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Published monthly by Global Art Information PO Box 15881 Vlaeberg, 8018 Tel. 021 424 7733 Fax. 021 424 7732 Editor: Gabriel Clark-Brown editor@arttimes.co.za Advertising: Eugene Fisher sales@arttimes.co.za Subscriptions: Bastienne Klein subs@arttimes.co.za News: press@arttimes.co.za Shows: show@arttimes.co.za Artwork: art@arttimes.co.za Deadline for news, articles and advertising is the 20th of each month. The Art Times is published in the last week of each month. Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the SA Art Times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

Melvyn Minnaar

While the invitation to South Africa by the official organisers to ‘offi-cially’ take part in this month’s 53rd Venice Biennale in Italy seems to have gone unanswered or got lost in the muddle that is the official de-partment of arts and culture, three top artists are very prominent on the Campo Santa Maria Formosa as the crowds pour in.

This is all due to enterprising Baylon Sandri of Stellenbosch and his Smac gallery’s good stranding

with the influential curator Vincenzo Sanfo. Sanfo has put together what sounds like an eye-catching exhibition I Linguaggi del Mondo: Languages of the World.

Wayne Barker, Kay Hassan and Johann Louw has been included in this group exhibition which traces difference of language as a univer-sal metaphor, according to Sanfo. Also on show is art by China’s Liu Zhong, Jonathan Guaitamacchi and Marco Nereo Rotelli from Italy, as well as a examples of work by Rapa Nui artists from the Easter

Islands.It is housed in the beautiful old Pal-azzo Querini Stampalia in Venice’s Dorsoduro.

In the accompanying exhibition document, prepared by Smac gallery, the official attitude of the South African department of art and culture is given a good smack:

“A major debate on the state of art in South Africa surrounds the government’s refusal to support participation in major international art events. Since 1950, South Africa

was regularly represented at the Venice Biennale until the Inter-national Cultural Boycott isolated South African artists for 25 years. The advent of the new South Africa saw the country’s re-emergence to the global art arena with an invita-tion in 1993 to participate in the 45th Venice Biennale. Since 1995 South Africa has been absent. It is anomalous that a country which is part of the G20, hosting the 2010 Soccer World Cup and stands as the undisputed economic power-house on the continent, ignores the plight of its artists for representation

and rejects the international art community. “This may well explain why some of the South Africa’s most well-known artists such as Marlene Dumas, Robin Rhode, Moshekwa Langa and Kendell Geers have chosen to live and work abroad.

“Bringing these three established South African artists and their work to a prestigious international exhibi-tion in Venice, coinciding with the Biennale is an attempt to break the pervading silence that surrounds local art expressions within the

international domain and draw at-tention to the plight of South African contemporary art.”Motivating the choice of the three artists, Sandri says as each represent a descendant of one of the official languages, and because art as visual language is used to give voice to current thought and imagination, cultural expectations and concerns as well as socio-po-litical issues, Hassan (Zulu), Louw (Afrikaans) and Wayne Barker (English) were chosen for their distinctive visual articulations.(See page 9 for artist’s images)

THE SOUTH AFRICAN

ART TIMES Issue : June 2009

Full free edition available at www.arttimes.co.za

1 Year’s subscription R 180 E-mail subs@arttimes for details

SMAC Gallery sends 3 artists to the prestigious 53rd Venice Biennale Mikhael Subotzky: Street Party, Saxonwold, 2008. Courtesy of the Goodman Gallery. Part of the Nation State Exhibition at Goodman Gallery, Johannesburg. Show ends June 28. See www.goodman-gallery.com for details.

A Cape Yellowwood and Stinkwood Gate-leg Table,18th Century

SOLD R44 800

“Voyagien na Oost en West-Indien”by Johan Lodewijk Gottfried

SOLD R224 000

A Gentleman’s Fine 18ct White GoldWristwatch, Patek Philippe

SOLD R224 000

A late Victorian Hinged Bangle SOLD R13 440

A Handful of Highlightsfrom our 2009 Summer & Autumn Auctions

We are currently accepting consignments for our upcoming auctions in Cape Town and Johannesburg.If you have paintings, furniture, silver, jewellery, ceramics or stamps please contact us for an obligation-free appraisal.

