south african art times: june 08 suppliment

The South African Art Times June Supplement

van der Schijff’s “strange connection”

Photo: Jacqui van Zyl

South African Art Times. June 2008

By Patrick Burnett

It’s late May in Cape Town and the dark weather sweeping across the city seems appropriate for the times: South Africa has just emerged from a month of wide-spread xenophobic violence that has shocked the nation to its core, but playwright Mike van Graan is the clichéd ray of sunshine, showcasing a spark in his eyes and enthusiasm in his voice.Not that Van Graan in uncon-cerned about the crisis or blind to the artistic implications; he’s in the middle of a week during which he has attended a meeting to talk about the violence at the Africa Centre, of which he is the newly-appointed executive director, and

mentions a civil society rally he attended at St George’s Cathedral which was called to take a stand against xenophobia.It’s obvious that for Van Graan the latest angst to confront the country is about far more than providing subject matter for forthcoming plays, of which he has been a prolific writer and producer in the last few years, but goes to the heart of his mission at the Africa Centre, an institution which aims to create an international arts and cultural centre in Africa that will highlight the continent’s visual and performing arts. With this mission in mind, the issue of xenophobia - and how different nationalities in Africa see each other and relate to each other – clearly has major implica-tions for his new role.“It’s completely huge,” he says about the xenophobia issue, describing it as “completely and utterly fundamental”.Xenophobia, he states, is about the notion of ‘Other’, about identity, about how people make sense of the world and who they are in terms of religion, history and values.“It has to do with people all living within a kilometre from each other, but who are completely alienated because they just don’t know each other.” In this situation, ignorance makes it easy to see the other as a

convenient scapegoat – a target to lash out at when threats arise, he says.“What really needs to happen is long-term and has to do with peo-ple going to school together, living in the same communities together, spaces being created where peo-ple from different communities can get to know each other,” he says.For the artistic community, Van Graan argues that the relevance is that while there is a philosophical understanding of the concept of ‘Other’, “I’m not sure that we as artists have an understanding of it sufficiently to be able to do things other than have the odd benefit concert to somehow respond to the symptom of something.” It seems as if Van Graan feels that a reaching out needs to take place. On the back of his experi-ence at the St George’s Cathedral meeting, he throws out the idea of a “forgiveness tour” where artists would get together and go to Mozambique and Zimbabwe and say “sorry and how ashamed we are and really how much help we need”.“It’s not,” he says, “time for Africans to desert us but to be challenging us. I think that’s a role that art can play.”Van Graan has long been involved in the arts, both as a lobbyist and activist and as a prolific playwright, with plays such as Bafana Repub-lic, The General and Green Man

Flashing acclaimed for their com-mentary about South African life. Bafana Repuplic, for example, has been compared by one critic as the equivalent of a Zapiro cartoon on stage. But his move to the Africa Centre seems to represent a gravitation to a continental vision. While the Centre’s website describes it in not-so-helpful terms as a “physical entity and a philosophical proc-ess”, Van Graan expands this to mean a promotion, celebration and documentation of the art and herit-age of the African continent and a finding of new markets both on the continent and internationally. The Africa Centre, he says, is the “vehicle to help us to do that”. Van Graan sees this as an explo-ration of the relationship between art and audiences, citing the example of how containers were used in the Spier Contemporary, a project of the Africa Centre, as part of an experimentation with space. “Do you only have art in a gallery and theatre in formal theatre space? If that is the case then by and large you exclude most people,” he notes. On a continent where arts and culture is often not taken seriously by governments, where there is a lack of funding, where freedom of expression is sometimes seen as a threat, where there is a lack of disposable income and where talent gravitates to Eurocentric

centres, Van Graan admits that the challenges are “staggering”.But the question of how to develop an African presence in the global market of creative goods and services is something which he defines as his attraction to the Africa Centre. He does not believe that this new role will constrict his writing. “They [the fans] really don’t have to worry about that,” he says when asked about managing a high profile position while still finding time to write, arguing that most of his time is spent producing and he will now be able to hire someone to produce, freeing him up to write. On the future of the Spier Contem-porary, expect a more pan-African feel. While he says he has inherited commitments - such as the Spier Contemporary, which showcases 100 of the best artworks from around South Africa - he was beginning to look for a greater di-rection from the rest of the African continent. “For me it’s about are we doing this work in other parts of the con-tinent, are we bringing artists from elsewhere to collaborate with our artists in creating something, are we enthusing our existing festivals with reflecting Africa?”He is sensitive to fears that his strong performing arts background will lead to a lesser emphasis on visual arts, but argues that while

