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

za | Member of the Global Art Information Group

- Art Leader - carved up vertically and horizon-

Jonathan
tally, with partitions and mezza-
nines. Main Street Life is a more
conventional industrial building,
with a rigid floor pattern.

Liebmann Much of the hype around Main

Arts on Main, Johannesburg
By Michael Coulson
Given that his father, Benji, is
the moving spirit behind the
Nirox Foundation, you might
think that Jonathan Liebmann’s
decision to develop the Arts on
Main complex was a deliberate
bid to extend a family tradition
of philanthropy in arts. But not
at all, he insists; his approach
came from the other side, to wit
property development, though
the influence of his wife Lauren
Wallett, an artist who used to
run a performing arts school,
shouldn’t be dismissed.
Liebmann’s inspiration was the
loft developments in areas like
New York’s SoHo and London’s
docklands, which had become
run down and virtually deserted
as the commercial and industrial
activities that were their original
raison d’etre had either declined
or migrated elsewhere. As cities
grew, at first artists realised that
these peripheral areas offered
large spaces for studios at cheap
rents; then, inevitably, property
developers grasped that here
were buildings that, however
neglected, were structurally
much more solid than many
recent projects, while as subur-
ban sprawl mushroomed, their
location was again becoming
attractive.
In Jo’burg, the Newtown
area was a (some would say,
half-baked) attempt at urban
regeneration. But the area east of
the old CBD, once the centre of
flourishing textile and clothing
industries and wholesale trade,
was both bigger and more chal-
lenging, lacking any existing
magnetlike Newtown’s Market
Theatre complex. Still, it has
better motorway limks and,
partly thanks to its proximity
to Ellis Park, both the Jo’burg
Development Agency
Daniel Naudé, Africans 12, Richmond, 4 April 2009. To be seen at African scenery and animals a solo exhibition by Daniel Naudé until 13 February 2010,
at The Brodie/Stevenson Gallery, Johannesburg.
and the corporate sector have
been beefing up the environment
and improving security.
Once Liebmann had decided
to take the plunge and lined up
financial backing, he moved
quickly. He bought the property
-- effectively just five empty
warehouses -- that became Arts
on Main in February 2008,
and the first occupant, William
Kentridge, moved in barely six
months later. Liebmann says that
Kentridge’s early commitment
was a major factor in establish
ing the credibility of the concept.
He says all available space has
now been taken up, though not
everybody has actually moved
in. About half the space is let out
and the rest sold on sectional
title. There’s a varied tenant mix:
individual artists, other creative
professionals, commercial galler-
ies and a restaurant. Interestingly,
while some commercial tenants,
like Goodman Gallery, the
Goethe Institute and David Krut,
have set up satellite operations at
Arts on Main, others, like
Image courtesy of Brodie/Stevenson
Bailey’s African Archives
(formerly at 44 Stanley Avenue)
and Seippel Gallery, have
moved lock, stock and barrel.
Given that, however laudable the
enterprise, neither Liebmann nor
his backers are charities, how
successful is Arts on Main? Is
it making money? It’s a private
business, and Liebmann is
unwilling to disclose any figures,
though he does say that -- as one
would expect -- the refurbish-
ment cost was a multiple of the
basic cost of the property.
Street Life has hinged on the
incorporation of a boutique
hotel, but this is actually a minor
component -- only 3% of the
total floor space, he says. The
ground floor will offer retail
and an entrance/gallery space,
there’ll be five floors of afford-
able residential accommodation
(studio and two-bedroomed flats)
for young creative artists, and
the top floor will contain seven
penthouses (one of which he
intends to live in) and the 12-
room hotel. The the roof will be
an event space with 360-degree
panoramic views. Occupation is
planned from June 1.
The residential floors will also
include common exhibition and
studio space for residents’ use,
while the 12 hotel rooms will
each be individually decorated
by an artist to reflect the 12
decades of the city’s history.
With residential rentals starting
as low as R2 800 a month, and
outright purchase at R290 000
(there’ve already been a few
sales), there’s obviously a risk
that, as has happened elsewhere,
early creative artist buyers will
be tempted to take profits and
sell on to investors. Liebmann is
aware of this, and hopes to limit
it. As at Arts on Main, the devel-
oper will sell only half the units
and keep the rest for rental, while
the rules of the body corporate
will also restrict how common
spaces may be used. It remains
to be seen how successful these
initiatives will be in preserving
the character of the building.
His backers can’t be too un- For a man who’s still in his 20s,
happy, though, as they’re already working largely on his own,
following up with the second, with no big corporate resources
and much more expensive, to back him up, Liebmann has
phase of the Maboneng (“Place achieved a lot in a short time. It’s
of Light”) precinct, a name he inconceivable that Main Street
coined to define an area that’s as Life is his ultimate ambition. On
broad and long as he cares past experience, within the next
to make it. This is Main Street year or so we may expect phase
Life, just a block away to the three of the Maboneng precinct.
east of Arts on Main, which will One can only hope that his reach
be a mixed-use development of a doesn’t exceed his grasp and
very different character. over extend him beyond what
Arts on Main was basically any individual, however driven,
big empty spaces that could be can physically keep tabs on.

