THE SOUTH AFRICAN

ART TIMES
September 2008 • Issue 9 Vol 3 • RSA Subscription 180 p.a • September Print & Distrib. 7 000 copies • Online version available at www.arttimes.co.za

Neville Dubow 1933 - 2008

LI T
UA Y
LEN Q

PROD

UC
T ZEL

,
PROFESSIONAL
Page 2 South African Art Times. September 2008

The South African Sasol runs for cover from controversial photograph
Art Times decision of the judges, but stating that space. lection, remembers a piece by art-
that they had a right to express a ist Abrie Fourie on the Voortrekker
September 2008 view on any decision. But Van Graan said that by bring- monument that led to criticism both
www.arttimes.co.za ing attention to one work, there from those who thought it was
“We also recognise that some was a move to censorship. The glorifying apartheid and those who
Published monthly by
members of the Sasol staff as well better way of handling the issue believed it was mocking Afrikaans
Global Art Information as some members of the public would be to inform stakeholders culture. MTN hosted a debate on
PO Box 15881 Vlaeberg, may be challenged or even of- beforehand about providing a the company intranet inviting peo-
8018, Cape Town fended by the piece and we feel it space for artistic expression rather ple to air their thoughts and then
Tel. 021 424 7733 is both responsible and appropri- than distancing or justifying works published the results in a company
Fax. 021 424 7732
ate, that we distance Sasol from in retrospect. publication.
Editor: Gabriel Clark-Brown the artwork.”
editor@arttimes.co.za Van Graan notes that corporates “It’s best to be able to predict
Advertising: Leone Rouse
Contacted for comment, Strydom, never distance themselves from controversy, but sometimes you
leo@arttimes.co.za a graphic design lecturer at North sport. “And goodness knows there can’t do that and then the best way
West University, defended his are sufficient examples of embar- is to acknowledge it and deal with
Subscriptions: Bastienne Klein work. “I don’t think Sasol distanc- rassing things in sport,” he said. it head on.”
subs@arttimes.co.za Richardt Strydom’s Familieportret 2
ing themselves from my work
News: press@arttimes.co.za diminishes the work and I put my In response to questions about But Hobbs believes that people
Shows: show@arttimes.co.za By Patrick Burnett must accept that a function of art faith in the panel.” only wanting to be associated with are far more tolerant than they
Artwork: art@arttimes.co.za
is to challenge and comment on art it likes, Sasol Group Communi- were 10 years ago, when there
Layout: Newyearsday Media A photograph featuring a semi-na- society. If they want to support However, he said the controversy cations Manager Jacqui O’Sullivan were heightened political, religious
ked couple has sparked a debate something tame, they should stick opened an “interesting debate” said: “Art is in the eye of the be- and racial sensitivities.
Deadlines for news, articles and clas-
sifieds 20th of each month
over how corporates should to rugby.” about the future of corporate-spon- holder and while it is true that we
The Art Times is published in the first handle controversial art after Sasol sored art competitions. believe in infinite boundaries, we “When there is sensitivity then
week of each month. News and advertis- distanced themselves from the Further questions have been also have to responsibly consider one has to be very prepared with
ing material need to be with the news and
marketing managers by the 15th- 20th of work when it won the prestigious raised elsewhere, with Sasol being While corporate money was the sensitivities of our various a professional strategy that is
each month. New Signatures award. seen as promoting itself as a needed to develop the arts, corpo- shareholders.” acceptable to the corporate world
Newspaper rights: The newspaper re- patron of the arts, but only of work rates were also concerned about and the art sector.”
serves the right to reject any material that
could be found offensive by its readers. The photograph, Familieportret 2 that it likes. And how could Sasol, their brand image, which could be O’Sullivan said the issue was not
Opinions and views expressed in the SA by Potchefstroom photographic as one blog posting asked, adopt at odds with artists. about Sasol “disliking or labeling
Art Times do not necessarily represent
artist Richardt Strydom, features a a conservative approach when it’s the winning piece” but being
the official viewpoint of the editor, staff or
penis, a hint of panties and a bit of own brand was concerned with Commenting on the issue, Mike sensitive to different audiences,
Why pay vast amounts
publisher, while inclusion of advertising
features does not imply the newspaper’s bosom. Declared the winner of the innovation? van Graan, a playwright and “particularly our diverse internal of money for quality
endorsement of any business, product or
service. Copyright of the enclosed mate- Sasol New Signatures competi- director of the Africa Centre, which audience”. contemporary
tion at an event at the Pretoria Art Strydom’s image is described by organises the Spier Contemporary,
rial in this publication is reserved.
Museum two weeks ago, it netted the judges of the competition as “a points out that there is a tension She said Sasol would not censure
Art News ?
INTERNATIONAL
SUBSCRIPTION Strydom R60,000. picture of loss and the loss of hu- between the interests of any or control the New Signatures
man dignity depicting the extreme funder and those of artists when it judging process and were proud of Go to
Use our secure payment But Sasol were not impressed with misery, pathos and dehumanisa- comes to freedom of expression. their 19-year association with the
portal on the rationale that the photograph tion of poverty.” competition.
www.arttimes.co.za depicted the “suffering middle This would inevitably lead to www.arttimes.co.za
classes” and announced they were Francì Cronjé, Sasol New Signa- conflicts with society, politicians, “We respect freedom of expression
Pay in UK Pounds, US distancing themselves from the tures Competition Chairperson, funders and the public. “It’s the and, with that, Sasol’s freedom
Dollars and Euro’s
work. The petrochemical giant did, explained: “The work depicts recognition of these inherent to express an opinion. We also
to find this month’s
NAMIBIA however, confirm their support for a controversial level of nudity. tensions that will help to manage respect the many differing public
Call John at: the judging panel. However, the judging panel felt the these better,” he said. views on what is perceived to be complete
Tel: +264 81 1286585 entry could be any South African acceptable.”
Artist and curator Clive van den family, or part of the global com- In this sense, Van Graan said the
Front cover: Ann Schweizer: Berg, quoted in Business Day, was munity of suffering middle-class.” funder was providing a space and Other corporates have faced SA Art Times
Rothmania capensis. scathing. “This is an extraordinary in so doing gained mileage, rather similar challenges and dealt with
See it at decision. If Sasol wants to sponsor However, Sasol issued a state- than being associated with every them differently, however. Philippa
The Kirstenbosch Biennale 08 an art competition they ment on its website, accepting the form of freedom of expression in Hobbs, curator of the MTN art col-
for free
South African Art Times. September 2008
Funding crunch cancels Spier’s Durban leg
Last year’s Spier 07 brought together tens of thousands of South African
art lovers and art learners in Johannesburg and Cape Town.
By Patrick Burnett
The shock cancellation of the
Durban leg of the Spier Contempo-
rary has been seen as a major blow
for the KwaZulu-Natal arts scene,
highlighting the tenuous nature
of funding for the arts outside the
centres of Cape Town and Johan-
nesburg.
With the Spier Contemporary, a
biennial exhibition of contemporary
South African art, having run in first
Cape Town and then Johannesburg
during 2008, the cancellation has
left Durban out in the cold when it
comes to harvesting the benefits of
the exhibition.
It was due to be showcased at the
Durban Art Gallery from mid-
August, but a statement from the
Africa Centre, which organises the
Spier Contemporary, announcing
the reason for the cancellation as
“sponsorship from a public sector
donor not materialising”. Although
diplomatically not naming the
sponsor involved - and with all con-
cerned unwilling to point fingers - in
the aftermath of the cancellation the
public sector donor has emerged
as the eThekwini Municipality.
The Durban Art Gallery has had to
scurry around to fill the space that
would have been taken up by the
Spier Contemporary.
Aimed at promoting the visual arts
in South Africa, the Africa Centre
says the Spier Contemporary has
attracted close to 20,000 visitors in
Cape Town and Johannesburg, and
has generated more than R3-million
worth of media exposure, while at
the same time providing a platform