performance art might be his forte, he also has an arts lobbyist back-ground which is about “consulta-tion, working together democrati-cally and building partnerships”. Van Graan is clearly filled with optimism for the Africa Centre and almost oozes a sense of mission. He has moved from the “euphoric” 1992-1995 era where there was the “sense of having a chance to create something with a new country, a new arts and culture dis-pensation” to “my most devastated period” in 2000 when key artistic institutions closed and the vision collapsed, to an “exciting” last couple of years where channel-ling activist energy into his work resulted in a productive creative period. “Now it’s like a new exciting time,” he says, going on to talk about his mantra - that artists are called to “dwell within this paradox of the pessimism of the intellect and optimism of the will”.The intellect is able to analyse the environment and see “what a great challenge it is”, while optimism of the will is about wanting to change things.This presents a choice either to pursue an individualistic life or realise that as part of a collective, the future is related to a better life not only for the individual but also for the community. “...so that’s the basis on which I live,” he says. -- WCN

Mike van Graan: Chasing the continental vision

By Bianca Bothma

It’s with a great sense of loss that Art for Humanity (AFH) reports the tragic death of celebrated KZN artist, Gabisile Nkosi in the early hours of this morning, 27 May 2008.

Born in 1974 in Umlazi, Durban Gabisile had built a significant career as an artist in her short life. She received her BTech in Fine Art from the Durban University of Technology in 2002. Thereafter Gabisile was based at the Caver-sham Centre for Artists and Writers in the KwaZulu-Natal Midlands facilitating printmaking workshops with well-known artists and local communities.

Gabisile was involved with AFH for almost 10 years with her participa-tion in two of AFH’s print portfolio projects.

In 2000, Gabisile contributed a linocut, “Break the Silence” which discouraged the practice of polygamy in rural areas to AFH’s “Break the Silence” HIV/Aids awareness print portfolio. In her artist statement, Gabisile empha-sized the important role art plays in advocating social issues, “If you want to get a message across, it’s better to do a colourful visual rather than text. As an artist, I feel privileged to play a role in HIV/Aids awareness through the medium of

visual art.”

Her print was then flighted on billboards at taxi ranks and train stations around the country as part of the billboard advocacy cam-paign and her participation in this project received a lot of attention from radio stations and the local Zulu communities as her work confronted controversial issues.From this point, Gabisile’s career took off and her work has been seen in several group and solo exhibitions in South Africa and abroad.

She was particularly interested in the therapeutic effects of art mak-ing and in 2005 she collaborated with Cape-Town based poet Mavis Smallberg on AFH’s “Women for Children” print portfolio. Gabisile strongly advocated women’s rights in her linocut, “Sisterhood”. In her artist statement she gave a per-sonal account of her experiences and inspiration:

“As a female artist who has personally experienced domestic violence, it is my privilege to contribute to this campaign. This image is about the power of sister-hood. It derives from a trauma that my son and I experienced in 1998, an abusive relationship which left scars on both of our lives.

Through the support of my meta-phorical sisters, I found joy and

strength. Instead of breaking under the pain, I decided to confront it as a challenge for a brighter future - for all children have the right to a happy mother no matter how much heavy baggage may weigh.

This image stresses the impor-tance for domestic abuse victims to engage in dialogue and to find relevant ways of dealing with these situations. The repeating arms represent the different spirits which support me. The flying dresses symbolise the many roles I play as a woman – as daughter, as mother and father to my son, as a leader in my community. All women and children deserve to celebrate life.”Gabisile also received art awards and prizes, during and after her studies. Amongst many other col-lections her work is also included in the permanent collection of the Durban Art Gallery, South Africa.

AFH treasures the opportunity of having worked with Gabisile. She made such a powerful impact with her capacity as an artist and as an educator in numerous communi-ties. Her passion, kindness and commitment to helping others through art inspired and touched many lives.

We will miss you Gabi.

