartoon
on stage.
But his move to the Africa Centre
seems to represent a gravitation
to a continental vision. While the
Centre’s website describes it in
not-so-helpful terms as a “physical
entity and a philosophical proc-
ess”, Van Graan expands this to
mean a promotion, celebration and
documentation of the art and herit-
age of the African continent and
a finding of new markets both on
the continent and internationally.
The Africa Centre, he says, is the
“vehicle to help us to do that”.
Van Graan sees this as an explo-
ration of the relationship between
art and audiences, citing the
example of how containers were
used in the Spier Contemporary, a
project of the Africa Centre, as part
of an experimentation with space.
“Do you only have art in a gallery
and theatre in formal theatre
space? If that is the case then
by and large you exclude most
people,” he notes.
On a continent where arts and
culture is often not taken seriously
by governments, where there is
a lack of funding, where freedom
of expression is sometimes seen
as a threat, where there is a lack
of disposable income and where
talent gravitates to Eurocentric
centres, Van Graan admits that the
challenges are “staggering”.
But the question of how to develop
an African presence in the global
market of creative goods and
services is something which he
defines as his attraction to the
Africa Centre.
He does not believe that this new
role will constrict his writing.
“They [the fans] really don’t have
to worry about that,” he says when
asked about managing a high
profile position while still finding
time to write, arguing that most of
his time is spent producing and he
will now be able to hire someone
to produce, freeing him up to write.
On the future of the Spier Contem-
porary, expect a more pan-African
feel.
While he says he has inherited
commitments - such as the Spier
Contemporary, which showcases
100 of the best artworks from
around South Africa - he was
beginning to look for a greater di-
rection from the rest of the African
continent.
“For me it’s about are we doing
this work in other parts of the con-
tinent, are we bringing artists from
elsewhere to collaborate with our
artists in creating something, are
we enthusing our existing festivals
with reflecting Africa?”
He is sensitive to fears that his
strong performing arts background
will lead to a lesser emphasis on
visual arts, but argues that while
performance art might be his forte,
he also has an arts lobbyist back-
ground which is about “consulta-
tion, working together democrati-
cally and building partnerships”.
Van Graan is clearly filled with
optimism for the Africa Centre and
almost oozes a sense of mission.
He has moved from the “euphoric”
1992-1995 era where there was
the “sense of having a chance
to create something with a new
country, a new arts and culture dis-
pensation” to “my most devastated
period” in 2000 when key artistic
institutions closed and the vision
collapsed, to an “exciting” last
couple of years where channel-
ling activist energy into his work
resulted in a productive creative
period.
“Now it’s like a new exciting time,”
he says, going on to talk about
his mantra - that artists are called
to “dwell within this paradox of
the pessimism of the intellect and
optimism of the will”.
The intellect is able to analyse the
environment and see “what a great
challenge it is”, while optimism of
the will is about wanting to change
things.
This presents a choice either to
pursue an individualistic life or
realise that as part of a collective,
the future is related to a better life
not only for the individual but also
for the community.
“...so that’s the basis on which I
live,” he says. -- WCN