for the participating artists.
But with a stated goal of the project
being to address some of the imbal-
ance in the visual art field that is
“acute for artists who are not based
in the major metropolitan areas of
South Africa” the aborted KwaZulu-
Natal leg has disappointed many.
“It’s unfortunate,” said Clive van
den Berg, curator of the Spier
Contemporary. “What is really ap-
parent when looking at municipal
art museums is that they are sorely
underfunded and neglected and
this is one of the symptoms of
that problem.” Van den Berg also
blamed “an administrative lack of
capacity” for the sudden cancel-
lation.
He described the influence of the
cancellation as “profound”, explain-
ing how he received inquiries about
participating artists on a weekly
basis. It was “unfortunate” that
these artists would miss out on the
exposure.
“The range of work produced in
South Africa is not going to be seen
there and it could only be
beneficial,” he said.
Brenton Maart, curator at the
KZNSA gallery, a leading contem-
porary gallery, said the exhibition
offered in “one swoop” the ability to
see what was being produced by
leading artists, an opportunity which
would now be missed.
“The longer term effects are that
because we are not able to see
what is happening, less of an inter-
est is generated in contemporary
art. The less you see the less you
want to see so it leads to a kind of
apathy and a loss of enthusiasm.”
Maart said the cancellation exacer-
bated the problem because funders
would not see KwaZulu-Natal as
an important venue, worsening the
existing situation.
Solving the problem would require
a “significant” increase in funding
for arts and culture in the province
and the creation of a management
system comprising artists, art ad-
ministrators and business types to
administer the increased funding.
This would mean that steps could
be taken well in advance of planned
events if there were unforeseen
circumstances.
Mike van Graan, director of the
Africa Centre, said: “We were keen
to tour the Spier Contemporary
to the major centres, but required
sponsorship to do this. Hollard
generously covered the costs of
the Johannesburg leg of the Spier
Contemporary and – from numer-
ous exchanges with the eThekweni
Municipality from 2007 already – we
were under the impression that
they had committed the R450,000
required to bring the exhibition to
Durban.”
However, van Graan said they had
been informed of reduced funding
for the event in June, leading to the
decision to cancel the event.
He said one of the lessons learnt
was to finalise contracts and make
Page 3
KUNSGALERY
sure they were signed off well in ad-
vance so that arrangements could
be made to fill any funding gaps.
JOHANS BORMAN
With planning underway for the FINE ART GALLERY
next event due to run in 2009/2010,
van Graan said he was in favour
of Durban being included, as well
as Johannesburg and possibly the
National Arts Festival in Graham- CAPE TOWN
stown. Another possibility was a
venue such as Dakar in Senegal.
“We have budgeted for this, but
don’t have all the funding yet. That’s
the basis for our fundraising and
partnership efforts over the next few
months,” he said. He said further
details on the form the exhibition
would take would only be available
in November.
Eric Apelgren, head of international
relations and governance in the
eThekweni Municipality, expressed
disappointment that the event had
not made it to Durban and said
“every effort” would be made to
ensure that the next version did not
suffer the same fate.
He said the municipality had made
it clear “from day one” that that they Maggie Laubser, Heron - 1942
would supply R250,000 towards
the event, plus providing the gallery
space and a further R100,000 for A showcase for the best of
the opening event. South African Masters,
He said motivating for more funding
had been difficult because there as well as some leading
was a lack of “emerging curators” contemporary artists.
involved and the municipality was
left “wondering what would be left
behind” after the event. Telephone: 021 423 6075
Apelgren said his objective was to www.johansborman.co.za
create opportunities for emerging
artists and the Spier Contemporary Mon-Fri: 10h00 - 18h00
had scored low in this area in the Sat: 09h00 - 14h00
“short to medium term”. Asked or by appointment
whether an event like the Spier
Contemporary was not beneficial In Fin Art Building
for its inspirational value for young Upper Buitengracht Street, Cape Town 8001
artists, he said: “I think that the Cell: 082 566 4631
reality is that in terms of budgeting
cycles it is difficult to get R500,000 E-mail: art@johansborman.co.za
for one event.”
Page 4
ERVAAR DIE RYKHEID VAN TOP SUID-AFRIKAANSE OU MEESTERS, SOWEL AS KONTEMORERE KUNS
STELLENBOSCH
KUNSGALERY
Ryneveldstraat 34
Stellenbosch
Tel. 021 887 8343
Sel. 076 276 2175
Tye: Ma. -Vr. : 09h00 – 17h00
Sa. : 09h00 – 13h00
www.stellenboschartgallery.co.za
E-pos: mjg@kingsley.co.za
Free delivery within Cape area
Count fights government in court over family home
The beautiful stately home of Count Labia overlooking False Bay.
By Patrick Burnett
A long-running dispute between an
Italian count and the government
over the ownership of a historic
building in Muizenberg comes to
a head in the Cape High Court on
September 9, when the matter is
set down for trial.
At stake is the ownership of the
now-closed Natale Labia Museum
in Muizenberg, which was donated
to the government in 1985 by
Count Natale Labia. Labia is now
demanding that the museum, a 20-
room Venetian manor built by his
father and overlooking False Bay,
be returned to him.
At the heart of the case is owner-
ship of the land and building, with
Labia maintaining that since the
building and its contents were
Frans Claerhout
Aviva Maree Rob MacIntosch
Skilders : Kontemporêr: Scalz Esterhuyse, Hannes van Zyl, Clare Menck, Kaffie Pretorius, Robert Slingsby, Harvey Rothchild, John Kramer, Adriaan Boshoff, Terance McCaw, Boonzaier
Custom Stretched Canvasses
Hand made Easels
Painting & print stretching
Tel: 021 448 2799 Fax: 021 448 2797
artstuff@webmail.co.za www.artstuff.co.za
donated for use as an art mu-
seum, it’s closure was in breach of
contract and the property should
therefore be returned to him by the
Department of Public Works.
But other issues also form part of
the case. These include:
Compensation for the sale of an
adjacent piece of land next to
the Natale Labia Museum which
was sold for R50,000 and later
resold, together with other land,
for R950,000. Labia is asking for
compensation of R900,000.
Compensation for the loss of an
18th Century painting by James
Stark. How exactly the painting was
lost is unclear, but it’s disappear-
ance was discovered when the
collection housed in the museum
was returned to Labia
Pieter van der Westhuizen
John Kramer
South African Art Times.
Photo: GP Clark -Brown
after the closure in 2004.
Interviewed in late August, Labia
said the museum and contents,
which included valuable paintings,
had been given to the government
in 1985 on the understanding that
it would be used as a museum, to
be maintained by the then South
African National Gallery. This was
replaced by Iziko Museums.
“It was soon apparent that they
were not spending the funds
required and in 2004 the museum
was formally closed by a council
decision of Iziko Museums and con-
firmed by the Department of Arts
and Culture,” he said.
He said because the government
had “renaged on the agreement”
that it should be used as a museum
indefinitely, there was no reason
Conrad Theys
ArtStuff now available on the Garden Route
Call Paul Tunmer 083 2610084
September 2008
why it should be maintained by
government.
“The court case is to return the
property to my ownership,” he said.
The museum was built by Labia’s
father and he lived in the house
during his teenage years in the
1930s.
Although the Department of Public
Works failed to respond to queries
about the property, it appears that
the disappearance of the James
Stark painting is less of a sticking
point.
In a statement, Iziko Museums
pointed out that the dispute
between the Labia and the Depart-
ment of Public Works did not
involve Iziko, nor were they “party
to nor was anyone at Iziko aware of
the sale of the small adjacent piece
of land by the Department of Public
Works”.
After the closure of the museum,
Iziko said all moveable property
had been “formally returned” to
Labia, with the missing James
Stark piece only coming to their
attention later.
Iziko said the last record of the
work was when it had been moved
from the South African Gallery
back to the Natale Labia Museum
in 1988, prior to the opening of this
museum.
“A lapse of nearly 20 years and
many changes of staff have made
any definitive conclusion as to what
transpired nearly impossible.”
But under the circumstances, Iziko
said it had accepted responsibility
and agreed to compensate the
Count accordingly.
However, a decision on fair com-
pensation was being negotiated.
Artist: Ann Gadd
 ART GUIDE SEPTEMBER 2008