Photo: Lungile Langa

Read more at www.afh.org.za

Gabisile Nkosi 1974 - 2008

Obituary

Mike van Graan, the new director of The Africa Centre


Anita Funke

Johann van der Schijff, South African artist and senior lecturer at the Michaelis School of Art at the University of Cape Town (UCT), has come home from the recent Dak’Art Biennale in Senegal with two awards -- and a sense of surprise at South Africa’s isolation from the rest of the continent. According to a press release from the Bell-Roberts Gallery, the Bien-nale, which took place between 8 and 14 May, is the 8th of its kind, and the largest in Africa. Van der Schijff was among artists from 17 African countries and the diaspora who were chosen to participate in an exhibition of

contemporary African art.“It was a big thing just to take part in it,” said Van der Schijff, when contacted. “That I was selected by a committee of Africans is a great honour for me.”

During the opening ceremony, he was awarded two prizes in the European Union Award, which included a cash prize and promo-tion of his work by the EU, and the Zuloga Corporation Award. This likewise comprised of a cash prize, and the opportunity to participate in an exhibition of African Art in Beijing as part of the 2008 Olympic Games.

“I heard my name announced in

a French accent and I didn’t even know what it meant because I couldn’t understand what they were saying,” said Van der Schijff. Only later did he learn that he had won two prizes. “It was mad, slightly out of control...like a bal-loon going down!”

He said he had returned with an “overall feeling” that South Africa was still “incredibly isolated” from the rest of Africa. Despite the fact that the Biennale was the largest of its kind in Africa, there was very little South African media coverage, something Van der Schijff said he found “very strange”.

By contrast, the rest of Africa was far less “inward looking” and “global in their outlook”.“Maybe people don’t think it’s important,” said Van der Schijff, but he added: “I think we are making a strategic mistake...If you look through all the chaos, I think there’s major potential.”Van der Schijff said he found that he had a “strange connection” with Nigerians in particular and developed a “strong interest” in their art. The loudness of Nigerian interac-tions, as well as their strong sense of self, reminded him of his own upbringing.

“It feels like Afrikaans people

around the braai a little bit – it’s strange!”

Also, South African art was conceptually linked with the rest of African representation by a shared political consciousness. “I think that’s a big thing tying African art together, that political consciousness underlying the work.”Van der Schijff’s own pieces at the exhibition, ‘Punch Bag’, ‘Hanging Ball’, and ‘Pear Ball 2’, a set of in-teractive sculptures which speak to each other and represent the same idea, likewise carry a conscious-ness of a violent society. “The viewer can actually punch the work,” said Van der Schijff,

thus demonstrating the “underlying sense of aggression or violence” latent in the human psyche. The sculptures thus speak of “South African society and the world we live in”.But they are also “toys or play-things, or gym equipment – they can be what you want them to be”.The heavy political drive which threads through Van der Schijff’s sculptures and much of African art, is the result of “living in an incredibly aggressive, violent environment”.

But then, as shown by the Dak’Art Biennale, “when you get a situa-tion like that, innovation is going to come out”.

Looking through the chaos: Johann van der Schijff wins at Dak’Art Biennale

((Top) Pear Ball. (above and right) Johann’s ‘Punch Bag”, far right - Johann receiving the European Union Award, which included a cash prize and promotion of his work by the EU.


Anita Funke

A Cape Town venture is helping South Africa make headway with attitudes toward creative industry property development with a project called 210 On Long Street – a new office hub for the creative com-munity of the Mother City. Miki Clark and Haim Levy, both of

whom have a background in the hospitality industry, have converted the space above the Baobab Mall on Long Street, Cape Town, into 26 adaptable studio spaces which are available to creative companies, from copywriters to designers and musicians. “Our basic goal is to nurture creativity,” said Clark.Although developers in countriessional space for creative industries

like England and France have seen the potential of providing a profesfor some time, South Africa has been somewhat slower in catching this vision, and unfortunately so.According to Clark, studio space is “something Cape Town really needs, because people are going freelance”. Artists, said Clark, “either work at home or spend lots of money on office space, so this is a nice in-between”. With 210, he and Levy are “trying to create a space where people can cross-pollinate”, by sharing skills and cutting costs until they are more established and able to “go for bigger jobs”. Offices of 10 square metres upwards are available on short or long term leases, with a portion of the space exclusively reserved for daily or monthly rentals. This is so that working mothers, for example, can benefit from hiring professional spaces “fully kitted with all the toys” for a day or two.The offices further share a cen-