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PAGE 02
Christie’s Could the art market be undergoing
announces 2009 a fundamental restructuring?
Global Art Sales
2010 will be a year of continued reshaping: auctions will remain smaller and private
Total $3.3 Billion
First Published in Art Daily
NEW YORK, NY.- Christie’s
International, the world’s
leading art business, today an-
nounced that 2009 sales totaled
£2.1 billion/$3.3 billion, a 24%
decrease in £ (35% decrease
in $) over 2008 sales. Sales
totals include private sales of
£265.7 million/$417.2 mil-
lion, a decrease of 1% by £ on
2008 figures, and reflect those
brokered by Christie’s as well
as sales conducted by Chris-
tie’s wholly-owned subsidiary,
Haunch of Venison.
In 2009, Christie’s achieved
56.4% global auction sales
market share against its main
competitor and sold 61% of the
works sold over $10 million
and 60% of the lots sold over
$5 million. Christie’s sold 4 of
the top 5 and 7 of the top 10
works of art sold during the
year. For the year, Christie’s
sold a total of 381 works of art
at auction for more than $1 mil-
lion. The market clearly dem-
onstrated sustained demand for
genuinely rare masterpieces,
works fresh to the market and
works of great provenance.
While sales volumes decreased
on previous years, the stabil-
ity of the art market and the
appetite of the global buying
audience were demonstrated by
a significant increase in aver-
age auction sold rates by lot.
In 2009, average auction sold
rates rose 5% to 80% from 75%
last year. The % of lots sold
at or above high estimate also
increased to 36%, illustrating
sustained price levels and the
continued intrinsic value of art.
“2009 was a remarkable year
for Christie’s,” said Edward
Dolman, CEO of Christie’s In-
ternational. “Despite the wider
economic environment, the art
market maintained momentum
and Christie’s continued its
leadership across the globe,
taking market share against its
closest competitor, and selling
the most expensive lot of the
year, Head of a muse by Rap-
hael for £29.2 million ($47.9
million €32.2 million), a world
record price for any work on
paper, the 2nd highest price
for any Old Master painting
or drawing and a world record
price for the artist at auction. In
addition, an astonishing record
was set by the sale of the Col-
lection of Yves Saint Laurent
and Pierre Bergé, the highest
grossing single owner collec-
tion sale ever presented.”
In 2009, Christie’s private sales
activity grew by 3% to 12.5%
as a percentage of its global art
sales year-on-year, demonstrat-
SA Business Art February 2010
sales will be preferred by many collectors
ing the significance of this
channel as an increasingly
important, discreet route to the
market and Christie’s ability to
quickly match rare works of art
to new owners throughout the
world and deliver results.
“The market outlook is confi-
dent and is underpinned by the
returning dominance of private
buyers, from the Americas,
the Middle East, as well as
Mainland China and Asia,” said
Mr. Dolman. “The continuing
growth and global nature of
the art market is also evident
in the number of new buyers in
Christie’s sales worldwide. In
particular, in 2009, the value
bought by Chinese buyers
worldwide in Christie’s sales
increased by 94%. Within the
Greater China region (Hong
Kong, Taiwan and China), Chi-
nese buyers now represent 35%
of all buying value, an increase
of 20% over 2008. Russian
buyers spent less than in 2008
across all departments, but the
number of lots they bought
increased by 13%. In addition,
registrations from the clients
in the Middle East increased
by almost 30%, the highest
increase of any geographic
region.”
Christie’s continues to differ-
entiate itself from its competi-
tors by leading the art market
internationally and offering the
broadest international service
to clients at differing price
levels and sale locations. Chris-
tie’s investment in innovation
provides new and existing audi-
ences access to the art market.
Online bidding via Christie’s
LIVETM continued to deliver
a large number of winning
bids and new registrants and
in 2009, 30% of all bids and
14% of all winning bids came
in through online channels.
Winning bidders participating
online increased by 40% on
2008. In 2009, $68.4 million
(£43.5 million) was bid online
including premium and Chris-
tie’s LIVE™ generated 49,343
accepted bids for the year. In
2009, Christie’s launched its
new I-phone application. (A
separate press release is avail-
able).
Mr. Dolman concluded, “Chris-
tie’s is committed to providing
the leading art sales platform
globally, offering unparalleled
expertise combined with the
highest standards of innovation.
Despite 2009 being a demand-
ing year, we remain in a strong
financial position and well
positioned to capitalize on the
continuing art market recov-
ery and the growth potential
of Asia, the Middle East and
Russia.”
By Michael Plummer and
Jeff Rabin. First Published in
The Art Newspaper, January
2010
AMR Contemporary Art
100 Index
In 2005, due to the timely
convergence of several factors,
the art investment story started
gaining traction. A substantial
increase in art prices sparked
investment ambitions and
led outsiders to take note. An
excess of global liquidity and
the allure of alternative invest-
ments combined to attract
a new breed of buyer—the
“investor-collector” and the
“speculative-collector”. Taking
stock of today’s art market,
many observers are left asking
(even in light of some recent
high profile prices at the end of
2009): were the significant in-
creases all hyperbole generated
by a global asset bubble? If art
is truly uncorrelated, as many
argue, why did prices and
turnover drop so precipitously
during the financial market
free-fall? And perhaps most
important of all, has the market
finally hit bottom and started to
stabilise?
In making any projections,
one must view the art market
in the context of the larger
global economy. Tracking the
performance of other assets,
primarily financial, often lends
valuable insight as to where the
general art market is headed,
but one has to be careful about
oversimplified comparisons
such as the art market lags
the financial markets by “X”
number of months. It is wealth
creation and liquidity that fuel
this market, and its absence can
have a sudden and dramatic
impact on transaction vol-
ume and pricing, as painfully
witnessed in the 2008/2009
auction season.
“This time is different,”
was the mantra of the recent
market peak. Collectors were
told—unlike the Japanese-
driven impressionist art bubble
of the late 1980s—that the
most recent run-up in prices
was of a completely differ-
ent nature. This time, those
“in-the-know” claimed, buying
was more broadly based due
to the following three factors:
the significant increase in the
world-wide “super-rich”; the
arrival of collectors from the
emerging markets, the Middle
East, Latin America, Russia
and Asia; and the rising interest
in contemporary art among
the expanding wealth base in
America.
While this argument was in
part true, just because new
buyers had arrived in large
numbers did not mean that
INTERNATIONAL ART MARKET
they could not also leave in
large numbers. Markets can fall
precipitously overnight should
collectors, “investor-collectors”
and “speculative-collectors”
change their perception of
value, especially in a market
which is opaque, unregulated
and not tied to an objective,
standard valuation methodol-
ogy.
This vulnerability becomes
most apparent when comparing
the two-week marathon of im-
pressionist & modern and post
war & contemporary auctions
in New York in the autumn of
2007 with those from the au-
tumn of 2008—$1.6bn against
$729m respectively. The qual-
ity of material at auction was
comparable; the only missing
ingredient was buyer demand,
resulting in a dramatic drop in
prices and works sold. Lower
auction prices combined with
the loss of guarantees (inhibit-
ing the owners of important
works from selling at auction)
further exacerbated the market
contraction and the drop in
prices. In autumn 2009, total
auction sales were only $596m,
or less than 40% of the peak
(see Art Market Research’s
Contemporary Art 100 Index,
shown here).
The most recent iteration of the
“broad-base collector” premise
is that participants are on the
sidelines waiting to return once
the economy rebounds. Will
they? This assertion needs to
be evaluated as carefully as the
prior theory was not. While
many fortunes have been lost
or seriously diminished, there
is still considerable worldwide
wealth. Yet, and maybe of
greater importance, the percep-
tion of wealth is considerably
different now than in 2007 as
we have likely seen the disap-
pearance of the “speculative-
collector” for the foreseeable
future. Several noted econo-
mists, including Paul Krugman,
have argued that we
are undergoing a monumental
restructuring of many sectors
of the global economy—media,
BUSINESSART | FEBRUARY 2010
retailing, real estate, automo
tive and financial services.
Will the art market undergo the
same transformation?
The global economy is also
undergoing a significant
deleveraging that a number of
economists expect to continue
well into 2011. The impact on
the valuation of art assets is not
yet fully understood. For exam-
ple, if residential real-estate in
the US remains at 20% to 30%
below its peak, that could have
a meaningful drag on the art
market.
We are also left asking what
will be the long-term impact
of the significant decrease in
net worth as there has been a
tremendous negative impact on
leading collectors, foundations
and institutions. If previously
unassailable institutions, such
as the Metropolitan Museum
of Art and Harvard University,
are forced into draconian cut-
backs as a result of staggering
declines in endowments and
investment income, what does
this suggest about the buying
capacity of the art industry’s
most visible players? And more
recently, what will be the ulti-
mate impact of the current debt
crises in Dubai on the broader
collecting ambitions of that
region of the Middle East?
The market in 2010
Limited art market liquid-
ity, global deleveraging and
financial market turmoil had a
drastic impact through 2009.
Yet, it is interesting to note that
the upheaval in global financial
markets has reinforced the
long-standing preference of
Indian, Chinese and Middle-
Eastern collectors to hold real
assets (art, real estate, gold,
etc). Additionally, the emerging
economies are recovering faster
than those of the US,
Japan and Europe. For both
of these reasons, the classical
Chinese paintings and works of
art market, unlike its western
counterparts, has seen a less
severe effect from the 2008
financial market turmoil.
Some wealthy individuals,
concerned about future infla-
tion or a return of financial
market instability, have driven
gold prices to record highs.
The same concern will drive a
number of individuals toward
increasing their portfolio al-
location to art as an inflation
hedge and this could fuel price
increases in more well known
and higher quality works ap-
pealing to more conservative
tastes—old masters and im-
pressionist & modern classics.
Art will always be a tremen-
dously valuable asset and a
must-hold for both the connois-
seur and “investor-collector”.
2010 will be a year of contin-
ued reshaping: auctions will
remain smaller, private sales
will be the preferred method of
selling for the majority of col-
lectors, the “best of the best”
will garner significant interest
and sell well, and second- and
third-tier works will be left
unsold or see further price
reductions. It is no longer a
time where a rising tide lifts all
boats. However, should there
be no significant new shocks to
the global economy, the year
ahead might just be better than
the one behind.
The writers are principals of
Artvest Partners LLC. Art Mar-
ket Research indexes are based
on auction sales worldwide.
No verifiable data for private
transactions being available,
AMR indexes provide the most
accurate measure of art markets
today. Because exceptional
prices can distort index move-
ments, we present the graphs
on two bases—100% of data
and Central 80% [omitting
top 10% and bottom 10%],
the latter being the preferred
measure for the mainstream of
each market. The indexes were
updated to include important
sales in November and Decem-
ber 2009.
The Art Newspaper, From issue
209, January 2010
Published online 29 Jan 10
(opinion)
 BUSINESSART | FEBRUARY 2010
Joburg Art Fair 2010 www.joburgartfair.co.za
The third annual Joburg Art Fair, presented by FNB, will once again bring the best African art and design to the Sandton Convention
Centre in Johannesburg from the 26th to the 28th of March 2010. The Fair will house 23 art galleries and 11 Special Projects. Tickets to
the Fair will be available at the door and prices will remain at R100 for a one-day pass and R200 for a three-day pass.
Galleries at JAF 2010:
Galleries participating in the 2010 Fair are: Afronova Modern and
Contemporary, Bailey Seippel Gallery, Brodie/Stevenson Gallery,
David Krut Projects, Everard Read Gallery, Gallery AOP,
Gallery MOMO, Goodman Gallery, João Ferreira Gallery, Rooke
Gallery, Seippel Gallery, SMAC Art Gallery, Whatiftheworld Gallery,
ARTCO Gallery, CCA Lagos, Galerie Ames D’Afrique, Galerie
Beatrice Binoche, Galerie Peter Herrmann, Gallery Watatu, October
Gallery and Omenka Gallery.
Special Projects:
Featured Artist 2010: Siemon Allen
Building on their curated exhibition of Robin Rhode’s work for the
2008 Fair and Jane Alexander’s Security at the 2009 Fair, the gordon-
schachatcollection, will facilitate a solo exhibition by Siemon Allen
for the 2010 Fair. Siemon Allen is a South African born, US based
artist working in the medium of installation and mixed media. Allen
collects, documents, archives and then ultimately displays forms of
massproduced printed media within the public realm. For the Joburg
Art Fair, Allen’s series of 12 print enlargements of rare South African
LP’s, entitled Records, will be exhibited. Meticulously scanned and
enlarged, the work speaks of a filtering of identity through displace-
ment and the contradictory nature of South African identity specifi-
cally from the perspective of a South African living abroad. Allen
explores the notion that these objects are self-contained carriers of
information both in terms of the evidence of use on the vinyl surface
as well as within the printed labels dating back to the
release of the album.
Talks Programme
The Talks Programme will be expanded upon for the 2010 Joburg Art
Fair In a continuing effort to make contemporary art more accessible
to the public. Once again, the Talks will be available to
ticket holders at no additional cost and will feature local artists, galler-
ies and international
speakers.
Art & Industry:
The overarching theme for 2010 is “Art & Industry”. Artlogic has
initiated a series of collaborations and Special Projects that reflect the
international trend towards collaboration between the arts and
the fabrication industries. Artlogic realises the importance of these
diverse collaborations as being critical to economic and social devel-
opment. The Special Project line-up, which proved to be an integral
part of the 2009 Fair, has been structured around this premise.
Grolsch Commissioned artwork
JOBURG ART FAIR 2010 INTRODUCTION
Secondary sponsor, Grolsch, has commissioned renowned glass artist,
Martli Jansen van Rensburg, to produce a glass installation that will
be exhibited for the first time at the Fair. Coowner
of Smelt Glass Studio in Melville (Johannesburg), Jansen van Ren-
burg has participated in over 20 exhibitions both in South Africa and
internationally. She was a finalist in the ABSA
L’Atelier awards in 2004, 2005 and 2007, and has work displayed in
private collections in Germany, Scotland, London and Hong Kong.
The installation commissioned by Grolsch for the Joburg Art Fair is
entitled Fluid. It takes its inspiration from the movement of water and
how the elemental nature of glass in its liquid and
solid form can mirror the fluidity of this substance.
Design space by Southern Guild
Trevyn and Julian McGowan from Source will again curate the
Southern Guild design space for the 2010 Fair, featuring a collection
of specially designed, once-off furniture and interior design