Detail from Berni Searle’s - Seeking refuge series 6, Showing at Michael Stevenson Gallery, Cape Town 4 September - 11 October. See more at www.michaelstevenson.com
Page 6
By Hayden Proud
Professor Neville Dubow, who died
on 24 August at the age of 74, was
an authoritative and commanding
presence in the visual arts fraternity
of Cape Town for as long as most of
us can recall. Although retired since
1998, he maintained a highly-active
and constant profile as a writer,
researcher, art consultant and lec-
turer. His tireless engagement with
his chosen field makes his sudden
death from a mysterious, debilitat-
ing illness seem a particularly tragic
stroke of fate. The cultural and
intellectual landscape of Cape Town
(and South Africa at large) seems
to have contracted markedly now
that he has gone. At a time when
South Africa is losing much-needed
expertise, it is hard to imagine how
the gap that he leaves can be filled.
Possessed of an appearance that
at times seemed uncannily similar
to that of the critic, theorist and
‘pope’ of the Surrealist movement
André Breton (1896-1966), Dubow
cultivated a rakish style in his
manner and dress. With his strong,
dark hair slicked backwards and
his coat thrown over each shoulder,
or especially wearing his well-worn
blue smock when teaching at the
Michaelis School of Fine Art, he cut
an unforgettable image. He was in
every way an aristocratic and chal-
lenging ambassador of the artistic
avant-garde and the principles that
it stood for. It was as a strident and
fearless young critic that Dubow
first came to public and intellectual
attention. Writing in the local Cape
papers, his astute judgments and
perceptions on South African art
were admired, respected and even
feared. Apparently the late Robert
Kirby staged a comedy sketch
entitled ‘The Art Critic’, featuring
Dubow’s profile against a luminous
red square with the accompanying
words ‘better the devil you know
than Neville Dubow’. Dubow’s ear-
lier reviews and critical essays, now
languishing in yellowed newspaper
Cleaner partially burns R 500 000.00 Pierneef painting for firewood
By Patrick Burnett
A painting by world famous South
African master Jacobus Hendrik
Pierneef was removed from the
offices of Free State’s Dihlabeng
municipality in July and the frame
burnt for firewood, according to the
Democratic Alliance (DA).
The painting, which has an esti-
mated value of between R500,000
and R700,000, was apparently
Neville Dubow 1933 - 2008
files, deserve to be rescued and
republished. They are still surpris-
ingly fresh and set a standard that
has not been surpassed.
After joining the staff of the Michae-
lis School of Fine Art in 1962 where
he taught courses in basic design,
Dubow was elevated to the Chair of
Fine Art at UCT in 1971. This was a
prominent post in the South African
art world that had been previously
held by the likes of Maurice van
Essche (his immediate predeces-
sor), Rupert Shephard and Edward
Roworth, all practicing painters
and all born and trained abroad. It
was against this fairly conservative
and polite art school tradition, and
in the earlier case of Roworth an
ultra-conservative one, that Dubow,
a young South African-born and
trained professor aged only 37,
sought to make his mark. And make
it he did.
With strategic impact over subse-
quent years he appointed staff who
were to assist him in extending the
boundaries of creative endeavour
at the School beyond the traditional
confines of drawing, printmaking,
painting and sculpture. These
included, among others, Kevin At-
kinson, Dimitri Fanourakis, Richard
Wake, Bruce Arnott, Bob Denton,
Peggy Delport, Stanley Pinker,
John Nowers and Helmut Starcke.
Photography, ceramics, animation,
performance art and what was then
termed ‘interdisciplinary studies’
made of the Michaelis School of
Fine Art the most advanced and
experimental art school in South
Africa in the 1970s and early 1980s.
It was from this crucible that some
stunning talents emerged and
matured into professional artists
and art historians. They include
Marlene Dumas, Gary Schneider
and Vivienne Koorland, who have
made notable if not stellar careers
abroad. The teaching of art history
was also put on a more secure
footing at the School from 1975 with
the appointment of Evelyn
removed by a cleaner, but was
returned days later when an outcry
was raised over the disappear-
ance.
Pierneef, born in 1886, is consid-
ered to be one of the top South
African masters for his distinctive
landscape paintings, many of
which were of the South African
highveld.
Dr. Clem Harrington, chairperson
Cohen as the first full-time lecturer
in the subject. In many senses,
even considering the later, if
unhappy, separation of art history
from the Michaelis School, Dubow
has to be given credit for laying
the initial foundations for the later
growth and standing of this disci
pline at UCT. One of the School’s
graduates, the noted feminist art
historian Tamar Garb, is today
Durning Lawrence Professor in the
History of Art at University College,
London.
Another area nurtured by Dubow
at Michaelis was the study and
practice of art education. The idea
of the DA caucus in the Dihlabeng
municipality, said the Pierneef,
apparently bought by the then
Bethlehem municipality prior to
1994, had disappeared on the last
Wednesday in July, but then been
returned by the Friday, with the
frame damaged.
Although municipal officials had re-
fused to show him the painting – a
typical landscape painting with a
Kokerboom tree – he said he had
that teaching could be a creative
act in itself saw the launch of a new
degree course for art educa
tors, led by two of the most able
and insightful lecturers, the late
Stephen de Villiers and the late
Patricia Pierce-Atkinson.
Their unique legacy survived in sev-
eral generations of the most
able and talented teachers of art in
the secondary school system, such
as Jill Joubert and Henry Symonds.
Underpinning both the
fine art and art education streams
at the School was the idea of
making art as a very serious form
‘play’, a concept and spirit of which
been told that the frame was “off”
and had been burnt for firewood.
He said no action had been taken
against the cleaner, according to
information provided to him by
municipal manager Sandile Msibi.
“I want to see the painting and
want to see it [the disappearance]
investigated and [the painting]
re-framed,” he said.
He called for the painting to be
South African Art Times.
ultimately flowed from the person of
Neville Dubow himself, and which
he in turn had imbibed from
Walter Battiss, whom he greatly
admired.
A born Capetonian, Dubow was
nurtured and educated within the
best traditions of Cape liberal
skepticism at Wynberg Boys’
High School and at UCT where
he studied architecture. His first
formal introduction to the visual
arts was via his mentor Florence
Zerffi (1882-1962) who gave private
art classes until her departure for
England in 1956. UCT, his alma
sold, pointing out that while the
municipality had a painting worth
hundreds of thousands of Rands in
its possession, there were people
living in shacks without water.
Attempts to get comment from the
municipality were unsuccessful,
with Msibi refusing to comment
on the matter when contacted on
his cellphone. Msibi asked for an
email to be sent to him, but then
responded with the following: “We
September 2008
mater, where he received his B
(Arch) degree in 1956, remained
his intellectual home for his entire
professional life. It was the frame-
work of his architectural training
and practice that underpinned
his structured, conceptual and
theoretical approach to teaching in
the visual arts, and which consider-
ably enhanced his clear gifts as an
administrator. In committee he had
a particular gift for finding simple
solutions to the most complex
problems. As such he was a vital
and exceptionally wise member of a
number of advisory boards, notably
at the Iziko SA National Gallery. It
was perhaps in Dubow’s persona
that Vasari’s Renaissance ideal of
a blissful unity between the major
arts of architecture, painting and
sculpture, all underpinned by the
practice of disegno, or drawing,
found a local incarnation.
Born in 1933, the year of Hitler’s
accession to power, Dubow grew
up in the shadow of the racist
abominations of the Third Reich.
His awareness of the politics of
power and the role of the artist in
the pre and post-1945 world were
highly informed within the finest
senses of the Jewish intellectual
tradition. His achievements and
ideas, however, were attained
without his ever wearing the great
religious tradition to which he was
heir, openly on his sleeve. A man of
deep conscience and conviction, he
argued and fought for artistic and
political freedom in South Africa. It
is through his notable students, as
well as his publications and artistic
achievements as a photographer,
that his important legacy grows and
continues.
Neville Eric Dubow, architect, artist,
photographer, critic, theorist and
administrator; born Cape Town, 16
September 1933; died Cape Town,
24 August 2008.
do not manage the affairs of the
municipality through the media.
Internal processes and procedures
are available to deal with chal-
lenges of the municipality.”
Roy Jankielsohn, leader of the DA
in the Free State, said: “We are
concerned that we have not had
access to the painting to verify it is
the original.”
South African Art Times.
Johans Borman strikes a winning mix
By Patrick Burnett
It seems contradictory to talk
about passion as the driving force
behind buying a work of art while