tralised reception, and 230 square metres of fully furnished communal space, which includes a main boardroom and a bar for meetings or presentations. Perhaps more suited to artistic brainstorming, however, is the farm-style kitchen, which Clark and Levy added in order to make long days and nights of creativity more comfortable. Each office features a “super-fast” CAT6 wireless internet connection and 1GB free broadband per unit.All these accessories become af-fordable when costs are shared by the studio community, said Clark.Many of Cape Town’s independent businesses, from clothing compa-nies to restaurants, are located on Long Street. Especially with 2010 pending, he said: “We need to make Long Street a strip that’s famous – it should be one of the reasons people come to Cape Town.”Although the studio is still un-finished, creatives have already begun moving in. Six companies

have been signed for the end of this month, and a total of 14 for July. Companies like Rocking the Daisies and GS Design are amongthose who are operational amid pol-lyfilla touch-ups, and Frieze Films have recently come down from Johannesburg to film for 18 days. Clark and Levy plan to extend thedevelopment to the rest of Baobab Mall. “You have just got to go for it

– Cape Town is that kind of town: you build a space and people just come.”

(Top) Entrance to 210 Long Street, (below left) directors of 210 space, (below right) clean creative spaces at 210. All photos: Jacqui van Zyl

210 Long Street art hub gets going (Top) Entrance to 210 Long Street, (below left) directors of 210 space, (below right) clean creative spaces at 210. All photos: Jacqui van Zyl


Steve Kretzmann

Unlike in much of Europe, the South African art market is small, with buyers thin on the ground. This means in order for galleries to turn a profit they have to recoup their costs by, in addition to taking a hefty commission, charging rent and additional exhibition marketing expenses, leaving many artists lacking capital out in the cold.Counter-initiatives, such as the Mau Mau gallery which existed on Cape Town’s Long Street a number of years ago, where artists could rent the space per week at a relatively cheap rate and run their own show, were short lived.But where there is a need, some-how an answer is created. Two Cape Town-based artists have opened up space for emerging artists – or the avant-garde whose work might not be accepted at

mainstream galleries – to exhibit their work free of charge.And Blank Projects, which has been somewhat of a nursery for this talent, is no fly-by-night initia-tive either. It has been going for three years and getting stronger with each anniversary.It is also not situated at the end of some long dark corridor at the arse-end of town, but in the peren-nially trendy edge of the Bo-Kaap, surrounded by architects, model agencies and the like.If the exhibition space is free and well-placed, the obvious question is how much commission the two directors, Jonathan Garnham and Liza Grobler, take off sales.But the purpose of the space – al-lowing artists’ creativity free reign to produce “cutting edge”, pre-dominantly installation art – means much of the work that is shown is almost unsaleable as it is generally

conceptual or site-specific – such as Brendon Bussy’s drawing machine currently on show.When the work is displayed in more conventional frames that can be hung on a wall – such as Hetti van der Merwe and Tom Cullbergs prints from Zhane Warren’s War-ren Editions, Blank Projects take as little as 25% commission to help pay the rent.Garnham and Grobler employ a number of tricks to be able to keep the space running, such as using their own art careers to pay the bills, opening by appointment so as not having to pay someone to always sit at the gallery, having a cash bar on opening nights, mar-keting new shows by email only and, possibly most importantly, obtaining funding, mostly from the Swiss Development Corporation (SDC).This has enabled them to double

their space to two rooms, allowing artists to either use the extra space in a single show, or to run two shows concurrently, as was the case when they were being interviewed for this article, with a hallway separating Bussy’s drawing machine and the Warren Edition prints.But the funding is a more recent development and Garnham and Grobler – who met when they were both lecturing at the College of Cape Town after Garnham had returned from a decade in Berlin – had to keep this “labour of love” going out of their own pocket for the first two years, an impressive dedication to art for art’s sake.And it’s been paying off, if not monetarily, at least in terms of seeing the space be a spring-board for artists who have gone on to achieve some measure of success, in at least two cases with

projects which were first refined in the Blank Project space.Like who won the Absa Atelier last year and Tamlin Blake who wentPierre Fouche through the process of creating a beaded lamb’s carcass at Blank Projects which went on to be shown at Iziko and was snapped up for a corporate collection.The rising Gugulective also had one of their shows, Untitled at Blank Projects in November last year, which challenged pre-con-ceived ideas of shebeens and culture by recreating a shebeen in a gallery space. Not that anyone can just rock up and put a show on. Garnham ad-mits that many exhibition propos-als are turned down, and he and Grobler approach artists almost as much as they are approached.“It has to be something which excites us,” he says, and of course