CAPE TOWNAuction: 20 & 21 October

Closing date for entries: 31 July 2009Call now for an appointment: 021 794 6461

Venue: The Great Cellar, Alphen Hotel, Alphen Drive, Constantia

JOHANNESBURGAuction: 17 & 18 November

Closing date for entries: 4 September 2009Call now for an appointment: 011 880 3125

Venue: 13 Biermann Avenue, Rosebank

A Cape Neo-Classical Stinkwood, Teak and FruitwoodRusbank, Early 19th Century

SOLD R61 600

Cecil Edwin Frans Skotnes (South African 1926-2009) BIRDS

SOLD R616 000

Erik Laubscher (South African 1927-)STILL LIFE WITH MANDOLIN, MUSIC SCORE

AND FRUITSOLD R1 120 000

Four Victorian Silver Candlesticks, William Hutton & Sons Ltdand Robert & William Sorley, London, 1900

SOLD R31 360

A Rorke’s Drift Stoneware Vaseby Nestah Molefe, 1975

SOLD R39 200

Cathcart William Methven (South African 1849-1925)POOL ON THE TUGELA RIVER, NATAL NATIONAL PARK,

DRAKENSBERGSOLD R201 600

A Chinese Baluster Jar and CoverQing Dynasty, 1644-1911

SOLD R24 640

Rhodesia 1910/13 Double Heads(perf 14) £1 scarlet & reddish mauveerror of colour fine mint (SG 166b)

SOLD R87 750

Visit our website www.swelco.co.zaAll prices quoted include buyer’s premium

KUNSGALERY

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JOHANS BORMANFINE ART GALLERY

A showcase for the best of South African Masters, as well as some leading contemporary artists.

Telephone: 021 423 6075

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Mon-Fri: 09h30 - 17h30 Sat: 10h00 - 13h00 or by appointment

In Fin Art Building Upper Buitengracht Street, Cape Town 8001 Cell: 082 566 4631

E-mail: art@johansborman.co.za

Gerard Sekoto, ‘Mother and child’ – 1963

South African Art Times. June 2009 Page 3

Tretchikoff ‘not an original’Kebble’s Tretchikoff probed First published by Sapa & News 24

Johannesburg - The controversial Lost Orchid painting sold at slain mining magnate Brett Kebble’s art auction is original - for now, the auctioneer said on Tuesday.

Graham Britz, who handled the record R2.9m sale of the Vladimir Tretchikoff work, said the investiga-tion into its authenticity had not yet been finalised. However, so far forensic tests proved it was an original, Britz said. “That is correct, a technical analysis shows it’s an original,” he said without giving more details.

Art academics, including Professor Alex Duffey of the University of Pre-toria, were still busy with “archival” research on the painting’s lineage, Britz told Sapa. “Once we have all the facts we will present an official press release,” said Britz.

Tretchikoff’s granddaughter

The sale of the Lost Orchid earlier this month was set aside last week

pending an investigation into its authenticity. The biggest auction of South African art to date saw several record sales, including that of Tretchikoff’s Lost Orchid, which went for R2.9m - excluding the seller’s premium and Value Added Tax.

But a few days later, Beeld newspa-per reported there were differences between Kebble’s Lost Orchid and a picture of the painting that appeared in a book by Howard Tim-mins on Tretchikoff’s work in 1969. On Tuesday, Beeld quoted Tretchikoff’s granddaughter as saying there was no chance he had painted the Lost Orchid sold at the Kebble auction. “There is no doubt in my mind. The Lost Orchid that was sold at the Kebble auction for nearly R3m, had never been painted by my grandfa-ther,” said Natasha Mercorio, who had done “intensive research” on her grandfather’s work, according to Beeld. “I can tell you unequivocally, that is not my grandfather’s signature on the painting,” she added.