pieces by 36 of South Africa’s foremost contemporary designers and
design studios.
St Leger & Viney artist fabric by
Lawrence Lemaoana
In line with this year’s theme for the Fair: “Art & Industry”, Artlogic
has conceptualised a Special Project collaboration between St Leger
& Viney and artist, Lawrence Lemaoana. Established in
1989 and quickly becoming one of South Africa’s foremost suppliers
of high-end decorative fabric and wallpaper, St Leger & Viney will
use a motif designed specifically for this project by
Lemaoana, which will be applied and exhibited in dedicated spaces at
the Fair.
Pirelli Project featuring Willem Boshoff
Pirelli has commissioned a series of granite works by artist Willem
Boshoff for the 2010 Fair. These works will be exhibited in a specially
designated area.
Art Development:
Artlogic is serious about development in contemporary art. Out of this
commitment several projects have been developed for the 2010 Fair.
Screening Stations
The Joburg Art Fair will provide a unique opportunity for students
from various tertiary institutions that specialise in video art and ani-
mation to showcase their works at the Screening Stations. Video and
animation students who would not ordinarily be able to exhibit work
within a conventional
gallery setting will be given the opportunity to show their work at the
Fair.
FUNDA Development Booth
The FUNDA Community College is based in Soweto and will once
again occupy the Development Booth, sponsored by Siemens. The
project aims to encourage artistic development by exhibiting artworks
by selected students.
Artspace Mentorship Program
The Gauteng Provincial Government (GPG), together with Artlogic,
will facilitate a space to display the work of top students from the
Artspace Mentorship Program who have drawn from the
knowledge and experience of more established practitioners in the art
world. GPG has featured as a secondary sponsor for the Joburg Art
Fair for the second consecutive year.
The Artspace Mentorship Program provides advice and instruction to
aspirant artists on how to market themselves and their work, conduct
themselves within the gallery setting and gain an edge
once out in the art world.
Page 03
Coulson chats with
Ross Douglas
about JAF 2010
CEO of Art Logic / Joburg Art Fair
By Michael Coulson
The recipe for the third Jo’burg Art Fair, at the Sandton Conven-
tion Centre from March 24-26, contains much the same ingredi-
ents as before. Expectations of a wholesale collapse of commer-
cial galleries proved a chimera, and while the fair has lost Warren
Siebrits, Bell-Roberts and Erdmann galleries, they have been
replaced, so that the total number of galleries is a virtually un-
changed 23. One initiative that Ross Douglas (CEO of Artlogic,
which organises the fair) sees as part of an increasingly important
relationship is the development of joint initiatives between indus-
try and artists.
Fabric house St Leger & Viney, for instance, is sponsoring a fabric
designed by Lawrence Lemaoana, which will be displayed around
the hall. New secondary sponsor Grolsch (an SAB brand) has
commissioned a sculpture in green glass from Martli Jansen van
Rensburg, while Pirelli has asked Willem Boshoff to create what
Douglas calls a work in sand inspired by Pirelli tyres – though the
press release says it will be in granite.
FNB has renewed its primary sponsorship for three years. Alfa
Romeo has taken over the sponsorship of the Art Talks, while the
Goethe Institute will again bring out speakers from Germany.
In associated events, Gordon Schachat is sponsoring an exhibi-
tion by US-based but SA-born Siemon Allen, comprising 12 print
enlargements of rare SA LPs, and Graham’s Fine Art has curated
an exhibition of SA Modernist Art. In all, 11 special projects will
accompany the fair.
Douglas says that, given the economic environment, it has been a
difficult year for finding sponsors, which is why he’s so pleased
with the industry-artist joint projects. Industry, he rightly says,
has resources on a scale way beyond what’s available to artists.
Whether these initiatives will be enough to lure back those who
attended the first two fairs remains to be seen.
Artist Proof Studio:
Artist Proof Studio continues in its effort to provide talented but finan-
cially disadvantaged artists
with the opportunity to create and sell prints within the world-class
workshop setting that it is renowned for. Artlogic recognises the
importance of this non-profit initiative and have included
them as a Special Project for the 2010 Fair. Proceeds from sales will
go towards bursaries for disadvantaged students.
Modernist booth
Graham’s Fine Art Gallery has been chosen by Artlogic to present a
curated Modernist show. As an aspect of the 2010 Special Projects,
the gallery will be exhibiting the works of post-war South African
artists, for example Walter Battiss, Ephraim Ngatane, Ezrom Legae
and Irma Stern.
Lifestyle:
As with the 2009 Fair, various lifestyle sections have been included as
part of the Joburg Art Fair 2010. There will be a central Grolsch bar, a
vida e caffè and a Meerlust wine lounge. Both PG
Glass and PG Bison have contributed materials and design expertise
to facilitate the creation of a visually exciting and contemporary space
in which to enjoy art. Boekehuis, Bibioteq and Clarke’s
Bookshop will occupy the Books space at the Fair and will sell the
best local and international art and design books. Business Day’s
Wanted magazine have been chosen to curate the Grolsch
Lounge with a selection of niche furniture and interior design.
PAGE 04
Free State
Bloemfontein
Oliewenhuis Art Museum
28 Jan-14 March,
Works by Walter Meyer
(Main building)
16 Harry Smith Str.,
Bloemfontein
T.051 447 9609
Clarens
Johan Smith Art Gallery
A fine selection of paintings,
ceramics, glass, bronze and
other works of art.
Windmill Centre Main Street
Clarens T. 058 256 1620
www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel
Sculptures, Functional Art,
Photography, Ceramics.
Windmill Centre Main Street
Clarens T. 058 256 1757
www.bloudonki.co.za
Gauteng
Johannesburg
Afronova
27 Nov-Feb 2010,
The Summer Show.
Safe Parking- Cnr of Miriam
Makeba and Gwigwi Mrwebi
Str., Newton C. 083 726 5906
www.afronova.com
Alliance Francaise of
Johannesburg
Gallery Gerard Sekoto
19 Jan-06 Feb,
An exhibition of works by Nina
Barnett, winner of the Gerard
Sekoto Competition 2007.
17 Lower Park Drive, cnr of
Kerry Rd., Parkview, opp. Zoo
Lake T.011 646 1169
culture.jhb@alliance.org.za
Art on Paper
30 Jan-27 Feb, “Passing
Between” including works by
Nathaniel Stern and Jessica
Meuninck-Ganger. A collabora-
tion incorporating traditional
printmaking and contemporary
digital, video and networked art.
The exhibition is accompanied
by a catalogue and DVD.
44 Stanley Ave., Braamfontein
Werf (Milpark)
T. 011 726 2234
www.artonpaper.co.za
The Artist Proof Studio
16 Feb-27 Feb, International
Print Exchange between Artist
Proof Studio, Johannesburg, SA
and the Printmaking Council
of New Jersey, USA. Exhibition
opening on Tuesday 16 Feb
16:40 for 17:00.
3 President Street, Newtown
Cultural District, Johannesburg,
T. 011 492 1278
apsgallery@mweb.co.za
www.artistproofstudio.org.za
Artspace -Jhb
03 Feb-24 Feb, “A Question of
Presense” A two person show
featuring painting and
encaustic prints by Lesley Anne
Price & Diane Mclean.
27 Feb-28 March,
Works by Tanya Poole.
Chester Court, 142 Jan Smuts
Ave., Parkwood, Johannesburg
T. 011 880 8802
www.artspace-jhb.co.za
GALLERY SHOW LISTINGS IN FREE STATE, GAUTENG AND MPUMALANGA
Brodie/Stevenson
14 Jan-13 Feb, “In the Red in
the Black” an exhibition by Sean
Slemon comprising installation,
drawing and prints.
26 Jan-13 Feb, “African scenery
and animals” a solo exhibition
by Daniel Naudé.
18 Feb-20 March, Works by
Michael MacGarry, who won
the Standard bank Young Visual
Artist for 2010.
373 Jan Smuts Ave.,
Johannesburg T. 011 326 0034
www.brodiestevenson.com
Daniel Naudé, Nguni bull. Kei River, Eastern Cape, 19 October 2009. To be seen at African scenery and animals
a solo exhibition by Daniel Naudé until 13 February 2010, at The Brodie/Stevenson Gallery, Johannesburg.
Image courtesy of Brodie/Stevenson
Carol Lee Fine Art: Upstairs@
Bamboo
06 Feb-14Feb, “KZN - Artists
from around Durban” featuring
work by Andrew Verster, Grace
Kotze, Vulindlela Nyoni, Bron-
wen Findlay, Pascale Chandler,
Virginia MacKenny, Bronwen
Vaughan-Evans, Janet Solomon,
Sarah Lovejoy, Deanne Donald-
son and Louise Jennings.
Bamboo centre, c/o 9th Street
and Rustenburg Road, Melville.
T.011 486 0526.
CIRCA on Jellicoe
From 9 Feb, “New York” work
by Angus Taylor.
2 Jellicoe Ave.T 011 788 4805
gallery@circaonjellicoe.co.za
CO-OP
11 Feb-13 March, Peter Eastman
“For The Term Of Their Natural
Lives”
68 Juta Str., Braamfontein
T. 011 023 0336
www.co-opjoburg.com
David Krut Projects
17 Feb–03 Apr, William
Kentridge, The ‘Nose’ Series,
2007—2010. New Etchings by
William Kentridge. The prints
will be launched, along with the
book Nose: Thirty Etchings.
140 Jan Smuts Ave., Parkwood,
Johannesburg T. 011 447 0627
www.davidkrutpublishing.com
David Krut Projects, 526 West
26th St, New York, NY, 23
Feb–10 Apr: with a book signing
on 27 February.
genevieve@davidkrut.com
T: (1) 212 255 3094
Everard Read Gallery Jhb
Until 14 Feb, Recent works by
Velaphi Mzimbu.
05 Feb-01 March,
Anton van Wouw
19 March-19 April,
The Great South African Nude
“Group Show”
18 February– 7 March,
Keith Joubert
11 March– 4 April 2010,
Kerri Evans
26 March - 28 March 2010,
JOBURG ART FAIR @ The
JOBURG ART FAIR @ The
Sandton Convention Centre
6 Jellicoe Ave., Rosebank,
Johannesburg T. 011 788 4805
www.everard-read.co.za
Gallery MOMO Stern, Jacob Hendrik Pierneef,
14 Jan-08 Feb,
Group exhibition.
11 Feb-08 March, Photographic
Exhibition featuring Sammy
Baloji
52 7th Avenue, Parktown North,
Johannesburg T. 011 327 3247
www.gallerymomo.com
Gallery on the Square
Jan-Feb, New Acquisitions by
emerging and established South
African artists including: Regi
Bardavid, Paul Blomkamp,
Bowan Boshier, Phillemon
Hlungwani, David Koloane,
Grace Kotze, John Kramer,
Nelson Makamo, Colbert
Mashile, Carl Roberts, Lori
Schappe-Youens, and Jenny
Stadler.
Shop 32 Nelson Mandela
Square, Cnr. 5th & Maude Str.,
Sandton Central, Johannesburg.
T. 011 784 2847
www.galleryonthesquare.co.za
Gertrude Posel Gallery
This gallery has a permanent ex-
hibition of traditional southern,
central and West African art.
University of the Witwatersrand,
Senate House, Jorissen Street,
Braamfontein
Tel: 011 717 1365
julia.charlton@wits.ac.za
Goodman Gallery
21 Jan - 13 Feb,
Minnette Vari “Parallax”
163 Jan Smuts Avenue, Park-
wood, Johannesburg, 2193
T. 011 788 1113
www.goodman-gallery.com
Project Space at Arts on Main
07 Feb - 06 March,
Kudzanai Chiurai
(Arts on Main Precinct, Corner
Main Street and Berea Street,
Downtown Johannesburg
Graham Fine Art Gallery
During the month of Febuary, a
selection of Impressionist and
Modern South African art-
works, including paintings and
sculptures by Hugo Naudé, Irma
Maggie Laubser, Maud Sumner,
Gerard Sekoto, Alexis Preller,
Edoardo Villa, Stanley Pinker,
Cecil Skotnes and Robert
Hodgins.
Shop 31, Broadacres Lifestyle
centre, Cnr. Valley & Cedar Rd’s
Fourways, Johannesburg.
T.011 465 9192
www.grahamsgallery.co.za
Johannesburg Art Gallery
07 Feb-25 April, In celebration
of the Market Photo Workshop’s
20th anniversary, the acclaimed
photography exhibition “I am
not afraid.” The exhibition is
curated by Christine Frisinghelli
and Walter Seidl to celebrate
the publication of no.100 of the
journal Camera Austria, which
was dedicated to this exhibition.
Opens 4pm Sunday 7 February
2010, Johannesburg Art Gallery.
Panel Discussion 2pm Sunday 7
February 2010, Johannesburg
Art Gallery. Panelists include
Christine Frisinghelli, John
Fleetwood, Khwezi Gule, Zanele
Muholi and Jo Ractliffe.
King George Str., Joubert Park,
Johannesburg T. 011 725 3130
khwezig@joburg.org.za
www.joburg.org.za
Johannesburg Arts On Main
Until 13 Feb, works by Fatima
Fernandes, Rodney Gosskopff,
Diana Hyslop and Graeme Wil-
BUSINESSART | FEBRUARY 2010
liams.
245 Main Street, Johannesburg.
Str.’s, Johannesburg, 2001
T. 011 631 1889
Cell: 082 972 2111 www.standardbankgallery.co.za
Market Photo Workshop
07 Feb-25 April, The exhibition
Pretoria
“I am not afraid” is being
Alette Wessels Kunskamer
Exhibited at the Johannesburg
Exhibition of Old Masters and
Art Gallery.
selected leading contemporary
Market Photo Workshop
artists.
2 President Street,
Maroelana Centre, Maroelana.
Newtown,Johannesburg.
GPS : S25º 46.748 EO28º
T. 011 834 1444
15.615
info@marketphotoworkshop.
co.za
T. 012 346 0728
C. 084 589 0711
www.markettoworkshop.co.za
www.artwessels.co.za
Manor Gallery
Gallery Michael Heyns
6 Feb- 6 March, “Love Story”
27 Feb-20 March, Etchings and
at Manor Gallery Fourways.
paintings by Pretoria artist
A mixed media exhibition,
Mimi van der Merwe.
honouring the “power of love”,
351 Lynnwood Road Menlo
including paintings by top South
Park Pretoria
African artists.
T.012 460 3698,
Norscot Manor Centre, Penguin
Cell.082 451 5584
Drive. T. 011 465 7934
www.michaelheyns.co.za
gallery@wssa.org.za
www.wssa.org.za
Platform on 18th
11 Feb-27 Feb, “Fortitude” in-
Museum Africa
cluding works by Gordon Froud,
25 May 2009-24 Dec 2010,
Vusi Beauchamp, Pluto Panous-
l’Afrique: A Tribute to Maria
sis and Roark o’ Roark.
Stein-Lessing and Leopold
Spiegel; co-curated by Nessa
232 18th Str., Rietondale,
Pretoria T. 084 764 4258
Leibhammer and Natalie Knight.
www.platformon18th.co.za
121 Bree Str., Newtown,
Johannesburg T. 011 833 5624
Pretoria Art Museum
www.knightgalleries.net
12 Oct 2009 - 28 Feb 2010,
The Pelmama Permanent Art
Resolution Gallery
Collection.
Opening 11 Feb at 16:00,
North Gallery and Preiss Hall,
“Velocity” an exhibition of new
T.012 344 1807/8
photographic work by Paul
www.pretoriaartmuseum.co.za
Freinkel and Michael Smith.
142 Jan Smuts Ave., Parkwood,
Pretoria Trent Gallery
Johannesburg T. 011 880 4054
Until 17 Feb, An exhibition of
www.resolutiongallery.com
Print artworks by Gunther van
der Reis, Diek Grobler, Annette
Rooke Gallery
Pretorius, Retha Buitendach,
11 Jan-4 March, “Chaos” paint-
Fred Clarke, MJ Lourens,
ings by Olaf Bisschoff
Marinda du Toit and many more.
By Appointment, The Newtown,
198 Long Street, Waterkloof,
37 Quinn Str., Newtown,
Pretoria. strent@oldmutual.com
Johannesburg
T. 072 658 0762
The Tina Skukan Gallery
www.rookegallery.co.za
Until 12 Feb, Glass, cement and
clay works by Tineke Meijer and
SPAZA Art Gallery
Henriette Ngako.
Uniquely situated in a multi-cul-
14 Feb- 11 March, sculptures
tured neighbourhood in the inner
by a young Shona sculptor from
city. Exhibiting works including
Zimbabwe-Felix Mlungisi
paintings, sketches, draw-
6 Koedoeberg Rd, Faerie Glen,
ings, stone work from Lesotho,
Pretoria.
recycled works, decorated iron
www.tinaskukangallery.co.za
furniture, mosaic pieces, jewel-
lery and lots more. As a non-
UNISA Art Gallery
profit organisation Spaza Art
30 Jan- 28 Feb, Student
gallery has a vision of providing
Exhibition.
a showcase for artists of all types
Main Campus, Theo Van Wijk
from all over South Africa. Spaza
Building B-block, 5th Floor
Gallery is a community gallery
T.012 429-6255/6823.
that runs mosaic workshops, has
hattif@unisa.ac.za
Sunday lunches, music sessions
and shows.
31 Jan- 17 Feb, “Mosaic mania”
featuring the works of SPAZA
mosaic artists:Derek Ismael
Mpumalanga
Moses Ndlovu, TJ Twala and
Eric Madi.Sculptures by Fani White River
Matsie to be exhibited in The
Sculpture Garden. BIODANZA The Loop Art Foundry &
every Sunday at 10:30 am. Sculpture Gallery
19 Wilhelmina Street Casterbridge Complex Corner
Troyeville R40 and Numbi Roads
T. 011 614 9354 White River
Cell.082 494 3275 T. 013 751 2435
www.tlafoundry.co.za
Seippel Gallery
22 Jan-13 March, “Shape The Artists Press
Dialogues” works by Pedro 1 Dec 2009- 28 Feb 2010,
Calapez. Limited edition art works from
Cnr of Fox and Berea, Art South Africa
Johannesburg T. 011 401 1421 Waterfield Farm, Near White
www.seippel-gallery.com River, Mpumalanga,
T.013 751 3225
Standard Bank Gallery mark@artistpress.co.za
02 Feb-13 March, www.artistpress.co.za
Works by Peter Clarke
30 March-08 May, SBYA
Cnr of Simmonds & Frederick
 BUSINESSART | FEBRUARY 2010 ALEX DODD’S COLUMN Page 05