the focus on art that pushes the envelope would favour some proposals more than others. In fact, a glance at the portfolio of work that has moved through the space (currently at a rate of about 20 shows per year) reveals that much of the work had more to do with a process than a product, and it appears Garnham and Grobler are more excited about allowing the public to see the creation of art rather than simply the façade which remains at the point the process stops.Thus while the space is free, their powers of discrimination have never allowed it to simply descend into an art-jamming free-for-all. And long may it so survive as an antidote to the market-driven mainstream which all too often colonise what little space there is on offer for art.

Jonathan Garnham and Liza Grobler, Blank Projects, Cape Town. Photo: Steve Kretzmann

A blank canvas for innovation Steve Kretzmann talks with Blank Projects Directors about their innovative artist run project space

South African Art Times. June 2008 South African Art Times. June 2008

If it was boring, going on about the same subject may strike anyone with a keen eye and interest to be a tad indulgent. But, judging from the reaction to both this column last month and Lloyd Pollack’s sharp review of an exhibition of portraiture in the same issue,

lenty of locals are keen on the theme. So here, after a visit to that temple of portraits, the National Portrait Gallery in London, are a few more comments to mull over in the name of vanity and art.

Vanity may well be a key factor in the business of portraiture – and, remember we noted that this is placed at both sides of the picturing process: the executing artist and the consenting ‘sitter’ (as it is known in that trade) – but walk around the various exhibi-tions at the NPG and it is easy to see that the theme of portraiture cuts to many sides. Often there are interesting sub-themes and

investigations at work.

The buzzing crowds that pour through the NPG on any given day attest to how easily portraits con-nect with the thoughtful viewer as well as a wide public. Of course, it can be well-played and fine-tuned by those in charge; and no other institution does it better than the NPG.

A brand-new exhibition there seems, on the face of it, to go for the brash and the big: a portrait of the Nobel prize-winning scientist Sir Paul Nurse by the artist Jason Brooks. An enormous painting, executed photo-realistic close-up style in airbrush spray paint, it is accompanied to two other very large paintings.

While the Nurse picture and another of the driver Jenson Button are done in black and white – suggesting and accentuat-ing the link with black and white mug photography – another is in meticulous, vivid colour. This is of a tattoo artist named Zoe Windle and measures more than three by

two metres.

The latter picture is as imposing as a billboard as much as its subject matter: Windle is rather wildly tattooed all over her body in full colour and it is showing through her bra! Ultra in every which way, it is eye-catching because it seems so ghostly unusual and, at the same time, so hyper realistic.

Brooks’ pixel-fixated precision which makes the images look so very real and true from afar, turns into abstraction in close-up. It’s an old game of course, and a nice scientific pointer about how visuals work (especially in the modern media age), and certainly but not quite the sort of sedate oil-painted portrait that fills most of the NPG’s historical collection.

That the NPG is sensitive to this kind of unusual stuff – big, brash and a medium that belongs to billboards and graffito walls - was hinted at when a spokesperson told a London newspaper that “we always push to represent new work”.

Even this might be a little of an understatement, as there are some very odd portraits that had been commissioned and made for the NPG in curious media over recent years. (Marc Quinn simply put a stainless steel frame around a representative bit of his DNA in agar jelly for his 2001 portrait of Sir John Edward Sulston.)

For all their in-your-face presence, Brooks’ giant portraits do seem to resonate as sign of the times, as it were. Culture is, well, loud nowa-days. (Of course, it also has a retro pop art edge as well – Brooks is very good at what he does.)

Coincidentally, the Tate Modern had, for the first time, the outside of its big, architecturally-impres-sive building painted by what used to be known as graffitists but are now more respectably named ‘street artists’.

Very, very impressive and playful looking from the Millennium bridge, the big, bold and, yes, brash im-ages by Blu from Bologna, Faile

from New York, JR from Paris, Nunca and Os Gemeos, both from Sao Paulo, and Sixeart from Barcelona suggest a grand Tate gesture to populist communication: literally giving street art creed. (Of course, Cape Town had long known and recognised the power of this kind of art.)