Obituary

Gabisile Nkosi
1974 - 2008
By Bianca Bothma
It’s with a great sense of loss that
Art for Humanity (AFH) reports the
tragic death of celebrated KZN
artist, Gabisile Nkosi in the early
hours of this morning, 27 May
2008.
Born in 1974 in Umlazi, Durban
Gabisile had built a significant
career as an artist in her short life.
She received her BTech in Fine
Art from the Durban University of
Technology in 2002. Thereafter
Gabisile was based at the Caver-
sham Centre for Artists and Writers
in the KwaZulu-Natal Midlands
facilitating printmaking workshops
with well-known artists and local
communities.
Gabisile was involved with AFH for
almost 10 years with her participa-
tion in two of AFH’s print portfolio
projects.
In 2000, Gabisile contributed
a linocut, “Break the Silence”
which discouraged the practice of
polygamy in rural areas to AFH’s
“Break the Silence” HIV/Aids
awareness print portfolio. In her
artist statement, Gabisile empha-
sized the important role art plays
in advocating social issues, “If you
want to get a message across,
it’s better to do a colourful visual
rather than text. As an artist, I feel
privileged to play a role in HIV/Aids
awareness through the medium of
visual art.”
Her print was then flighted on
billboards at taxi ranks and train
stations around the country as part
of the billboard advocacy cam-
paign and her participation in this
project received a lot of attention
from radio stations and the local
Zulu communities as her work
confronted controversial issues.
From this point, Gabisile’s career
took off and her work has been
seen in several group and solo
exhibitions in South Africa and
abroad.
She was particularly interested in
the therapeutic effects of art mak-
ing and in 2005 she collaborated
with Cape-Town based poet Mavis
Smallberg on AFH’s “Women for
Children” print portfolio. Gabisile
strongly advocated women’s rights
in her linocut, “Sisterhood”. In her
artist statement she gave a per-
sonal account of her experiences
and inspiration:
“As a female artist who has
personally experienced domestic
violence, it is my privilege to
contribute to this campaign. This
image is about the power of sister-
hood. It derives from a trauma that
my son and I experienced in 1998,
an abusive relationship which left
scars on both of our lives.
Through the support of my meta-
phorical sisters, I found joy and
strength. Instead of breaking under
the pain, I decided to confront it
as a challenge for a brighter future
- for all children have the right to a
happy mother no matter how much
heavy baggage may weigh.
This image stresses the impor-
tance for domestic abuse victims
to engage in dialogue and to find
relevant ways of dealing with these
situations. The repeating arms
represent the different spirits which
support me. The flying dresses
symbolise the many roles I play as
a woman – as daughter, as mother
and father to my son, as a leader
in my community. All women and
children deserve to celebrate life.”
Gabisile also received art awards
and prizes, during and after her
studies. Amongst many other col-
lections her work is also included
in the permanent collection of the
Durban Art Gallery, South Africa.
AFH treasures the opportunity of
having worked with Gabisile. She
made such a powerful impact with
her capacity as an artist and as an
educator in numerous communi-
ties. Her passion, kindness and
commitment to helping others
through art inspired and touched
many lives.
We will miss you Gabi.
Photo: Lungile Langa
Read more at www.afh.org.za
South African Art Times. June 2008
Anita Funke
Johann van der Schijff, South
African artist and senior lecturer at
the Michaelis School of Art at the
University of Cape Town (UCT),
has come home from the recent
Dak’Art Biennale in Senegal with
two awards -- and a sense of
surprise at South Africa’s isolation
from the rest of the continent.
According to a press release from
the Bell-Roberts Gallery, the Bien-
nale, which took place between 8
and 14 May, is the 8th of its kind,
and the largest in Africa.
Van der Schijff was among artists
from 17 African countries and
the diaspora who were chosen
to participate in an exhibition of
((Top) Pear Ball. (above and right) Johann’s ‘Punch Bag”, far right - Johann receiving the European Union Award, which included a cash prize and promotion of his work by the EU.
Looking through the chaos:
Johann van der Schijff wins at Dak’Art Biennale
contemporary African art.
“It was a big thing just to take part
in it,” said Van der Schijff, when
contacted. “That I was selected by
a committee of Africans is a great
honour for me.”
During the opening ceremony, he
was awarded two prizes in the
European Union Award, which
included a cash prize and promo-
tion of his work by the EU, and the
Zuloga Corporation Award. This
likewise comprised of a cash prize,
and the opportunity to participate
in an exhibition of African Art in
Beijing as part of the 2008 Olympic
Games.
“I heard my name announced in
a French accent and I didn’t even
know what it meant because I
couldn’t understand what they
were saying,” said Van der Schijff.
Only later did he learn that he
had won two prizes. “It was mad,
slightly out of control...like a bal-
loon going down!”
He said he had returned with an
“overall feeling” that South Africa
was still “incredibly isolated” from
the rest of Africa.
Despite the fact that the Biennale
was the largest of its kind in Africa,
there was very little South African
media coverage, something Van
der Schijff said he found “very
strange”.
By contrast, the rest of Africa
was far less “inward looking” and
“global in their outlook”.
“Maybe people don’t think it’s
important,” said Van der Schijff,
but he added: “I think we are
making a strategic mistake...If you
look through all the chaos, I think
there’s major potential.”
Van der Schijff said he found that
he had a “strange connection”
with Nigerians in particular and
developed a “strong interest” in
their art.
The loudness of Nigerian interac-
tions, as well as their strong sense
of self, reminded him of his own
upbringing.
“It feels like Afrikaans people
around the braai a little bit – it’s
strange!”
Also, South African art was
conceptually linked with the rest of
African representation by a shared
political consciousness.
“I think that’s a big thing tying
African art together, that political
consciousness underlying the
work.”
Van der Schijff’s own pieces at the
exhibition, ‘Punch Bag’, ‘Hanging
Ball’, and ‘Pear Ball 2’, a set of in-
teractive sculptures which speak to
each other and represent the same
idea, likewise carry a conscious-
ness of a violent society.
“The viewer can actually punch
the work,” said Van der Schijff,
Page 3
thus demonstrating the “underlying
sense of aggression or violence”
latent in the human psyche.
The sculptures thus speak of
“South African society and the
world we live in”.
But they are also “toys or play-
things, or gym equipment – they
can be what you want them to be”.
The heavy political drive which
threads through Van der Schijff’s
sculptures and much of African
art, is the result of “living in an
incredibly aggressive, violent
environment”.
But then, as shown by the Dak’Art
Biennale, “when you get a situa-
tion like that, innovation is going to
come out”.
Page 4
Anita Funke
A Cape Town venture is helping
South Africa make headway with
attitudes toward creative industry
property development with a project
called 210 On Long Street – a new
office hub for the creative com-
munity of the Mother City.
Miki Clark and Haim Levy, both of
(Top) Entrance to 210 Long Street, (below left) directors of 210 space, (below right) clean creative spaces at 210.
210 Long Street art hub gets going
whom have a background in the
hospitality industry, have converted
the space above the Baobab Mall
on Long Street, Cape Town, into 26
adaptable studio spaces which are
available to creative companies,
from copywriters to designers and
musicians. “Our basic goal is to
nurture creativity,” said Clark.
Although developers in countries
sional space for creative industries
All photos: Jacqui van Zyl
like England and France have seen
the potential of providing a profesfor
some time, South Africa has been
somewhat slower in catching this
vision, and unfortunately so.
According to Clark, studio space
is “something Cape Town really
needs, because people are going
freelance”.
Artists, said Clark, “either work
at home or spend lots of money
on office space, so this is a nice
in-between”.
With 210, he and Levy are “trying
to create a space where people
can cross-pollinate”, by sharing
skills and cutting costs until they are
more established and able to “go
for bigger jobs”.
Offices of 10 square metres
upwards are available on short or
long term leases, with a portion of
the space exclusively reserved for
daily or monthly rentals. This is so
that working mothers, for example,
can benefit from hiring professional
spaces “fully kitted with all the toys”
for a day or two.
The offices further share a cen-
South African Art Times. June 2008
tralised reception, and 230 square have been signed for the end of this – Cape Town is that kind of town:
metres of fully furnished communal month, and a total of 14 for July. you build a space and people just
space, which includes a main Companies like Rocking the Daisies come.”
boardroom and a bar for meetings and GS Design are among
or presentations. those who are operational amid pol-
Perhaps more suited to artistic lyfilla touch-ups, and Frieze Films
brainstorming, however, is the have recently come down from
farm-style kitchen, which Clark and Johannesburg to film for 18 days. (Top) Entrance to 210 Long Street,
Levy added in order to make long Clark and Levy plan to extend the (below left) directors of 210 space,
days and nights of creativity more development to the rest of Baobab (below right) clean creative spaces
comfortable. Mall. “You have just got to go for it at 210. All photos: Jacqui van Zyl
Each office features a “super-fast”
CAT6 wireless internet connection
and 1GB free broadband per unit.
All these accessories become af-
fordable when costs are shared by
the studio community, said Clark.
Many of Cape Town’s independent
businesses, from clothing compa-
nies to restaurants, are located on
Long Street.
Especially with 2010 pending, he
said: “We need to make Long Street
a strip that’s famous – it should be
one of the reasons people come to
Cape Town.”
Although the studio is still un-
finished, creatives have already
begun moving in. Six companies
South African Art Times. June 2008
Steve Kretzmann
Unlike in much of Europe, the
South African art market is small,
with buyers thin on the ground.
This means in order for galleries
to turn a profit they have to recoup
their costs by, in addition to taking
a hefty commission, charging rent
and additional exhibition marketing
expenses, leaving many artists
lacking capital out in the cold.
Counter-initiatives, such as the
Mau Mau gallery which existed
on Cape Town’s Long Street a
number of years ago, where artists
could rent the space per week at a
relatively cheap rate and run their
own show, were short lived.
But where there is a need, some-
how an answer is created. Two
Cape Town-based artists have
opened up space for emerging
artists – or the avant-garde whose
work might not be accepted at
A blank canvas for innovation
Steve Kretzmann talks with Blank Projects Directors about their innovative artist run project space
mainstream galleries – to exhibit
their work free of charge.
And Blank Projects, which has
been somewhat of a nursery for
this talent, is no fly-by-night initia-
tive either. It has been going for
three years and getting stronger
with each anniversary.
It is also not situated at the end
of some long dark corridor at the
arse-end of town, but in the peren-
nially trendy edge of the Bo-Kaap,
surrounded by architects, model
agencies and the like.
If the exhibition space is free and
well-placed, the obvious question
is how much commission the two
directors, Jonathan Garnham and
Liza Grobler, take off sales.
But the purpose of the space – al-
lowing artists’ creativity free reign
to produce “cutting edge”, pre-
dominantly installation art – means
much of the work that is shown is
almost unsaleable as it is generally
Jonathan Garnham and Liza Grobler, Blank Projects, Cape Town. Photo: Steve Kretzmann
conceptual or site-specific – such
as Brendon Bussy’s drawing
machine currently on show.
When the work is displayed in
more conventional frames that can
be hung on a wall – such as Hetti
van der Merwe and Tom Cullbergs
prints from Zhane Warren’s War-
ren Editions, Blank Projects take
as little as 25% commission to
help pay the rent.
Garnham and Grobler employ a
number of tricks to be able to keep
the space running, such as using
their own art careers to pay the
bills, opening by appointment so
as not having to pay someone to
always sit at the gallery, having a
cash bar on opening nights, mar-
keting new shows by email only
and, possibly most importantly,
obtaining funding, mostly from the
Swiss Development Corporation
(SDC).
This has enabled them to double
their space to two rooms, allowing
artists to either use the extra
space in a single show, or to run
two shows concurrently, as was
the case when they were being
interviewed for this article, with
a hallway separating Bussy’s
drawing machine and the Warren
Edition prints.
But the funding is a more recent
development and Garnham and
Grobler – who met when they
were both lecturing at the College
of Cape Town after Garnham had
returned from a decade in Berlin
– had to keep this “labour of love”
going out of their own pocket for
the first two years, an impressive
dedication to art for art’s sake.
And it’s been paying off, if not
monetarily, at least in terms of
seeing the space be a spring-
board for artists who have gone
on to achieve some measure of
success, in at least two cases with
projects which were first refined in
the Blank Project space.
Like who won the Absa Atelier
last year and Tamlin Blake who
wentPierre Fouche through the
process of creating a beaded
lamb’s carcass at Blank Projects
which went on to be shown at
Iziko and was snapped up for a
corporate collection.
The rising Gugulective also had
one of their shows, Untitled at
Blank Projects in November last
year, which challenged pre-con-
ceived ideas of shebeens and
culture by recreating a shebeen in
a gallery space.
Not that anyone can just rock up
and put a show on. Garnham ad-
mits that many exhibition propos-
als are turned down, and he and
Grobler approach artists almost as
much as they are approached.
“It has to be something which
excites us,” he says, and of course
Page 5
the focus on art that pushes the
envelope would favour some
proposals more than others.
In fact, a glance at the portfolio of
work that has moved through the
space (currently at a rate of about
20 shows per year) reveals that
much of the work had more to do
with a process than a product, and
it appears Garnham and Grobler
are more excited about allowing
the public to see the creation of
art rather than simply the façade
which remains at the point the
process stops.
Thus while the space is free, their
powers of discrimination have
never allowed it to simply descend
into an art-jamming free-for-all.
And long may it so survive as
an antidote to the market-driven
mainstream which all too often
colonise what little space there is
on offer for art.
 Page 6
Alex Emsley
THE ARTFUL
VIEWER
Melvyn Minaar
If it was boring, going on about the
same subject may strike anyone
with a keen eye and interest to be
a tad indulgent. But, judging from
the reaction to both this column
last month and Lloyd Pollack’s
sharp review of an exhibition of
portraiture in the same issue,
ART PIG
Alex Dodd
Ah, the whirl, the whirl… the crazy
whirl of Joburg creative life that
keeps us spinning like ecstatic
devotees in some delirious dervish
dance. The inbox is overflowing
with exhibition invites and there
goes the jovial plink of the next
new electronic missive announcing
the latest creative initiative to have
been forged out of this dark and
dangerous Jozi mire.
Oh, the dilemma, the dilemma…
It’s the opening of Clive van den
Berg and Mark Gevisser’s Tracks
exhibition at the Old Fort tonight
– ‘a queer geography of Johan-
nesburg through the eyes of
eight wildly different characters’.
Who can resist a curatorial tango
between one of this country’s most
attuned and insightful writers and
one of our most active arts vision-
aries? ‘In the midst of the violence
that is hanging over us, this is an
exhibition that offers some sense
of the power of affection and love
in the face of difficulty,’ says Van
Den Berg, who confesses to being,
like many of us, in need of a bit of
solace right now. Tracks and its
partner exhibition, Home Affairs,
both explore the capacities of civil
society rather than our faultlines.
With the townships on fire and our
churches and police stations burst
lenty of locals are keen on the
theme. So here, after a visit to that
temple of portraits, the National
Portrait Gallery in London, are a
few more comments to mull over in
the name of vanity and art.
Vanity may well be a key factor
in the business of portraiture
– and, remember we noted that
this is placed at both sides of the
picturing process: the executing
artist and the consenting ‘sitter’
(as it is known in that trade) – but
walk around the various exhibi-
tions at the NPG and it is easy to
see that the theme of portraiture
cuts to many sides. Often there
are interesting sub-themes and
ing with traumatized refugees their
timing couldn’t be more perfect.
But I’d have to do the limbo dance
or, like a pink-tipped sea anenome,
tear myself in two in order to be at
the Constitutional Court and at the
Pretoria Art Museum all at once
tonight. I’m split, in a fix – because
Tshwane’s pulling power is also
super strong tonight, with the
opening of the Mercedes Benz
South Africa Award for Art in Public
Spaces for 2008, featuring works
by winner Kevin Brand as well as
by nominees Samson Mudzunga,
Marco Cianfanelli, Jane du Rand,
Strydom van der Merwe, Vincent
Baloyi, Jan Jordaan and Usha
Seejarim. Being a keen proponent
of public art, this winning lineup
leaves me wishing for instant
advances in the field of human
around the columns
investigations at work.
The buzzing crowds that pour
through the NPG on any given day
attest to how easily portraits con-
nect with the thoughtful viewer as
well as a wide public. Of course, it
can be well-played and fine-tuned
by those in charge; and no other
institution does it better than the
NPG.
A brand-new exhibition there
seems, on the face of it, to go for
the brash and the big: a portrait of
the Nobel prize-winning scientist
Sir Paul Nurse by the artist Jason
Brooks. An enormous painting,
executed photo-realistic close-up
style in airbrush spray paint, it is
accompanied to two other very
large paintings.
While the Nurse picture and
another of the driver Jenson
Button are done in black and
white – suggesting and accentuat-
ing the link with black and white
mug photography – another is in
meticulous, vivid colour. This is of
a tattoo artist named Zoe Windle
and measures more than three by
cloning. What’s a crazed aesthete
like myself supposed to do when
the Jozi cultural calendar is at
such fever pitch that you start to
feel like John Travolta in the 1983
hit Staying Alive. Not even a white
bellbottom suit is enough to keep
you strutting your thang for six
solid nights of gallery schmoozing
a row. Of course, the champagne
does help…
On Monday night Park Station
came to life with a heady cocktail
of jazz and fevered anticipation for
the announcement of the annual
Business Day/BASA Awards…
One wishes the station could be
such a hive of chichi activity on a
more sustained everyday basis
– after all, train stations are just
about the most poetic metropolitan
two metres.
The latter picture is as imposing as
a billboard as much as its subject
matter: Windle is rather wildly
tattooed all over her body in full
colour and it is showing through
her bra! Ultra in every which way, it
is eye-catching because it seems
so ghostly unusual and, at the
same time, so hyper realistic.
Brooks’ pixel-fixated precision
which makes the images look so
very real and true from afar, turns
into abstraction in close-up. It’s
an old game of course, and a nice
scientific pointer about how visuals
work (especially in the modern
media age), and certainly but not
quite the sort of sedate oil-painted
portrait that fills most of the NPG’s
historical collection.
That the NPG is sensitive to this
kind of unusual stuff – big, brash
and a medium that belongs to
billboards and graffito walls - was
hinted at when a spokesperson
told a London newspaper that “we
always push to represent new
work”.
Olaf Bisschoff Alone (in bad company).Oil on canvas, 1000 x 1500mm
matrices we could ever wish for.
Then on Tuesday night the finalists
for this year’s prestigious Sasol
Wax Art Award were announced
and the competition is going to be
seriously hot in October this year
with big hitters Stephen Hobbs,
Avhashone Mainganye, Hentie van
der Merwe, Brett Murray and
Tracey Rose all vying to take
home the R130 000 prize loot.
And as if that wasn’t enough of
a flurry for one week, tomorrow
there’s the announcement of the
2008 curator and four nominees
for this year’s MTN New Contem-
poraries Award.
And speaking of new art making
ideas, I have become a diehard
evangelist for the work a young
South African Art Times.
Even this might be a little of an
understatement, as there are
some very odd portraits that had
been commissioned and made
for the NPG in curious media over
recent years. (Marc Quinn simply
put a stainless steel frame around
a representative bit of his DNA in
agar jelly for his 2001 portrait of Sir
John Edward Sulston.)
For all their in-your-face presence,
Brooks’ giant portraits do seem to
resonate as sign of the times, as it
were. Culture is, well, loud nowa-
days. (Of course, it also has a
retro pop art edge as well – Brooks
is very good at what he does.)
Coincidentally, the Tate Modern
had, for the first time, the outside
of its big, architecturally-impres-
sive building painted by what used
to be known as graffitists but are
now more respectably named
‘street artists’.
Very, very impressive and playful
looking from the Millennium bridge,
the big, bold and, yes, brash im-
ages by Blu from Bologna, Faile
Afrikaans painter called Olaf
Bisschoff whose show Terra
Incognita opened at the Rooke
Gallery in Newtown on Wednesday
night. In a painterly spirit, his dark,
moody oil paintings recall the epic
majesty of the Old Masters, but
there is also something intrinsi
cally contemporary about his take
on landscape. These are strange
mindscapes, snatched imagin-
ings of a metaphysical terrain,
with etched out chalky phrases
half erased from their surfaces
like brooding half-thoughts in the
twilight: ‘Outer suburbia’, ‘Chaos’
or ‘This is only the outside’.
Coupled with Bisschoff’s skill with
a paintbrush, comes his concep-
tual inventiveness. Imagine this…
Upon several of these moody oil
landscapes are projected either
June 2008
from New York, JR from Paris,
Nunca and Os Gemeos, both
from Sao Paulo, and Sixeart from
Barcelona suggest a grand Tate
gesture to populist communication:
literally giving street art creed.
(Of course, Cape Town had long
known and recognised the power
of this kind of art.)
This kind of, let’s say, flamboy-
ant art is far removed from the
traditional medium imagined
suitable for the century-old theme
of portraiture.
Yet, this new vivid picture of a
famous pioneering cancer scientist
(what could be more profound
than Sir Paul Nurse’s work?) in a
version that clearly was produced
and performs in a contemporary
boldness of communication,
seems to be spot-on in bringing
the message about what he is
and does and why we should care
home.
still or moving images, so the
paintings take on another life in the
light of the projected images. In
one, an old archival 8mm film print
of the Three Little Pigs cartoon is
projected onto an oil painting of an
abandoned drive-in screen. The
effect is unspeakably poignant.
In another a deeply dreamy new
folk soundtrack accompanies an
animated sequence of a man and
a dog walking across a rugged
plain accompanied only by flocks
of swooping dark birds in the dusk.
When the projection ceases, all
that is left is the landscape. But
even that is more than enough.
And in this still, quiet aftermath,
one realizes what really counts
after all.
South African Art Times. June 2008
THE ART
COWBOY
Peter Machen
GREEN FEVER
Some days Durban is the most
wonderful place on earth. When
the greenery is luminous, the sky
infinite and the conversation engag-
ing, it is paradise. On other days, it
is – like everywhere I suppose – a
bit kak. Cities are strange creatures,
forever mirroring our individual and
collective concerns, our celebra-
tions and anxieties. When our
hearts beat wildly, so too does the
pulse of the city. When the beat
of the city quickens, so too does
the flow of our body chemicals.
Whether it’s dopamine, adrenalin or
serotonin depends on our relation-
ship with the urban, but one thing
is for certain: it’s always easier to
blame our physical context rather
than ourselves for any ennui or dis-
satisfaction that comes our way.
This relationship with place was
mirrored recently in conversations
I had with Stephen Hobbs, as well
as in his literally shimmering work
which he was in town to install, both
at the KZNSA Gallery, where he
was showing D’Urban, the second
part of his urban trilogy, and at the
Bank Gallery where his earlier,
already legendary work, High Volt-
age, which has previously shown
at the Wits Substation, was being
reinstalled. In the conversations
that emerged in the quiet light of the
quasi-Mediterranean Yossi’s in Dav-
enport Road, after the KZNSA show
opened, we talked about graffiti
narratives, outsider art, the beauty
and fury of early ’90s avant-garde
rock band Live Jimi Presley, and
how lovely Durban is, particularly
if you live in the dark, sprawling
vitality of Jozi.
I, like others who, misguidedly on
not, carry their Durban hearts not
on their sleeves but raised high
on a flag, always get a certain joy
when upcountry visitors say how
much they love coming to this city,
reiterating the view that it is indeed
one of the most wonderful places
on earth, and not the dump that the
man from Westville in the lift of the
Royal Parking lot suggested it was
a few days later, much to my an-
noyance. (When I asked him where
he came from, I expected him to
say Cape Town since nowhere on
earth can possibly be in any way
be cooler, hipper or more enjoyable
than the mother city and its iconic
bloody mountain. I certainly didn’t
expect him to say Westville, a
place where vitality, glamour and
creativity go to retire). And one of
the things that usually impresses
artists and other creative types
about Durban – when they stop to
think about it – is how much of the
country’s talent comes from this
city, even if their migrated sleeves
are covered over with nicely col-
lared shirts and never mentioned
again in polite company.
One of Durban’s many idiosyncratic
characteristics is that when people
tell you that they will do something
now, it’s a profoundly imprecise
statement, since “now” in Durban
means anything from five minutes
time to never. Using this trait as a
Page 7
premise, Durban artist, architect
and general interventionalist Doung
Jahangeer, recently installed a
work called Just Now in Jamison
Park, opposite from the Vida Café
crowd with their laptops and lattes.
The botanically based work, which
was sadly removed earlier this
week (flowers die, one of the many
consequences of the passing of
time), simply consisted of a flower-
bed clock that has been there for
years but in which Jahangeer,
together with his accomplices in the
Municipality’s Parks and Gardens
Department, had replaced the con-
ventional numerals with the word
‘now’. The clock, poetically enough,
is broken, and for the few weeks
before it was decommissioned, the
time in Jamison Park was perma-
nently 12 minutes to now.
Finally, I never knew printmaker
Gabi Nkosi, but her delicately
rendered work had left sufficient im-
pression on me that I was horrified
when I heard of her recent death
at the hands of her boyfriend. This
might not be the most appropriate
place to whisper Hambe Gahle in
print, but in a column about the
heart and art of KZN, it would be
wrong not to ring posthumous
praises to this gifted artist. Gabi’s
work always had a sense of being
gently elegiac about life in the
province. With her untimely death,
her body of work – which sud-
denly seems tragically small – will
in some ways change, unavoidably
acquiring a haunting, melancholy
quality for all those who know her
story, and perhaps even for those
who do not.
Stephen Hobbs’ D’Urban and
High Voltage are on show until 7
June respectively. The Just Now
Clock was created by Denis Pierce,
Wayne Van Bart, Krish Poongavan-
am, Tony Pillay, Bongani Dlamini,
Bernard Zungu and doung anwar
jahangeer.
Page 8
An appreciation for the best coffee in town and a taste for a “rock star salad”. Taryn Cohn goes in search of 44 Stanley Avenue Jhb.
Paul Emmanuel’s loft studio
Saturday morning saw me sharing
six cappuccino’s with Brian Green,
developer of 44 Stanley Avenue
and a cameraman by trade, Ricci
Pollack, developer of the Refinery,
Quince Street and Frost Street
Lofts and Paul Emmanuel, artist
and resident of the Refinery. All
mavericks in their own ways, the
conversation bubbled and frothed
over, bouncing off the high walls,
infused with the energy that is
intrinsic to the precinct.
Johannesburg’s answer to TriBe-
Ca- the precinct, nestled between
Empire road and Barry Hertzog, off
Stanley Avenue and Owl Street, is
an uncompromising monument to
the power of the creative currency
in this city. You would be forgiven
for missing the shy entrance owl
street which has been unceremoni-
ously covered by the Emmerentia
flyover, a slipway designed to
allow people to escape to the leafy
suburbs bypassing the gritty reality
of the streets on the outer edge of
the city.
Described by the media, as the
anti-mall, 44 Stanley Avenue, is
an eclectic mix of buildings linked
by passages, rickety stairwells
and big chunks of old concrete.
It is embraced on the east side
and south side by the Refinery.
This building, previously home to
Only Rock Star Salads and Good Shoes allowed
What do an artist, a developer, a cameraman and a gallerist have in common?
Chubb Security, has been redevel-
oped into a mix use development
of lofts, home to artists, actors, the
“TV people” and actuaries. Joined
by Atlas Studios, a redeveloped
Bakery, Afda Film school and the
Gas Works, this areas is now one
of the hottest residential and busi-
ness addresses in town. But was
it wasn’t always so.
According to Green, the site was a
derelict mess. “ There were 300 or
so vagrants living here, anything
of value had been stripped out
of here, toilets were used with
no water- it was really disgust-
ing.” Owned by Old Mutual, the
buildings were neither up for rent,
nor sale as they were deemed too
undesirable.
It took Green 18 months to realize
his plan to buy the site. At the
same time, Pollack had begun his
plans of redeveloping the Refinery
into real loft apartments (ala down-
town New York). Space, and vast
expanses of it, was the primary
selling feature of these apartments
in city overrun by Summercon’s
“little boxes on the hillside, little
boxes all the same”.
“We started at a very similar time,
but we actually didn’t know about
each other.” Says Pollack
“We had all been ferreting away
on our own little pluck.” Cuts in
Green. “and while all of this was
happening I met Jonathan Gimple
from Atlas Studios at a party.”
“When he told me he had bought
the building I just gave him a hug.
There was suddenly this energy
between three or four like minded
people who wanted to get this area
going”
What the like minded people
wanted to do was create an en-
vironment reflective of the artistic
energy of the people that use the
spaces.
44 Stanely Avenue has been
developed as the anthithesis of
conventional mall wisdom. No
shiny signs and tiled floors. The
shells of the old buildings were re-
tained, and only the minimum has
been done to refusbish the space.
The walls and floors all speak of
the history of the buildings, while
the spaces all possess the raw
character of the building materials.
There is no anchor tenant who
drives the footfall, there are no
brand name retail outlets or res-
taurants. Every tenant has been
handpicked, from the motorbike
outlet that sells refurbished vintage
bikes to the Salvation Café, where
Claudia Giannoccaro (one time
chef to Oppenhiemer) serves up
culinary masterpieces and salads
which are, according to Green “
rock star salads.
“Someone once approached me to
convert one the retail spaces into a
theatre. I remember looking at his
shoes, and thinking there was no
way we could work together.”
Green admits that this philosophy
has cost him according to conven-
tional measurements. The type
of tenants he has are smaller,
highly niched creative businesses
such as designers, the African Toy
Store and out of print book shops,
who do not generate massive foot
traffic, and hence cannot pay large
rental. However, it is exactly the
retention of the authenticity that
has other tenants, such as Dion
Chang, lining up at the door.
So we know that the creative folk
work for the development- but
does the development work for the
creative folk?
According to Alet Voster of Art on
Paper Gallery, it is a place that she
can occupy where the integrity of
the space reflects the work she
does.
Art on Paper moved from Melville
South African Art Times.
to the precinct. The move sparked
a change in the focus of her gal-
lery that has begun to take shape.
Most people believe that works on
paper are limited to drawing and
printmaking. Vorsters interest runs
far deeper.
For Art On Paper, the philosophy
of the 44 Stanely complex reso-
nates with the philosophy of the
gallery. The space, its buildings,
beams and unfinished surfaces
talk of process and carry some
authenticity which is so important
to a convincing artwork.
Paper is at the core of the proc-
esses employed by most artists
for the works they make. It talks of
the journey and of what is going on
inside the mind of the artist. Hav-
ing realized that many of the artists
who she works with also work in
the sculptural realm, Vorster is
moving towards a renaming of the
space to “AOP” and thus allowing
her the space to explore more
three dimensional works.
The layout of her gallery, with its
high walls and open white space,
allows her to explore this avenue.
And the audience seem to agree-
there was a steady stream of foot
traffic through the gallery while we
spoke.
June 2008
Emmanuel, a visual artist who was
one of the first tenants to move
into the Refinery also talks of
how the change has impacted his
work. Previously living in Sandton
and maintaining a small studio
at the Bag Factory in Newtown,
Emmanual is now a full time artists
working and living in his loft at the
Refinery.
“Having the sheer space that I now
do has allowed me to work on a
scale that I could not in my previ-
ous studio” Emmanuel’s next show
consists of five drawings that are
over two metres in length each.
While working and living in one
space can become insular, access
from the lofts directly to the Salva-
tion Café, and its “rock star salads”
is obtained by a lethal staircase
that allows Emmanuel to engage
with the outside world without
using a car.
Echoing the developers senti-
ments, Emmanuel admits that it
was a leap of faith. “Banks weren’t
granting bonds in this area. When
I bought, it was only a building site
and a vision which has taken 5
years to come together.”
All Photos by Taryn Cohn
South African Art Times. June 2008 Page 9