at the same time being strictly
rational about the business side
of selling art, but it’s a paradox
that top art dealer Johans Borman
straddles with ease.
Borman’s gallery – the Johans
Borman Fine Art Gallery in Cape
Town’s trendy Upper Buitengracht
Street - boasts the likes of Irma
Stern and Gerard Sekoto on the
walls. But Borman is considered
unique in that he is one of the
few dealers in South Africa that
has struck a successful balance
between South African masters
and contemporary artists.
“You can’t really develop guide-
lines,” he says, when asked about
the balance, “it’s more a sense of
being able to establish or to judge
what is good and what is bad.”
That means having a thorough
understanding of work in terms of
the period, subject matter, style,
market and the balance between
the artistic merits and the desir-
ability of any given work.
“At the end of the day,” he says, “it
is still a commercial enterprise
September 2008
which means you have to be
able to find the most desirable to
ensure that you are still able to get
a sale.”
Reputation is everything. “To a
very large extent its also about
personal preferences,” he says, “I
would find it very difficult to hang
a painting in my gallery that I don’t
like to a degree or think is of a
good enough standard or quality.”
The combination of passion and
business sense has taken him
from a gallery in Pretoria in the
late 1980s to his current gallery
in Cape Town. Earlier this year he
partnered Michael Stevenson and
Michael Graham-Stewart at the
Joburg Art Fair.
Borman shies away from art being
promoted as a financial invest-
ment; for him it is simply created
by artists to communicate and not
as a financial instrument.
“I don’t encourage people to buy
art because of the potential value;
you buy art because you want to
live with it, because you like it,
because it offers you emotional
stimulation.”
But the pricing of art, especially
when it comes to the masters,
means that it has to be considered
as an asset.
And if it is viewed as an asset
class then that implies a compari-
son with other asset classes.
Although art cannot escape down-
ward economic trends, Borman
says there is a “huge difference”
compared to other asset classes
because the market is more sta-
ble. The reasons are that there
is passion involved and because
art is sold for cash; in most cases
there is no debt. The market is
also small and at any one time
there will only be one or two top
works for sale. In other words,
there are not many people, espe-
cially in South Africa, prepared to
swipe more than six noughts on
their plastic.
Borman is hesitant to single out
artists for special mention, but he
believes that when looking at the
masters, one should look for those
who interpreted Africa.
“So many of our earlier recog-
nised artists were simply applying
European styles to African subject
matter,” he says, “I would like
to see the artist who interpreted
Africa and did something unique.”
He counts Pierneef in that cat-
egory, believes Irma Stern cannot
be left out of the equation and
reserves special mention for
Gerard Sekoto, George Pemba
and Ephraim Ngatane.
The black artists in particular are
unique, he argues, for how they
applied modernism as a European
concept. “From an art historical
perspective they were some of the
first social realists internationally
- and there Pemba and Sekoto
were special.”
For younger artists who haven’t
yet reached these heights, Borman
says unfortunately in most cases
it’s not a rational progression.
Great artists are almost born with
a special talent, he says. But key
factors are perseverance, recog-
nising that every artist is a brand
and being careful with who you
allow to handle your work.
It’s clear that Borman has an
understanding for both sides of
his business, both the artists that
produce the work and those who
collect them.
“I’ve got a very clear idea of what
the creative process involves and
it very often takes blood, sweat
and tears, therefore that means
that I have a very great respect for
it,” he says, “I also have a great
respect for people that appreciate
and collect art.”
Wealthy investors
keep art sales high
Gerard Sekoto (1913-1993). Portrait of a lady. Pre sale estimate by
Bohams Auction hose at : £3,000 - 5,000, R47,000 - 78,000
Global economic gloom might be
hanging over world markets, but
2008 also saw a rise in the super
wealthy, with Forbes Magazine
pegging the number of billionaires
at 1,125, the first time the number
breached the four figure mark.
With the hoi-polloi battling over-
extended debt levels, high interest
rates and inflation, an increase
in the number of billionaires sug-
gests a class of high fliers immune
to the economic downturn who are
constantly in search of ways to
spend their bling.
“The amount of new wealth that
is available is phenomenal, with
studies showing that the amount
of billionaires is increasing,” said
Mark Kretschmer, Chairman of
Stephan Welz & Co in association
with Sotheby’s.
With prices for some art going
through the roof - witness the
May sale of a Tretchikoff fetch-
ing R3.74-million - Kretschmer
stressed that supply and demand
was always a crucial factor. “The
majority of works are in museums
or private collections and when
one does become available then
huge prices are bid.”
Stephen Welz’s upcoming Cape
Town auction in November is
being billed as “this year’s most
prestigious auction of fine art”
and will feature a 1941 Irma Stern
expected to fetch between R5
Page 7
- R7 million.
Kretschmer said although eco-
nomic factors had not seemed to
have an impact on art sales, there
were possibly signs of a rationali-
sation, but not a cooling off.
“Art has proven to be an asset
class of its own,” he said, “It has
survived the dot.com crash and
the sub-prime crisis, where other
asset classes haven’t. I’m talking
globally but in doing so I don’t be-
lieve South Africa is any different.”
Broadly speaking Kretschmer
believes the emerging economies
of Brazil, Russia, India and China,
collectively known as the BRIC
countries, are an important factor
in driving art sales, with the Rus-
sians spending huge amounts of
money. “When you have bought
your houses and yachts then
you need something to decorate
it,” said Kretschmer, referring to
phenomenal art sales by Christie’s
International and Sotheby’s in
2007 on the back of a booming
Russian economy.
Forbes lists Russia as the country
in second place behind the US in
terms of the number of billionaires,
with 87, while India has four of the
top 10 richest billionaires.
“Let’s wait and see,” he said when
asked if art was recession resist-
ant, referring to “some rationalisa-
tion” in the middle section of the
market due to economic factors.
 SOUTH AFRICAN ART GALLERY SHOW LISTINGS FOR SEPTEMBER
Eastern Cape
East London
Anne Bryant Art Gallery
Until 07 September - Santam’s
child art traveling exhibition
9 St Marks Road, Southernwood,
East London T. 043 722 4044
Free State
Bloemfontein
Oliewenhuis Art Museum
17-22 September - Central
University of Technology Prestige
Student Exhibition 2008
18 September - 28 October
- Johann Louw - Mid-career
Retrospective
16 Harry Smith Street, Bloemfon-
tein T. 051 447 9609
Gauteng
Johannesburg
47 market street artspace
11 Sept – Opening exhibition
– 18h00 for 18h30
47 Market Street, T. 083 260 5747
or 083 235 0066
Alliance Francaise of Jhb
Until 03 September - ‘Art Fusion’
- An exhibition presented by the
amateur artists of the Dowerglen
Art studio
17 Lower Park Drive, Corner Kerry
Road Parkview T. 011 646 1169
www.alliance.org.za
Art Extra Gallery
Until 20 September - Athi-Patra
Ruga - ‘Of bugchasers and wa-
tussi faghags’
373 Jan Smuts Avenue, Johannes-
burg T. 011 326 0034
www.artextra.co.za
Artspace Gallery
Until 18 October - ‘The Royal
Invisible’
142 Jan Smuts Avenue, Parkwood
T. 011 482 1258
www.artspace-jhb.co.za
David Krut Print Workshop
10 September – 11 October
- ‘Drawing Show’ - An exhibition
Winners of the SA Art Times Winter Thriller readers survey
Congratulations to
our prize winners
We would like to thank our sponsors
for making this competition possible
They are:
First Prize of six cases of wine
and a Leo Chocolate hamper is
Patrick Chapman
whose entry to our Readers’ Survey
provided our publishers and judges
with much to think about, was fair,
critical and well considered. His
entry has given us encouragement
to continue the fight for artists and
art lovers rights and education in our
pages and to provide everyone with
a better newspaper, more to readers’
liking.
The runner up prizes of two cases
of wine each are:
featuring exclusive new artworks
by 12 of South Africa’s leading
graphic designers and illustrators.
142 Jan Smuts Avenue, Parkwood,
Johannesburg T. 011 447 0627
www.davidkrutpublishing.com
Everard Read Gallery
04-21 September - John Caple
- ‘To the Quiet Moon’
25 September - 12 October - Lu-
cian Freud - ‘Etchings 1946-2004’
6 Jellicoe Avenue, Rosebank,
Johannesburg T. 011 788 4805
www.everard.co.za
Gallery Momo
04-29 September - Sharlene Khan
- ‘What I look like, What I feel like’
52 7th Avenue, Parktown North,
Johannesburg T. 011 327 3247
www.gallerymomo.com
Goodman Gallery
Until 13 September - Kagiso Pat
Mautloa - ‘Other Presences’
13 September – 04 October - Tom
Mulcaire
163 Jan Smuts Avenue, Parkwood,
Johannesburg
www.goodman-gallery.com
Gordart Gallery
72 Third Avenue Mellville,
Johannesburg T. 011 726 8519
www.gordartgallery.com
Graham’s Fine Art Gallery
04 September - 02 October - Paul
Du Toit - ‘Some Strange Alphabet’
Corner Cedar & Valley Roads,