The 56.5cm x 54.8cm painting is re-garded as one of the most famous

works by the Russian-born artist who died in Cape Town in 2006. But, the work depicted in Timmins’ book differs markedly in places to the work sold at the auction of Keb-ble’s art assets.

The image in Timmins’ book has a burnt match on the step, while it is missing in the Kebble work.

A drop on the orchid in the Timmins work lies in the centre of the or-chid’s petal, whereas in the Kebble work, it hangs off the petal. On closer inspection, smaller differences in detail become ap-parent. Britz has also pointed out that Tretchikoff was a “master of reproduction”. However, his grand-daughter does not seem to agree.

Stick to the facts

“I know for a fact that my grandfa-ther never painted a painting and then later made an exact version of the painting. He just did not do that. However, he did use elements of one painting in another,” said Mercorio. The origin of Kebble’s Lost Orchid remains vague. Beeld said Kebble bought it for

R12 000 at an auction handled by Westgate Walding in Sandton in 2003. “Any person with a shred of knowledge would have known there was something seriously wrong with that painting,” art expert Stephan Welz told Beeld. But Westgate Walding direc-tor Christopher Martin told the Afrikaans daily the auctioneer knew at that stage Tretchikoff had painted more than one version of the Lost Orchid.

Britz also said he believed Tretchikoff did many versions of the “iconic” work. Asked to comment on the granddaughter’s state-ments, Britz said she was not an academic. “Do you want to believe the granddaughter as opposed to a professor who specialises in art? I like to stick to the facts, I can’t listen to a granddaughter who just wants some recognition. “She just happens to be a descendent of the late Vladimir Tretchikoff. She is not even a first line descendent, she is a second line descendent. She was probably a baby when these things happened. “People are trying to make something out of nothing,” said Britz. - SAPA

Lost Orchid original - for now

Page 4 South African Art Times. June 2009

THETROPICS

KULTURSTIFTUNGDES

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advert tropics-260x80.indd 1 2/23/09 4:22:23 PM

Melvyn Minnaar

Colourful Cape Town artist, 30-year-old Dathini Mzayiya, whose enterprising, wide-ranging career has seen him add woema to the arty Gugulective and the public space design project City Skin, cheerfully paint a Table mountain cable station mural, show his work in places like Germany, Ethiopia and Austria, is heading to the High-lands of Scotland this month.

The idea is to be inspired by the environment of that distant Gaelic country and interact with a number of other foreign artists who will also find themselves there to do the same for a few months in the northern summer. And perhaps they’ll enjoy a few drams of the region’s famous spirits together too for more artistic stimulation.

Mzayiya, who is presently taking part in the Cape 09 exhibition, Umahluko, curated by Loyiso Qanya at the Lookout Hill centre in Khayelitsha, has been chosen as one of eight international artists for the annual Glenfiddich artists-in-residence programme.

The programme, established in 2002, has had 35 artists from vari-ous countries living and working at the actual Glenfiddich whisky distillery at Dufftown. According to Glenfiddich, the idea is that ‘the process and people, as well as the local Scottish environment will provide inspiration for the artists’. Artists have no set brief and have fairly open access to the distillery complex and all the production facilities and are able to create whatever work they desire.

The well-known whisky brand says the programme represents an an-nual investment of over £100 000 in the arts. Each year, the

programme curator, in conjunction with a network of curators from around the globe select six to eight artists who go to live and work at the Glenfiddich distillery in Scot-land for a three-month residency. Mzayiya is the third South African artist ever to be invited.He joins seven other artists, includ-ing artists from Canada, the UK,

US, Taiwan, India and China who work across a variety of art forms, including visual and movement art, music and fashion.