Nguni cow roadkill first day. Nguni cow roadkill 2 days later. To be seen at African scenery and animals a solo exhibition by Daniel Naudé until 13 February 2010, at The Brodie/Stevenson Gallery, Johannesburg.

Alex Dodd
Art Pig
At last I have been able to view
Daniel Naudé’s extraordinary
photographs for real. I was
instantly struck by his almost
hyper-real images of dogs
from the very first moment I
saw them in a magazine some
months ago. At the time, I was
going through an inner debate
about Pieter Hugo’s cult Hyena
Men series, struggling to un-
derstand how people could so
glibly overlook the cruel and
brutal dominion over animals
so apparent in these images
in favour of their exotic and
savage appeal. Observing the
circulation of this series in the
public domain, it seemed that
if ever there was a documen-
tary impulse to draw attention
to the plight of these chained
and muzzled creatures, it was
subsumed in the reception by
aesthetic pleasure in the wild
oddity of their circumstance.
I was troubled by the ethics of
authorship at play in these pho-
tographs, questioning whether
the photographer played a role
in condoning the cruelty on
display, which seemed to be
received in the salons of 21st
century New York with the
kind of clamouring cult status
I imagine radiated around Sara
Baartman, ‘The Hottentot
Venus’, on the freak show cir-
cuits of Paris back in the 19th
century. Yes, they are hyenas
and monkeys, and she was a
human being, but what makes
human suffering so much more
abhorrent than that of animals?
Why are our consciences that
much more shut down to the
sufferings non-human others?
As someone who views animal
rights as being part of the same
continuum as human rights, I
have a lot of time for post-
humanist criticism, a major
European continental philoso-
phy of the late 20th and early
21st centuries, which questions
the assumptions of Renaissance
humanist philosophy and seeks
to enact a re-writing of what
is generally conceived of as
human. Based on the limita-
tions and fallibility of human
intelligence, posthumanist
theorists hold that humans have
no inherent rights to destroy
nature or set themselves above
it in ethical considerations a
priori.
But this is not a very trendy
perspective in a country where
wanton animal slaughter is still
widely practiced as an unques-
tioned traditional rite and meat
eating is approached with the
same kind of macho ardour
as a definitive Tri-Nations
scrum. So I admit that when
I finally got to see Naudé’s
photographs, not as small re-
productions in a magazine, but
in gloriously nuanced colour
and at their intended sizes,
my response was not merely
aesthetic.
Taking in African Scenery
& Animals, his first solo at
Brodie/Stevenson Gallery this
week, I felt lifted by the rare
sense of kinship or solidarity
I experienced in this young
photographer’s relationship
with his animal subjects. Each
creature – from a tethered don-
key, to a white mule in the hills
of Mlungwana in the Eastern
Cape, to an Nguni bull having
a pee, or an Africanis dog with
its tail between its legs – is
photographed as an individual
sensate being, facing complex
environmental challenges.
I feared, when I first viewed
Naudé’s arresting images of
Africanis dogs, that there might
be a danger of romanticisation
at play – of depicting them
as beautiful, unknowable,
majestic creatures. But this ex-
hibition operates in a far more
critical and complex manner,
that reminded me of Wendy
Woodward’s book The Animal
Gaze: Animal subjectivities in
southern African narratives, in
which she explores the writings
of JM Coetzee, Olive Schrein-
er, Zakes Mda, Eugene Marais,
Yvonne Vera and others who
represent animals as richly in-
dividual subjects. In these texts
horses, birds, lions, leopards,
baboons… experience complex
emotions and have agency,
intentionality and morality, as
well as an ability to recognise
and fear death. ‘When animals
are acknowledged as subjects
in this way,’ writes Woodward,
‘then the animal gaze and the
human response encapsulate an
interspecies communication of
kinship, rather than confirming
a human sense of superiority.’
Similarly, in Naude’s photo-
graphs you encounter the indi-
vidual presence and complicat-
ed sentience of each creature.
Their postures and gazes seem
to inhabit fear, alertness, stoi-
cism… vocabularies of feeling
not entirely beyond our grasp.
Then there are the challeng-
ing environments in which
these creatures find themselves
– the dry stony Karoo earth
the Nguni goat has to contend
with in order to survive, but,
even more unsettling, the de-
graded peri-urban outskirts of
Umtata… A feral brak looks up
from the decomposing carcass
of an Nguni bull left to rot at
the side of a road, not far from
an uneven and unfinished hous-
ing development. In a similar
vein, the sublime arc of a rain-
bow illuminates the sky over
a Northern Cape landscape,
but the idyll is punctured by a
discarded Lays chip packet in
the foreground.
Naude’s images are far from
a wilderness romance. This is
nature interrupted and broken.
The equation of power and
value determined by the genetic
inheritance of each creature
and the eroded circumstances
in which they find themselves
leaves one feeling that perhaps
their lives are not so different
from ours after all. The per-
petual negotiation of limitation
in the interests of survival is
something we seem to share.