This kind of, let’s say, flamboy-ant art is far removed from the traditional medium imagined suitable for the century-old theme of portraiture.

Yet, this new vivid picture of a famous pioneering cancer scientist (what could be more profound than Sir Paul Nurse’s work?) in a version that clearly was produced and performs in a contemporary boldness of communication, seems to be spot-on in bringing the message about what he is and does and why we should care home.

Ah, the whirl, the whirl… the crazy whirl of Joburg creative life that keeps us spinning like ecstatic devotees in some delirious dervish dance. The inbox is overflowing with exhibition invites and there goes the jovial plink of the next new electronic missive announcing the latest creative initiative to have been forged out of this dark and dangerous Jozi mire.

Oh, the dilemma, the dilemma… It’s the opening of Clive van den Berg and Mark Gevisser’s Tracks exhibition at the Old Fort tonight – ‘a queer geography of Johan-nesburg through the eyes of eight wildly different characters’. Who can resist a curatorial tango between one of this country’s most attuned and insightful writers and one of our most active arts vision-aries? ‘In the midst of the violence that is hanging over us, this is an exhibition that offers some sense of the power of affection and love in the face of difficulty,’ says Van Den Berg, who confesses to being, like many of us, in need of a bit of solace right now. Tracks and its partner exhibition, Home Affairs, both explore the capacities of civil society rather than our faultlines. With the townships on fire and our churches and police stations burst

ing with traumatized refugees their timing couldn’t be more perfect.

But I’d have to do the limbo dance or, like a pink-tipped sea anenome, tear myself in two in order to be at the Constitutional Court and at the Pretoria Art Museum all at once tonight. I’m split, in a fix – because Tshwane’s pulling power is also super strong tonight, with the opening of the Mercedes Benz South Africa Award for Art in Public Spaces for 2008, featuring works by winner Kevin Brand as well as by nominees Samson Mudzunga, Marco Cianfanelli, Jane du Rand, Strydom van der Merwe, Vincent Baloyi, Jan Jordaan and Usha Seejarim. Being a keen proponent of public art, this winning lineup leaves me wishing for instant advances in the field of human

cloning. What’s a crazed aesthete like myself supposed to do when the Jozi cultural calendar is at such fever pitch that you start to feel like John Travolta in the 1983 hit Staying Alive. Not even a white bellbottom suit is enough to keep you strutting your thang for six solid nights of gallery schmoozing a row. Of course, the champagne does help…

On Monday night Park Station came to life with a heady cocktail of jazz and fevered anticipation for the announcement of the annual Business Day/BASA Awards…

One wishes the station could be such a hive of chichi activity on a more sustained everyday basis – after all, train stations are just about the most poetic metropolitan

matrices we could ever wish for.

Then on Tuesday night the finalists for this year’s prestigious Sasol Wax Art Award were announced and the competition is going to be seriously hot in October this year with big hitters Stephen Hobbs, Avhashone Mainganye, Hentie van der Merwe, Brett Murray and Tracey Rose all vying to take home the R130 000 prize loot.

And as if that wasn’t enough of a flurry for one week, tomorrow there’s the announcement of the 2008 curator and four nominees for this year’s MTN New Contem-poraries Award.

And speaking of new art making ideas, I have become a diehard evangelist for the work a young

Afrikaans painter called Olaf Bisschoff whose show Terra Incognita opened at the Rooke Gallery in Newtown on Wednesday night. In a painterly spirit, his dark, moody oil paintings recall the epic majesty of the Old Masters, but there is also something intrinsically contemporary about his take on landscape. These are strange mindscapes, snatched imagin-ings of a metaphysical terrain, with etched out chalky phrases half erased from their surfaces like brooding half-thoughts in the twilight: ‘Outer suburbia’, ‘Chaos’ or ‘This is only the outside’.

Coupled with Bisschoff’s skill with a paintbrush, comes his concep-tual inventiveness. Imagine this… Upon several of these moody oil landscapes are projected either

still or moving images, so the paintings take on another life in the light of the projected images. In one, an old archival 8mm film print of the Three Little Pigs cartoon is projected onto an oil painting of an abandoned drive-in screen. The effect is unspeakably poignant. In another a deeply dreamy new folk soundtrack accompanies an animated sequence of a man and a dog walking across a rugged plain accompanied only by flocks of swooping dark birds in the dusk.