44 Stanley Ave Plaza

Art on Paper Gallery Chef Claudia Resturant Green, Pollack and Emmanual at Bean There

Rock Star Salad Salvation Cafe The African Toy Store

Page 10 South African Art Times. June 2008

Finalists of the Sasol wax art award 2008: Stephen Hobbs, Tracey Rose, Avhasone Mainganye, Hentie Van Der Merwe (Absent: Brett Murray)

Finalists announced SASOL Wax Art Award

Finalists for the Sasol wax art
award 2008 were announced this
morning. Now in its third year, this
award has become synonymous
with innovative art from highly
deserving senior professionals.
This year’s Sasol wax art award
finalists, and exhibitors on the
prestigious exhibition to be held
in October this year, are Stephen
Hobbs, Avhashone Mainganye,
Hentie van der Merwe, Brett Mur-
ray and Tracey Rose.
The finalists were selected from a
group of ten semi-finalists who in-
clude Kevin Brand, Wilma Cruise,
Paul Edmunds and Jan van der
Merwe, Terri Kurgan.
The Sasol Wax Art Award is target-
ed at mid-career and profession-
ally mature artists with substantial
exhibition profiles. With total prize
monies of R230 000, this award
represents the top accolades for
professional (mid-career) artists in
South Africa.
The selected semi- finalists were
selected from over a hundred
entries from senior artists all over
South Africa. They were expected
to submit proposals submitted for
a body of work using wax (one of
Sasol’s major products worldwide),
either in process, medium or
concept. The judging panel was
led by respected curator and artist
Gordon Froud
From these proposals, the five
finalists were selected and will
each receive
R20 000 to produce a body of work
for the Sasol Wax Art Award exhi-
bition, to be held at the University
of Johannesburg Art Gallery on
October this year. One winner will
be awarded R 130 000, joining the
ranks of Jeremy Wafer and Walter
Oltmann who won the Award in
2006 and 2007 respectively.
Says Executive Director, Carola
Ross, “the group of semi-final-
ists this year were diverse and
highly respected members of the
arts community. Competition was
tough. We congratulate these
five artists for their outstanding
submissions. “
The proposals received explore
applications of the product in
highly innovative ways.
Says Award Curator and Artistic
Director, Les Cohn: “The exhibition
in October will reflect five very
distinctive and challenging well
developed voices of the South Afri-
can art landscape. A strong theme
running through the submissions
was the question of “Power” - from
corporate structures to issues of
governance, this exhibition will en-
gage with some very real concerns
that South Africans are facing. “
Also launched today was the part-
nership between the Sasol wax art
award and Department of Arts and
Culture for the Jewellery Outreach
Development Initiative.
The Sasol wax art award and
Department of Arts and Culture
Jewellery Outreach Initiative
identifies skills development and
technical excellence in Jewellery
design as a priority. Opportunities
have thus been developed to act
as catalysts for aspirant jewel-
lery designers to explore creative
concepts, and develop technical
excellence. Bringing together
students from the University of Jo-
hannesburg Jewellery Department
and Imfundiso Skills Development
project this programme provides
skills training, and encourages
creative exchange between the
two parties.
A mentorship programme with the
Durban University of Technology
and students from the African Art
Centre in Durban is also under
development.
Works by the students developed
through the extensive training
programme and resultant competi-
tion will be on display at the South
African Fashion Week in August
2008, and at the Sasol wax art
award exhibition.
The Sasol wax art award exhibi-
tion will run from 14 October – 7
November 2008 at the University
of Johannesburg Art Gallery, King-
sway Campus.

Anne Marie Kruger- Event Specialist, Sasol, Teresa Lizamore, Curator, Annali Cabano Dempsey : Curator of the UJ Art Gallery, Kingsway Sasol wax art award 2008 Judges:Marco Cianfanelli- Artist and advisor to
Sasol, Musha Neluheni, Artist Campus, Ntuthu Nqabeni Provincial Co-ordinator from DAC , Melissa Sasol Melissa Mboweni- Independent Art Consultant, Gordon Fround-
Mboweni Judge of the Sasol wax art award Academic, Artist, Curator Daniel Mosako- Curator, Anton van Vouw
Museum, University of Pretoria

Curator of the Sasol art collection Teresa Lizamore Excutive Director of the Sasol wax art award Carola Ross Curator of the Sasol wax art award, Les Cohn
South African Art Times. June 2008 Page 11

Artist Proof
Studio Charity Winners of the 11th Business Day-BASA Awards
art auction
raises 900K