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PAGE 06
Eastern Cape
East London
Ann Bryant Gallery
The Coach House
04 Feb-20 Feb, East London
Fine Art Society Young
Emerging Artists Competition.
17 February at 6:00 p.m, Bruce
Gardener piano recital evening.
25 February – 13 March, Friends
of the An Bryant Mosaic
Exhibition.
The Main Gallery
18 March- 02 April, ABSA
Atelier Art Competition Regional
Selection (works in 01-05 March,
judging 15 March.)
9 St. Marks Rd, Southernwood,
East London. T. 043 722 4044
annbryan@intekom.co.za
www.annbryant.co.za
Port Elizabeth
Alliance Francaise
6 Feb-31 Feb, Paintings by
French artist Bea and
photographs by Retha Ferguson.
17 Mackay Str.Richmond Hill
T.041 585 7889
Montage Gallery
Jan- Feb, An exhibition of
various paintings by Anton
Brink, Derrick Erasmus, Jackie
Griffen-Jones, also featuring
ceramics by Lynnley Watson and
Donvé Branch.
From 09 March, An
exhibition of oil paintings by
Hannes Meintjes.
59 Main Rd., Walmer, Nelson
Mandela Bay T. 041 581 2893
www.montagegallery.co.za
Nelson Mandela Metropolitan
Art Museum
Until end of April, “Animals
in art” various artists, various
mediums. Part of the Gallery’s
collection. Permanent
exhibition, “Art in Mind”
1 Park Drive, Port Elizabeth.
T. 041 506 2000.
www.artmuseum.co.za
Northern Cape
Kimberley
William Humphreys Art
Gallery
10 Feb- 17 Feb, “ELC Arts and
Crafts centre Rorke’s Drift Kwa-
zulu Natal.” Works including
ceramics, hand-printed fabrics
and accessories.
11 March, A selection of Leigh
Voigt’s work will be on
exhibition.
Civic Centre, Cullinan Crescent,
Kimberley. T. 053 831 1724
artmuseum@whag.co.za
www.whag.co.za
Western Cape
Cape Town
34 Long African art.
16 March- 17 April, Random
Graphics from Private
Collections – William Kentridge.
Exhibition to be held at 34
FineArt, Buchannan Square,
Woodstock.
T. 021 426 4594
www.34long.com
Alliance Française
25 Feb-18 April, An exhibition of
oil paintings by
Pierre Florenchie
SHOW LISTINGS FOR EASTERN CAPE, NORTHERN CAPE AND WESTERN CAPE
155 Loop Str., Cape Town.
T. 021 4235699
www.alliance.org.za
Atlantic Art Gallery
A permanent display showcasing
leading contemporary
South African artists.
25 Wale Street, Cape Town.
T. 021 423 5775
AVA
Until 05 Feb, ‘Greatest Hits
2009’
08 Feb -05 March “The Win-
dow” Paintings by Ndikhumbule
Ngqinambi’s and works by Max
Wolpe and Angela Briggs.
8 March-31 March ,
“Waters-Vestia-Amanzi” featur-
ing work by Kristiina Korpela,
Jill Trappler, Leena Mäki-Pato-
la, Witty Nyide, Jaana Partanen
and Eunice Geustyn.
06 April- 30 April, Karin Lijnes,
Gretchen Van Der Byl and
Igshaan Adams.
Association for Visual Arts, 35
Church Street, Cape Town, 8001.
T.021 424 7436
art@ava.co.za
www.ava.co.za
Belville Association of Visual
Arts - Art b.
17 March – 07 April,
25th ABSA L’Atelier Regional
Competition Exhibition.
The Arts Association of Belville,
The Library centre,Carel van
Aswegan Street, Belville.
T. 021 918 2301
info@artb.co.za
www.artb.co.za/gallery.htm
Blank Projects
21 Jan- 26 Feb, James Web
“One day all of this will be
yours” documentary film and
other selected works created by
the artist.
113-115 Sir Lowry Rd,
Woodstock, Cape Town.
T.072 1989 221
blankprojects@gmail.com
www.blankprojects.com
Cape Gallery and Convictions: The Life and
24 Jan-13 Feb, Pastels and Oils
by Veronica Reid and Acrylic
Paintings by Geoff Price.
60 Church Str., Cape Town
T. 021 423 5309
www.capegallery.co.za
Carmel Art
Dealers in Fine art, exclusive
distributers of Pieter van der
Westhuizen etchings.
Corner: 66 Vineyard Rd., and
Cavendish Str., Claremont
T.021 671 6601
Constantia Village Shopping
Centre, Main Rd., Constantia
T. 021 794 6262
Christopher MǾller Art
Dealers in South African con-
temporary art and South African
masters.
82 Church Str., Cape Town
T. 021 439 3517
www.christophermollerart.co.za
David Porter Antiques
Buyers and sellers of South
T. 021 6830580/083 452 5862
david@davidporterantiques.com
Erdmann Contemporary
/Photographers Gallery interiors.
03 Feb-27 Feb, “The Family
safe” A solo exhibition of photo-
graphs by Erik Chevalier.
63 Shortmarket Str., Cape Town
T. 021 422 2762
www.erdmanncontemporary.co.za
Everard Read Gallery -
Cape Town
18 Feb-04 March, A series of
new works by
Penelope Stutterheime.
3 Portswood Rd., V&A
Waterfront
T. 021 418 4527
www.everard-read-capetown.
co.za
G2 Gallery on the Square Art
Currently exhibiting a variety of
new acquisitions by emerging
and established South African
artists, including: Regi Bar-
david, Paul Blomkamp, Bowan
Boshier, Phillemon Hlungwani,
David Koloane, Grace Kotze,
John Kramer, Nelson Makamo,
Colbert Mashile, Carl Roberts,
Lori Schappe-Youens, and Jenny
Stadler.
61 Shortmarket Str. between
Loop Str. and Bree Str.
T. 021 424 7169
di@g2art.co.za
www.g2art.co.za
Gallery F
Contemporary and archival
South African Art.
221 Long Str., Cape Town
T. 021 422 5246
www.galleryf.co.za
Gill Allderman Gallery
Until 13 Feb, Gill Cowen, Sue
Greeff, Donna McKellar, Trudi
McPherson, Marcelle Sprong
with photographs by Sam
Sterley.
27 Jan – 25 Feb, Paintings by
artist Pincus Catzel.
278 Main Rd, Kenilworth
T. 083 556 2540
gallery@new.co.za
www.alldermangallery.com
Goodman Gallery, Cape of artworks and publications by
21 January - 13 Feb, “The Marks
we make” a collection of draw-
ings by various artists.
3rd Floor, Fairweather House,
176 Sir Lowry Rd., Woodstock,
Cape Town T. 021 462 7573/4,
www.goodmangallerycape.com
Infecting The City The Spier
Public Arts Festival(ITC)
13 Feb- 20 Feb, Begun in 2008,
INFECTING THE CITY (ITC) is
a festival of provocative new site-
specific national and internation-
al performance and public art
works. Presented by The Africa
Centre, ITC is curated by Brett
Bailey. ITC 2010 takes place
from 13-20 February 2010,
turning the Cape Town CBD into
an edgy theatre venue to exhibit
diverse, thought-provoking, well-
crafted performance works; in-
novative audience interventions
and meaningful installations.
The theme of Infecting the City
2010 is ‘HUMAN RITE’.The
Festival is presented by the “Af-
rica Centre”, and is principally
funded by “Spier”.
Cape Town CBD,
T. 021 4420468
www.infectingthecity.com
iArt Gallery
03-18 Feb Oil Paintings by Gina
Heyer, this exhibition entitled
“Threshold” is concerned with
subtle metaphysical and uncanny
aspects of seemingly
ordinary and unoccupied
71 Loop Street, Gardens,
Cape Town
T.021 424 5150
info@iart.co.za
www.iart.co.za
iArt Gallery Wembley
27 Jan - 24 Feb Colijn Strydom:
Poppies in October - a collection
of drawings by Colijn Strydom,
inspired by the artist’s obsessive
response to Sylvia Plath’s poem,
“Poppies in October”.
Wembley Square, Gardens, Cape
Town T. 021 424 5150
www.iart.co.za
Colijn Strydom: Poppies in October - to be seen at iArt Gallery Wembley until
24 February. See www.iart.co.za for details
Infin Art Gallery
A gallery of work by local artists.
Wolfe Street, Chelsea, Wynberg
T. 021 761 2816 and
Buitengracht Str. Cape Town
T. 021 423 2090
www.infinart.co.za
Irma Stern Gallery
16 Feb- 06 March, works by
Olivier Scholinck.
Cecil Rd, Rosebank, Cape Town.
T. 021 685 5686
www.irmastern.co.za
Iziko South African National
Gallery www.artpro.co.za
12 Dec-28 Feb 2010, “Dada
South?”, South African artworks
from the 1960’s to the present are
exhibited alongside a collection
historical Dada artists.
Until 28 February: Alexis
Preller: Africa, the Sun and
Shadows’ - a retrospective exhi-
bition, it showcases the work of
Alexis Preller (1911-1975)
26 Nov-28 Feb 2010, “Strengths
Times of the South African Nobel
Peace Prize Laureates”, films,
photographs and contemporary
works of art by South African
and international artists.
Government Ave., Company’s
Garden T. 021 467 4660,
www.iziko.org.za
Iziko Museums of Cape Town
09 Dec-13 March 2010, Wildlife
Photographer of the Year 2009,
an international showcase for
the very best photography featur-
ing natural subjects
For further info contact Esther
Esmyol T. 021 464 1262
eesmyol@iziko.org.za
João Ferreira Gallery alastair@davidkrut.com
13 Jan-13 Feb, “Who am I ? –
Transgressions” photographs by
Gordon Clark and Leon Botha.
This body of work is a collabora-
tive and artistic adventure for
two artists, two strangers, two
very different people, who, in
the meeting of spirit, beyond the
parody of flesh, discover a com-
monality.
70 Loop Str., Cape Town,
T. 021 423 5403
www.joaoferreiragallery.com
Kalk Bay Modern
24 Feb-31 March, “San art” An
exhibition of paintings, sculp-
tures, lino prints and beaded
embroideries. Representing San
communities from South Africa,
Namibia and Botswana. Open-
ing Wed 24 Feb at 6pm with
BUSINESSART | FEBRUARY 2010
speaker Nicolaas Maritz.
1st Floor, Olympia Buildings,
136 Main Rd, Kalk Bay.
T.021 788 6571
kbmodern@iafrica.com
www.kalkbaymodern.com
Kunshouse
21 Jan-13 Feb,
Sculpture by Uwe Pfaff
16 Feb- 20 March,“The Summer
show 2010” latest works by
resident artists
62 Kloof St, Gardens, Cape
Town 8001
T: +27 (0)21 422 1255
www.kunsthouse.co.za
Lindy van Niekerk Art Gallery taxonomies of disease”, a mixed
Exhibition of SA’s leading artists.
31 Kommandeur Rd,
Welgemoed, Belville
T. 021 913 7204/5
Michael Stevenson
Contemporary
21 Jan-06 March 2010, Mixed
media works by Steven Cohen
and paintings by Lynette Yia-
dom-Boakye. Also on exhibition
is “Black & White Hemisphere”,
an installation by
Thomas Hirschhorn as part of
the FOREX series.
From 11 March: Solo shows by
Ângela Ferreira and Natasja
Kensmil. Walid Raad will exhibit
concurrently as part of the
FOREX project series.
Ground Floor, Buchanan
Building, 160 Sir Lowry Rd,
Cape Town
T. 021 462 1500
www.michaelstevenson.com
Montebello Design studio
23 Jan–03 Apr: David Krut
Prints and Books , William
Kentridge, The ‘Nose’ Series,
2007—2010. New Etchings by
William Kentridge. The prints
will be exhibited, along with
the book Nose: Thirty Etchings.
Montebello Design Centre, 31
Newlands Ave, Cape Town
T: 021 685 0676
Raw Vision Gallery
11 Feb - 14 Sep 2010,
“African Odyssey”
20 Internationally acclaimed
photographers exhibiting.
89 Sir Lowry Rd, Woodstock,
info@rawvisiongallery.com
www.rawvisiongallery.com
Rose Korber
7 Dec-28 Feb, “Annual Summer
Salon”, provides a serious over-
view of recent paintings, original
prints, photography, sculpture,
ceramics and contemporary
Shangaan beadwork by more
than 50 leading and emerging
Contemporary South African
artists.
Febuary “Artist of the month”
works by Matthew Britton
48 Sedgemoor Rd, Camps Bay,
Cape Town T. 021 438 9152
roskorb@icon.co.za
www.rosekorberart.com
Rust-en-Vrede Gallery
23 Feb-18 March, Portraits in
Mixed media by Fanie Marais,
paintings by Shui-lyn White and
mosaic portraits by Marianne
Burger.
23 March-15 April, “In Transla-
tion” a body of new work in
mixed media by Theo Paul
Vorster. Paintings by Tania
Rosenbroch.
10 Wellington Rd, Durbanville.
T.021 976 4692
www.rust-en-vrede.com
Salon91 Contemporary
20 Jan-20 Feb 2010,
“Spookasem”, a group exhibi-
tion of works by female artists
from a range of creative back-
grounds, across various media
(fine art, street art, illustration).
Female artists such as Abigail
Heyneke, Carmen Ziervogel,
Ceri Muller, Emma Cook and
Jade Klara will be exhibiting.
91 Kloof Str., Gardens,
Cape Town 021 424 6930
www.salon91art.co.za
South African Museum
25 Jul-Mar 2010, “Subtle
Thresholds, the representational
media show curated by
Fritha Langerman.
25 Queen Victoria Str.,
Cape Town
T. 021 481 3800
http://www.iziko.org.za/sam
South Gallery
Showcasing creativity from
Kwa-Zulu Natal including
Ardmore Ceramic Art.
Fairweather House, 176 Sir
Lowry Rd, Woodstock, Ground
Floor. T. 021 465 4672
info@southgallery.co.za
The South African
Print Gallery
Until 07 Feb, Selected works
from the gallery’s collection.
107 Sir Lowry Rd, Woodstock,
Cape Town, T. 021 462 6851
info@printgallery.co.za
www.printgallery.co.za
These Four Walls Fine Art
From 5 Feb, ‘on the Rhodes’
Some two decades on this exhibi-
tion gathers together a genera-
tion of artists schooled in the
Department of Fine Art at
Grahamstown’s Rhodes
University in the late 1980’s and
early 1990’s. Artists exhibit-
ing are Cathy Layzell, Anthony
Struik, Ben Coutouvidis, Herman
Niebuhr, Diana Page, Jane
Henderson, Jeremy Franklin,
Larissa Hollis, Bretten Ann
Moolman, Cindy Britz, Mary
Visser, Janet Anderson, Tom
Gubb, Ian Garrett, Carl Becker,
Kerri Evans, Richard Mather-
Pike, Carl Schonland, John
Hodgkiss and Mary Slater.
169 Lower Main Road,
Observatory janet@thesefour-
walls T. 021 447 7393
www.thesefourwalls.co.za
UCA Gallery
Until 28 Feb, “Pigment on
paper” featuring Michael
Taylor, Nicola Grobler, Ilene
Jacobs, Adrienne van Eeden
and Jacqui Stetcher
49 Lower Main Rd,
Observatory, Cape Town.
T. 021 447 4132
www.urbancontemporaryart.co.za
 BUSINESSART | FEBRUARY 2010
What if the World…
3 Feb-27 March, “Paradise
Apparatus”, a new solo exhibi-
tion by Cape Town artist Julia
Rosa Clark. This show con-
cludes a trilogy that included
the acclaimed Hypocrite’s
Lament (2006) & Fever Jubilee
(2007/8). F
irst floor, 208 Albert Rd,
Woodstock,
T.021448 1438
www.whatiftheworld.com
Worldart
13 Feb-1 March, Exhibition of
work by Arlene Amaler-Raviv.
54 Church Street Cape Town
CBD T. 021 423 3075
www.worldart.co.za
Franschhoek tion of South African art-a
Galerie L’ Art
A permanent exhibition of old
masters.
Shop no 3, The Ivy,
Kruger Str., Franschhoek
T. 021 876 2497
www.galart.co.za
Paarl
Hout Street Gallery
10 Dec-28 Feb 2010, “Summer
Salon” The exhibition features
a range of South African Paint-
ings, Ceramics and Sculptures
and includes works from more
than thirty established and
emerging artists.
270 Main Str., Paarl
zetler@icon.co.za
www.houtstreetgallery.co.za
Stellenbosch In-between Art
Art on 5
Permanent exhibition of paint-
ings and ceramics by Maryna
de Witt, Pera Schillings, and
Karen Kieviet.
7b Andringa Str., Stellenbosch
T. 021 887 7234
Dorp Straat Galery
6 Feb-28 Feb, “Shorelines” an
exhibition of paintings by Nora
Newton
Church Str., Stellenbosch
T. 021 887 2256
www.dorpstraatgalery.co.za
Glen Carlou Estate
On exhibition is The Hess Art
Collection, including works by
Deryck Healey, Ouattara Watts
and Andy Goldsworthy.
Simondium Rd, Klapmuts
T. 021 875 5314
www.glencarlou.co.za
Red Black and White
12 Feb-27 Feb, A selection of
works by Johannes du Plessis
and Marika Bell.
Opening 11 Feb at 19:00.
5a Distillery Rd, Bosman’s
Crossing, Stellenbosch.
T. 021 886 6281
www.redblackandwhite.co.za
Sasol Art Museum
20 Jan-24 Feb, “Rendezvous
focus original lithography
2009/2011” Prints by South
African and French artists.
Other artists work on exhibi-
tion includes: Pablo Picasso,
Man Ray, Yves Klein, Wassily
Kandinsky and other estab-
lished South African artists
including William Kentridge,
Diane Victor, Judith Mason,
Hanneke Benade, Tommy Mot-
swai and Conrad Botes.
52 Ryneveld Str., Stellenbosch
T. 021 808 3029
SMAC Art Gallery sculptures by leading South
06 Dec-25 Feb 2010, A ret-