Broadacres, Fourways
T. 011 465 9192
www.grahamsfineartgallery.co.za
Johannesburg Art Gallery
Until 30 September - Kay Hassan
- ‘Urbanation’
King George Street, Joubert Park,
Johannesburg T. 011 725 3180
Rabbi Cyril Harris Community
Centre
14 September - Mark Forman -
‘A Bygone Era’ - Judaica Art
Corner Glenhove Road & 4th
Street Houghton
T. 011 728 8088 / 8378
The Steward Gallery
Until 13 September - An exhibition
of works by Roger De Andrade,
Jeanne Hendriks, Kevin Factor,
Sharle Matthews, Rob Mills and
Roderick Freemantle &
Peter Midlane
Your prizes are on their way to you,
Well done!!
This is what Patrick had to tell us
about Art Times:
1. What content do you enjoy in the
Art Times. ?
I enjoy the typical contents of your
paper - news of artists and exhibi-
tions, gallery shows and crits, and
not least - the ads of the artists/gal-
leries round the country, showing
samples of their work/stock. I also
like the warnings of scams, dubious
dealers etc and feel they are a good
warning to
those in the trade to be fair or be
exposed. (How is your libel insur-
ance cover ?).
2. What other content would you like
to see in the Art Times ?
Would be good to see a few more
others
69 Eleventh Street, Parkhurst
T. 011 327 1384
www.stewardgallery.co.za
The Thompson Gallery
14 September - 16 October - ‘De-
fining Moments’ by Billy and Jane
Makhubele, Jurgen Schadeberg,
Susan Woolf, Johannes Mas-
wangani, Beverly Price and Roy
Ndinisa.
78 Third Avenue, Melville
T. 011 482 9719
www.thompsongallery.co.za
Pretoria
Magpie Gallery
06-25 September - ‘Dabbling in
Digital Dichotomies’ featuring dig-
ital works by Edna Gee,Francois
Jonker, Janet Botes, Givan Lotz,
Anneli Botha, Daandrey Steyn,
Shanti Coetzer, Rupert de Beer,
Martin Osner, Stefani Smit, Sara
Noche
Shop 21B, Southdowns Shopping
Centre, Centurion T. 012 665 1832
www.magpie.co.za
PLAT FORM on 18th
04-27 September - ‘Interface’ - An
exhibition of new works by Heleen
Schröder and Nicolene Louw
232 18th Street, Rietondale,
Pretoria
Kwazulu Natal
Durban
artSPACE Durban
Until 13 September - Fibreworks
V - ‘Mark in (g) Time’ and Michele
Silk - ‘Form-less’
3 Millar Road, Durban
T. 031 312 0793
www.artspacedurban.co.za
DUT Art Gallery
05 September - 08 October
- Sabelo Khumalo, Nothando
Mkhize and Nozipho Zulu - ‘Co-
temporary Existence & the Move-
able Arts Feast’
1st Floor Library building, Steve
Biko Campus,
Durban University of Technology
T. 031 373 2207
Fat Tuesday Gallery
07-18 October - Helena Vogelzang
articles on the long established
galleries, like Reeva Cohen in the
Atlantic Gallery in Wale St. These
are part of history and we shoud
read about them before they depart.
Not all can be honoured with shows
like Joe Wolpe .Also please continue
reviews of public galleries round the
country - reminds one to visit when
one in in that part of the world. I’d
also like regular pieces on auction
prices of art.
3. Do you approve of the general
writing style ?
Fine, but one question - who edits
the editor’s editorial ? When he
writes one, which I notice he doesn’t
always do, they sometimes look a
little (ahem) hasty.
4. Would you buy The Art Times if it
sold for R10 - R15 ?
Yes, but please don’t put a price on
it. There must be many struggling
artists who pick up a copy because
its free and who simply would’nt if
it had a cover price. Regard it as a
- ‘Modern Icons’
Block e Bellevue campus Bellevue
Road Kloof T. 031 717 2785
www.fattuesday.co.za
Kizo Art Gallery
06-28 October - Lambert Moraloki,
Brigitte Hertell and Tracy Payne
Shop G350 Palm Boulevard
Gateway Theatre of Shopping
Umhlanga T. 031 566 4322
www.kizo.co.za
KZNSA Gallery
Until 14 September - Maxnormal
TV - Goodmorning South Africa
166 Bulwer Road, Glenwood
T. 031 2023686
www.kznsagallery.co.za
Zombeza Art Gallery
Every 1st Saturday - ‘Art al Fresco’
- Local artists including Warwick
Locke, Wendy Beresford, Louise
Ghersie, Vicky Cressy, Burgen
Thorne, Mike Norris and Peter
Feek.
KZN Aladdin’s Corner, Nottingham
Road T. 033 2666460
Western Cape
Cape Town
34 Long Fine Art
Until 06 September - ‘Face 08’
- Group exhibition
09 September - 04 October
- ‘Urban/Pop’
34 Long Street, Cape Town
T. 021 426 4594
www.34long.com
Bell-Roberts Gallery
Until 19 September - ‘Print 08’
176 Sir Lowry Road, Woodstock
www.bell-roberts.com
Blank Projects
04-26 September - Bianca Baldi
- ‘Him and Her (2008)’ and Niklas
Witteberg
01 -24 October - Katherine Bull
- ‘data capture - a muse’
198 Buitengracht Street, Bo-Kaap,
Cape Town
www.blankprojects.blogspot.com
The Cape Gallery
Until 13 September - ‘Impact’ - A
wildlife exhibition
14 September - 04 October
- Adolfo Mcque - ‘Viewpoint’
contribution to spreading the word
among the lesser privileged.
5. Would you object if the Art Times
was printed on newsprint in order to
carry more pages ?
NO PLEASE keep quality paper.
Just compare back issues to see
how the issues during the period of
newsprint have dulled and look tatty.
Your current paper quality is super
and makes the editions WORTH
KEEPING.
6. What is your profession ?
Retired private banker - now art
columnist on Hermanus Times.
7. Which other local and interna-
tional publications, websites, do you
follow ?
Weekend edition of the UK Finan-
cial Times - good arts coverage as
well as general and business news,
interesting colour supplements and
at R18 excellent value. Also the auc-
tion houses’ catalogues and promo
mailings, and Art Quarterly (journal
60 Church Street, Cape Town T.
021 423 5309
www.capegallery.co.za
Curious Whetstone & Frankley
03-16 September - ‘Spring Tee
Party’
87a Station Road, Observatory
T. 021 448 8780
Erdmann Contemporary
Until 27 September - ‘New Comic
Art’ - Group exhibition by Karlien
de Villiers, Norman O’Flynn, Daniel
Popper, Mxolisi Sapeta, Jacqui
Stecher and Leonora van Staden.
63 Shortmarket Street, Cape Town
T. 021 422 2762
www.erdmanncontemporary.co.za
Goodman Gallery - Cape
Until 06 September - ‘Monomania’
10 September 2008 - 05 January
2009 - Josephine Meckseper and
Mikhael Subotzky - ‘New Photog-
raphy 2008’
3rd Floor, Fairweather House
176 Sir Lowry Road Woodstock,
Cape Town T. 021 462 7573/4
www.goodmangallerycape.com
Iziko SA National Gallery
Until 16 November - Albert Adams
- ‘Journey on a Tightrope’
Government Avenue, Company’s
Garden T. 021 467 4660
www.iziko.org.za
João Ferreira Gallery
03-27 September - Araminta de
Clermont - ‘Life After’
08 October - 01 November
- Michael Pettit’s - ‘figurative
and abstract painting’ - a double
exhibition
70 Loop Street, Cape Town
T. 021 423 5403
www.joaoferreiragallery.com
Michael Stevenson Gallery
04 September -11 October - Berni
Searle and Youssef Nabil
Ground Floor, Buchanan Building,
160 Sir Lowry Road, Cape Town
T. 021 462 1500
www.michaelstevenson.com
Urban Contemporary Art
Until 13 September - Anthony
Mlungisi and Robin Jones - ‘Feel-
ings and Fantasies’
46 Lower Main Road, Observatory,
Cape Town T. 021 447 4132
www.urbancontemporaryart.co.za
of the UK Art Fund, is good).
8. Would you like to receive art
news alerts - if so in what form ?
Yes, a weekly e mail would be
excellent.
9. Have you thoughts and ideas
regarding the South African Art
Media ?
Don’t see any on TV. Radio is not a
visual medium but can be a useful
guide. Don’t want to pay R100 -+ for
other glossy SA art journals. Viva SA
Art Times !
Samples of some random comments
from readers that our judges particu-
larly valued and enjoyed:
“This is a good publication - it caters
for a very wide range of interested
parties: dealers, artists, buyers etc
and does not exclude the “Sunday
Painter”.
“This is a good time for SA artists
internationally - not just painters and
Whatiftheworld Gallery
04-27 September - Georgina
Gratrix – ‘Master Copy’
First floor, 208 Albert Road
Woodstock T. 021 448 1438
www.whatiftheworld.com
Franschoek
The Gallery at Grande Provence
Until 10 September - Exhibi-
tion by three well known South
African artists - Paintings by Philip
Badenhorst and Rina Stutzer and
ceramics by Helen Vaughan
Main Road Franschoek
T. 021 876 8600
www.grandeprovence.co.za
Stellenbosch
Die Dorpstraat Gallery
Until 30 September - ‘Antidote’
- Paintings by Theo Kleynhans
and sculpture by Ruhan Janse van
Vuuren
144 Dorp Street, Stellenbosch
T. 021 887 2256
www.dorpstraatgalerie.co.za
Stellenbosch Art Gallery
Permanent exhibition of Conrad
Theys, John Kramer, Gregoire
Boonzaier, Adriaan Boshoff and
other artists.
34 Ryneveld Street, Stellenbosch
T. 021-8878343
www.stellenboschartgallery.co.za
Knysna
The Dale Elliott Art Gallery
Oyster Festival exhibition on Knysna
and her surrounding areas
Woodmill Lane Shopping Centre,
Knysna, 6570 Tel: 044 3825 646
www.daleelliott.co.za
Villiersdorp
The Elliott’s Art Gallery
Exciting Winter exhibition of latest
works by Dale and Mel Elliott.
80 Main Rd, Villiersdorp, 6848
Tel: 028 840 2927
www.daleelliott.co.za
sculptors, but actos, film makers and
musicians. We’re not inclined to be
derivative quite as much as we used
to and have proved that we can set
trends, rather than just follow what
Europe and America dictates.
“Ek geniet die fotos so baie aanges-
ien ek op ‘n afgelee plaas in N Kaap
ble en het geen Internet nie “
“As long as Art Times is published
regularly, there is less need for art
news alerts as information ovverload
is a challenge”
Some ‘shock’ artists get media
coverage for their bad, pathetic art
only because they want to shock the
viewer !”
“More coverage needed from other
provinces than Cape Town.”
“Would like to see more images and
more personalised interviews and
some art crits too”.
 AROUND THE GALLERIES