Man Eater by Norman Catherin

Anita Funke

Nearly R1-million was raised in

April by the Johannesburg-based
Artist Proof Studio (APS) in an
auction supported by South Afri-
can artists and held to raise funds
for scholarships.
The organisers had hoped for
R360,000 but close to R900,000
was raised.
APS Studio Manager Cara
Walters said there had been a
“phenomenal” response, leaving
APS, a not-for-profit focused on
print-making, with an “amazing”
R700,000 profit. This money will Pheladi Gwangwa from Talk Radio 702 & The First Lady Mrs. Zanele The First Lady Mrs. Zanele Mbeki, Mulligan Pearce and Braam Wessels from Telkom For The Lion King
be used purely for education and Mbeki For Africa Remix Category: Media Sponsorship Category: International Sponsorship. Pictures by Nic Voutsas
scholarships.
The community of established
South African artists were “hugely”
supportive of the event. “We were
totally blown away by the support
Companies making innovative and Cell C for Cell C Gospel Festival; Kaap-Raaport for the Kaap- overall marketing strategy. mentoring Robin Opperman of
of local artists,” she said.
effective use of arts sponsorship Distell for Takeaway Theatre’s Raaport Korekompetisie at the Nominated were Cell C for Cell C the Umcebo Trust; Gregory David
Over 200 artworks were donated
were recognized at the Eleventh ‘Die Liefdeskind’; Exclusive Books Suidoosterfees and Talk Radio 702 Gospel Festival; Exclusive Books Wallis mentoring three designers
– and by “substantial artists” at
Annual Business Day-BASA for Homebru; Fairheads Trust for Africa Remix. The award was for Homebru; and Intel Corporation at the Ifa Lethu Heritage Collec-
that too – with one William Ken-
Awards for business sponsors Company for the Clanwilliam Arts presented to Talk Radio 702 for for Intel Centrino Roadshow. The tion and Carolynne Waterhouse
tridge etching bringing in R55,000
of the arts. As sponsor of the Development Project and Standard Africa Remix. award went to Cell C for the Cell C mentoring the South African Ballet
for the studio.
event, Anglo American hosted the Bank Limpopo for ‘Double 07’. The The category Single Project focus- Gospel Festival. Theatre. Two awards were made:
Walters said: “All of our students
awards on Monday, 26 May 2008 award was presented to Exclusive es on an outstanding sponsorship One of the most popular areas for Gillian Crawford mentoring Kim
come from disadvantaged back-
at the Johannesburg Park Station, Books for Homebru. or a series of projects with one arts sponsorship is that which Berman / Cara Walters at Artist
grounds…and many come to us
demonstrating their philosophy The International Sponsorship organisation, and the nominees involves education and young Proof Studio and Gail Lemmert
already having been turned down
of sustained engagement with all category recognises those busi- were Bell Dewar & Hall for Artist people. In the category Youth mentoring Joyce Levinsohn at the
by other institutions.”
facets of our society. Focusing on nesses sponsoring South African Proof Studio; Rand Merchant Bank Sponsorship the nominees were National Children’s Theatre.
She said the students were of a
mutually beneficial business-arts arts abroad, or bringing an interna- for The Magic Flute and Sandton Black Like Me for Field Band The Chairman’s Premier Award
“very high calibre”, but most could
partnerships during 2007, the tional arts project into South Africa, Central Management District Foundation; Santam Limited for is made at the discretion of the
not afford to study.
awards were presented to various giving our public access to work for Sandton Central Illumination Santam Child Art; Standard Bank Chairman of Business & arts South
Initially, it was hoped that the auc-
businesses in South Africa by Ms. it would not normally see. The Project “The Why Men”. The award for the Standard Bank National Africa, and recognizes sustained
tion would raise funds to support
Maria Ramos, CEO of Transnet. nominees were Mercedes Benz was made to Rand Merchant Bank Schools Festival of Drama and and extraordinary commitment to
the 2009 intake at the APS.
In the category Best Use of a SA (Pty) Ltd for the Mercedes for The Magic Flute Arts; TBWA\Hunt Lascaris for the arts in South Africa. The award
The APS take in 40 new students
Commission of New Art, which rec- Benz Arts Award; Rand Merchant Smaller companies with 1-200 Room 13; and Total SA (Pty) Ltd went to Nando’s SA, a company
per year, and without adequate or
ognises those sponsors who have Bank for The Magic Flute; and full time employees and an an- for Sibikwa Community Theatre. that has increasingly, through an
reliable funding, fewer art materi-
had the vision to support the crea- Telkom SA for The Lion King. The nual turnover of no more than The award was presented to innovative and effective invest-
als can be made available.
tion of new, original work in any award was presented to Telkom R10million, who give vital support TBWA\Hunt Lascaris for Room 13. ment in the arts, created a legacy
However, enough money was
arts medium and to use the com- SA for The Lion King to arts projects, fall into the The Barloworld ARTWORKS Men- beyond shareholder returns. While
raised for two years of bursaries
mission effectively, nominations Nominations for Long Term Devel- category Sponsorship by a Small tor of the Year Award, launched in consistently identifying its brand as
for the three-year courses offered
went to ABSA for commissioning opment - a category designed to Business. Nominees were Coal 2005 with support of Barloworld, a local offering within a globalised
at the APS. Each bursary is worth
of four new SA plays, premiered at recognise companies that have not Stove Productions for ‘Off the the programme is underway in context, Nando’s SA has adopted
R12,000 per year, and covers the
Aardklop Festival; Rand Merchant only committed to but developed Shelf’; Intdev Internet Technologies Cape Town, Durban and Johan- a philosophy that considers its
cost of art materials and tuition
Bank for The Thinkers and Sand- sponsorship of an arts organisa- for Night of a 1000 Drawing; and nesburg, with plans to roll out consumers and adapts to accom-
fees.
ton Central Management District tion or project over 3 or more Zetasatsi Trading Services cc for countrywide. The award goes modate different markets.
Local artists, sponsors, and the
for Sandton Central Illumination years - went to MTN for the MTN Masakhane Arts and Culture Youth to business volunteers working The judging panel included Dar-
public “really came to the party” to
Project “The Why Men”. The award Art Collection Project; Nando’s SA Festival. The award was presented directly with arts organisations, ryl Accone, writer and journalist;
pull off the event.
was presented to Sandton Central for Art in Nando’s restaurants; Pick to Coal Stove Productions for ‘Off sharing skills and expertise to Gordon Cook, Vega School of
The sponsors found themselves
Management District for Sandton ‘n Pay for The Zama Dance School the Shelf’. address challenges specific to that Advertising; Clive Grinaker, CEO
donating “more money than I think
Central Illumination Project “The in Gugulethu; Spier Holdings Nominations in the category Spon- arts organisation. The mentor- of Navitute Sponsorship; Andrew
they planned,” and attendance at
Why Men”. (The Africa Centre) for the Spier sorship in Kind, where a company ing relationship demonstrates Human, Managing Director, The
the auction was likewise beyond
Nominated in the First Time Contemporary; and Standard Bank gives non-financial but essential commitment and care, bringing Loerie Awards; Gianni Mariano,
expectation.
Sponsor category were Coal Stove for the Standard Bank African Art support to the arts, went to Deneys real benefit to the mentored arts Director Mastrantonio; Sizakele
It was estimated that 100 people
Productions for “Off the Shelf”; Collection at the University of the Reitz Inc. for pro bono work with organization, and is as much an Marutlulle, Advertising Consultant;
would attend but there were close
Intel Corporation for Intel Centrino Witwatersrand. Two awards were arts and cultural organizations; enjoyable growth and learning ex- Ivan May, Marketing Consultant;
to 200.
Roadshow; Talk Radio 702 for made to, Pick ‘n Pay for The Zama Fine Music Radio 101.3 for Cam- perience for mentor as mentored Welcome Msomi, Chairman of
Following the support for the
Africa Remix; and Tsogo Sun for ll Dance School in Gugulethu and era Tinta Barocca Music Charitable arts organization. Nominees were Welcome Msomi Gateway; Fiona
exhibition, the APS have decided
Teatro and the South African pre- Standard Bank for the Standard Trust ; Primi World for Primi Live; Gillian Crawford mentoring at Artist Ramsay, actor and media per-
to host similar events in future
mier of The Lion King. The award Bank African Art Collection at the and Vukile Property Fund (Ltd) for Proof Studio; Eugenie Drakes sonality; Peter Vundla, Executive
- more good news for future
was presented to Tsogo Sun for University of Witwatersrand. the National Eisteddfod Academy mentoring at the Trevor Hud- Deputy Chairman AMB Capital;
generations of young artists.
II Teatro and SA premiere of The Nominations for Media Sponsor- Di Konokono Festival. The award dleston Centre; Krisen Govender Annie Williamson, Sponsorship &
The APS aims to become more
Lion King. ship, for consistent support given was presented to Primi World for mentoring the Sibikwa Community Marketing Consultant, Court-
self-sufficient by means of these
Increasing Access to the Arts by electronic or print media to Primi Live. Theatre; Carlton Hood mentoring ney Mitchell of Grant Thornton
exhibitions: “We are hoping to turn
focuses on those sponsors who the arts went to Die Burger for The Strategic Sponsorship District Six Museum; Gail Lemmert monitored the voting process and
this auction into an annual event,
have helped bring the arts to peo- Suidoosterfees 2007; Independ- category looks at the best use of mentoring the National Children’s verified the validity of the results.
so that we don’t have to rely on
ple who might not otherwise have ent Newspapers (Pty) Ltd for The a sponsorship programme as an Theatre; Gordon Massie mentoring
funding,” said Walters.
access to them. Nominees were Mercury Durban Theatre Awards; integral part of the sponsor’s The Africa Centre; Gary Ninow
Page 12
Art Opportunities Monthly
Selected for Fine Artists contemporary. We favor things
a studioNOTES publication that are free to the entrants,
offer good rewards in relation to
Competitions, Grants, Shows, the fees, increase the expo-
Public Art Commissions, Resi- sure of those accepted, or are
dencies and More prestigious or special in some
other way.
www.ArtOpportunitiesMonthly. Where an opportunity seems
com to be a particularly good fit, we
have marked it with..|+| as an
“editor’s choice. Entries marked
International Edition with ~ are generally better for
artists living nearby or with
These opportunities have been
limited experience. Please keep
selected from several hundred
in mind that these judgements
as most appropriate for seri-
are made only on the basis of
ous fine artists, traditional or
Media: FI VI. Deadline: Jun 2 International. Contribute decorated
International. Festival of work relevant white bookmarker or two, perhaps w/
to the communities living in Regent Park “cultural crosswords” theme, to help
w/ an emphasis on those from South Plainsboro Library celebrate connec-
Asia, Africa, East Asia, Middle East, tion and community that mail artists
Caribbean and Latin America. $10/1 create by sharing their work. No fee, no
(MiniDV, DVD or VHS-NTSC), synopsis, returns. => Emily Townsend, Cultural
bio, hi res still, etc. => Karin Hazé, Crossroads Bookmarkers, 19 Sapphire
Regent Park Film Festival, 415 Gerrard Dr, West Windsor NJ 08550.
St 2nd Fl, Toronto, Ontario, CANADA
M5A 2H4. director@regentparkfilmfesti- |N| Media: PH. Deadline: Jun 17
val.com; http://xrl.us/AOM99ca. International. Contest for fashion, fine
art, still life, portrait, landscape, nature,
Media: FI VI. Deadline: Jun 10 travel, photo journalism, documen-
International. Showing 12 categories, tary, street photography, abstract,
including animations, narratives, night, alternative process, tableau,
music videos, documentaries. $25-55/1 other, music, culture, nude, etc., by
depending on type and when submitted artist-run company. $25/4 (online only).
(½” VHS NTSC or DVD, paperless en- $4K+, shows on buildings in NYC art
tries preferred). Pct. of sales, etc. Jury: districts, publicity campaign, feature in
industry professionals. => Jeff Siebert, publication, other awards. Jury: Patrick
Toofy Film Fest 2007, Team Toofy Pro- Witty, photo ed., NYT; David Kesting,
ductions LLC, 9415 Wolfe Pl, Highlands gallerist; Tiiu Kiuk, fashion model; public
Ranch CO 80129, USA. jeff@toofy.com; voting. => Nikki Bagli, Exposure, Artists
http://xrl.us/AOM99cm. Wanted, USA. exposure@artistswanted.
org; http://xrl.us/AOM100bc.
Media: All. Deadline: Jun 10 |+|
International. Grants to help realize |N| Media: PH. Deadline: Jun 18
ideas and proposals for 9th biennial, in International. Juried exhibit of images
Mar 09, esp. those identifying “marginal dealing w/horses, digi or trad. photo
processes of thoughts, relations and techniques or combo of both, printing
acts arising from art and its vicini- on any medium. $35/3, $10 ea. add’l,
ties.” No fee/ (CD or DVD), 5-p. appl no limit (online). $.6K, online gallery
submitted electronically but other presence, Exhibition CD presence,
material by air. Funding. => Production online exhibit, etc. Jury: Christiane
Programme, Sharjah Biennial, P.O. Box Slawik, photog specializing in horses,
19989, Sharjah, UNITED ARAB EMIR- equestrian. => All Things Horses, The
ATES. maya.nasser@sharjahbiennial. Ctr. for Fine Art Photog., 400 North
org; http://xrl.us/AOM98ck (click on College Av, Ft Collins CO 80524, USA.
production application). 970-224-1010; exhibitions@c4fap.org;
http://xrl.us/AOM100bq.
Media: All xVI. Deadline: Jun 11
International. Juried show of environ- |N| Media: AU. Deadline: Jun 21
mentally themed work. $24/3 (sl or International. Curated online exhibition
online), statement. solo show, website of unlimited edition, downloadable
w/ 20 images. Jury: Leslie Sobel, artist; Sound Art. No fee (2 channel, com-
Lynda Cole, artist; Cindy Melk, H2O pressed MP3) + image file. Publication.
Plus founder, CEO. => One Planet, => John Henry Blatter, SoundCast,
One Experiment, Woman Made Gallery, The Daily Constitutional, Box 4683,
685 N Milwaukee Av, Chicago IL 60622, Richmond VA 23220, USA. 614-325-
USA. 312-738-0400; gallery@woman- 5235; submissions@dailyconstitutional.
made.org; http://xrl.us/AOM98aa. org; http://xrl.us/OM100ck
Media: PR PH. Deadline: Jun 14 Media: 2D. Deadline: Jun 25
International. Juried show. $25/3 (sl of International. Contest for design to
CD). $300. Jury: Dr. Andrew Atkinson, transform 8 tanks, plus an additional 8
Montclair State U. => Matt Kooser, tops into public art, use specific colors.
Through the Lens, Printmaking Council $50/1 (online only). $30K. => Art All
of New Jersey, 440 River Rd, Somerville Around, Maine Center for Creativity,
NY 08876, USA. 908-725-2110; gal- USA. info@mainecenterforcreativity.org;
lery@printnj.org. http://xrl.us/AOM99w.
|N| Media: Reproducible in 2D. Dead- |N| Media: PH. Deadline: Jun 28
line: Jun 15 International. Juried exhibit of any photo
International. Publication in artist-run media, including collage, digital, tradi-
magazine of “Artists’ Writing, Text-Based tional and alternative processes, and
Work, Manifestoes, Letters to Editor, new media, any subject. $5/1, max 10