Glenfiddich, which means ‘valley of the deer’ in Gaelic, is located in the town of Dufftown which has a population of 2 000 in the beautiful Scottish Highlands. Mzayiya, a

community person who likes toshare, is looking forward to the trip. “I do not like working alone and am inspired by working in community, so I am keen to use this residency time to explore the culture of north east Scotland through local inter-action, being a part of the distillery community, and meeting the other artists,” he said.

Heading for the Highlands: Mzayiya’s spirited highland residency

South African Art Times. June 2009 Page 5 South African Art Times. June 2009

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Mary Corrigall’s article about the second Joburg Art Fair misses the point. She claims that the second fair was “nothing more than an exercise in heightened commercial activity.” And by comparison, London’s Frieze art fair was not because it had a bunch of “staged interventions” including a Bobby doing yoga moves. Our Fair had a bunch of “special projects” that were not commercial – but alas no Bobby doing downward dog.

Her claim that that the art fair is not an opportunity for the South African public to be educated about contemporary art is simply wrong. We had 10 000 visitors of which less than 200 bought works. The rest wanted to see the work the

country and continent is producing. To improve the educational com-ponent we had the BMW Art Talks free to all visitors and did deals with a large number of publications to write about the works. Her argu-ment that it can’t be educational because it is commercial is as stupid as someone arguing that a journalist writings published and paid for by a commercial paper cannot be of educational value because of the commercial nature of the publication.

Corrigall thinks a dead and strug-gling biennale is better than a working fair. “The Joburg Biennale might have ceased and Cape Africa Platform may have an upward struggle in staging their event

but these are exhibitions and not commercial art expositions”. We are not in competition to these initiatives and do not take budget away from such initiatives. Artlogic would welcome another Joburg Biennale and wish for C.A.P. to succeed. I have stated that we are a more sustainable model for the simple reason that we don’t need the massive budgets that bien-nale’s do. Being in the business of raising money for the arts, I believe that it is highly unlikely that anyone will raise the twenty odd million rand needed to stage a biennale in this country for quite some time. This is the reality of the politics and economics of the day and nothing else.

Corrigall must stop slating the art fair in the hope that it gives rise to a non-commercial event. This is wishful thinking. The local art world is under greater pressure from both buyers and sponsors than it has been in the four years of Artlogic’s existence. If you have been unable to raise large amounts of soft money for big art projects in the last four years, you will have much less chance in the next four. We need to work with what we have and not what we wish we had.

If the Art Fair needs a yoga Bobby to win Corrigall’s approval we’ll do it.

Ross DouglasDirector : ArtLogic

I am grateful for Douglas’ feedback and accept that as my writing ap-pears in the public domain it is open to criticism. Douglas must recognise that the same is true of his work. Ultimately constructive criticism will aid the art fair’s development. It is a pity, therefore, that so few art critics and writers are willing to critically engage with their subject-matter but that could well be indicative of the lack of objectivity that pervades art writing in this country, where it has become commonplace for individu-als compromised by their affiliations to institutions or galleries – as publicity officers or in their capacity as writer/critic – to write reviews or articles. In the art fair’s short his-tory a number of critical voices have been compromised or silenced by their affiliation to the Joburg Art Fair. This phenomenon may be a result of diminished or limited opportunities for art writers but this fact makes it no less palatable. Unfortunately, it is in just such a climate that organisers of art events

and/or heads of art’s institutions and galleries have become intoler-ant of any negative feedback even if it informs their future endeavours. Douglas’s art fairs have not been the sole object of my critical writing, even the non-commercial events which Douglas believes I favour over his, such as Cape Africa Plat-form’s biennales or Africa Remix, have come under the microscope in my writing. Just as Douglas has felt obliged to assuage his benefactors concerns by framing the art fair as an opportunity to “educate the pub-lic about contemporary art” I have been obliged to publicise occasions where he has failed to do so. At the launch for this year’s art fair catalogue Douglas clearly stated that he had created “a lasting document” of the art fair, which presumably could extend the life of the fair and prove useful to students and curious parties in the years to follow. Unfortunately Artlogic did not produce such a document and Art-logic’s insistence on dressing up the