When the projection ceases, all that is left is the landscape. But even that is more than enough. And in this still, quiet aftermath, one realizes what really counts after all.

THE ARTFUL VIEWER

Melvyn Minaar

ART PIG

Alex Dodd

around the columns

Alex

Ems

ley

Olaf Bisschoff Alone (in bad company).Oil on canvas, 1000 x 1500mm


GREEN FEVER

Some days Durban is the most wonderful place on earth. When the greenery is luminous, the sky infinite and the conversation engag-ing, it is paradise. On other days, it is – like everywhere I suppose – a bit kak. Cities are strange creatures, forever mirroring our individual and collective concerns, our celebra-tions and anxieties. When our hearts beat wildly, so too does the pulse of the city. When the beat of the city quickens, so too does the flow of our body chemicals. Whether it’s dopamine, adrenalin or serotonin depends on our relation-ship with the urban, but one thing is for certain: it’s always easier to blame our physical context rather than ourselves for any ennui or dis-satisfaction that comes our way.

This relationship with place was mirrored recently in conversations I had with Stephen Hobbs, as well as in his literally shimmering work which he was in town to install, both at the KZNSA Gallery, where he was showing D’Urban, the second part of his urban trilogy, and at the

Bank Gallery where his earlier, already legendary work, High Volt-age, which has previously shown at the Wits Substation, was being reinstalled. In the conversations that emerged in the quiet light of the quasi-Mediterranean Yossi’s in Dav-enport Road, after the KZNSA show opened, we talked about graffiti narratives, outsider art, the beauty and fury of early ’90s avant-garde rock band Live Jimi Presley, and how lovely Durban is, particularly if you live in the dark, sprawling vitality of Jozi.I, like others who, misguidedly on not, carry their Durban hearts not on their sleeves but raised high on a flag, always get a certain joy when upcountry visitors say how much they love coming to this city, reiterating the view that it is indeed one of the most wonderful places on earth, and not the dump that the man from Westville in the lift of the Royal Parking lot suggested it was a few days later, much to my an-noyance. (When I asked him where he came from, I expected him to say Cape Town since nowhere on earth can possibly be in any way be cooler, hipper or more enjoyable than the mother city and its iconic bloody mountain. I certainly didn’t expect him to say Westville, a place where vitality, glamour and creativity go to retire). And one of the things that usually impresses artists and other creative types about Durban – when they stop to think about it – is how much of the country’s talent comes from this city, even if their migrated sleeves are covered over with nicely col-lared shirts and never mentioned again in polite company.

One of Durban’s many idiosyncratic characteristics is that when people tell you that they will do something now, it’s a profoundly imprecise statement, since “now” in Durban means anything from five minutes time to never. Using this trait as a

premise, Durban artist, architect and general interventionalist Doung Jahangeer, recently installed a work called Just Now in Jamison Park, opposite from the Vida Café crowd with their laptops and lattes. The botanically based work, which was sadly removed earlier this week (flowers die, one of the many consequences of the passing of time), simply consisted of a flower-bed clock that has been there for years but in which Jahangeer, together with his accomplices in the Municipality’s Parks and Gardens Department, had replaced the con-ventional numerals with the word ‘now’. The clock, poetically enough, is broken, and for the few weeks before it was decommissioned, the time in Jamison Park was perma-nently 12 minutes to now.

Finally, I never knew printmaker Gabi Nkosi, but her delicately rendered work had left sufficient im-pression on me that I was horrified when I heard of her recent death at the hands of her boyfriend. This might not be the most appropriate place to whisper Hambe Gahle in print, but in a column about the heart and art of KZN, it would be wrong not to ring posthumous praises to this gifted artist. Gabi’s work always had a sense of being gently elegiac about life in the province. With her untimely death, her body of work – which sud-denly seems tragically small – will in some ways change, unavoidably acquiring a haunting, melancholy quality for all those who know her story, and perhaps even for those who do not.

Stephen Hobbs’ D’Urban and High Voltage are on show until 7 June respectively. The Just Now Clock was created by Denis Pierce, Wayne Van Bart, Krish Poongavan-am, Tony Pillay, Bongani Dlamini, Bernard Zungu and doung anwar jahangeer.