Nelson Mandela and Graca Machel share a moment of happiness at the Mandela@90 art show
Pastel by Hanneke Benade to be shown at The Everade Read Gallery - Cape Town from 18 September 2008.
curated by Natalie Knight at the Constitutional Court ealier this year
(Image courteously supplied by Everard Read Gallery, Cape Town)

(Full detail) Still of Berni Searle’s - Seeking refuge series 6, Showing at Michael Stevenson Gallery, Cape Town A bronze statue of Nelson Mandela was unveiled outside the Drakenstein Prison by Jean Doyle. The 490kg,
4 September - 11 October. See more at www.michaelstevenson.com 3,2 meter the statue depicts the former president as he left the prison. The project took four months to complete.

A work from Sharlene Khan’s exhibition entitled: What I look like, what I feel at Gallery Momo. Challenging Mud (After Kashua Shiraga) by Johan Thom. Honey, Gold leaf and mud - a private performance in which
See more mages at www.gallerymomo.com he was to be buried alive by his wife and a close group of friends. See Jozi and the (M)other City at www.jamc.co.za

Invite image from Artist in residence by Sita Moyo, Ndikhumbule Ngqinambi and Hans Wilschut (Netherlands) for the
Storm clouds over the Karoo by Erik Laubser. See October’s SA Art Times for details
Bag Factory Artist in Residence Show Johannesburg 10 - 17 September. see more detail at www.bagfactoryart.org.za
Page 10
ART PIG
Alex Dodd
Egalité! Liberté! Sexualité!
Arriving in Paris this summer, I
checked into the Hotel Beauvoir,
dumped my bags and took a long
walk through the streets of the
Latin Quarter, where, 40 years
ago, the students of Paris took to
the streets in a social and cultural
uprising that went down as one of
the greatest upheavals in French
society since the Revolution. Half
way down Boulevard Saint Michel
I came upon a square onto which
spilled forty café tables abuzz with
students drinking pitchers of table
wine in the summer sunshine.
In the middle of the square was
an installation of large black and
white photographs of barricades,
overturned cars, students and
helmeted police facing off on the
very same boulevard 40 years
ago. Egalité! Liberté! Sexualité!
These are the words resounding
in my head two months later as
I stroll through Joburg’s Art on
Paper gallery taking in the current
show of works by South African
legend Walter Battiss, simply
called Prints. The most exhilarat-
ing and unexpected aspect of
the show is a series of silkscreen
prints made by Battiss in 1969 and
1970, when he visited Hamburg
and London. Although these
images hum with the same sexual
charge that informs the more play-
ful, brightly-hued graphic creations
we more readily associate with
Battiss, they are completely
stylistically different, attesting to
the extraordinary diversity of his
oeuvre and wondrous capability to
constantly reinvent himself.
These remodelled black and white
photographic cutups evoke the
magazine and cinematic worlds of
the late Sixties European under-
ground – the Prague Spring and
Paris 1968, when students fought
for the right to wear long hair and
purple trousers.
In Untitled (artist’s silhouette), the
figure of the artist is transposed
as a slab of monochromatic white
absence onto a black and white
image of a beautiful young art
school Apollo leaning against a
wooden door with his hands in
his pockets. A pop art speech
bubble suspended above the
young man’s head is a similar void
of whiteness. It is a wonderfully
sexual work, in which the viewer
takes up the space of the artist as
voyeur, looking upon the beauty
of this dreamy young man like
the lustfully pained Gustav von
Aschenbach in Thomas Mann’s
Death in Venice.
Like other works in this series,
which feature the honed bodies of
naked young men and long-haired
androgynous hippies hanging
out on the underground scene
in Hamburg, this silkscreen is
unapologetically homoerotic.
‘These prints were very radical at
the time they were produced,’ says
gallerist, Alet Vorster, ‘which is
possibly why they weren’t included
on exhibitions at the time.’
Now, 40 years down the line, there
is something so timeless and allur-
ing about these renegade Battiss
prints. They are imbued with all
the blurred sexuality and idealism
of Bernardo Bertolucci’s The
Dreamers, in which the tumultuous
political landscape of Paris ’68
serves as the backdrop for a tale
about three young cineastes who
are drawn together through their
passion for film.
And as with Bertolucci’s movie
there is something of a bitter-
sweet paradox in these images
– their immersion in a vital and
heady youth culture that is now
long gone and defunct. Yet the
spirit of the times remains the uto-
pian honey of the bleak contempo-
rary moment.
I am reminded again of Paris and
of the number of black skinny
jeans-clad, scruffy-haired loners
I saw wandering about the Boul-
evard Saint Germain, each with a
different take on Cate Blanchett’s
incarnation of Bob Dylan in Todd
Hayne’s recent cult biopic, I’m Not
There. Why this pop cultural need
to inhabit Dylan’s dreamy poetic
persona now? Why this harking
back to Flower Power and San
Francisco circa 1967?
It seems to me that in this much
more cynical and broken age,
some defiant dreamers are daring
to look back over their shoulders
at a time when that utopian
impulse was a headline-fuelling
raison d’etre. There is something
strangely hopeful and regenerative
in looking back at these images of
a lost time when young idealists
across the globe staked their
destinies on the dream that life
could really be different and whole
lot better.
Talk of the Town
What’s happening in Johannesburg, Durban and Cape Town
THE ART
COWBOY
Peter Machen
There was something just vaguely
apocalyptic going on at ArtSpace
Durban this August in the group
show Formation. Featuring four of
Durban’s most talented painting
talents – Grace Kotze, Dee Donald-
son, Anet Norval and Janet Solo-
mon – and curated by Kotze, the
show attempted to give the viewer
an insight into the physical and
psychological process of producing
works using text, photographs and
sketches.
On one level – that of technical
virtuosity where the art viewer looks
carefully at the brush strokes and
declares the actual level of compe-
tence of the painter, like a scientist
analysing a blood sample – the
show succeeds admirably. But it
does so, in fact, because that level
was invisible, as virtuosity always
should be. You become transfixed
by the song not the singer, by the
painting not the paint.
And indeed I was transfixed by the
fusion of narratives and emotion
on display, so much so that the
medium itself became irrelevant.
The work on show in Formation
were paintings, but they might just
as eaily have been cinema or video
art or installations or memories or
dreams. And even when I started
doing the blood analysis thing
– with Janet Solomon’s stag-
geringly detailed Susanna – its
ominousness and otherworldly
depiction of an incredibly natural
landscape kept on pulling me back
out to the big picture.
I have to say, though, that I wasn’t
that engaged by the documenta-
tions of how the work was formed.
That may simply be the philistine
in me talking, or it may be that the
works were all so strong, said so
much, that I didn’t want to see the
invisible strings that held everything
together. It might also be the case
that the documentation would
– strangely enough – have been
more gripping without the presence
of the final artwork.
With its fusion of brooding 21st
century urban landscapes, naked
human bodies and verdant nature,
it’s tempting to suggest from the
collective work, including Jacki
Bruniquel’s work in the rest of the
gallery in which she chronicles
the destruction of the natural land-
scape in Umdlhoti, that man is the
apocalypse and woman the edenic
state. But I’m not actually going to
say that, except to ramble on about
the fact that sometimes things can
be both true and untrue, and that
sometimes it’s okay to leave an
unmediated thought hanging in
the air. But the tensions that exist
between the urban virus and the
planet’s natural state – which is,
even with all the crime and violence
and recession, our most contempo-
rary concern – were beautifully and
hauntingly expressed at ArtSpace
– without any need – or desire – to
be even remotely didactic.
Sometimes it also okay to leave
extremely mediated thoughts
hanging in the air. Greg Streak’s
cloud from his gorgeously minimal
but deeply felt Accumulative
Disintegration exhibition at Bank
Gallery was one of the most power-
ful art objects I’ve encountered
this year. An inverted arc, much
like the blade of a herb-cutter,
hung from the ceiling, it bottom
surface covered entirely in razor
blades. The work power exists on
many layers and dimensions, but
its strongest feature was a kind
of inverted vertigo, the feeling of
being gravitationally attracted to
the blades. It would be easy to
complain about the brutality of the
piece, to write it off as yet another
exercise in masculine cruelty. But
to do so would be to ignore the
fact that we live in a reality, that
while full of joy, is also extremely
brutalised. And Streak is clearly
also hurting, as evidenced by the
moving work called Envelopes For
Tears, composed of hundreds of
little envelopes made from electri-
cal tape. The rest of the work also
impressed, but what lingers most
in mind was how the exhibition
melded itself to the gallery space
and the space to the work. It was
as if the gallery itself has acquired
a living breathing skin, and was ex-
periencing the pain of the world. As
for the joy of the world, there were
hints of it but they were outside the
room shining in. Inside only beauty
illuminated. And beauty is not joy,
despite the special relationship
they share.
Finally, check out the astounding
group show Production Marks
which is currently on exhibition
at the Goethe Institut in Pretoria,
having just shown at the KZNSA
Gallery. Curated by the gallery’s
Brenton Maart, the work which
explores the relationships between
art, geometry and architecture,
opened to much acclaim in Gra-
hamstown earlier this year.
Don’t miss out on this startling and
uxexpected mix of national talent.
And even if you’ve already seen
the show, Maart’s curatorial talents
will no doubt ensure that in a new
space, the exhibition will be born
anew.
South African Art Times.
Alex Emsley
THE ARTFUL
VIEWER
Melvyn Minnaar
More than Beautiful Botanicals
Maybe the person, making the
sideways comment, wasn’t all too
comfortable either at being seen
at an exhibition of pretty flower
pictures. But he had to say his say,