art fair as an alternative biennale or educational scheme makes them vulnerable to criticism. According to Mirjam Asmal-Dik, Douglas denied Cape Africa Platform a stand at the fair, implying that a rivalry exists between the two events. That the Joburg Art Fair has proved not to be the economically viable model that Douglas proposed seems to have also gone unnoticed in the art press and mainstream media. If Artlogic’s model is so sus-tainable why is it that their survival depends on FNB’s sponsorship and why have the fair’s takings diminished by half? Douglas proudly boasts that of the 10 000 visitors that visited the fair only “200 bought works”. This further sug-gests that the art fair is not fulfilling its primary function, which is to sell art and attract new buyers. In this context wouldn’t FNB’s money be put to better use for an exhibition which contributes to art historical discourses, is more inclusive of artists who are not represented by

galleries and audiences who are at a loss in a giant art supermarket? Art fairs primarily cater for curators and corporate and private collectors – in this country those groups are perhaps simply too small to support a fair. Douglas is aware of this problem, hence his efforts this year to create a hybrid fair-cum-special-projects event. This might well be the solution, however, Artlogic has yet to successful create a balance between the two – partnerships with astute art consultants and curators might see this ambition be more successfully implemented. Cer-tainly, it will take more than a bobby performing a dog-stretch, however, at least those sorts of interven-tions allow a fair, albeit it briefly, to transcend it’s purely commercial objective and leave a more lasting impression.

Mary Corrigall

LETTER TO THE EDITOR

Ross Douglas responds to Mary Corrigall’s article in May’s SA Art Times

Mary Corrigall’s response to Ross Douglas’s letter

27150 Vuleka art Paint Brushes.indd 1 5/20/09 3:21:17 PM

South African Art Times. June 2009 Page 7

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9474 SA arttimes:83x200 5/20/09 2:19 PM Page 1

Cape Town’s largest contemporary art gallery exhibiting works by leading South African artists

Carmel Art 66 Vineyard Road, Claremont

Ph: 021 671 6601

Email: carmel@global.co.za Website: www.carmelart.co.za

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Pieter van der Westhuizen

May 17th saw the launch of Teresa Lizamore’s newest venture, Artspace Warehouse in the leafy suburb of Fairland. This new venue was opened with an exhibition of original works by Varenka Paschke and a perform-ance of the well known, Stef Bos. The event marked the Johannes-burg launch of their collaborative project Stillewe, a book of poems by Bos illustrated by Paschke. The crowd enjoyed an exclusive performance by the talented singer songwriter on the cold winter’s evening.

In 2008, Artspace relocated to the artstrip in Rosebank, occupying a

clean white space in the heart of Johannesburg’s visual art centre. While the gallery aquired a newer audience through this move, many of the loyal visitors of the gallery’s previous Fairland have not not made the journey to visit the space as frequently. Additionally, the gal-lery’s exhibitions, which showcase newer and more established artists run for a period of three weeks, not providing a lot of time for the marketing and promotion of the work and the artists.

Hence the Artspace Warehouse concept was developed. The gallerie’s former home at 3 Hetty Avenue in Fairland has been refur-

bished to offer a new venue that will be used for select exhibitions, launches and events hosted by Artspace but is also available for hire for other private functions.

Says Artspace director and curator, Teresa Lizamore, “ Most significantly, it will also serve as a salon for works from artists exhibit-ing at Artspace in Rosebank. The Warehouse was developed in response to a need to expand the quantity and scope of our stock to cater for our clients needs, as well as to give artists further exposure following their three week exhibi-tions at our Rosebank gallery. In this environment, clients can

comfortably view a wide range of stock. “

Exhibitions will move to the Artspace Warehouse after their period at Artspace in Rosebank. Along with other stock, these works will be available for viewing by appointment and will remain in stock for several months.

Artspace Warehouse will also host select special events throughout the year.