Comics, Jokes . . . other STUFF.”No fee, (jpg or tif on CD only), appl. Purchase
see site for details. Publication. => John award, solo show, etc. Jury: Anthony
Henry Blatter, #7, Creative Insubordina- LaSala, deputy photo ed., Food & Wine
tion, The Daily Constitutional, Box 4683, mag. => 08 Open Juried, Photomedia
Richmond VA 23220, USA. 614-325- Ctr., Box 8518, Erie PA 16505, USA.
5235; info@dailyconstitutional.org; info@photomediacenter.org; http://xrl.
http://xrl.us/AOM100cj us/AOM100dp
Media: SC PA MM PH IN. Deadline: Media: PA WC PS PH MM. Deadline:
Jun 15 ~ Jun 30
International. Online gallery/contest of International. Show of work expressing
non-representational art, run by artist their own cancer journeys, by people
as commercial venture. $30/4, $5 ea. diagnosed w/ any type of cancer, or by
addl., application, statement; submit their families and friends, caregivers or
online or CD (jpg or tif). Publication on healthcare providers. No fee/1 (actual
site, $200 Best in Show. => Christina work), narrative explaining how work
Nelson, July 2008, Abstract EXPOsure, reflects cancer journey. All expense trip
Box 77545,Seattle WA 98177, USA. to NYC, $26.5K in donations to cancer
702-235-5156; info@abstractexposure. charities of choice, etc. Jury: cancer
com; http://xrl.us/AOM99n. survivors, oncologists, health care
professionals, journalists and cancer
Media: Mail Art. Deadline: Jun 15 advocates. => Anita Chernewski, Art
the information available in the
prospectus; nothing herein is
an endorsement or criticism of
any kind.
Unlike other listing services,
we do not knowingly include
for-profit galleries that charge
fees to look at slides, individu-
als pretending to be galleries or
contests that exist only to turn
a profit for the promoters. (See
www.artopportunitiesmonthly.
com/notlisted.html for some of
the reasons.) Please report such
listings to us.
Dir.,2008 Lilly Oncology on Canvas, 220
E 42nd St 12th Fl, NY NY 10022-5806,
USA. 800-734-4131; illyoncologyoncan-
vas@cprworldwideusa.com; http://xrl.
us/AOM99bh.
|N| Media: WC. Deadline: Jul 1
International. Juried exhibit, transparent
only, on single piece of untreated rag or
wood pulp paper, no collage, ink, white
paint, acrylic gesso, embossing, canvas,
Yupo or similar. $35/2(sl), $60 handling
fee for shipped work. $12K cash, merch.
and purchase. Jury: Joan McKasson,
artist. => JoAnn Formia, Watercolor
West XL, 2062 E Washington Blvd, Pa-
sadena CA 91104, USA. joann@joan-
nformia.com; http://xrl.us/AOM100en.
|N| Media: MSC. Deadline: Jul 1
International. Awards for liturgical
work in: Religious Architecture (new,
renovation and restoration), Sacred
Landscape Design, Liturgical/Interior
Design, Religious Art (visual art, liturgi-
cal furnishings, ceremonial objects).
$100-$235/3-12 (2 CDs, 8x10 glossy
color photos), appl, etc. Exhibition,
recognition and feature in “Faith &
Form” mag. Jury: James Graham,
architect; Michael Landau, architect; Fr.
Don Neumann, Houston, TX; et al. =>
Trena McClure, Faith & Form Awards,
Faith & Form Awards Prog., 100 N
Tryon St #3500, Durham NC 28202,
USA. 704-927-2253; fax -376-9336;
tmcclure@faithandform.com; http://xrl.
us/AOM100cq.
|N| Media: FI VI. Deadline: Jul 1
International. 2 competitions: Int. Short
Films and Videos (esp. work that inves-
tigate new languages or by cinema and
art students), Italian Short Films and
Videos, festival in Pescara. No fee/1
(DVD PAL), text list (Ital. or English).
EU2K+. => Short Films and Videos, Un-
imovie C.P. 40, Ufficio postale Roma 20,
00196 Roma, ITALY. +39.338.7535890;
fax -085.4157042; info@unimovie.it;
http://xrl.us/AOM100ek.
|N| Media: All. Deadline: Jul 1
International. Funding for non-profit
organizations only, not individuals, for
exhibitions, catalogues, other organiza-
tional activities directly related to these
areas. No fee, 3-page letter, budget,
send letter of inquiry first. => Pamela
Clapp, Prog Dir, The Andy Warhol
Fdn for the Visual Arts, Visual Arts, 65
Bleecker St 7th Fl, NY NY 10012, USA.
info@warholfoundation.org; http://xrl.
us/AOM85cm.
Media: FI VI. Deadline: Jul 1
International. Festival, categories: The
Arts, Bus. & Indus. Children. & Youth,
Ed. & Info, Entertainment, The Humani-
ties, Mental Health, Phys. Health, Relig.,
Sci. & Tech., Social Issues, War &
Peace, Interactive Online. $80 up,
also student categories, fees (DVD,
½” VHS), entry forms. Chris statuettes,
etc. => 56th Ann. Columbus Int. Film
& Video Fest, The Film Council of
Greater Columbus, 1430 S High St rm
322,Columbus OH 43207, USA. 614-
444-7460; fax same; info@chrisawards.
org; http://xrl.us/AOM99ah.
Media: All. Deadline: Jul 4
International. Juried open show.
15BPS/10 (CD, sl or 5 min tape or
DVD or VHS or audiotape of text where
appropriate), proposal if for public art.
5K BPS. Jury: Lukasz Gorczyca and
Michal Kaczynski, Raster independent
art space, Warsaw. => Norwich Gal-
The listings are in capsule
form, arranged by deadline and
identified by media, so that you
can tell at a glance if something
might be suitable for you. The
general structure of each entry
is:
Media:(See Key) Deadline: (Date
due) Local restrictions, if any
|| Short description || Entry
fee and/or number of slides
(images) being requested ||
Award–what is being offered
|| Jurors, if named ||=> Con-
tact name || Title of show for
prospectus || Address. Phone #;
lery, EASTinternational 2009, Norwich
School of Art and Design, Francis
House, 3-7 Redwell St, Norwich, Norfolk
NR2 4SN, UK. +44 (0)1603-756247; fax
- 615728; east@norwichgallery.co.uk;
http://xrl.us/AOM99br.
Media: FI VI. Deadline: Jul 4
International. 6-day festival of work <20
min, categories: international general;
docs; international for/by children/youth;
confrontations against violence and
intolerance; German; “Eject The Long
Night of the Unexpected”. No fee/1
(DVD or online). $40-60K USD. =>
24. Int. Kurzfilmfestival, interfilm
Berlin, Tempelhofer Ufer 1A, 10961
Berlin, GERMANY. +49 - (0)30 25 29
13 22; festival@interfilm.de; http://xrl.
us/AOM99bc.
|N| Media: All x4D. Deadline: Jul 14
International. Online show of self
portraits in artist-run online gallery and
hosting service. $35/5, $5 ea addl., ap-
ply on line only. Promotion. Jury: pubic
voting. => I (pronoun), Projekt30, 233
Montrose Av Ste 6, NY NY 11206, USA.
http://xrl.us/projek30email; http://xrl.
us/AOM100du.
|N| Media: BA. Deadline: Jul 15 |+|
International. Display in town on coast
of Tuscany in reading room of new
books of original work related to utopian
theme, or a book you have done in past
that you think will fit project. No fee, no
returns. Illustrated catalog to all partici-
pants. => Vittore Baroni, The Utopian
Library, BAU Cultural Association, via
C. Battisti 339, 55049 Viareggio, ITALY.
(039) 0584.944546; info@bauprogetto.
it; http://xrl.us/AOM100bL
|N| Media: MSC. Deadline: Jul 15
International. Showing poetry, in form
of books, catalogs, posters, magazines,
CDs, DVDs, etc., that relies heavily on
“visuality, sound, poetic performances
and other areas w/out abandoning,
of course, verbal dimension.”No fee,
send 2 (1 for show, 1 for lending library)
copies of each item and write “WORTH-
LESS COMMERCIAL” on envelope or
package in order to avoid problems w/
customs. => Concentrated Experimen-
tal Poetry, Clemente Padín, C. Correos
C. 1211, 11000 Montevideo, URUGUAY
|N| Media: PH. Deadline: Jul 15
International. Juried exhibit, any theme,
subject, photo medium, trad. or digi.,
style and philosophy. $35/3, $10 ea.
add’l, no limit (online). $800, online gal-
lery presence, Exhibition CD presence,
online exhibit, etc. Jury: Hossein Far-
mani, photographer, gallerist, founder
of Lucie Awards. => 2008 International,
The Center for Fine Art Photography,
400 N College, Fort Collins CO 80524,
USA. 970-224-1010; exhibitions@c4fap.
org; http://xrl.us/AOM100br.
Media: FI VI. Deadline: Jul 15
International. Showing narrative and
documentary features and shorts by 1)
South Asians living in the Diaspora or
non-South Asians submitting projects w/
S. Asian content, cast or crew or 2) work
w/ a unique voice/message made in
South Asia and considered “independ-
ent. $25, shorts, $40, features; appl,
descrip, 3 screener films, VHS or DVDs
(NTSC Format). Achievement awards,
$10K+ in-kind and services. => Aroon
Shivdasani, 8th Mahindra IAAC Film
Festival, Indo-American Arts Council
Inc, 146 West 29th St #7R-3,NY NY
10001, USA. 212-594-3685; fax -8476;
South African Art Times.
Fax; Email; Web address.
KEY: AU= Audio, BA = Book
Arts, CE = CEramics, CO = COl-
lage, CR = CRafts, CU = Com-
pUter, DR = DRawing, FI = FIlm,
FR = FibeR, FU = FUrniture, GL
= GLass, GR = GRaphics, IN =
INstallation, JE = JEwelry, ME
= MEtal, MM = Mixed Media,
NM= New Media, PA = PAint-
ing, PE = PErformance, PH =
PHotography, PP= PaPer and
papermaking, PR = PRints, PS =
PaStel, PU = PUblic, QU = QUilt,
SC = SCulpture, TX = TeXtiles,
aroon@iaac.us; http://xrl.us/AOM95bb.
Media: WM DR PR PS x(CU PH).
Deadline: Jul 18
International. Juried show of works
on paper. $40/2 (sl). $6K+. Jury: Jean
Grastorf, AWS, NWS silver star, author;
Charles McVicker, AWS, NWS, illustra-
tor. => 108th Anniv. Exhib., PWCS, Box
555, Swarthmore PA 19081-0555, USA.
215-569-3955; PWCSociety@gmail.
com; http://xrl.us/AOM99f.
|N| Media: FI VI SC IN. Deadline: Jul
21 |+|
International. Fest. and juried show of
documentaries and experimental and
“artistic” work; also, space-oriented
work including sculp. and installations;
also, 3-mo. residency. No fee, see appl.
EU14K+. => 25th Kassel Documentary
Film and Video Fest., Re/Cycling Inven-
tion, Filmladen Kassel e.V., Goethes-
traße 31, 34119 Kassel, GERMANY.
++49.561.70764 -21; fax -41; dokfest@
filmladen.de; http://xrl.us/AOM100cr.
Media: WM on paper. Deadline: Jul 28
International. Juried exhibit. $20/1,
2/$35 (sl or CD). $5K+. Jury: Gerald
Brommer, AWS, NWS; Jean Uhl Spicer,
AWS, NWS. => Director, 29th Annual,
Pennsylvania Watercolor Society, Box
626, Mechanicsburg PA 17055-0626,
USA. 717-737-7339; pwsdir@pa.net;
http://xrl.us/AOM98cd.
|N| Media: DR. Deadline: Aug 1
International. Curated exhibition of
contemporary work (either already
completed or proposed project), esp.
experiments in unconventional. No
fee/10-20 (CD). No fee, proposal,
images. => Aaron Fine, Lineweight,
Truman State University Art Gallery, 100
E. Normal St, Kirksville MO 63501-4221,
USA. afine@truman.edu
|N| Media: 3D. Deadline: Aug 1
International. Juried exhibit of original,
contemporary, funerary biodegradable
urns, vessels and reliquaries, scattering
vessels and ritual objects to be shown
in commercial gallery devoted to genre.
$35/3, $5 ea. addl (sl, CD or DVD).
$1.5K + purchase, other awards. Jury:
Adela Akers, prof. emer. Tyler School
of Art; Nadine Jarvis, designer, London;
and Sylvia Seventy, artist, educator.
=> Maureen Lomasney, Ashes to Art
scattered, Funeria, Box 221, Graton
CA 95444-0221, USA. 800-829-1966;
fax -1983; arthonorslife@funeria.com;
http://xrl.us/AOM100cu.
|N| Media: All. Deadline: Aug 1
International. Exhibits in 3 galleries
in city-owned performing, conference
and visual arts facility. No fee/10-20 (sl
or CD), hard copy image list, résumé.
deadlines 1st Fri. of July and Aug.
=> Ellen Martin, Visual Arts Gallery
Exhibitions, Lincoln CenterCity of Ft.
Collins, 417 W Magnolia St, Ft Collins
CO 80521, USA. 970-416--2789; fax
-484-0424; emartin@lincolnctr.fcgov.
com; http://xrl.us/AOM100h.
|N| Media: All. Deadline: Aug 1
International. 6- to 8-wk solo or group
shows, emerging and established art-
ists. No fee/10 (sl or CD [pref], 2 views
of ea OK for 3D artists, or VHS or DVD
for time-based), résumé, description
of proposed exhibit. => Lia Newman,
Exhibitions Opportunity, Artspace, 201
E Davie St, Raleigh NC 27601, USA.
919-821-2787; fax -0383; lnewman@
artspacenc.org; http://xrl.us/AOM100bg.
June 2008
VI = VIdeo, WC = WaterColor;
WE = WEb or Net art; WM =
WaterMedia; WO = WOod. x
before code = “except.” RFP =
Request For Proposal, RFQ =
Request For Qualifications, |N|
= new listing, not in previous
issue, |C| = changed since last
issue. Other abbreviations: sl =
slide, appl = application, digi =
digital, CV =curriculum vitae or
résumé, K=thousand, M=million,
BPS = British Pounds Sterling,
EUR = Euro.
All amounts in US Dollars un-
less otherwise specified.
|N| Media: All. Deadline: Aug 5
International. Juried show. $24/3 (sl,
CD, DVD or onsite), statement. Solo
show, cash. Jury: Claire Wolf Krantz.
=> Object of Desire, Woman Made
Gallery, 685 N Milwaukee Av, Chicago
IL 60622-8021, USA. 312-738-0400;
exhibits@womanmade.org; http://xrl.
us/AOM93cv.
|N| Media: All x(CR PH FI). Deadline:
Aug 8
International. Juried show. $35/3. $3.5K.
Jury: Gloria Burt, arts activist; David
Lobenberg, artist. => Bold Expressions
53rd Annual, Northern California Arts
Inc., 5330-B Gibbons, Carmichael CA
95608, USA. 916-240-6312; anje@
surewest.net; http://xrl.us/AOM100dV.
|N| Media: CE. Deadline: Aug 15 |+|
International. Juried exhibition for work
using clay as primary medium. $35/3
(CD). $800. Jury: Patti Warashina. =>
Emily Free Wilson, Beyond the Brick
Yard, Archie Bray Foundation, 2915
Country Club Av, Helena MT 59602,
USA. 406-443-3502x18; emily@archie-
bray.org; http://xrl.us/AOM100x.
|N| Media: PH. Deadline: Aug 18
International. Juried show of work that
tells “a story of human foot print left on
this earth,” all photo media, styles and
schools of thought. $35/3, $10 ea. add’l,
no limit (online submission only). $1.3K,
online gallery presence, Exhibition
CD presence, online exhibit, etc. Jury:
Robert Glenn Ketchum, photographer.
=> Our Environment; the Good, Bad,
and the Ugly, The Center for Fine
Art Photography, 400 N College Av,
Ft Collins CO 80524, USA. 970-224-
1010; exhibitions@c4fap.org; http://xrl.
us/AOM100bp.
|N| Media: Mail Art. Deadline: Aug
30 |+|
International. Exhibit of rejoined per-
sons. In an envelope or on a postcard,
send your head to: Pierre Bourgie, 251
rg l’Achigan L’Assomption, Québec,
CANADA J5W 3M8. Similarly, send your
heart to: Hélène Arsenault, 1655 Gay
Lussac Jonquière, Québec, CANADA
G7S 3K9. A. Catalog to all. => Myself,
in Three Parts, USA
|N| Media: FI VI. Deadline: Aug 30 *
International. *Regular deadline: Jun 8.
Festival of “exciting and inventive films
in Action, Adventure, Suspense and
Asian Action Cinema genres,” also docs
about extreme sports, etc.$65/1, $50/1 if
by Jun 8 ( VHS or DVD-NTSC). Awards.
=> Big Bang Film Festival, Box 25038,
Philadelphia PA 19147. contact@
bigbangfilmfestival.com; http://xrl.
us/AOM100bm.
|N| Media: PA. Deadline: Aug 31
International. Juried show of work max
size 144 sq in. No fee/2 (online only).
$10K. => SmallWorks North America
2008, Greenwich Workshop Galley, 1657
Post Rd, Fairfield CT 06824, USA. 800-
243-4246; fairfield@greenwichworkshop-
gallery.com; http://xrl.us/AOM100ec
|N| Media: All. Deadline: Open
International. Solo and group exhibitions
for 09 season. No fee, CD, résumé, price
list, statement. => Chuck Gniech, Call for
Proposals, Solo and Group Exhibitions,
Gallery 180 of The Illinois Institute of
Art-Chicago, 180 N Wabash, Chicago IL
60601, USA. 312-280-3500; cgniech@
aii.edu; http://xrl.us/AOM100j
South African Art Times. June 2008
Media: Appropriate. Deadline: Various
International. Publication of images,
etc. No fee, contact first to discuss
format and other technical details. =>
Martine Rouleau, Static: Alarm, London
Consortium, Institute of Contemporary
Arts, 12, Carlton House Terrace, London
SW1Y 5AH, UK. +44 (0) 20 7839 8669;
fax 7930 9896; static@londonconsortium.
com; http://xrl.us/AOM87ce.
Media: Whatever. Deadline: Open |+|
International. Declare an URM (Urban
Ready Made -- a street, a building,
a view, an object or an event in an
urban- or industrial environment, where