implying some deeper questions:
“What on earth is he doing here?
Isn’t he an art critic who holds
forth on Clement Greenberg’s
modernism, or quotes Arthur C.
Danto whenever a postmodernist
argument gets tough?”
The perplexed speaker clearly
belonged to the snobby class
who takes its art categories very
seriously, and finds it imperative
to draw the lines between what
is allowed and what not when
one talks about art. It was the
hackneyed argument of ‘high’ and
‘low’ art all over again: the same
thing that rubbed up the snooty art
crowd the wrong way when beads
and blankets appeared in the SA
National Gallery as our democracy
was dawning.
Of course, the puzzled person at
the exhibition of flora was there for
the same reason as the famous art
critic: to look and enjoy, to engage
and appreciate a very specific
mimetic art medium. The occasion
was another of the increas-
ingly-popular biennial Kirstenbosch
exhibitions of floral imagery.
In shorthand referred to as ‘botani-
cal art’, the pictures of flowers and
plants on display represent not only
a unique category of illustration that
has a long ( and, yes, romantic)
history, but it stands within an
established tradition that more than
anything connects science with art.
In short, it has everything to do with
accuracy of documentation, preser-
vation of information and recording
of historic and empirical facts of a
natural phenomenon.
This is the reason why these
are images in which remarkable
attention is given to detail: the true
showcase of the artist’s illustrative
skills. For this, rewards are an-
nounced and medals handed out. If
some of those pale, anti-bourgeois
souls are rankled by this act of
acknowledgement, so be it. The
appeal of finely-executed drawing
is universal -and this could well be
the draw card for those of us who
flock.
But, as we have learnt from the
postmodern prophets, what the eye
sees is not necessarily the ‘truth’.
Here’s a very interesting situa-
tion: if ‘botanical art’ was simply
documenting a good-looking flower
or even a not-good-looking plant,
why not simply take a high-defini-
tion photograph and stick it in the
herbarium’s records?
September 2008
What is fascinating about this
particular art - the one that engages
with flora exclusively - is that it
often seems to record more than
simply the immediate visual truth.
Anyone who scrutinised the great
botanical illustrations by artists like
James Osgood Andrew, Franz and
Ferdinand Bauer, Elizabeth Black-
well, and even our own legendary
Harry Bolus and Cynthia Letty may
have experienced a feeling that
they witness more than superficial
images. When good, it is as if the
artist relays and puts across a
sense of place and circumstances
in the image.
The classic botanical illustration
was typically executed as a water-
colour painting, which is, as we all
know, a demanding medium. Tradi-
tion called for ‘life-like’ depiction,
usually done to life-size or indicated
scale. The flower is presented front
and back, open and in bud , seed,
and possibly with root system.
In the modern invention of the
botanical illustration, we often seem
a ‘style’ of presentation that used
to be called ‘photorealism’. (That
was when art critics felt everything
had better be categorised!) A form
of painting (or other illustration)
that sets itself purposefully up as
antithesis of the ‘reality’ that can
(theoretically) be documented clini-
cally with a camera, the best pho-
torealism imagery has a manner
of unsettling the viewer, triggering
dynamic engagement.
Something similar happens in the
best of contemporary botanical
illustration.
This month sees the fifth Kirsten-
bosch Biennale (from September
10 to 24), and the invited guest
curator for 2008, Karen Stewart, is
well suited to talk about the above.
For her masters degree from Stel-
lenbosch University, she curated
a show entitled Curiositii, which
commented on botanical practices
of annotation and display derived
from the sixteenth and seventeenth
centuries. A key factor, she says,
in her curatorial practice is to make
artwork accessible to people from
all walks of life.
Stewart’s involvement is another
step in the increasing stature of the
Kirstenbosch Biennale. Inaugurated
in 2000 by Merle Huntley, the show,
standards and scope of artists both
from South Africa and beyond have
steadily grown over the years.
Some 50 artists participate in the
biennale Amongst the art this
year are paintings by Simthembile
Kewuti, a young botanical artist
from Paarl who was tragically
murdered in April this year. It had
been his dream to exhibit his work
on the biennale.
Organised by the South African Na-
tional Biodiversity Institute, whose
brief it is to make South Africans
more aware of our natural heritage,
and sponsored by Old Mutual, the
biennale - the only exhibition of its
kind in South Africa - is an impor-
tant local marker for botanical art.
Don’t miss it. Even if your snooty
arty pals object.
* The Kirstenbosch 2008 Biennale
is at the Old Mutual Conference
Centre, Kirstenbosch National Bo-
tanical Garden. Entry to the show is
free, as are the walkabouts that will
be conducted by well-known artists
and critics. A series of lectures
about various aspects of botanical
art, and workshops by Gill Condy
and Di Carmichael form part of the
programme.
South African Art Times. September 2008
Rossy sleeping, Madrid 2007 by Youssef Nabil 4 Sep - 11 Oct at The Michael Stevenson Galley, Cape Town
Tall blue vessel with spiral pattern by Peter Beard - one
of the judges at The Corobrick Ceramics Exhibition
Karlien de Villiers, Fetish, acrylic on paper, 2008
see more at www.erdmanncontemporary.co.za
Pamela Stretton - the ambivalence of eating.
Digital print on foam.
AROUND THE GALLERIES
One of the inspiring images for Strydom van der Merwe’s
new litho series to be seen at www. artistspress.co.za
Athi-Patra Ruga …of bugchasers and watussi faghags - a
solo exhibition by Athi-Patra Ruga Until 20 September at
www.artextra.co.za
Work by Lawrence Lemaoana at www.artextra.co.za
Page 11
Viewer at the Nora Newton’s exhibition at Dorp Straat Galery. www.dorpstraatgalery.co.za
Rowan Smith’s Dot-Matrix Loop - 2007 Mixed media Di- The International Art Exhibition for Human Rights
mensions variable. See whatiftheworld.com for more details (Truth, Compassion and Tolerance) is finally in
Cape Town, after traveling the world since 2006.
It’s already been to every continent and over 50
major cities worldwide. The paintings will be on
display at V&A Waterfront, Lampside Court, 9-22
September. See www.falunart.org for details
New work at newly opened Kunshuis in Cape The Kiss by Robin Jones, at Urban Art,
Town. Show entitled Super women Observatory, Cape Town
Image from Charles Maggs exibition entitled Zombie at the AVA Gallery,
Cape Town until 12 September. See www.ava.co.za
Page 12
Wonderboy Nxumalo 33
Wonderboy Nxumalo, the
renowned ceramicist from
Ardmore Ceramic Art Studies in
KwaZulu-Natal, died at his home
in Greytown on Sunday, August 3,
aged 33.
Born in Greytown in 1975, Nxuma-
lo’s artistic talent was recognized
from an early age and he began
an apprenticeship in 1994 with Fee
Halstead-Berning, the founder of
Ardmore Ceramic, which currently
employs 80 Zulu women and men
and is internationally known for its
ceramic art.
Halstead-Berning encouraged
Rory Palmer, a truly free and
original young spirit in the Cape’s
art world, left the scene suddenly
and tragically on 13th August in
Nxumalo to further develop his
unique style instead of imitating
other artists and his developing
ceramic style became prized by
international collectors. His work
has been praised for its provoca-
tive poetry and surprising fusion
of distinct elements. Nxumalo was
seen as someone who discovered
the potential of ceramics to con-
nect with people and communicate
his love of life through storytelling.
Nxumalo travelled to Ardmore Ce-
ramic exhibitions that prominently
featured his work at Groote Schuur
in Cape Town and Christies in
Copenhagen.
He fell from a rooftop while watch-
ing a meteor shower with some
friends. He was 25 years old.
OBITUARIES
London and he attended the Inter-
national Ceramic Festival in Wales
as a guest artist.
In remembering Nxumalo,
Halstead-Berning said: “Wonder-
boy developed an art all his own. It
was the art of giving. He watched
Rory Palmer 25
He was based in London at the
time of his death and was visiting
Denmark.
Rory himself made a meteor like
over aspiring talent with the same
patience he showed when he was
drawing and painting. He had an
uncanny sensitivity; he always
knew when other artists and
myself needed a lift.”
Nxumalo is survived by his mother
appearance on the Cape Town
gallery scene with his startling and
short-lived “Dirt Contemporary”
gallery which he opend in Kloof
South African Art Times.
Glodia Kanyile, sister Londie Nxu-
malo and his wife-to-be Sibongele
Sikhosana.
Contributions to honour Nxu-
malo may be made to the Ardmore
Excellence Fund, a Section 21
Company dedicated to training,
Street in 2006 with his girlfriend
Elodie.
Dirt Contemporary Gallery was
September 2008
health and wellness of artists and
their families at Ardmore Ceramic.
Contact
Angela Gill (033) 234 4869
known and appreciated by many
artists for its unqualified support
of emerging talent, regardless of
whether or not it was a commercial
prospect. The pair were evicted
by the landlord after a few months
and Rory then left South Africa to
continue his art studies in Europe.
He had studied art and design
at school and Fine Art for two
years at Rhodes University, where
his father was professor of the
Anthopology Deaprtment. His
mother Anne Pope works at the
Private Law faculty at UCT and
said of Rory:
“Rory saw the world differently and
his gallery project forced the art
world to reflect on its ways, even
if this made things uncomfortable
for them. Regarding his own work,
he was severely self-critical, often
unfairly - always seeking to be
perfect but also to provoke”
The first exhibition held at the
gallery was for photographer Jan
Verboom of Roodebloem Photo-
graphic Studio. Jan remembers:
“Rory was much younger than
me and I loved the ego-driven
enthusiasm he put into launching
the gallery, decorating the place
and making it look really good. It
had been a shop and he painted
it all white and with the afternoon
sun shining through the windows it
made a great space for my show.
I sold a few pics and he was very
pleased with that ! It was impor-
tant to him that I do well and I
found that generous and touching”
South African Art Times. September 2008 Page 13