For more information please visitwww.artspace-jhb.co.za

Teresa Lizamore launches her new Artspace Warehouse

Teresa Lizamore with friends (Varenka Paschke far left and Stef Bos far right) at the opening of her new venture ArtSpace Warehouse

THE GALLERY BUZZ PAGE Cape palette paintings workshop in Heroldsbay - George (by Neels Coetzee and Doris Brand)

Artist Mark Splendid and Gill in front of some of Mark’s work We had such a wonderful time that we are already planning another one - www.capepalette.co.za

Greatmore Studio’s Woodstock - Cape Town held an recent exhibition. See www.greatmoreart.org for more details

Nelson Mandela Metropolitan Art Museum, Port Elizabeth

Heidi Erdmann and Jacob Lebeko, curators of the exhibition Construct: Beyond the documentary photograph, conducted a walkabout for the public. Last image is from ART IN MIND symposium 2009 held recently.

The opening of the new ArtSpace Warehouse, Johannesburg

Stef Bos (above) woos the crowd, Varenka Paschke artist and friends at the opening.

Imbizo Gallery: KZ Natal, Maureen Lakes (local artist exhibiting her Fibreart)

Opening of Bronwen Vaughan Evans & Deanne Donaldson exhibition entitled, Left of November

Bev Letard and husband, Chairman of the KZN Koi Chapter, Mike Harvey. Guests, and Imbizo Babes

Rick Becker Gallery, Port Elizabeth, Show entitled Flying Solo

Gill Allderman Gallery - ( Kenilworth Cape Town)

ArtSpace- Durban

Sheila Berry, Gill Thomas, Lara Mellon, Carina van Heerden, Rhamba Hira at “Responses” by Roz Cryer at artSPACE Durban

The Photographers Gallery - CT

The Lesson by Deborah Poynton in her show at Michael Stevenson entitled Everything Matters: 4 June - 1 August 2009. See more at www.michaelstevenson.com - Image courtesy of Michael Stevenson

Roger Ballen - work from: Boarding House - Durban Art Gallery 3 June – 19 July 2009

Dale Yudelman: Man and a woman on “Earth Show, Frieda’s on Bree, CT

AROUND THE GALLERIES

SMAC Gallery, Stellenbosch - Venice Exhibition by Wayne Barker, Kay Hassan and Johann Louw

Beloved: by Deborah Poynton. Image courtesy of Michael Stevenson

Pete Eastman- from the show curated by Julia Clark entitled: Sing into my mouth at Whatiftheworld Gallery, Cape Town

Pieter Hugo - Julia Clark (cropped image). from Sing into my mouth, curated by Julia Clark, Whatiftheworld Gallery

Work by Ivan Vincent Retrospective exhibition at The Ann Bryant Art Gallery, East London

Works by Ledelle Moe entitled: Erosion at The Bank Gallery, Durban 11 June - 11 July

Wayne Barker.Golden Girls

Kay HassanIkuletega Izindaba 2009

Johann LouwGedagtig aan Holbein 2005

d

Abstract South African Artfrom the Isolation Years: Part 3

Winter 2009

Albert Newall | Harmonious Relationships II | 1957 | 44 x 69cm | acrylic on board

Bill AinslieKenneth BakkerWalter BattissGeorge BoysBettie Cilliers-BarnardChristo CoetzeeTrevor ColemanNel ErasmusCecil HiggsSydney KumaloEduard LadanErik LaubscherRené le RouxSpeelman MahlanguLouis Maqhubela Albert Newall

Ephraim NgataneSam NhlengethwaDouglas PortwayCecily SashFred SchimmelLarry ScullyLucky SibiyaCecil SkotnesFrank SpearsHenry SymondsJill TrapplerGunther van der ReisHannatjie van der WattHerman van NazarethEdoardo VillaGordon Vorster

c o l l e c t i o n e l e v e n

Opens 25 June 2009

Kenneth BakerGerhard BenguCarl BüchnerNel ErasmusPaul du ToitPeter E ClarkeChristo CoetzeeFrans ClaerhoutHerbert CoetzeePranas DomsaitisGeorge EnslinTitta FasciottiDezo KoenigAlfred Neville LewisMizream MasekoJohannes MeintjiesDirk MeerkotterGeorge MsimangDouglas PortwayJames ThackwrayHerman van Nazareth