rospective exhibition by Erik
Laubscher
De Wet Centre, Church Street,
Stellenbosch
T. 021 887 3607
www.smacgallery.com
George
Strydom Gallery
Internationally known for
cross-section of SA artists
21 Nov 2009-28 Feb 2010,
GEORGE 41, Strydom
Gallery’s 41st summer exhibi-
cross-section of selected works.
The exhibition will be opened
by Jan Coetzee, professor of
sociology at Rhodes University.
1 June-17 July 2010, “Drawing
conclusions?”
79 Market Str., George
Crazy Eyes from Julia Rosa Clark.’s, “Paradise Apparatus” to be seen
at Whatiftheworld Gallery until 27 March. See more at
www.whatiftheworld.com
Top: Tom Gubb ‘James’mountain’ (detail) Richard Mather-Pike
charcoal drawing to be seen at These Four Walls Fine Art
From 5 Feb, ‘on the Rhodes’ . See more at: www.thesefourwalls.co.za
WC GALLERY LISTINGS | MELVYN MINNAAR’S COLUMN
T. 044 874 4027
www.artaffair.co.za A wide se-
lection of paintings, drawings,
graphic art, photographs and
African artists.
Hermanus
Abalone Gallery
Melvyn Minnaar
2 Harbour Rd, The Courtyard,
Hermanus. T.028 313 2935
www.abalonegallery.co.za
l’Agulhas
Red Corridor Gallery
Sculpture by Rudi Neuland,
paintings by Leszek Skurski
and textile objects by Joanna
Skurska.
4 Main Rd, L’Agulhas 7287
T. 028 435 7503
info@capeagulhas-arthouse.
com
www.capeagulhas-arthouse.com
www.redcorridor-RSA.com
Idille, Joan and Terliana of Framed Master Guilders, Woodstock
The Artful Viewer
One needs a peak behind the
workshop door of a place
like Idille Kellerman and
partners’ Framed to see what
goes around as ‘art’ these days
- at least the kind that gets
or requires a frame. (Framed
in Woodstock, is one of the
Mother City’s master framing
outfits, around the corner from
the heavy and light-weights in
the picture business.)
Judging from the stuff that
awaits attention in that work-
shop, it’s truly and literally a
range from the ridiculous to
the sublime. (I suppose, to stay
in business - which I’m sure is
booming - service-providers
like these get to see and handle,
with stiff upper-lip, the gamut
of ‘creativity’ that needs a
frame.) How much ego is tied
to that (expensive) mount and
glass will make an interesting,
off-beat psychological study.
There’s certainly a great
deal of psychology at work,
market-promo style, also in the
latest glossy catalogue from
Stephan Welz & Co. These
‘Auctioneers of Decorative &
Fine Arts’ are having their first
Cape Town sale of the year
this month (February 23). The
collection of pictures, finely
photographed, on offer struck
me as on par with the range in
the framing shop’s workroom:
varying from the silly to the
serious. And quite a few in-
between.
It’s that ‘in-between’ that
makes interesting contempla-
tion. (I suppose one can also
see it as the grey area between
what that well-known auction
house consider to be ‘decora-
tive’ and ‘fine’; the former
being good enough to add to
the home decor, the latter, well,
serious enough for an art mu-
seum. The so-so pictures.)
Since everyone had become, or
can claim to be, an artist, the
extend of art production and
the scope of the industry have
certainly become an increas-
ingly puzzling place for most
ordinary people.
Yet, art has a growing attrac-
tion and fascination for average
citizens. (We’re not talking
here about the ultra rich who
have hijacked art for their own
reasons.) People are intrigued
by art and professional mu-
seums that present it like a
delightful circus experience.
This is art with a capital A.
On the other end, there is art
that may not even be that:
pictures on home walls.
People like to hang pictures
in their homes and offices. (A
curious thing this, even cave
persons seemed to have liked
it; mogols have to have it in
their boardrooms. This too
would make an interesting
social/psychological study.)
Obviously, very few of us have
the money to pay for master-
pieces in our sitting rooms. It
doesn’t mean that there can’t
be nice things hanging above
the mantelpiece.
This is the area that can be
claimed for ‘in-between art’:
good stuff, finely crafted,
and eye-catching with a tad
of thoughtfulness that goes
beyond the surface attraction.
These are pictures of things
that need not change your way
of life, but might just provide
a little cerebral lift or an emo-
tional frizz. Graphics and prints
can be useful, but paintings
Page 07
(and even sculpture) too have
their place. None need to be
art spelled with a capital, nor
have had bank-breaking prices
or famous artist signatures.
Let’s call it sensible art for the
sensitive.
It is within this space, in a
manner of speaking, that art
galleries which don’t aspire
to, what Linda Stupart so clev-
erly calls, ‘McMuseum’-style
dealerships, trade and provide
a service. Cape Town has quite
a few of these - gallerists,
slightly below the radar, selling
good stuff to ordinary people
who likes art by artists who
will never be in the Museum of
Modern Art.
Although one must always
tread carefully among the
pretentious and the kitsch (of
which, heaven helps, there is
an awful lot), and, of course,
cunning dealers’ sweet talk,
the ‘in-between art’ world can
deliver visual treasures for the
home.
Places like Gail Dorje’s
The Cape Gallery (a current
exhibition features pictures by
Veronica Reid and paintings by
Geoff Price), and Riva Cohen’s
Atlantic Gallery (always a
lovely selection) have been
very effective in this business
with many years of expertise
and fine eyes for good work. A
younger dealer like Christopher
Möller (Henk Serfontein paint-
ings are on view at his space
at present) has the passion to
play a meaningful role in this
as well.
The picture on your wall
doesn’t have to be a mas-
terpiece. But it need not be
nonsense either. Try a little
in-between art.
 BUSINESSART | FEBRUARY 2010
Peter Machen
The Art Cowboy
Dad, mom and the
yawning chasm.
Every year, the effective holi-
day that Durbanites collectively
take seems to get longer and
longer, starting around the end
of November and ending, this
year, around the last week of
January. It’s not that everyone
is still on holiday – that would
be lovely – but they’re just not
really back at work. This year,
perhaps because of the ap-
proach of a brand new decade,
the whole world cup thing, and
the fact that most of our sum-
mer was replaced by something
more closely resembling a
subtropical winter, Durbanites
seemed even less ardent about
the prospect of getting up-and-
running than usual.
And then suddenly it’s all ago
and everything happens at once
and even the art calendar gets
in on the action.
2010 began, in art terms, at
ArtSpace Durban, where Anet
Norval was extending the high-
ly personalised narrative that is
her body of work and Makiwa
Mutomba was showing another
collection of his remarkably
precise impressionist portraits,
this time of African woman.
‘Precise impressionist’ might
seem oxymoronic to some but
Mutomba’s paintings, imbued
with his highly distinctive
style, gets the body language
and expressions just right with
strokes that are almost brutal
and there is something uncanny
about the resulting portraits; at
once both highly modernist and
imbued with the spirit of their
subjects, or at least seem
ingly so. Mutomba’s portraits
are also refreshing set against
the treatment which African
women so often receive on can-
vas in which they are reduced
to a platonic form; objectified
into archetype. Matumba’s
women are alive and as unique
as snowflakes.
For the past few years Anet
Norval has been detailing
her interior life, resulting in
canvases that are oblique in
their meaning even as they are
deeply personal. Much of this
narrative has concerned her
relationship with her father
and an exploration of her own
gender construction. With ‘epi-
logue/naskrif’, she moves in
to new territory – and smaller
canvases – as she deals both
with the break-up of a
long-term relationship and the
decision to remove her father’s
presence from her work (he’s
still present in this body of
work, but he’s on his way out).
Norval is fine with her break-
up but I’d love to be a fly on
the wall if and when her former
partner surveys the exhibition
with its pointed title and explo-
ration of romantic aftermath.
Her father, by all accounts, is
KZ- NATAL LISTINGS | PETER MACHEN’S COLUMN
unlikely to see the show.
At the KZNSA the next night,
another family relationship had
made its ways onto the gallery
walls. Adrian Hermanides, an
ex-Durbanite now resident in
Berlin, presented a small body
of work that constituted part of
a larger project entitled ‘Judith
Oscillations’. The title is a
reference to an abberation in
his mother’s brainwaves known
as an essential tremor and
the work explores the altered
consciousness presented by
the condition. Using photog-
raphy, found materials and ink
drops stretched and pulled into
infinitely detailed landscapes,
the work had a shimmering
deftness to it, mostly absent
from the bulk of work that
Hermanides presented at the
gallery two nights later in a
selection of video work from
around the planet.
The first film Berlin Mauer
was the exception, a fascinating
and genuinely moving account
of two women who are both –
in all seriousness – in love with
the Berlin Wall. The women
assign their love to the spiritual
philosophy of animism which
suggests that objects have souls
and are in fact alive; their love
for the wall might be the result
of a psychological condition, or
represent a genuinely alterna-
tive sexual mode, depending on
who you talk to. The women’s
mutual love for the wall repre-
sented something of a problem
initially (they met over the
internet) since jealousy knows
no sexual boundaries but they
resolved this conflict when they
realised that one was love in
the wall before it fell and the
other with its post-1989 form.
But where the video work
Berlin Mauer was engaging
and functioned fully both as
film and as fine art, the rest
of the work showcased did
neither with any degree of
conviction or persuasion and
ending up feeling like a bad
night on youtube. I’m all for
presenting anything as art but
the presentation is not enough,
you’ve got to try to make it
work. We live in a world where
more people than ever before
are pointing cameras at more
things than ever before and,
while all of that output has the
Page 08
Durban film screenings on 28 January
and 04 February, the artist will
Artisan Contemporary show curated programmes of
17 Feb-15 March, “Trees, Space film contributions from a team
& Light” Lecturer, author, of international artists includ-
painter and ceramicist Susan ing Emily Richardson, Hast
Sellschop will be showing her Duo, James Richards, Johannes
paintings, drawings and pots. Raether, Lars Laumann, Marthe
Thorshaug, Max Factory, Steve
Exhibition will be opened by
arts co-ordinator and market- Reinke and Voin de Voin.
ing manager of the Artist Proof 166 Bulwer Rd., Glenwood,
right to claim the status of art, T. 031 2023686,
Studios in Johannesburg, Cara
I’m equally entitled to yawn www.kznsagallery.co.za
Walters.
each time it does. This may or
344 Florida Road, Morningside,
may not have been the point
of one of the works on show,
Durban 4001.T 031 312 4364 Margate
Email: sue@artisan.co.za
which stitched together acres
www.artisan.co.za Margate Art Museum
of found footage, including
some not very attractive shots Museum’s art collection on
ArtSPACE Durban display.
of a not very attractive boy
15 Feb-06 March, 12 artists/12 T.039 312 8392
masturbating, but by the end,
works (The Main Gallery), C.072 316 8094
I really didn’t care. I was just
“Silently Singing” works by Ellis huey@hcm.gov.za
glad it was over.
Pearson ( The Middle Gallery),
A yawn for some is an offence
“An Exploration of the Southern
for others however, and at the
African Geography” - Video Pietermaritzburg
point at which the erect penis
(Front Room)
appeared about half of the very The Blue Caterpillar Art gal-
15 -27 march, ABSA L’Atelier
small crowd got-up-and-left. lery
Art Award 2010 – KZN Regional
Maybe they had to be some- 30 Jan-28 Feb, Oil and acrylic
exhibition (The Main Gallery)
where, maybe they took it as works on canvas of landscapes,
3 Millar Road, Stamford Hill,
a sign of the banality still to still life, portraits and African
Durban.T.031 312 0793
come, or maybe their passions abstract by Shirley Howells.
info@artspace-durban.com
were aroused and they fled 37 Willowton Road,
www.artspace-durban.com
home to satisfy them (although Pietermaritzburg
I doubt it ). But while I suspect T. 033 3871356
Elizabeth Gordon Gallery
that I’m personally immune art@butterflies.co.za
A variety of new South African
to art shock – and at the same www.butterflies.co.za
artworks, including paintings by
time feel that people shouldn’t
Hugh Mbayiwa, Nora Newton
be so offended by genitals and Tatham Art Gallery
and Hussein Salim.
so unoffended by the gross 27 Oct 2009-14 March 2010,
120 Florida Rd., Durban
horrors of life on earth – I The Schreiner Gallery New Ac-
T. 031 303 8133
feel their pain a little. Human quisitions Exhibition, including
eqqart@iafrica.com
genitals as an expression of a linoprint by Vuli Nyoni, and a
www.elizabethgordon.co.za
shock-stroke-banality too often rolling ball sculpture by Zotha
leads down a wormhole of Shange.
KZNSA Gallery
meaningless. Of course, it can 09 July 2009-21 Feb 2010, The
26 Jan-20 Feb, “On-line” an
also lead to works of brilliance Heath Family Retrospective
exhibition presenting members
but transgression does not nec Exhibition, mixed media works
with an opportunity to produce
essarily avant-garde art make. by the Heath family.
and exhibit artwork according to
Although it does point to the Cnr of Chief Albert Luthuli
a theme.
deep schism in the avant-garde (Commercial) Rd. and Church
26 Jan-20 Feb, Adrian Her-
– that the work tends to Str. (Opposite City Hall)
manides presents “Judith
Pietermaritzburg
Oscillations”, a body of work
T. 033 342 1804
consisting of prints, photo-
www.tatham.org.za
graphs, sculptures and text. The
exhibition is accompanied by a
number of public events. At the
be either sublime or rubbish
and it’s not always clear that
the creators know the dif-
ference. The same is true of
avant-garde writers – so often
referenced by their visual
counterparts – and the beatniks
in particular, whose works so
clearly figure in the collective
narrative from which Her-
manides has emerged and to
which he is adding. And it’s
true that I might read through
the more turgid passages of
a Jack Kerouac novel for the
occasional stretches where his
writing turns to transcendental
gold, but it doesn’t work as
easily with visual art. Like
most forms of expression, art is
based in part on good editing.
Of course, this isn’t always
true, but it’s not a bad rule of Winner of the KZNSA Members show:
thumb... Paul Gossman, Inspired, 2010, Digital print on
 For more on Berlinmauer, canvas, enamel paint, 140 x 55cm
see www.berlinmauer.se.
SYMPHONY OF SOWETO
Ephraim Ngatane:

Ephraim Ngatane, The Beggar, 1969, Oil on board, 75x59cm. Collection: Greg Blank SBSA 40709

Standard Bank Gallery 10 February to 13 March 2010

Monday to Friday: 8am � 4.30pm Saturday: 9am � 1pm
Tel: 011 631 1889 www.standardbankgallery.co.za

Moving Forward
PAGE 10
Jo-Marie Rabe
Have you ever looked at a
frightfully unused purchase
you made and asked yourself,
‘What on earth could I have
been thinking when I bought
this?’ There are many factors
that influence what we buy,
but this article will help you be
somewhat rational about the
different art markets and how
to be sensible about purchas-
ing art.
There are only two options to
consider when buying art: the
primary art market and second-
ary art market. The first option
(the primary market) is based
on the rules of connoisseur-
ship, individual expertise and
trust and most often pertains to
works of art sold for the first
time. The secondary market is
almost purely governed by the
age old system of supply and
demand and mostly involves
the trade of artworks that had
previously been available on
the primary market.
The primary art market is driv-
en by the art seller. Gallerists,
fine art consultants, art dealers
and artist themselves form part
of this group of vendors.
Gallerists constitute that group
of dealers who sign a contact
with an artist (known or un-
known, contemporary or other)
and promote and market his or
her work. The arrangement be-
tween the gallerist and the artist
Business and Arts South Africa (BASA)
releases ARTSTRACK Research 2009
BASA Release
Arts sponsorship has more than
doubled since 2001 when the
arts market was estimated at
around R136 million, grow-
ing to nearly R360 million in
2009. Of this, music sponsor-
ship attracts nearly 50% of all
the sponsorship spend (R173
million in 2009) with the bal-
ance going to all other arts and
culture initiatives.
This being one of the key find-
ings of ARTSTRACK research
2009 – Business and Arts South
Africa’s bi-annual authoritative
study on the arts and culture
market in South Africa.
Conducted nationally over
a period of two and a half
months other key findings from
ARTSTRACK 2009 are:
The long-term planning of
sponsors in the field of Arts and
Culture is also underscored by
the findings on the importance
of children learning about
Arts and Culture – and not
just Sport. The results showed
that a clear majority of those
The art of buying art
could range from one which
is fairly open, the artist would
be at liberty to exhibit and sell
elsewhere - to one of extreme
exclusivity where all artworks
by the artist are handled by the
gallery. In exchange for the
exclusive rights of selling an
artist work, the gallery would
act as representative for that
artist – staging and organizing
regular local and international
exhibitions, managing the
artist’s media profile etc.
The art consultant also acts as
an agent, but unlike the gal-
lerist, would often not have a
gallery of their own. They also
tend to act on behalf of a client
wanting to source art rather
than the artist (who wants to
sell her/his art).
Artists themselves sometimes
act as their own agents – mar-
keting their art directly to the
buying public. Art routes, open
studio days and especially the
Internet affords them this op-
portunity.
The last category of art ven-
dors, the art dealer, deals in art
– that is, unlike the gallerist
who tends not to “own” stock,
the art dealer buys and sells art.
Even though they might, like
the gallerist, represent individ-
ual artist, their primary source
of income is the identification
of artwork that they can make a
profit from– adding value with
knowledge and market savvy.
And even though their sources
could include artists and col-
Arts Sponsorship more than doubled since 2001
sampled would like to see their
children learning equally about
both – an increase from 2007’s
research.
39% of consumers felt the costs
of attending Arts and Culture
Events (ranging from Movies
to Traditional Dance, Muse-
ums, Exhibitions and Ballet)
were too high – an increase in
three points on 2007’s findings.
“This is, of course, coming in
a year in which the economic
recession hit hard but I think
is something that should be
looked at by sponsors and arts
and culture practitioners,”
Business and Arts South Africa
CEO Michelle Constant com-
mented.
Communities take notice
and support sponsors that are
investing in projects of value to
them; and as well as sponsors
uplifting and support commu-
nities. According to Constant,
this supports the King Three
Report, which highlights the
need for corporate citizenship
through CSI.
In a spontaneous question that
JO-MARIE RABE’S COLUMN
lectors, they often buy from
auctions.
Which brings us to the second
category: buying art at auc-
tion. At an auction, the final
price achieved on any item on
offer, be it a humble sheep, an
important manor house of a
piece of art, depend on the rule
of supply and demand. If the
demand is bigger than the sup-
ply, the item on offer will fetch
a higher price.
Then there is the Internet.
The Internet is essentially a
marketing tool that is used by
everyone already mentioned.
Art dealers and auctioneers
alike have websites to entice
the potential buyer. Art auction
sites abound. According to
many this is a field with unim-
aginable potential.
So where to buy art? Every-
where, I would suggest. But
buyer, beware!
Know what you want, how
much you can afford to spend,
what you are in for when you
buy, what the potential risks
and costs are and why you
want to spend money on this
particular commodity, because
there are advantages and disad-
vantages to each and every one
of these markets.
The advantage of buying from
a vendor is that the art dealer,
gallerist or art consultant has
already done all the work for
you. What you are paying
for is an informed opinion
- the experienced vendor has
asked respondents to name
an Arts and Culture spon-
sor in South Africa, Stand-
ard Bank received the most
mentions followed by ABSA
then MTN. (The full list of
19 spontaneously-recalled
sponsors is available in the
research) According to spon-
sors themselves, the companies
regarded as sponsorship leaders
are Standard Bank, Absa and
Nedbank.
The belief that government has
a significant funding responsi-
bility to develop and support
Arts and Culture.
Music topped the list of 12
disciplines supported that
included festivals, museums,
theatre, movies, traditional
dance, crafts, literature, sculp-
ture/paintings/photography,
opera, contemporary dance and
ballet.
The biggest contribution
now comes from Marketing
Budgets.
The 2009 research was
especially revealing in the
a body of knowledge and a
superior understanding of the
current art market, they have
researched the particular piece,
they might even have done the
required and appropriate work
like restoration or re-framing.
Secondly, the price you see
is the price you pay. Thirdly,
buying from a reputable dealer
means you have recourse. In
cases where a particular work
of art is proven not to be what
it was presented as, dealers
with a known and good reputa-
tion will take the artwork back.
But there is a premium to pay.
Art in galleries are almost
always more expensive that art
at auction.
Because of the high visibility
of dealer-buying at auctions,
here is a general perception that
buying art at auction means
buying art “wholesale”. This
is a precarious sort of truth,
a dangerous belief if you are
not completely versed in the
fashions and vagaries of the art
and the auction worlds.
Because, where one wants to
belief it or not, the auctions are
expert driven – knowing what
will sell, what might become
highly saleable, knowing
what is good and not merely
mediocre of in fact “bad” is
what makes for clever decision
making in this market. The
experienced dealer and avid
collector who has had many
years exposure to this system
would undoubtedly benefit.
attitude of non-sponsors of
Arts and Culture. In particular,
non-sponsors gave a detailed
list of their ideal sponsorship
- which included a relationship
in which both parties benefit
equally, community uplift-
ment, strong brand awareness,
contribution to the company’s
BEE scorecard, and ability to
be measured.
According to Constant, “A
great deal of valuable informa-
tion emerged from the research
– including how culture can be
used as a tool for tourism. This
is particularly interesting in
2010 with the FIFA World Cup
bringing so many visitors to
our country.”
“What I found interesting were
the comments from business
on how they believe we can
make the Arts and Culture
environment more attractive
to sponsoring companies,”
says Constant. “As Business
and Arts South Africa we are
already working on some of
the suggestions which we hope
will see an increase in Arts and
Culture sponsorship in 2010
BUSINESSART | FEBRUARY 2010
So, “Beware the bargain”.
This old adage is true. There is
normally enough expertise in
the market to assure that a fair
price is achieved. If something
sells for a bargain price, it
normally means that there is
something wrong with it.
The advantages of buying from
an auction lies the fact that
many works of art will only
be available on recommenda-
tion from an auctioneer, so
choice and availability play
a role. And then there is the
excitement - there are always
a tangible energy of nerves
and expectation, adding to the
risk of an auction purchase,
because the element that makes
buying at auction so exciting
is the same element that makes
buying at auction so danger-
ous. Another disadvantage of
buying from on auction is the
fact that there are always extra
costs involved. Almost all auc-
tion houses charges a buyer’s
premium. This is added to the
hammer price. When buying on
auction it is important to make
sure of any other “hidden”
costs. Shipping and insurance
costs will add to the final pur-
chase price.
To me, buying art on the In-
ternet is still the most contro-
versial option. Most art buyers
will concede: there is no sub-
stitute for seeing a work of art
in real life. The emotional com-
ponent in art, that kick in the
gut response that some works
and beyond.”
ARTSTRACK 2009 gives good
insight into sponsorship of arts
and culture in South Africa and
is a powerful research tool for
anyone interested in sponsor-
ship in the Arts market in South
Africa.
Scope:
The consumer ARTSTRACK
Research 2009 covered a wide
spectrum – ranging from the
frequency and types of events
South African adults attend in
the field of Arts and Culture to
attitudes towards, and aware-
ness of sponsors, and the role
of government.
It also offers insight into the
size of the Arts and Culture
sponsorship market, the nature
and length of contracts, budget
issues, sponsorship objectives
amongst other issues. Compa-
nies not involved in sponsoring
Arts and Culture were also
probed on other sponsor activi-
ties, sponsorship preferences
and their reasons for not spon-
soring Arts and Culture.
of art engender, constitute an
important deciding factor when
a purchase is considered. This
is completely absent when art
is bought on the net.
Another factor to consider
when buying art of the Internet,
or from a distant auction house,
is the condition of the piece. In
cases where a personal viewing
is not possible, requesting or
obtaining a condition report is
an imperative.
For a well-considered view on
the world of art trading, read
“How to Buy and Sell Art”
by the Australian art dealer
and writer, Michael Reid. His
frank and write-as-you-speak
approach makes for an easy yet
informative read.
He even dares to advise
prospective buyers when and
where NOT to buy art.
He advises against: buying art
at night (apparently your psy-
chological defenses are down
and feeling like entertaining
yourself, you might be inclined
to be more impulsive), buying
art while on holiday (same
principle), buying art when it
has a “sale” sticker stuck on it,
buying art under pressure and
buying art under the “opening
night fever”.
Art, the author maintains, is
serious business, so be serious
about choosing why, when,
how and who you buy art from.
Methodology:
Conducted by leading South
African sponsorship company,
BMI, the methodology was
based on consumer research
amongst a total sample of 1950
adult (over 18 years) South
Africans. The one-on-one,
interviews took place nation-
ally, covering individuals
from South Africa’s diverse
background. For specific busi-
ness research, Business and
Arts South African members
were also surveyed as well as
a number of non-Arts and Cul-
ture sponsoring companies.
The bi-annual Business and
Arts South Africa ART-
STRACK Research is available
to all members of Business and
Arts South Africa.
For enquiries on the Business
and Arts South Africa ART-
STRACK Research 2009 con-
tact Beverly Reddy on 011 832
3039. For more information
about Business and Arts South
Africa programmes please visit
www.basa.co.za.
 BUSINESSART | FEBRUARY 2010
Alexis Preller: Africa, the Sun and Shadows
After a highly successful show at The Standard Bank Gallery, Johannesburg, this amazing show is now to be seen at The SA National Gallery, Cape Town
‘ an influential band of artists who had returned from study in either
Hayden Proud and Riason Naidoo at the opening of the Preller Exhibition.
Photo credit: Iziko Museums of Cape Town Photo: Carina Beyer
Alexis Preller: Africa, the Sun and Shadows’ - a retrospective
exhibition, it showcases the work of Alexis Preller (1911-1975)
and is curated by Karel Nel. Accompanying the exhibition is
Alexis Preller, a beautifully written and illustrated monograph on
the artist by Esmé Berman and Nel, which will add considerably
to current understandings of Preller and his work.
Preller studied in London and Paris in the 1930s, where he
absorbed the language of Western modernism to the extent that
a critic, who had seen his work on a 1937 group exhibition in
Johannesburg, called him ‘South Africa’s Gauguin’. He was also
influenced by Van Gogh and later by the frescoes of Piero della
Francesca.
Modernism is a term applied to a wide range of new and innova-
tive developments in the arts of the 20th century. All of these
broke with the art traditions of the past, such as naturalism and
realism, and inherited notions of perspective, tonal modelling and
subject matter. Modernism refers particularly to 20th century art
movements, such as Symbolism, Expressionism, Dada, Cubism
and Surrealism, although the term also applies to late 19th century
Post-Impressionist artists, such as Vincent van Gogh, Paul Gau-
guin and Paul Cézanne.
While critics in South Africa have labelled Preller a Surrealist,
which the artist rejected, and also an Expressionist, his unconven-
tional form of expression was impossible to classify in terms of
the mainstream art movements of his time. The reason for this was
that, rather than blindly following modernist trends and move-
ments, Preller sought to use the language of modernism to express
an African identity.
In searching for of an art “rooted in the Africa soil”, as he put it,
Preller drew his initial inspiration from the Ndebele (Mapogga)
people, who lived in the Pretoria vicinity, where he spent most of
Still Life with Crocdile
his life. This places him on a path similar to that of Gauguin, one
of his primary influences, who broke away from urban European
culture to pursue the so-called ‘primitive’ world of the Polynesian
islands. The influence of Gauguin on Preller’s work is most clearly
discernible in The Feast (1946), a work made along his journey
towards developing a more concrete African vision. In The Feast,
there are many parallels with the European painter’s work, includ-
ing structural features, the depiction of fruit, and the close-up view
of so called ‘exotic’, young female figures. As is said by Berman
and Nel, these figures “may be Preller’s frank admission of his
debt to Paul Gauguin.”
Because of his search for an art that fused the language of modern-
ism with a distinctly African identity, Preller was, in his time, seen
as innovative and different from other artists of his era. For this
reason, Walter Battiss invited him to join the New Group in 1938,
Page 11
the United Kingdom or Europe, where they had absorbed new
modernist trends.
The first New Group exhibition was held in 1938 in Cape Town,
and included a number of other famous artists, such as Walter
Battiss, Moses Kottler, Gregoire Boonzaier, Terence McCaw and
Lippy Lipshitz. Although artists like Preller were condemned
in the press for their modernism, the government selected New
Group artists for exhibitions abroad because they were considered
to be the best on the local art scene. The last New Group exhibi-
tion was held in 1953, after 16 years of activity.
Preller’s vision was radically different when compared to the artis-
tic norms of his era. This is why he is today regarded as an
Preller portrait (on scaffold)
camped in Swaziland, where he painted continuously. During this
time he exhibited in Johannesburg. He joined the New Group in
1938 and was included on its first exhibition. In the following
year, he travelled by car to the Congo, returning to Pretoria at the
outbreak of World War II.
During the War, Preller served in the Field Ambulance Corps.
Captured, he was interned in North Africa and Italy until 1943.
After his release, he continued to exhibit in Johannesburg, his
work showing the influence of his war experiences. His next trip
to Europe was in 1946, where he again spent time in the museums.
In the following year, the first book was published on Preller: a
small collection of black-and-white reproductions entitled ‘Alexis
Preller’, with notes by Christi Truter.
In 1948/1949 Preller travelled once more, this time to Zanzibar
and the Seychelles, which, as with all his trips, was to prove
influential on his work. At this time he also became a member of
Christ head
the South African branch of the International Art Club, along with
the likes of other progressive artists like Walter Battiss and Irma
Stern. Preller’s next trip was in 1953 – to Italy, where he studied
frescoes
important figure in the South African avant-garde movement of his
time, and as an African modernist. To put it bluntly, he developed
an art that was ‘out of the box’. In his Preface to Alexis Preller, the
book, Clive Kelner puts it as follows: “Preller’s art can be under-
stood to be avant-garde in so far as he broke away from conserva-
tive white society through his approbation of African culture. His
own inimitable style challenged the local art establishment in what
was accepted as ‘normative’ in terms of colonialism at the time.”
Preller, concludes Kelner, needs to be understood as “a postco-
lonial figure who identified with his time and place in iconic and
ground-breaking ways.”
About Alexis Preller
Born in 1911, Alexis Preller attended Pretoria Boys’ High School.
On completing his schooling, he worked as a clerk before deciding
to pursue a career as an artist. Encouraged by the architect Nor-
man Eaton, he left for London in 1934, where JH Pierneef, who
was working on murals at South Africa House at the time, advised
him to enroll at the Westminster School of Art. He returned to
Pretoria in 1935 via the East coast of Africa, and it was also in this The Last of the Mapoggas
year that he held his first solo exhibition.
Preller visited Paris in 1937, where, unable to afford formal train-
ing, he studied in museums and galleries. On his return, he and was much influenced by the work of Piero della Francesca. On
his way back, he visited Egypt, which was also to have a huge im-
pact on his work. In 1968 he visited Greece and Turkey followed
by another trip to Greece and Italy in 1970. His last visit to Europe
was in 1973, travelling to Paris and Holland.
Preller’s contribution to South African art was acknowledged
when he received the Molteno Award (jointly with Jean Welz) in
1953, and the Medal of Honour for Painting from the Suid-Af-
rikaanse Akademie in 1955. He represented South Africa at the
Venice Biennale on two occasions – in 1954 and 1956 – and was
a featured artist at the Sao Paulo Biennial in 1973. In 1972 the
Pretoria Art Museum held a major retrospective exhibition of his
work. The following year Esmé Berman and Edgar Bold began
filming a documentary on Preller. The film was interrupted be-
cause Preller took ill, but was completed in 1974. The SABC com-
missioned an extended version of this documentary in 1976, which
was transmitted in July 1977. Preller held his last exhibition in
1975, the year in which he died of a heart attack following surgery.
Reference
The Kraal II
Berman, E and Nel, K, Alexis Preller (2009)
PAGE 12 SHOW REVIEWS BUSINESSART | FEBRUARY 2010