a conjunction of circumstances cause
beauty and art and is so declared by
the observer) in your own surroundings.
No fee. => Marcello’s Art Factory, Den
Haag, THE NETHERLANDS. (+31) 70
3634047; info@urbanreadymades.com;
http://xrl.us/AOM99cq.
Media: SC. Deadline: Open
International. Inclusion in exhibitions
and/or Image Library. No fee/10-20, (sl,
photographs, jpgs, etc or 1 tape, vid. or
CD or DVD), résumé, etc. Jury: artists
and curators. => Artist Submission, The
Sculpture Center, 44-19 Purves St, Long
Island City NY 11101, USA. 718-361-
1750x113; info@sculpture-center.org;
http://xrl.us/AOM76J.
Media: All. Deadline: Open
International. Exhibitions by local,
regional, national, and international
artists. No fee/10-20 (sl or CD), résumé,
sl list. => Ellen Martin, Lincoln Center
City of Ft Collins, 417 W Magnolia St, Ft
Collins CO 80521, USA. 970-416-2737;
emartin@lincolnctr.fcgov.com; http://xrl.
us/AOM99d.
Media: FI VI. Deadline: Open ~
International. Showing mixed media
performances, including film, animation,
puppetry, in artist and musician collective
presenting live music. No fee, contact for
information. Shown at events in London,
Bristol, Liverpool, Manchester. => Detta
and Arianna, ELEVEN, 49 Tressillian
Rd, London SE4 1YG, UK. elevenarts@
hotmail.com; http://xrl.us/AOM91q.
Media: DI. Deadline: Open |+|
International. Curated website for work
engaged w/ contemporary ideas, for
sale or not. No fee (jpgs or URL by email
or Zip or CDs or small format printed
proofs). May make work available for
sale as downloads or Print on Demand.
=> Selection Committee, ArtLexis at
Spectra Digital, 106 Franklin St 3rd Fl,
NY NY 10013, USA. mail@artlexis.com;
http://xrl.us/AOM87p.
Media: All. Deadline: Open
International. Show of forward-looking
practices, fruition of innovative ideas,
innovative approaches, etc. No fee/10
-20 (CD or DVD), CV, statement or
proposal, description, etc. Pays fees
corresponding to CAR/FAC guidelines.
=> Main Space, eyelevelgallery, 2063
Gottingen St, Halifax, Nova Scotia B3K
3B2, CANADA, USA. 902-425-6412;
fax -0019; director@eyelevelgallery.ca;
http://xrl.us/AOM98g.
Media: All. Deadline: Open
International. Web presence of 25-300
images, 1-10 videos, blog, etc., on
artist-run organization’s site. No fee/25
(on line) or $60/300 for six months. =>
Wooloo Productions, Choriner Strasse
85, 10119 Berlin, GERMANY. +49 (0) 306
676 3097; contact@wooloo.org; http://xrl.
us/AOM98q.
Media: All. Deadline: Open
International. Exhibitions that offer new
ways to experience art, esp. interactive
performance, multi-media installations,
experimental work. No fee/20 (slides,
photos, etc), proposal. => HotHouse
Gallery, 31 East Balbo, Chicago IL
60605, USA. http://xrl.us/AOM87az.
Media: All. Deadline: Open
International. Exhibits during 08-09 in gal-
lery at community center, other venues,
also related performances, screenings,
workshops. No fee/no limit (CD, sl,
DVD, VHS or URL), letter of infroduc-
tion w/ concepts for exhibit, proposal for
related workshop (optional), résumé. =>
Nicole DeWald, Gallery Exhibits, City of
Greenbelt Dpt of Recreation, 15 Crescent
Rd, Greenbelt MD 20770, USA. 240-
542-2057; fax 301-220-0561; ndewald@
greenbeltmd.gov; http://xrl.us/AOM98bj.
Media: VI DI time-based. Deadline:
Open
International. Showing all forms (ideally
2-8 min ea, esp on themes of typography,
translation, life/death or domesticity) that
can be documented in digital formats,
daily, 5 a.m. to 1 a.m., in Harvard Square
to an estimated 53,000 pedestrians. No
fee/(send link to an online portfolio to
art@lumeneclipse.com or DVD, CD, mini
DV),short bio, website, email contact. =>
Lumen Eclipse, 248 Beacon St, Somer-
ville MA 02143, USA. art@lumeneclipse.
com; http://xrl.us/AOM97ar.
Media: All. Deadline: Open
International. Juried online boutique
“dedicated to selling the highest quality
creations made by hand.” No fee, use
online appl. => Artchestra, 610 Willow
St Ste J, Alameda CA 94501, USA. 510-
769-1830; NewArtist@artchestra.com;
http://xrl.us/AOM91e.
Media: 2D 3D. Deadline: Open
International. Show on site promoting
artists working primarily in realism. No
fee to apply/5-12 (CD or email), appl,
résumé, $60-100/yr depending on level
of membership if selected. => Call for
Artists, TraditionalRealism.com, Box
481894, Charlotte NC 28269, USA. appli-
cation@traditionalrealism.com; http://xrl.
us/AOM98cy.
POLITICAL & PEACE
Media: FI VI. Deadline: Aug 15
International. Non-competitive, curated
year-long festival of independent political
cinema, 0-15min, 15-30 or 30+min,
any genre, at several locations across
Canada (also international locales,
contact for details). No fee/1 (DVD). Pub.
Perf. License Fees paid. => Submis-
sions, Cinema Politica, PO Box 55097
(Mackay), Montreal QC H3G 2W5,
CANADA. info@cinemapolitica.org;
http://xrl.us/AOM98t.
Media: 2D FI VI. Deadline: Open
International. Publication of work in online
and printed mag devoted to political
art. No fee/unlimited (jpg or gif under 1
MB ea or physical samples by mail; if
time-based, submit as DVD or MiniDV,
although short works may be submitted
via submitting URL where they may
be downloaded). => Rob Maguire, Art
Threat Magazine, PO Box 55097,Mon-
treal QC, CANADA. 514-655-6837; edi-
tor@artthreat.net.; http://xrl.us/AOM88w.
Media: All. Deadline: Open |+|
International. Online exhibit of anti-war
work. No fee/6, submit online as jpgs
or as wmv, mpg, avi or mov format,
320x240 pixels up to 15 MB for videos.
=> Hedva Shemesh, Let-The-Muses-
Speak-IAA.org. hedart@gmail.com;
http://xrl.us/AOM91w.
Media: All. Deadline: Open
International. Publication of images in
Iranian emag promoting “common ideas
about the same subject and sharing
talents and experiences w/ world wide
artists.” No fee/2-6, submit online as jpg,
or tif, minimum 800x600. => BrainStorm
Magazine, Kolahstudio.com. kolahstu-
dio@gmail.com; http://xrl.us/AOM82d.
Media: FI VI. Deadline: Open |+|
International. Seed funding for projects
that bring together filmmakers from op-
posing sides of armed conflict situations
worldwide. No fee, submit proposal
synopsis, 250 words or less via email
then 5-pg proposal synopsis, samples of
work, etc. by mail. $10K generally. =>
Claude Ibrahimoff-Hurley, Conflict Zone
Film Fund, Make Films Not War, 39
Mesa St Ste 300, The Presidio, SF CA
94129, USA. 415-561-3104; fax -3111;
filmfund@makefilmsnotwar.org; http://xrl.
us/AOM93bL.
PUBLIC ART
Media: PU SC. Deadline: Jun 2 |+|
International. Expression of Interest
(RFQ) for new landmark along highway
to “create a statement of Oldham’s
ambitions for itself and its people.” No
fee, CV, work samples, statement about
motivations and general methodology,
2 refs.,etc. £2 - £3M budget. => Geoff
Wood, Icon for Oldham, working pArts
Ltd, Shoulder of Mutton, 70 Towngate,
Midgley, Luddendenfoot West Yorkshire
HX2 6UJ, WALES. 01422 884 538;
geoff@working-parts.com; http://xrl.
us/AOM99cu.
Media: PU. Deadline: Jun 6
International. RFP to create environ-
mentally-friendly lighting for bridge. No
fee/10 (CD or DVD), 20 copies of: image
list, statement, résumés, all on 3-hole
punched paper (also include as PDF on
disk). $2-3 million. Jury: public art com-
mittee. => Yvonne Wise, Call for Artists:
Coronado Bridge Lighting, Port of San
Diego Public Art Dpt, Box 120488, San
Diego CA 92112-0488, USA. 619-400-
4706; fax -686-6434; ywise@portofsandi-
ego.org; http://xrl.us/AOM98cc.
Media: PU SC. Deadline: Sep 30 |+|
International. RFP for artist/artist team to
design and create welcoming, durable,
site specific, static or kinetic work that
may include water and light features, for
prominent downtown square. No fee/10
(CD), letter of interest, initial concept
drwgs or description, 3 refs. $50K budget.
=> Hamilton, Ohio, City of Sculpture,
One High St, Box 545, Hamilton OH
45012, USA. 513-895-3934; hamiltono-
hiocityofsculpture@fuse.net; http://xrl.
us/AOM97ae.
|N| Media: PU etc. Deadline: Jun 13
International. RFP for outdoor works
that “reinvent and redefine tradition
of art in public spaces,” to enhance
downtown character, attract visitors,
for yr.-long show. No fee/10 (CD or sl,
may additionally send hard copies), 1-5
color laser copies, photographs or digi
prints, résumé, refs., proposal. $1-2.5K
honorarium ea. => Megan Whilden, Art-
scape: 2008-09, City of Pittsfield, Office
of Cultural Development, 28 Renne Av,
Pittsfield MA 01201, USA. 413-499-9348;
mwhilden@pittsfieldch.com; http://xrl.
us/AOM100dq.
Media: PU. Deadline: Open
International. Roster of experienced
artists for consideration on public art
initiatives commissioned via limited calls
(invitational opportunities) and/or direct
award (single source) contracts. No fee,
contact to request Expression of Interest
#05-008. Jury: panel of artists, arts and
design professionals, Public Art Program
staff. => Edwin Whang, Buyer, Finance
& Supply (Purchasing), Artist Roster, City
of Calgary Pub. Art Prog, CANADA. 403-
268-4090; edwin.whang@calgary.ca.
RESIDENCIES
|N| Media: MSC. Deadline: Jul 7 |+|
International. Develop research projects
w/ companies and organizations in
Basque Country (Spain) between Oct
08-Jul 09, for artists committed to their
environment and interested in stimulating
interaction between different cultural and
social systems, and who can contr. No
fee, reg form, descrip. of role of artist in
society, motivation for project, registra-
tion. EU10-12K. => Call for artists,
Disonancias, Grupo Xabide, Centro
Kursaal Elkargunea, Avda. de la Zurriola
1 Etorbidea, E- 20002 Donostia-San
Sebastián, SPAIN. izenematea@diso-
nancias.com; http://xrl.us/OM100cL.
|N| Media: NM VI FI IN PE. Deadline:
Jul 15 |+|
International. 4-6 wks for 4-6 artists to
collaborate. w/ curators and artists in
artist-run residency and project space (in
old orphanage), esp. if installation and
context based work, vid/film and perform-
ance, w/ 3- to 4-wk exhibit in public space
or chapel’s exhibition. No fee, project
descrip, vis. documentation, résumés,
budget. Accommodations, living facilities,
etc, travel and materials budgets. =>
Hotel Mariakapel, korte achterstraat 2a,
1621GA, the NETHERLANDS. call@ho-
telmariakapel.nl; http://xrl.us/AOM100cy.
Media: All. Deadline: Jul 15 |+|
International. 1 wk. -1 yr. on small island
in Azores (east of Portugal), “surrounded
by simple beauty, the abundance of
nature, and the company of others in the
process of creating.” $20/3, financial info,
letter of proposal, 3 rec, CV, EU30/night
donation requested if accepted, some
partial scholarships, work exchange.
Studio space, private bedroom, shared
bath, etc., possible financial assistance.
=> Adrianna Jonet, Residencies - 2008,
Footpaths Foundation, 8 Rideout La,
Stoughton MA 02072, USA. fax 781-436-
3800; artist@azoreswalks.com; http://xrl.
us/o76AOM.
Media: VI NM MSC. Deadline: Jul 15
International. 5 days (Sep-Jan) to use
sophisticated imaging and production
tools, etc., to create new work. No fee/1
(miniDV, DVD or VHS), project descrip.,
résumé, preferred dates, examples, etc.,
$100 studio fee if accepted. => Hank
Rudolph, Residency Prog., Experimental
Television Center, 109 Lower Fairfield
Rd, Newark Valley NY 13811, USA. 607-
687-4341; fax same; etc@experimentalt-
vcenter.org; http://xrl.us/AOM83cs.
Media: All. Deadline: Jul 15
International. 2-4 wks Nov thru Apr in
historic studio/house in national park.
$50/6, work plan, appl, recs, etc. Studio,
apartment, $500/mo. stipend. => A-I-R
Prog, Weir Farm Trust, 735 Nod Hill Rd,
Wilton CT 06897, USA. 203-761-9945;
http://xrl.us/AOM97as.
|N| Media: PR PH-process BA DI VI NM.
Deadline: Jul 31
International. 1-3 mo. of 24-hr access to
printmaking, digital and other facilities
starting in Sep, Oct, Nov or Dec. No
fee/20 (sl or CD/DVD or 10 min of video
portfolio), résumé, letter re artistic goal,
$150-$365/mo. access fee if accepted.
Storage space exhibition opportunities,
20% discount on classes, private tutoring.
=> Patrick Stockstill, Artist-in-Residence
Program, Kala Art Institute, 1060 Heinz
Av, Berkeley CA 94710, USA. 510-549-
2977; fax -540-6914; patrick@kala.org;
http://xrl.us/AOM74PP
|N| Media: GL. Deadline: Aug 25 |+|
International. 3-mo. or 6-wk. fellowships
in major glass-blowing factory, sometimes
in view of visitors, for those w/ hot glass-
working skills. No fee/10 (CD), bio, appl.,
statement how use fellowship, résumé,
slide list, 2 recs. Housing, stipend, 24-hr.
access to facilities. => Fellowship 2009,
CGCA, WheatonArts, 1501 Glasstown
Rd, Millville NJ 08332-1566, USA.
800-998-4552x106; fax 856-825-2410;
cgca@wheatonvilliage.org; http://xrl.
us/AOM100er.
|N| Media: All. Deadline: Aug 31 |+|
International. 2-3 months for non-Finn-
ish artists to familiarize themselves w/
region and Finnish society and “bring
a fresh element from other cultures to
local cultural life.” No fee, written appl,
CV, images of previous work. Apartment,
work and exhibition facilities, 20EUR/day
allowance, give workshop in local school,
donate 1 work of art. => Åsa Lönnqvist,
A.I.R, Pro Artibus, Gustav Wasas gata
11, FIN-10600 Ekenäs, FINLAND.
asa.lonnqvist@proartibus.fi; http://xrl.
us/AOM100ds.
|N| Media: All. Deadline: Open |+|
International. 1 wk - 2 mo. to create
site-specific work. No fee, (sl, 8x10
digi prints, VHS, DVD, interactive CD-
Mac, etc), catalogs, résumés, etc; no
specific proposals. Work space, access
to tools, prof. tech. and curatorial help,
labor, honorarium, per diem for meals,
airfare, etc. => Residency Program,
The Mattress Factory, 500 Sampsonia
Wy, Pittsburgh PA 15212-4444, USA.
412-231-3169x222; fax 322-2231; info@
mattress.org; http://xrl.us/AOM76BN.
|N| Media: All. Deadline: Open
International. 4-12 wks. in 2500 sq. ft.
Victorian house for research, develop-
ment and production of ongoing or new
bodies of work. No fee ( CD, DVD or
URL), project descrip. or work plan w/
length of stay required, résumé. =>
Elizabeth Monoian, Pittsburgh A.I.R.,
Society for Cultural Exchange, 4912
Hatfield St, Pittsburgh PA 15201, USA.
sce@societyforculturalexchange.org;
http://xrl.us/AOM80cw.
Media: All. Deadline: Open |+|
International. 1-3 mo. to live/work for art-
ists whose lives and work compromised
by domestic strife, political upheaval
or natural disasters. No fee/10 (sl or
CD), appl, recs., statement of residency
goals. Live/work space, use of facilities.
=> Gabe Gomez, Emergency Relief
Residency Prog., The Santa Fe Art
Inst., Box 24044, Santa Fe NM 87502,
USA. 505-424-5050; ggomez@sfai.org;
http://xrl.us/AOM98n.
Media: All. Deadline: Open
International. 1-4 wks in quiet, private
house in unspoiled New England village
in hills east of Berkshire Mountains. No
fee to apply, photocoopy or sample of
work, résumé or letter of purpose, $165/
week if accepted. => Preston & Ann
Browning, Wellspring House, Box 2006,
Ashfield MA 01330, USA. 413-628-3276;
browning@wellspringhouse.net; http://xrl.
us/AOM91aj.
Media: All. Deadline: Open
International. 4-6 wks. or less in summer
for women on farm w/ “wildflowers,
a pond to swim in, fields to dream in,
woods to ramble.” No fee/work examples,
description of self, your interest in the
farm, available dates; shared costs if
accepted. Living and studio space. =>
Kate Millet, Women’s Art Colony Farm,
59 East 4th St 5E,NY NY 10003, USA.
845-473-9267; http://xrl.us/AOM91v.
Media: All CR. Deadline: Open
International. Unstructured time and
space for creative individuals to develop
new work on Island of Itaparica in Bay
of All Saints, across from Salvador,
Bahia, Brazil. $35/12 (sl, CD/DVD or as
approp.), appl., project descrip., résumé,
recs, etc. Round trip airfare, private
bedroom, studio, most meals. => Admis-
sions, Instituto Sacatar, Rua da Alegria
10, Itaparica BA 44460, BRASIL. info@
sacatar.org; http://xrl.us/AOM87bu.
Media: All. Deadline: Open