Opens 25 June 2009

Peter E. Clarke | Still life with Pomegranates | 1972 | 37 x 48 cm | acrylic on board

Tel: 021 887 3607info@smacgallery.comwww.smacgallery.com

De Wet Centre, Church Street, Stellenbosch

RYNOLD STEENKAMP WILDLIFE ART

www.rynoldsteenkamp.co.za steenkampra@yahoo.com083 235 7167

12 Wellington Road, Durbanville. Tel. +27 (0)21 9764691 www.rust-en-vrede.com Mon – Fri 9am –5pm. Sat 9am – 1 pm

Rust-en-Vrede Gallery

Vortex by Betsi-Ann Muller

02 June - 20 June Salon A & B: Chaos – by photographer Betsi-Ann Muller

Salon C: New hand-coloured linocuts by Theo Paul Vorster

Linocuts by Theo Paul Vorster

“It’s clear that local and international collectors see more in Novela’s work than his extraordinary technique and love for his subject. They see Novela as a good investment.” (New Homes Magazine by Elizabeth Donaldson)

To view Daniel’s work log on to: www.danielnovela.co.za

daniel novela

To book an appointment please contact the Studio at 018 489 1780 or 082 262 3600

Marion Cross082 5535 104mwmcross@mweb.co.za

‘Landscapes, cityscapes and still lives, journeys in colour, form and equilibrium. My inspiration is taken from my surroundings, from travel and things that are beautiful.’ Cape Town artist working in oil, acrylic, pastel, charcoal and mixed media on canvas and paper. BAFA - Unisa. Advanced Diploma Painting - Wits

82 Church Street (Corner Church & Loop Street)Cape Town, 8001, South AfricaTel: +27 21 439 3517, Fax: 086 611 3871Cell: 083 312 3450Email: info@christophermollerart.co.zaWebsite: www.christophermollerart.co.za

CHRISTOPHER MøLLER ART SOUTH AFRICAN CONTEMPORARY AND MASTERS

Robert Domijan, “Waiting”, Oil on canvas, 102 x 76cm

“Claire Christie is best known for her figures in motion, using free, rapid line and brushwork. She prefers her media fast and mobile, and employs an eclectic mix of charcoal, Chinese ink-stick, watercolour, marker pen, soluble crayon, acrylic paint and henna.”

Featuring a variety of artists’ works in a friendly environment / works on paper, painting, sculpture and prints. Life drawing sessions and art materials available.

278 Main Road, Kenilworth, Cape Town / Open Tuesday to Friday 9am - 1pm / or view by appointment. 083 556 2540 / gallery@new.co.za /www.gillalldermangallery.co.za

Claire Christi e.b. 943. Figure

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Abstract South African Artfrom the Isolation Years: Part 3

Winter 2009

Albert Newall | Harmonious Relationships II | 1957 | 44 x 69cm | acrylic on board

Bill AinslieKenneth BakkerWalter BattissGeorge BoysBettie Cilliers-BarnardChristo CoetzeeTrevor ColemanNel ErasmusCecil HiggsSydney KumaloEduard LadanErik LaubscherRené le RouxSpeelman MahlanguLouis Maqhubela Albert Newall