Gordon Clark and Leon Botha : Who am I? 2009

Lightjet on crystal archive paper. 142 X 120 cm

Who am I?
Steven Cohen, Golgotha - Ground Zero #1, 2009, C-print, Photo: Marianne Greber/VBK Wien, Image courtesy of Michael Stevenson

Melvyn Minnaar catch viewer attention (vital in

the competitive and high-buzz

Steven Cohen - Life is shot, art is long

Exhibition: Gordon Clark and
Leon Botha at the João Ferreira
Gallery until February 13.
It may be a better idea, at
first, to ignore the title of this
impressive photographic col-
laboration and indulge in the
theatrical verve of its result:
splendidly grand tableaux that
steals the gaze and tickles the
mind.
Cunningly conceived, well
staged and executed, and
photographed and printed with
high-professional skill, the ex-
otic, sometimes slightly surreal
and campy humorous visual
essay Who am I? is a must see
for all those reasons.
It is only when the paradoxes
kick in that the fun and games
of this merry-go-round be-
come, literally, a matter of life
and death. It’s when the subtext
starts pushing to the surface,
that the power of this project
grabs you. It’s then when, as a
viewer, you cannot remain the
unaffected, amused, perplexed
bystander. Take irony as a key
to unlock the complexities of
human existence.
The diminutive Leon Botha
is a remarkably long-living
progeria sufferer. The disease,
named from the Greek for
quick aging (of the human
body), has altered his physical
appearance in such a way that
he can never be incognito in
public. It’s a tough reality, but
as an artist (he also paints) he
confronts this head-on in this
series of highly-constructed
images. The strategy is a com-
plete conversion of his reality
to that of a play-actor. This,
ironically, of course, has often
been the case for people of his
ilk: they are seen as perform-
ers and amusers for being so
unusual looking.
Working with photographer
Clark, who, clearly has a fine
sense of what is required to
world of fashion and adver-
tising photography). Create
drama where and when the
viewer doesn’t expect it, and
invent topsy-turvy visual con-
structs (in the style of Helmut
Newton, for one) that shock
and unsettle.
Printed to large format - which
enhances sharply-focused
detail and effect, with saturated
colours teasing reality - these
photographs rely on Botha’s
discordant presence in stylised
surroundings. In some he is
dressed up, in others made-
up. The best and most potent
pictures are those in which this
is not done.
In ‘Man’ he is simply a curious
figure and shadow against
the beach lavatory sign and a
single seabird. The juxtapos-
ing is delicious. In ‘Facts and
Fallacies’ with the oversize
egg lamp, the humour is
sharp and dense, and a quiet
melancholy permeates ‘Away
from the World’ and it becomes
Shakespearian in ‘Sitting on
the Edge’.
Unlike the awkward, somewhat
clichéd exhibition title, most
of the pictures are shrewdly
captioned. The gorgeously
satirical ‘Home Maintenance’
is too clever for words.
It is in images like these, so
striking in constructed visual
narrative, that one returns,
on contemplation, to the real
life of the progeria-suffering
artist and the questions around
role-playing that he has to face
all the time. With the illness’s
deadly demands on human
time, this collection of photo-
graphs is a vivid stop-and-think
event. It’s also brilliant.
*The João Ferreira Gallery is
at 70 Loop Street. Tel 021-
4235403.
This Review first appeared in
The Cape Times January 2010
Lloyd Pollack
MANHATTAN REAPS THE
GRAPES OF WRATH
The section of Michael
Stevenson’s exhibition de-
voted to Steven Cohen forms
a retrospective survey largely
consisting of works which have
been extensively discussed.
Its title, Life is shot, art is long,
a play on Seneca’s dictum ars
longa, vita brevis, affirms the
centrality and permanence of
art in the face of a radically
flawed world. A concern with
universal moral issues provides
the impetus behind Cohen’s
breathtaking new video Golgo-
tha (2007-2009), a magnum
opus that makes everything
he has done hitherto, seem a
mere dress-rehearsal for this,
the supreme performance of his
career so far.
Gone are the bludgeoning
shock tactics of Faggot, Dog,
Jew and Ugly Girl. Gone are
the vivifying crassness, brash-
ness and vulgarity of yore, for
Golgotha’s hallmark is limpid
classical purity and restraint.
The impulse behind the work,
created in the wake of a sear-
ing bereavement, is a tragic
awareness of the irreversibility
of human actions and a fierce
yearning for the irretrievable.
Trauma and grief inspire a me-
ticulously concerted perform-
ance of religious inspiration in
which all those hoary, bearded
prophets of the Old Testament,
all those Jeremiahs, Ezekiel’s
and Isaiah’s, rise up atavisti-
cally to ventilate their ire and
righteous wrath.
Golgotha was the site of capital
punishment in Jerusalem. It
was the place of Christ’s cru-
cifixion, and the Hebrew word
Golgotha refers to the skulls
that littered the ground.
On a visit to New York Cohen
was appalled to find a shop
selling human bones, and the
performance originated in his
outraged disgust at such mer-
cantile obscenity. If his earlier
work reflects the politics of the
anus, then Golgotha explores
the reeking arse-end of the
American moral landscape
where economic exploitation
persists beyond the grave.
Golgotha is an apocalyptic
indictment of American capital-
ism and materialism, America’s
death-dealing foreign interven-
tionism, America’s intolerance
of the ‘other’ and their counter-
parts around the globe.
The video, a sumptuous
aesthetic spectacle, opens with
an elegiac exordium in which
the camera slowly inches over
Cohen’s body to the strains
of a heart-breaking, plaintive
lament. His tutu is formed
from diminutive gilded mirrors
with richly carved crowns
and floral and foliate scrolls.
His bald head references the
shaven scalps of the victims of
the Holocaust, be they Jews,
homosexuals, gypsies, Com-
munists or dissident clergy.
His face is heavily made-up:
butterfly wings and feathered
eyelashes adorn his eyes.
Finally his high heels rise from
human skulls which, he says,
‘heighten his awareness of the
presence of the dead’.
Costume and maquillage allude
to the emblematic devices
underpinning the 17th century
vanitas which proclaims the
brevity and transience of hu-
man life and the inevitability
of divine judgment. Mirrors,
blossoms, leaves, crowns and
butterflies are all traditional to-
kens of vanity which transform
Cohen into a living Memento
Mori. However the Janus-
faced artist is not just e.e. cum-
mings’ ‘blue-eyed boy, Mister
Death’, he also incarnates a
swatch of victimized identities.
He is the Jew, the queer, the
representative of all margin-
alized and threatened be-
ings. The leaves, blossoms,
butterflies and feathers that
adorn him, identify him with
nature and threatened species.
He is the imperiled planet, the
martyred Christ and the Jewish
ritual scapegoat, Azazeel who
expiates the sins of his people.
In the next sequence, a grey,
pin-stripe suit replaces the tutu,
turning Cohen into a latter-day
Jedermann, as he picks a path
down the New York streets.
The intervention - a series of
genuflections, abasements and
prayer-like invocations - takes
place where Wall Street - the
epicentre of global capitalism
– converges on Trinity church.
There Mammon meets God
in a confluence of immense
energies, and the artists slow,
stumbling progress forms a
parallel to the Via Dolorosa and
the stations of the Cross.
The strain Cohen endures
sustaining these apostate or
salvatory identities expresses
itself in his precarious equi-
librium. The human skulls
not only create the persona,
they dictate his movement and
stance. His gait betrays his
human fallibility and weak-
ness. The artist totters, sways
and seems forever about to fall.
To stand or walk is to undergo
a trial that proves his faith.
Every step he takes is an heroic
ethical assertion, a challenge to
evil. Virtually immobilized by
the high heels that ‘bring him
closer to God’, Cohen bears
witness on the godless streets.
The shamanistic aspect of
his practice, his redemptive
attempt to heal a sick world
through rituals of expiation,
emerge from the sweeping, bal-
letic gestures whereby his flut-
tering hands mime out prayer,
entreaty, lamentation, helpless-
ness, bafflement, prostration,
obeisance and resignation.
Golgotha abounds in deliri-
ously seductive images. The
surreal dynamic of the close-
ups of the two skulls treading
a path amidst the pulsing neon
of Times Square, or hovering
over the New York skyline in a
prophecy of doom, lend them
galvanizing presence. The
inevitable triumph of divine
virtue is forcefully conveyed
by the rousingly affirmative fi-
nale in which the skulls march
triumphantly through the Man-
hattan streets in a devastating
subversion of that most stirring
of all American anthems, the
Battle Hymn of the Republic,
which the artist twists into his
own torch song and threnody to
the deceased.
“Mine eyes have seen the glory
of the coming of the Lord;
He is trampling out the vintage
where the grapes of wrath are
stored;
He hath loosed the fateful
lightning of his terrible swift
sword;His truth is marching
on.”
 BUSINESSART | FEBRUARY 2010
Gina Heyer: Currents 3 (2009 – 2010), Oil on board, 58.5 x 44.2 cm to be seen at www.iart.co.za
New Whale Rock Auctioneers could surprise
By Michael Coulson
Hermanus may sound a strange
base from which to challenge
the major auction houses, but
Whale Rock Auctioneers’
Derek Benzien doesn’t see this
as a problem. “You could hold
an auction in the middle of the
Karoo and people will come
if the art is good enough,” he
asserts – which may, ironically,
be one reason why his sale on
January 9 was much less suc-
cessful than its predecessor last
November.
Benzien, now pushing 40, says
he’s being buying and selling
art since he was 12. “I’m just a
smous.” In the past two or three
years he’s also opened gal-
leries in Onrus (in partnership
with artist Hennie Niemann snr,
from whom he says he’s learnt
a lot) and Hermanus itself.
He’s confident the market is big
enough for him to find a space
beside the likes of Strauss &
Co and Stephan Welz & Co
(Swelco), though he concedes
it will take 10 years to emulate
their stature.
Just how successful he’s been
so far is hard to gauge, as he
doesn’t release comprehensive
results of his auctions – which,
like Strauss and Swelco,
include furniture and other
items as well as art. “I’d like
to report everything, but some
of my clients don’t want to,
and you have to respect their
wishes.” One wonders what
they have to hide.
Still, he says his November
sale grossed about R8.5m, of
which about 80% came from
the 80%-90% sold 60 to 70 art
works. Highlights were two
Maggie Laubsers, which each
went for a few rand over R1m
(prices include commission
and other costs, his commis-
sion being remarkably low
by auction standards, at only
10%), R612 000 and R567 000
for two Pierneefs, R467 000
for a Pieter Wenning and R417
000 for a Gregoire Boonzaaier
– the last mentioned, he says,
a record for a Boonzaaier of
its size.
He also set a record for Paul du
Toit, at R111 000.
The January sale, however,
grossed only R800 000, and
while there were post-sale
offers of around R1.6m, most
fell through. This implies that
the Pierneef oil (est R650
000-R850 000), a Pierneef
pastel (est R250 000-R300
000), a Boonzaaier (est R240
000-R300 000) and a Laubser
still life (est R200 000-R250
000) went unsold, and Benzien
implicitly confirms this when
he says that the highlight was a
record R140 000 hammer price
for a Marj Wallace Arniston
landscape (est R100 000-R150
000).
He claims Strauss had previ-
ously valued this at only R40
000-R60 000, adding that what
he sees as inconsistent and ar-
bitrary valuations by the major
houses play into his hands.
“They tend to value automati-
cally by name of artist, subject
matter and size, and don’t pay
enough regard to the quality of
individual pieces.”
Page 13
Benzien offers several reasons
for his January flop. It was too
soon since the previous sale
and some of the works had
been hawked around for some
time. “I didn’t really want to
hold the sale, but people were
pressing me, and I had to give
in.”
He also admits that one reason
for his November success was
that it included a fine collection
from a house in Bantry Bay
(the owner doesn’t want to be
identified) where he luckily
just happened to be the early
bird. But he’s optimistic about
the future, and plans to hold
two or three auctions a year;
“I’ve already sourced 17 qual-
ity pieces for my next sale, in
April or May.”
And, he adds, “We’ll have a
Cape Town branch very soon.”
Strauss and Swelco won’t be
shaking in their shoes yet,
and have no reason to. But if
Benzien can realise his ambi-
tions even partially, that could
change.
PAGE 14
Stephan Welz and Company - Cape
inaugurates the new 2010 Art Auction Season
Tuesday 23 February 2010, Kirstenbosch National Botanical Gardens, Cape Town
Major works by Maggie Laubser, JH Pierneef, Cecil Skotnes, Vladimir Tretchikoff and Pieter Hugo Naudé headline the inaugural auction of the Stephan Welz & Co 2010 calendar.
Stephan Welz and Company’s
inaugural auction of the 2010
calendar is to be hosted at the
Kirstenbosch National Botani-
cal Gardens in the Old Mutual
Conference Centre. The auc-
tion scheduled for 23 February
comprises three comprehensive
sessions across a full spectrum
of Decorative and Fine Arts.
Early views of Cape Town are
found in works such as a rare
watercolour by Thomas Bowler
“Greenpoint, Cape of Good
Hope” (estimate R40 000 – 60
000) and a Pieter Hugo Naudé
work titled “In Old Cape Town,
Malay Quarter” (estimate
R250 000 – 300 000) which
was included in an exhibi-
tion focusing on early Cape
Town at the then Martin Melck
House (now the Gold of Africa
Museum). Other highlights
in the sale include a number
of striking figural works by
Maggie Laubser, Irma Stern,
Maurice van Essche, Jean
Welz, Neville Lewis, George
Pemba, Vladimir Tretchikoff,
Marjorie Wallace, Christo
Coetzee, Stanley Pinker and
Robert Hodgins.
The Maggie Laubser paint-
ing “Portrait of a Woman
with Head Scarf” (estimate
R700 000 – 900 000) is a fine
example of the early period
in the artist’s career and was
painted on the family farm,
Oortmanspost, shortly after her
return from studying abroad.
Executed in a rich palette of
ochre, sienna and umber offset
against a spectrum of blues,
this work is a tender portrait
of one of Laubser’s favourite
models; other studies of the
sitter can be found in the Liz
Delmont/Dalene Marais book
Maggie Laubser: Her paintings,
drawings and graphics in which
this painting is illustrated on
pg 183. Alfred Neville Lewis
is represented by three works
including “A Man with Ear-
rings and Bandana” (estimate
R90 000 – 120 000) and “A
Pondo Woman Grinding
Corn”(estimate R80 000 – 120
000), both of which capture
their subjects in the artist’s
compassionate and distinc-
tive style. Other enigmatic
portraits on the sale include the
iconic “The Hindu Dancer” by
Vladimir Tretchikoff (estimate
R1 000 000 – 1 200 000), Mar-
jorie Wallace’s humorous self-
portrait “Solitaire” (estimate
R60 000 – 80 000), Fred Page’s
“The Hand” (estimate R80 000
– 100 000) and Christo Co-
etzee’s “The Bride” (estimate
R90 000 – 120 000).
“These highly personal and in-
dividualized reflections of self
and their world make our art-
ists so compelling to handle,”
says Ian Hunter of the Painting
Department.
In 1952 the National Gallery in
Cape Town hosted the “Exhibi-
tion of Contemporary South
African Art” and the auction
boasts two South African mas-
ters included in this prestigious
show. The exhibition was
curated with funding from the
Jan van Riebeeck Tercentenary
Festival. First to be offered
is Pierneef’s “Fishermen’s
Cottages Near Struisbaai”
(estimate R1 400 000 - 1 600
000). The individuality of this
work lies in Pierneef’s choice
to depict the now National
Monument ‘Hotagterklip cot-
tages’ at the entrance of Struis-
baai and is a marked departure
from the artist’s regular oeuvre
of trees and mountains. The
work is executed in Pierneef’s
recognisable later, pared-down
palette and employs many of
his familiar traditional equa-
tions such as the division of
cottages-earth-sky ratio based
on the Golden Section. By
placing the various components
in this work on an asym-
metrical plane he heightens
the drama of this deceptively
simple composition. The sky is
omnipresent in the composition
with the promise of a storm to
come while a lone tree leans
into the composition from
the left. Second is Gregoire
Boonzaier’s “Fruit, Cup and
Ginger Jar” (estimate R140
000 – 180 000) which was
acquired by the current owner
from well-known art dealer
Inge Welz, wife of Jean Welz,
shortly after the conclusion of
the 1952 festival. Other still
life studies in the sale include
works by Francois Krige, “Still
Life with Fruit” (estimate R120
000 – 150 000), and a work
from the collection of Alfred
Krentz “Still Life with Pot
Plant” (estimate R70 000 – 100
000).
Contemporary South Afri-
can Art is well represented
throughout the painting
sessions. Cecil Skotnes’ “A
Metaphysical Landscape”
(estimate R600 000 – 800 000)
is a monumental work executed
in the artist’s later years. Be-
ing a resident Capetonian,
Skotnes might well have taken
inspiration from his beloved
Table Mountain which was
clearly visible from his home
in the City Bowl. In this work
the landscape dominates
the composition, erupting
dramatically in Liesegang
bandings or colour planes,
and is barely contained by the
band of vivid sky and artist’s
carved frame. Stanley Pinker’s
“Two Women” (estimate R80
000 – 120 000) is a repatri-
ated work, fresh to the market
having been bought in South
Africa but hung on the walls of
SA ART AUCTIONS
an English collector. Another
South African who has proven
his success locally as well as
internationally is Robert Hodg-
ins whose sellout show in 2008
confirmed his status as one of
South Africa’s modern masters.
His painting titled “Smoking”
is on offer at an estimate of
R140 000 – 180 000.
For the fledgling collector there
is a fine choice of works on
paper by artists trained at the
Polly Street and Rorke’s Drift
Art Centre’s. Included amongst
these are four works by Na-
mibian artist John Muafangejo
with estimates all falling be-
neath the R10 000 threshold.
Maggie (Maria Magdalena) Laubser 1969, Portrait of a woman with head-
scarf, signed and dated 25, oil on paper laid down on board,
51,5 by 40,5cm R 700 000 - 900 000
Hunter concludes, “It is a privi-
lege to see these richly textured
outpourings of self, these
emotional diaries left behind to
delight and beguile us.”
For the first time in more than
a decade, the Cape Town sale
will include motor cars. An
elegant 1968 Rolls Royce
Silver Shadow (estimate R100
000 – 120 000) headlines the
Classic cars in this sale. Other
motor cars include a 1957 Le
Mans style MGA (estimate
R110 000 – 120 000) and a
1965 MGB (estimate R100 000
– 120 000) both in heart-rac-
ing red. For an enthusiast with
a more contemporary leaning,
one will be attracted to a 2005
Bentley Continental GT (R1
800 000 – 2 000 000). Since
its inception in 2004, “The GT
has proved to be an unequivo-
cal sales success around the
globe…those little touches
that combine to give a really
big overall impression,” says
Robin Page, head of interior
design at Bentley Motors.
The evening furniture session
is punctuated with the inclusion
of two pocket globes from a
private collection. A rare Re-
gency Terrestrial Pocket Globe
(estimate R30 000 – 40 000),
by John Newton circa 1818,
is unusual on account of its
diminutive size and the illustra-
tions found on the inside of its
case. These illustrations depict
the seasons and their corre-
sponding zodiac constellations.
The second pocket globe, this
one a George III Terrestrial
Pocket Globe after Herman
Moll, circa 1775 is available at
a similar estimate.
For interior enthusiasts and
collectors of English Furniture
there are numerous pieces from
the renowned Noordehoek
Manor. Included in the sale is
a fine pair of George IV Ma-
hogany side servers, first half
of the 19th century (estimate
R20 000 – 30 000), which
would make an attractive
addition to a well-appointed
room. Continental furniture is
highlighted by the handsome
cover lot. This grand piece, a
fine Northern Italian walnut
and marquetry commode, late
18th century (estimate R60 000
– 80 000), intricately deco-
rated in delightful inlay and
is a delightful ode to Roman
mythology, which enjoyed a
revival at the time of this com-
mode’s design. Also of note
is a charming Nicole Frères
BUSINESSART | FEBRUARY 2010
Cylinder Musical Box (esti-
mate R6 000 – 8 000) made in
Switzerland in the second half
of the 19th century. Colonial
and Oriental furniture features
a striking Amboyna, Ebony and
brass-inlaid Campaign Chest
(R30 000 – 40 000) from the
mid 19th century. Cape collec-
tors will appreciate a Cape Yel-
lowwood, Teak and Fruitwood
peg-top gate-leg table, 18th
century (estimate R40 000 – 60
000) and a finely crafted Cape
Regency Stinkwood and Inlaid
Rusbank, mid 19th century
(estimate R30 000 – 40 000).
This rusbank is illustrated in
the collectors handbook “ Cape
Antique Furniture” compiled
by Michael Baraister and An-
ton Oberholzer. Contemporary
collectors will find themselves
drawn to a set of four ‘Oxford’
chairs (estimate R20 000 – 25
000) by the renowned designer
Arne Jacobsen.
Among the wide selection
of electroplate and silver is a
lovely Art Nouveau electro-
plate centrepiece, 20th century
(estimate R10 000 – 12 000),
finely decorated with a maiden
wearing a long flowing dress
beneath a bouquet of flowers.
Also in the sale is a Victorian
silver ewer, Roberts and Belk,
Sheffield, 1864 (estimate R20
000 – 25 000), a pair of George
V silver Art Deco Vases, Make-
ly & Wheeler, London, 1925
(estimate R10 000 – 12 000), a
late Victorian silver-mounted
easel-back mirror, possibly
William Comyns & Sons Ltd,
London, 1896 (estimate R12
000 – 15 000), and a fascinat-
ing Scottish silver-mounted
deer’s foot inkwell, Ferguson
& MacBean, Edinborough,
1891 (estimate R12 000 – 15
000).
Contemporary South African
ceramics feature prominently
in the Ceramic session. In-
cluded is a terracotta figure “St
Francis Preaching to the Fish”
by renowned Diek Grobler
(estimate R15 000 – 20 000)
and Evette Weyers stoneware
figure “Evolution” (estimate
R15 000 – 20 000). From the
Ardmore studio is Wonderboy
Nxumalo’s “Nelson Mandela”
dish (estimate R15 000 – 20
000) executed in 1998 and a
Josephine Ghesa terracotta
piece “The Rider” (estimate
R15 000 – 20 000). Ghesa is
probably one of the best known
artists from this studio whose
work is held in many corporate
and private collections lo-
cally and abroad. Amongst the
Oriental ceramics, which prove
to be perennially popular with
collectors, is a Chinese blue
and white tureen and cover,
Qianlong, 1736-1798 (estimate
R8 000 – 10 000) and a Chi-
nese Wucai vase, transitional
period, 17th century (esti-
mate R6 000 – 8 000). Glass
enthusiasts will be drawn to the
lovely Lalique items on offer
including “Eroica”, a clear and
frosted glass vase designed by
Marie-Claude Lalique as an
allegorical figure of Liberty in
tribute to the French Revolu-
tion (R10 000 – 15 000) and
a set of twelve Lalique clear
and frosted glass dessert plates,
post 1945, in the “Honfleur”
pattern (estimate R20 000 – 25
000). Works of art encompass
a wide variety of items which
include a large pale celadon
nephrite carving (estimate R20
000 – 30 000) and a gilt-bronze
figure of Syamatara (estimate
R12 000 – 15 000). An eques-
trian patinated bronze sculpture
“Kingsem and Rider” after
Isidore-Jules Bonheur (estimate
R40 000 – 60 000) is also on
offer. This bronze impressively
captures a subject who was the
unbeaten winner of 54 races
including the Derby and the
Goodwood Cup.
Breaking from traditional
format the auction is to be held
over a single day divided into
three sessions. For further press
information and images please
contact Phillippa Duncan on
+27 21 794 6461 or +27 83
480 9189 or phillippa.duncan@
swelco.co.za
VENUE
(For pre-sale viewing and auc-
tion sessions)
Old Mutual Conference &
Exhibition Centre
Kirstenbosch National Bo-
tanical Gardens, Rhodes Drive,
Newlands, Cape Town
VIEWING
Friday 19 February 2010
10h00 - 19h00
Saturday 20 February 2010
10h00 - 15h00
Sunday 21 February 2010
10h00 - 17h00
AUCTION SESSIONS
Tuesday 23 February 2010
Session One - Silver, Col-
lectors’ Items and Ceramics
10h00
Session Two - Furniture; Brit-
ish and South African Paintings
14h00
Session Three - Furniture;
South African Paintings
19h00
BUSINESSART | FEBRUARY 2010 SA ART AUCTIONS Page 15

After Anton van Wouw, Slegte Nuus, bears signature, inscribed, “SA Joh-Burg” bronze with brown patina, height: 32,5cm, (excluding base), R 60 000 - 80 000

Alfred Neville Lewis, The crown Prince of Baruth.Signed, oil Alexander Cecil Podlashuc, Still life with scale, jug and daisy.
on canvas, 49,5 by 39,5cm, R 15 000 - 20 000 Signed and dated ‘68 oil on board, 50 by 75cm, R 25 000 - 35 000

Adriaan Hendrik Boshoff: A man walking along a path . Signed,

oil on canvas board, 21,5 by 31cm, R 18 000 - 24 000

Jacob Hendrik Pierneef: Fishermen’s cottages near Struisbaai.

signed and dated 48, oil on canvas, 54 by 66cm, R 1 400 000 - 1 600 000
 Dominic Thorburn: Daar Gat Die Yellow Pages!, Medium: Intaglio etching, 600mm X 700mm, 1989

The South African Print Gallery

Dealers with interesting artists and exciting prints

107 Sir Lowry Road, Woostock, Cape Town. www.printgallery.co.za