International. For contemp. artists to
create new work using experimental ma-
terials and techniques. By invitation only,
do not apply directly. Work collaboratively
w/ FWM’s staff of printers and techni-
cians. Jury: panel of prominent artists
and gallerists. => The Fabric Workshop
and Mus., 1315 Cherry St, Philadelphia
PA 19107-2026, USA. 215-568-1111; fax
-8211; info@fabricworkshopandmuseum.
org; http://xrl.us/AOM75AK.
Media: CE. Deadline: Contact |+|
International. Short and long term stays
in well-equipped studio for sculptural,
functional or experimental work, also
woodfire work Oct-May. $10/5-10 (sl or
CD), appl, résumé, letter of intent, recom-
mendations, teach 8-week adult class.
Semi-private lofted studio, opportunity
to exhibit work, electric, raku, and soda
kilns. => Residency Prog., The Clay Stu-
dio of Missoula, 910 Dickens St, Missoula
MT 59802, USA. 406-543-0509; info@
theclaystudioofmissoula.org; http://xrl.
us/AOM96bn.
Media: All. Deadline: Open |+|
International. 1 wk. to 1 yr. on small island
in Azores (east of Portugal), “surrounded
by simple beauty, the abundance of
nature, and the company of others in the
process of creating.” $20/3, financial info,
letter of proposal, 3 rec, CV, $EU30/night
donation requested if accepted, some
partial scholarships, work exchange.
Studio space, private bedroom, shared
bath, etc., possible financial assistance.
=> Adrianna Jonet, Residencies 2008,
Footpaths to Creativity, 8 Rideout La,
Stoughton MA 02072, USA. 617-549-
2452; http://xrl.us/o76AOM.
Media: All. Deadline: Open
International. Stay and work on the edge
of the North Atlantic Ocean. By invitation
only, but artists may send an expression
of interest and information about their
work. => Fdn Dir, Pouch Cove Fdn, PO
Box 693, Pouch Cove, Newfoundland
A0L 3L0, CANADA. 800-563-9100; jb@
jamesbaird.ca; http://xrl.us/AOM85m.
SLIDE & WEB REGISTRIES
see also Public Art
|N| Media: PU. Deadline: Open
International. For consideration for
projects throughout city, etc. No
fee/portfolio, CV, appl. => Artist Registry,
Cleveland Public Art, 1951 West 26th
St #101, Cleveland OH 44113, USA.
216-621-5330; fax -5423; gpeckham@
clevelandpublicart.org; http://xrl.
us/AOM90aq
|N| Media: All. Deadline: Open
International. Centralized database that
members and affiliates of VANOC can
reference when programming events. No
fee, submit on line. => Cultural Olympiad
Artist Registry, VANOC, 3585 Graveley
St, Vancouver BC, CANADA V5K 5L5.
1.877.408.2010; info@vancouver2010.
com; http://xrl.us/AOM100eL
Media: PP. Deadline: Open
International. For use by curators, review,
historical and scholarly purposes, etc.
$25/3, $40/6, résumé, statement. =>
Page 13
Registry, Hand Papermaking, Box
1070, Beltsville MD 220704-1070,
USA. 800-821-6604; fax 301-220-2394;
info@handpapermaking.org; http://xrl.
us/AOM98dn.
Media: All. Deadline: Open |+|
International. Juried interactive database
of online digital images, slides, video and
DVD documenting the work of emerging
artists, used by curators, gallerists,
collectors, etc.,separate submission
procedures for video. No fee/15, (sl, vid.
or DVD), bio, statement; digital work by
email only. Jury: Matthew Higgs, director,
chief curator. => Curated Artists’ Regis-
try, White Columns, 320 West 13th St,
NY NY 10014, USA. info@whitecolumns.
org; http://xrl.us/AOM83n.
WEB, DIGITAL, NEW MEDIA
Media: VI DI NM. Deadline: Jun 16 |+|
Festival of inventive and visually rich
video created in 21st cent., esp if deal
w/ facade of food, agriculture and the
environment or are silent or made esp.
for viewing on Web or mobile hand held
device. No fee/2 (sl sheet, audio CD,
VHS, mini-DV, etc.) 5 copies of appl,
proposal, etc. $700 stipend + $3.3K in
services, etc. => Video Art Festival #003,
Harvestworks, 596 Broadway Ste 602,
NY NY 10012. 212-431-1130x13; fax
-7693; videofest003@harvestworks.org;
http://xrl.us/AOM99bb.
|C| Media: FI VI. Deadline: Aug 1
International. On- and off-line festival
of animated work < 15 min. w/ theme
“Here We Are!”. No fee/3 (online and/or
download as Quicktime . mov, Windows
Media .wmv, Flash video .swf or. flv or
RealMedia .rm or online), bio, URL, etc.
as attachment. => Wilfried Agricola de
Cologne, CologneOFF IV, VideoChan-
nel, Mauritiussteinweg 64, D - 50676
Cologne, GERMANY. info@nmartproject.
net; http://xrl.us/AOM100dj
|N| Media: NM WE VI FI. Deadline:
Open |+|
International. On line and physical show-
ing of work <16 min. relating to mother
or grandmother, relationship of mother
and child, and how people in general
or creator in particular deal w/ loss of
a mother. No fee/1 (Quicktime . mov,
Windows Media .wmv, Flash video .swf
or.flv or Real Media .rm, preferably from
own URL or via sendspace.com), bio,
2 screenshots, etc. => VideoChannel:
Mother, netEX - networked experience,
USA. info@nmartproject.net (VideoChan-
nel: Mother); http://xrl.us/AOM100dk
|N| Media: WE. Deadline: Open
International. Netart projects com-
pleted after 1 Jan 2004 and not part of
JavaMuseum. No fee/5, submit by email
according to entry form on line: name,
bio, portrait photo, short descrip, URL,
etc. => netart features, JavaMuseum,
USA. info@javamuseum.org; http://xrl.
us/AOM100dh
Media: DR. Deadline: Open
International. On-line community of
people who draw and wish to dis-
seminate their drawing. No fee, email
for instructions on how to join, add work
to site. => Marion Ray Behr, Drawing
Blog. mylyne@prodigy.net; http://xrl.
us/AOM86da.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Compiled by Benny Shaboy; NY Corre-
spondent, Tamara Wyndham.Subscribe
today to get a free bonus list of 80-100
open deadline opportunities. Show your
art in the AOM online gallery FREE when
you subscribe.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Art Opportunities Monthly (AOM
), published monthly except August,
available as a PDF
Get the book at
www.ArtOpportunitiesBook.com
Page 14
Mosaic Mural Art
Competition
In celebration of the completion of
their new building in Hermanus,
the Enlighten Education Trust
(EET) has launched an exciting
Mosaic Art Competition.
The Enlighten Education Trust
has built the Enlighten Centre in
Hermanus to provide a space for
much needed education and skills
training to local communities. EET
works hard to improve the quality
of education and life of communi-
ties in the Overstrand.
Any person between the age of
18 and 30 years on 29 August
2008 living between Gansbaai
and Cape Town who is not a
professional artist - is encouraged
to enter. The prize monies total an
unbelievable R61 000 and if you
are not already established as a
professional artist, this competi-
tion offers you the opportunity to
become one. Entry is free and
groups are encouraged to enter.
Entry forms are available at
local community and art centres,
secondary schools and libraries.
For a full list or to enter on-line go
to www.enlightenmosaic.org.za
or simply SMS the word “mosaic”
to 32545.
Entries have to reach EET on or
before 29 August and the winners
will be announced before 23
September 2008. The first prize is
R40 000 with three merit prizes of
R7 000 each.
National Arts
Management
Symposium
It is that time of the year again
– winter is crawling under the skin
and the 3rd National Arts Manage-
ment Symposium is around the
corner.
The programme and guest speak-
ers have been confirmed. We
have also taken into account the
needs expressed by last year’s
attendees and we can brag with 9
top guest speakers from different
genres that will make it worth
attending this symposium.
This year’s symposium takes
place on Wed 11 and Thu 12 June
here in Potchefstroom.
The closing date for registration is
FRIDAY 30 MAY 2008.
Please visit our new website at
www.artema.co.za for the detail
programme and registration form.
E-mail us your classifieds at art@arttimes.co.za Please note that we reserve the right to print, and edit.
Please note that we do not hold any responsibility in wrongly supplied information, nor implications, good or bad resulting from these advert.
Artists info needed
Information Wanted
I am preparing a biography on
the work of Port Elizabeth artist
Fred Page (Frederick Hutchinson
Page). I am looking for images of
his work suitable for inclusion in
the text. I need clear images be-
tween 200 - 400KB in size which
may be emailed to me at westoe@
imaginet.co.za. If vailable, the
following information would be
appreciated: size, media and date
and with permission, the name of
the owner. Jeanne Wright
Looking for Artists
The Origins Centre Gallery
seeks artists
The Origins Centre Gallery at Wits
University seeks artists to exhibit
on the premises.
The artists’ works must allude to
themes found in the Origins Centre
Museum such as the origins of
humanity, early language, early
art, the San people and culture,
African tribal culture and anything
else along such lines. The Centre
is willing to provide funding for
exhibitions, depending on the
artists’ needs. If you are interested
in this prospect (or know someone
else who might be), please contact
Caitlin Ellwood on 072 874 0082 or
011 717 4706 or send an e-mail to
caitlin@origins.org.za
Studio Spaces offered
GoodHopeArt provides open
studios for visual artists. It is
situated in the historical Adam
Tas room at the Castle of Good
Hope, Cape Town. Basic facilities
including secured parking and safe
environment. Space only available
for professional artists who are
serious about entering the art
industry.
Contact Studio Manager
Tel: +27(0) 83 285 7874
Email: Nico.Eilers@Telkomsa.net
Art Business for Sale
One stop art shop for sale on
the south coast of Natal. Beautiful
old house with wooden floors,sea
views, garden and plenty of
parking. Shop contains an art
gallery, art supply room, beading
and scrapbooking supplies, coffee
shop and studio for lessons.
Net income per month is R11
Free Classifieds
000,00. Price R250 000,00 includ-
ing all stock. Contact Nick on
072149 7517
Art Classes offered
The Elliott’s painting workshops
Based in Villiersdorp at their exten-
sive gallery and studio complex,
Dale and Mel Elliott lead the way
in the painting workshop concept
in South Africa. They run three
day courses in oils, acrylics and
water- colours throughout the year,
handling beginners, intermediate
and advanced artists on their multi
level classes They have held over
300 courses, attended by over
2500 creative folk over the past
two decades and in addition they
conduct outdoor and advanced
painting workshops twice a year
for intermediate and advanced
artists. For further information or
bookings, please
call: 028 840 2927
Live Portrait Demonstrations
Professional Portrait artist gives
live demonstrations to classes and
groups in pencil, charcoal, pastel
and oil. Artist also accepts
commissions in same mediums.
Contact Willie 083 746 1208
willie_jacobs@yahoo.com
P.O. Box 2740, Brooklyn Square,
Pretoria, 0075
Life drawing classes
Life Drawing in Kenilworth
The Gill Allderman Gallery situ-
ated in Kenilworth, will be offering
life drawing classes on Thursday
mornings 10.30am - 1.00pm.
Come and draw in a relaxed crea-
tive space. Surrounded by magnifi-
cant art works you will feel inspired
and be part of an interactive
gallery space. Beginers welcome.
Please call 083 5562540 or email
gallery@new.co.za. for further
information or to book.
Art Materials for Sale
Indigo Art in Seapoint
Stockists of all artists materi-
als, framing, Canvas’s made to
order at factory prices. We also
stock Ceramic and all Mozaicing
requirement. We are outside at the
Adelphi Centre Main Rd Seapoint.
021 434 8982
Canvasses
Art Stuff
Stretched Canvasses, Hiring and
custom made easels, painting and
print stretching. Transport withing
Cape area Tel. 021 448 2799
wwww.artstuff.co.za
ABC Canvass
8 Woltemade Street, Stellenberg
Tel 021 910 0556
canvas@artnetwork.co.za
Special on our canvasses
Order or phone for price list :
Schalk 073 1606844
sokruger@yahoo.com 14 Irene
Avenue Somerset West
Remember we deliver free any
where in Cape Town if you
order R500 or more.
Truly Fantastic
Artists Canvases and easels
Streched canvases made to order
021 785 7755. 083 4278936
Art Shows offered
Art Shows:
I am organising regular Art Show
days at Timberlake Organic Village
(N2, between Sedgefield and
Wilderness, Garden Route). First
couple being on 22nd June and
13th July. Any artists interested
in exhibiting, please do contact
me by cell or email. The only fee
is R50 which secures a place (no
commission on sales). Shanda
Rossouw: diFFerent StroKes Art
Shows, 084 622 7244 Shandyros-
souw@hotmail.com
Art Transport
Aspiring Art Logistics
South Africa’s specialist in
packaging and transporting of your
valuable art and collectables. Free
quotations Tel. 881 3477
Bronze Casting
Commissions
Sculptures, Commissions and
Installations.
Tel. 0824574290
www.andresteadsculpture.com
Art Foundries
Loop Art Foundry and Sculpture
Gallery
Tel 086 111 2473 www.tlafoundry.
co.za
Framing
Art Attack
Framing & Art Supplies Cnr
All Saints & Dirkie Uys Street
South African Art Times. June 2008
Bredasdorp, 028 4252192 oovee/anne.htm
artattack@hushmail.com Free
Quotes,Free Pickup and Delivery Visit www.cecilbyrnesart.com
of Framing orders over R1000. and contact the artist for more
Anywhere in Cape Town. information or commissions
(nothing is too small or to large).
Work is represented locally in
DK art/frame/design private homes, guest houses and
Picture Framing, Hand made holiday apartments and coporate
frames, Gold & Silver Leafing, enviorments, and internationally on
Interior Deco & Gifts, Original art, 5 of the continents except South
Sculptures Contact: Gail Ballard, America..
The Gallery Venue, 011 704 6811
www.africanartsearch.co.za
Cameo Framers and Gallery features bronze sculptures by
198 Long Street, Waterkloof, Llewellyn Davies, paintings by
Pretoria, (012) 460 5497 Makiwa Mutombo, Errol Boyley,
Jocelyn Boyley and jewellery
Canterbury Framers and Gallery design by Carmen Dean.
58 Vinyard Rd, Claremont, Cape
Town 021 674 0568 Galleries
Econo No-Frill- Frames
Alette Wessels Kunskamer
for Artists
Exhibition of Old Masters.
Introducing cost effective frames
Maroelana Centre, Maroelana
for artists, for small works. Prices
GPS : S25º 46.748 EO28º 15.615
of frames range from between R80
Tel: 012 346 0728
to R150 in varying colours, exclud-
Cell: 084 589 0711
ing VAT and postage. They can be
bought directly through the Elliott
Art Studios. To place an order call:
028 840 2927
Galerie de Lyons
Upper Level Gardens Shopping
Centre Ph: 021 4616046 e-mail:
Send your free
info@galeriedelyons.co.za
Classified Advert to:
In Fin Art
Wolfe Street Chelsea,Wynberg.
art@arttimes.co.za
Tel. 021 7612816
www.infinart.co.za
Rialto Art Centre
22 Mills Street, Strand,
Tel and fax: 021 8538061 More
than 20 years experience in picture
framing.Supplier to hotels, offices
and the home.Blockmounting,
Nominations open for
tapestry and 3D picture framing
10th Annual Arts &
Art for Sale Culture Trust (ACT)
Awards
The Fibreworks Group work in fi-
bre and textile media and embrace Nominations are open for the
a large range of techniques, mate-
tenth annual Arts & Culture Trust
rials, textures and subject matter. (ACT) Awards 2008 presented by
See their work and exhibition Nedbank, supported by CLAS-
catalogues at www.fibreworksart. SICfeel Magazine and Fine Music
com Contact : Helga Beaumont Radio 101.3.
072 1601285 / 031 7640854 The deadline for nominations is 11
July 2008. All nominations must
Artists Websites be submitted on the prescribed
nomination forms which can be
Art By Anne Maria Valimaki. downloaded from the ACT website
Acrylic paintings ,Impressionism at www.act.org.za.
See my website
http://kotisivu.dnainternet.net/ov6/
South African Art Times. June 2008 Page 15