Ephraim NgataneSam NhlengethwaDouglas PortwayCecily SashFred SchimmelLarry ScullyLucky SibiyaCecil SkotnesFrank SpearsHenry SymondsJill TrapplerGunther van der ReisHannatjie van der WattHerman van NazarethEdoardo VillaGordon Vorster

c o l l e c t i o n e l e v e n

Opens 25 June 2009

Kenneth BakerGerhard BenguCarl BüchnerNel ErasmusPaul du ToitPeter E ClarkeChristo CoetzeeFrans ClaerhoutHerbert CoetzeePranas DomsaitisGeorge EnslinTitta FasciottiDezo KoenigAlfred Neville LewisMizream MasekoJohannes MeintjiesDirk MeerkotterGeorge MsimangDouglas PortwayJames ThackwrayHerman van Nazareth

Opens 25 June 2009

Peter E. Clarke | Still life with Pomegranates | 1972 | 37 x 48 cm | acrylic on board

Tel: 021 887 3607info@smacgallery.comwww.smacgallery.com

De Wet Centre, Church Street, Stellenbosch

IREL

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NATIONAL COUNCILARTS

63547 NAF SA Art Times.indd 1 4/30/09 3:11:17 PM

HIGHLIGHTSfrom 10 Years of Collecting for the Sanlam Art Collection

4 June – 19 July 2009Monday – Friday 09:00 – 18:00 Saturday & Sunday 13:00 – 17:00Public holidays 14:00 – 17:001st Sunday of the month 09:00 – 14:00

BROUGHT TO YOU BY

DECAD

ENelson Mandela

MetropolitanArt Museum1 Park Drive

Port ElizabethTel: 041 506 2000

For more information call the Sanlam Art Collection

Tel: 021 947 3359 / 083 457 2699www.sanlam.co.za

SA Art Time Ad-Nelson Mandela 5/18/09 2:14 PM Page 1

WINTER SPECIAL

Buy three sides of a new custom made frame for any picture and we’ll give you the fourth side for

FREE!* Don’t settle for run-of-the-mill framing when you can have something custom made tailored to the picture

you want to frame! Every painting deserves to be shown off at its best, so why not use this opportunity to frame (or reframe) that special piece?

*Calculated as a 25% discount on the frame only. Offer valid until 31 August 2009.

Wolfe Street Chelsea Wynberg 021-761 2816 + Buitengracht Street Cape Town 021-423 2090 email: gallery@infinart.co.za web: www.infinart.co.za

270 Main Street, Paarl

The Gallery is open Monday - Saturday from 08:30 - 5:30 pm and on Sunday from 10:00 - 5:00 pm

Visit www.houtstreetgallery.co.za or contact 021 872 5030

The Hout Street Gallery

SWART The Fencing Studio 60 x 60 cm Oil

Getting your message to South African’s + 16 000* Art Community is easier than you thought

Full Page Colour R 6 500 Half Page Colour R 5 000 Quarter Page Colour R 2 800 Eight Page Colour R 1 200 The South African Art Times with an 8000 Print and distribution run. Pricing excludes design and vat. Prices are set to go up by 10% in August issue annual printer increase. * 16 000 is a conservative estimate of the number of multi readers of The SA Art Times, many people tell us that they read The Art Times a few times per month, including their friends

WINTER SPECIAL

Buy three sides of a new custom made frame for any picture and we’ll give you the fourth side for

FREE!* Don’t settle for run-of-the-mill framing when you can have something custom made tailored to the picture

you want to frame! Every painting deserves to be shown off at its best, so why not use this opportunity to frame (or reframe) that special piece?

*Calculated as a 25% discount on the frame only. Offer valid until 31 August 2009.

Wolfe Street Chelsea Wynberg 021-761 2816 + Buitengracht Street Cape Town 021-423 2090 email: gallery@infinart.co.za web: www.infinart.co.za

The Philip Harper GalleriesHermanus, Western Cape

www.thephilipharpergalleries.co.za

We specialise in South African Art, both Old Masters and select Contemporary Artists, catering for both corporate and private clients

Oudehof Mall, 167 Main Road, Hermanus, Tel: 028 3124836

Jan A E Volkschenk (1853-1936) A Veld Home, Riversdale Oil on Canvas 170 x 350 mm

info@thephilipharpergalleries.co.za