Marina Aguiar
“The Muse and Shaman”
bronze sculptures, etchings
and mixed media works

Exhibition opens 9 September

Alliance Francaise of Johannesburg

17 Lower Park Drive,
Corner Kerry Road,
Parkview. T 011 646 1169

Hout Street Gallery

David and Gail Zetler

270 Main Street, Paarl, 7646

Phone + 27 (0) 21 872 5030

Fax + 27 (0) 21 872 7133
E-mail: zetler@icon.co.za
www.houtstreetgallery.co.za

Conrad Theys, Kappertjies 30 x 26 cm Pastel

Cape Town’s largest contemporary art gallery

exhibiting works by leading South African artists

Exclusive

Carmel Art distributors of

Pieter
66 Vineyard Road, Claremont van der Westhuizen
Ph: 021 671 6601

Fiona Ewan Rowett

etchings
Email: carmel@global.co.za
Website: www.carmelart.co.za full selection on website
0832673013 rorowett@altonet.co.za
Page 14
Exploring the ABC’s of Sandton Central
By Taryn Cohn
Sandton Central is labeled as the
“Richest Square Mile of Africa”.
It’s a district synonymous with
Acquisition, Big business and
rampant Consumerism
In a recent visit to find out more
about their winning of a BASA
Award for one of their public
art programms (the Illumination
Project- the “Why Men” by artist
Usha Seejarim), what I found was
an ethos that sees a very different
set of ABC’s at work- Art, Big
Brother and Community.
Johannesburgers fall into two
groups. Those who get it, and
those who don’t. Everyone has
a few of both in their social circle,
to be counted on to rehash the
debate at every dinner party.
Those that don’t get it are the ones
who can recite the entry require-
ments for Australia, Canada and
good old London in such detail,
and so often that you’d wish they
had left already.
Those who get it are the people
who can see through the intermit-
tent darkness onto the other side
of the congested, and sometimes
collapsing roads to where the city
is heading. Fortunately it seems
that the latter are beginning to tip
the scales in their favour.
Sandton Central is an area made
up of three city improvement
districts, that falls within the
boundaries of Sandton Drive,
Katherine Street into Rivonia Road
and Grayston Drive.
“In the research that preceded
the set up of the Sandton Centrals
Management District (SCMD)
it was found that most people
believed that Sandton is soulless”
says Cara Reilly, Marketing Man-
ager of the SCMD. “ It was likened
to a mine in reverse, where people
arrive and ascend their office
towers to work and are not seen
for the rest of the day, until they
surface again to go home.”
As a place where some of the rich-
est people in Africa eat, play, work
and live, it was felt that the public
spaces don’t mirror the private
spaces. It was with a mandate to
change all this that the SCMD was
set up.
According to the policy statement,
the development of the Sandton
Central Arts Programme Strategy
was aimed at re-inventing Sandton
Central. It is supposed to integrate
with the area’s marketing strategy,
urban development framework
and property development plans
for the area so that it has a lasting
influence and actually affects the
public environment.
Good jargon, but what does it all
mean.
A Management District (often
referred to as a City Improve-
ment District, CID) is a defined
geographical area within which
property owners agree to pay for
supplementary and complimentary
services such as improved secu-
rity, cleaning and maintenance of
public spaces. The objective of
a CID is to add value to the com-
mercial investment of the property
owners.
Simply put, the property owners
in an area need to protect their
interests and ensure the value
of their investments stay high by
improving the area their proper-
ties or businesses occupy. In real
terms, it means protecting the
private spaces by managing the
public ones.
“Art was seen as a way to bring
the soul back to the streets of
Sandton Central” says Reilly.
Art has been a fundamental ele-
ment of the district’s planning since
2005.
Launching as a mural painted
along Maude Street, managed by
the Trinity Session, depicting ac-
tivities of the stock exchange, the
Sandton Central art experiment
began small, and was apparently
well received.
How, I asked, can you tell that?
“ In the four years since it was
painted, this mural has not once
been vandalized- no graffiti. The
mural is still intact.”
Rather than a nice add on, art has
since been intrinsic to the plans
of the district, being incorporated
in small and large ways into plans
for public spaces, public amenities
and facilities.
“It’s about reinstating public
spaces using art”
The Why Men project, which saw
a series of illuminated wire men
wrapped in rope light engaged in
every day tasks placed around the
district, earned the District a BASA
ward earlier this year. This project
was the result of a little bit of
ingenuity and a while lot of trouble
shooting.
The illumination project launched
during the festive season in 2006
saw 500 trees wrapped in lights.
For the 2007 season, and inspired
by a similar project from Turin,
Italy, the SCMD wanted to use the
same rope light strung across the
streets in designs developed by
artist Usha Seejarim. They then
discovered that the street lights
and poles over the designated
spots were positioned erratically
and made it near impossible to
string anything across the streets.
“So we sat with 5km of rope lights
and unusable designs” says Reilly.
“ Usha said give me a week and
she came back later with the Why
Men concept. It was simple, yet so
unique.”
“And you should see the designs
for this year- “Why men” hanging
in trees and huge “Why Men”
embracing buildings – hope we
have the money to do this!”
And the inevitable question, how
can they illuminate Sandton Cen-
tral in the current energy crisis?
“ We’re exploring solar power and
battery options and tapping into
private power sources. But we are
also chatting to City Power about
how the power draw would affect
the area if we did tap into the
national grid”.
The restoration of the old fountain
on the corner of Maude Street and
Rivonia Road as a public space
complete with benches and mosaic
spaces was another success story.
Another project managed by the
Trinity Sesstion, within the space
of a few months the space was
transformed.
“Mothers were pushing prams
and people came down from their
offices to eat their lunch on the
benches”.
And then the train came…as
did new phone cables, and the
constant flow of developers in and
around the area.
Driving through the streets of
Sandton as a whole is a real chal-
lenge these days, where it seems
that the holes in the ground from
the never-ending building develop-
ments, infrastructure upgrades and
Gautrain works are as deep as the
cold skyscrapers are tall.
These developments have halted
the plans to place artists’ designed
custom benches Individually
sponsored by the occupants of
Sandton, such as Bowman and
Gillfillan, Tiber, Discover, the JSE
South African Art Times.
and Investec to name a few, the
BenchMark Comssion project is
an urban furniture programme that
redefines public spaces through
the use of utilitarian art.
Artists and designers have been
commissioned to design the
benches, which will be located
around the public spaces of the
district and are aimed at inviting
people to actually sit down and
enjoy the area.
“The streets of Sandton Central
are forever being dug up. If it not
new telephone cables, then it’s the
city utilities repairing infrastructure
. The problem with projects like
this is that we can’t wait until the
‘one day’. If you stop moving
forward, you regress,” says Reilly.
“I’ve just decided to go ahead
and they must dig around my
benches”.
Public furniture is all very well and
good but it brings with it a whole
new set of management challeng-
es, that of allowing the residents to
September 2008
utilize the facilities, without encour-
aging “local residents” to take up
the invitation of a more permanent
open air address.
Enter big brother. It would seem
that a charmed life in Sandton
Central, like most places in the
world is a see-saw balancing act
where, the price of public safety is
privacy.
With fifty public safety ambassa-
dors on the streets and ten CCTV
camera “we know every pothole in
the area and can see exactly what
the guys are up to.” says Reilly.
The flipside is that the Sandton
Central Management District, with
one of the highest concentration
of the most expensive cars in the
Africa, has only seen 5 hijackings
in 4 years
With two public “art parks”, a herit-
age project and a public exhibition
project in the future most would
say that pervasive security is a
small price to pay for being able
to take advantage of the weather
and nature that makes so many
of us stay in South Africa. I would
certainly sit under a tree rather
than only view it from my office
window.
Home to the JSE, and the offices
many of the most powerful men
and women on the continent,
Sandton Central is without a doubt
the seat of power in Africa. And a
beautifully designed seat it might
turn out to be after all.
Taryn Cohn works for
Johannesburg based art agency,
ArtSource.
South African Art Times. September 2008 Page 15

What’s on at Iziko

Long Street hotel development

brings artistic tinge to luxury living
By Patrick Burnett
Having a good old South African
joll with a strong artistic tinge is
now a lot easier with the opening
of The Grand Daddy in Long
Street, a four-star hotel mixing
theater, food and a place to stay.
Hotel Group Daddy Long Legs are
behind the concept, having ac-
quired the Metropole Hotel in Long
Street. Co-owners Jody Aufrichtig
and Nick Ferguson have renamed
the building The Grand Daddy.
The hotel has 25 rooms, restau-
rants and a bar, but is also in the
same block as the Space Theatre,
which Aufrichtig and Ferguson are
in the process of restoring. The
theater is an iconic venue in Cape
Town. It was founded in the 1970s
and gained a reputation for playing
host to struggle theater. It will open
at the end of the year.
Aufrichtig said the redevelopment
of the Metropole Hotel, a historic
Georgian building, was costing
R4-5 million, but between the
Metropole and the Space Theatre,
cost price and redevelopment
amounted to “about R50 million”.
“We are trying to develop the
whole area, bringing the concept
of a joll for the night, watching
theatre and eating some good
food.”
The group already runs Daddy
Long Legs Independent Travellers
Hotel, a 13-room boutique back-
packer, which has been described
as “like sleeping in an art gallery”.
Each room is uniquely decorated
by an artist, poet, photographer,
designer or musician.
The Grand Daddy will feature a
similar approach, but offer more
amenities and luxuries, said
Aufrichtig.
Aufrichtig said rates would be set
at R945 per night, a price aimed at
guaranteeing volume and value for
money. The hotel will have a con-
ference venue and offer special
rates for corporates.
Aufrichtig said the approach
was geared towards offering a
value-for-money place to stay that
people would remember.
Heritage Day at Iziko Museums
This Heritage Day, Iziko Museums
are offering a bountiful programme
of events, all proudly homeg-
rown. To further commemorate
the occasion, entrance to all Iziko
Museums will be free to the public
from 22 – 28 September.
On Heritage Day, proceedings
begin with some Klopse Culture
influence, as the 150-member
Ashwin Willemse Orient March-
ing Band escorts visitors from the
Bo-Kaap Museum in Wale Street
to the Iziko Koopmans-De Wet
House in Strand Strand. Here, visi-
tors will enjoy a live re-enactment
of life and times of the famous
Marie Koopmans-De Wet – as
narrated by Ms Nothing, servant
of the elegant socialite. The per-
formance by the Rooster Theatre
Collective at Koopmans-De Wet
House, probably the Cape’s most
pristine house museum, will be set
against a soundscape of women
live performance, behind-the-
scenes tours and film screenings.
At Iziko South African National
Gallery, a variety of exhibitions
will be on view to which visitors
will have free access. These
include the opening of the Steven
Shore Exhibition, which marks the
Month of Photography 4. Shore is
noteworthy for being the youngest
person and the first living photog-
rapher to hold a solo exhibition at
the Metropolitan Museum of Art,
New York, at age twenty-four. The
exhibition has been organised and
sponsored by the Roger Ballen
Foundation, which is dedicated
to promoting the education of
photography and focuses on
bringing the work of international
photographers to South Africa.
Also opening on the 24th Sep-
tember at the Gallery, is Keepers
of the Music, an exhibition of
100 African musical instruments
which will be displayed as art
Another important exhibition is
Albert Adams: Journey on a Tight-
rope. This is the first retrospective
exhibition of the internationally-ac-
claimed, Cape Town-born artist,
who left apartheid South Africa
and lived much of his life abroad,
working, teaching and exhibiting in
London and elsewhere.
And of course, for children, there
will be a whole host of activities
including drum-making, creative
writing and photography work-
shops.
This wonderful pot-pourri of events
promises to be the perfect way
to celebrate Heritage Day. Iziko
Museums invite one and all to join
them.
For further details and the full
programme, contact Power at 021
481 3829 or visit www.iziko.org.za

ART HOLIDAYS in Magaliesburg singing and beading.
Further activities take place at the
Iziko South African Museum and
a Wildlife SAFARI! include poetry workshops, music,
pieces. The exhibition includes
audio- visual displays and music
workshops.

Epsac turns 90
Wellknown sculptor Charles GOTTHARD invites you to come
and join him for a weeks art doing sculpture or painting.
You will be staying in our lovely guest accommodation on the The Eastern Province Society of
Magalies bergriver with a Zen Spa and delicious healthy meals! Arts and Crafts (Epsac) celebrated
its 90th anniversary in August with
a special exhibition hosted at its
See our website on www.goblins.co.za building in central Port Elizabeth.
CONTACT; Marguerite Gotthard 0145771126/0829008205/ The exhibition, funded by Nedbank
Business Banking and Business
fax 0866469094/ e/mail outofafrika@telkomsa.net and Arts South Africa, featured
leading Eastern Cape artists and
opened on 16 August, the exact
day Epsac was launched 90 years
ago. Also launched at the exhibi-
tion was a booklet on the history of
Epsac written by historian Marga-
ret Harridine.
“I think what has been good about
Epsac is that it has provided space
for artists starting out as well as
established ones. It is a place
where leading artists exhibit and
where newcomers are welcome,”
said Sue Hoppe, vice chairperson
of Epsac, speaking about the
contribution Epsac had made
to the artistic community in the
Eastern Cape.