Sculpture
Commissions
Installations

www.andresteadsculpture.com
info@andresteadsculpture.com
Tel: +27 82 457 4290
Fax: +27 21 788 6538

ADVERTISE WITH THE SA ART TIMES

CTAS EXHIBITORS Circulation:8 000 printed and distributed to key distribution points across South Africa. For further
details of exactly were copies go, and readership details please go to our website at www.arttimes.co.za
CALLING ALL ARTISTS!

In support of South African artists, CTAS arranges small, medium and large-scale exhibitions at (Size, Without Vat, with Vat)
premier venues in the greater Cape Town area. COLOUR BOND

We currently have hundreds of Artists with whom we correspond, and would love to have you on
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Please contact Karina - or e-mail / fax us your details – to find out about our exciting exhibition being
held at the Baxter Theatre in Cape Town. The closing date for this exhibition is soon – so don’t
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Company Sponsorship Positions also Available
Karina 082 3186 535 Fax 086 6533 021 e-mail: ctas@cta-splendour.co.za www.cta-splendour.co.za
CK2002/095588/23 Representing the Splendour of Art
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6 month contract R 5 000 R 5 700 (125 x 80 mm)
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Eighth page R 500 R 570 (125 x 80 mm)
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For further enquiries contact Leone Rouse
021 424 7733 (tel) 424 7732 (fax) 021 761 7736 (tel/fax) 072 990 4444 (cell)