THE ART COWBOY

Peter Machen

Olaf Bisschoff Alone (in bad company).Oil on canvas, 1000 x 1500mm


Saturday morning saw me sharing six cappuccino’s with Brian Green, developer of 44 Stanley Avenue and a cameraman by trade, Ricci Pollack, developer of the Refinery, Quince Street and Frost Street Lofts and Paul Emmanuel, artist and resident of the Refinery. All mavericks in their own ways, the conversation bubbled and frothed over, bouncing off the high walls, infused with the energy that is intrinsic to the precinct.

Johannesburg’s answer to TriBe-Ca- the precinct, nestled between Empire road and Barry Hertzog, off Stanley Avenue and Owl Street, is an uncompromising monument to the power of the creative currency in this city. You would be forgiven for missing the shy entrance owl street which has been unceremoni-ously covered by the Emmerentia flyover, a slipway designed to allow people to escape to the leafy suburbs bypassing the gritty reality of the streets on the outer edge of the city.

Described by the media, as the anti-mall, 44 Stanley Avenue, is an eclectic mix of buildings linked by passages, rickety stairwells and big chunks of old concrete. It is embraced on the east side and south side by the Refinery. This building, previously home to

Chubb Security, has been redevel-oped into a mix use development of lofts, home to artists, actors, the “TV people” and actuaries. Joined by Atlas Studios, a redeveloped Bakery, Afda Film school and the Gas Works, this areas is now one of the hottest residential and busi-ness addresses in town. But was it wasn’t always so.

According to Green, the site was a derelict mess. “ There were 300 or so vagrants living here, anything of value had been stripped out of here, toilets were used with no water- it was really disgust-ing.” Owned by Old Mutual, the buildings were neither up for rent, nor sale as they were deemed too undesirable.

It took Green 18 months to realize his plan to buy the site. At the same time, Pollack had begun his plans of redeveloping the Refinery into real loft apartments (ala down-town New York). Space, and vast expanses of it, was the primary selling feature of these apartments in city overrun by Summercon’s “little boxes on the hillside, little boxes all the same”.

“We started at a very similar time, but we actually didn’t know about each other.” Says Pollack

“We had all been ferreting away on our own little pluck.” Cuts in Green. “and while all of this was happening I met Jonathan Gimple from Atlas Studios at a party.”

“When he told me he had bought the building I just gave him a hug. There was suddenly this energy between three or four like minded people who wanted to get this area going”

What the like minded people wanted to do was create an en-vironment reflective of the artistic energy of the people that use the spaces.

44 Stanely Avenue has been developed as the anthithesis of conventional mall wisdom. No shiny signs and tiled floors. The shells of the old buildings were re-tained, and only the minimum has been done to refusbish the space. The walls and floors all speak of the history of the buildings, while the spaces all possess the raw character of the building materials.

There is no anchor tenant who drives the footfall, there are no brand name retail outlets or res-taurants. Every tenant has been handpicked, from the motorbike outlet that sells refurbished vintage bikes to the Salvation Café, where

Claudia Giannoccaro (one time chef to Oppenhiemer) serves up culinary masterpieces and salads which are, according to Green “ rock star salads.

“Someone once approached me to convert one the retail spaces into a theatre. I remember looking at his shoes, and thinking there was no way we could work together.”

Green admits that this philosophy has cost him according to conven-tional measurements. The type of tenants he has are smaller, highly niched creative businesses such as designers, the African Toy Store and out of print book shops, who do not generate massive foot traffic, and hence cannot pay large rental. However, it is exactly the retention of the authenticity that has other tenants, such as Dion Chang, lining up at the door.

So we know that the creative folk work for the development- but does the development work for the creative folk?

According to Alet Voster of Art on Paper Gallery, it is a place that she can occupy where the integrity of the space reflects the work she does.

Art on Paper moved from Melville

to the precinct. The move sparked a change in the focus of her gal-lery that has begun to take shape. Most people believe that works on paper are limited to drawing and printmaking. Vorsters interest runs far deeper.

For Art On Paper, the philosophy of the 44 Stanely complex reso-nates with the philosophy of the gallery. The space, its buildings, beams and unfinished surfaces talk of process and carry some authenticity which is so important to a convincing artwork.

Paper is at the core of the proc-esses employed by most artists for the works they make. It talks of the journey and of what is going on inside the mind of the artist. Hav-ing realized that many of the artists who she works with also work in the sculptural realm, Vorster is moving towards a renaming of the space to “AOP” and thus allowing her the space to explore more three dimensional works.

The layout of her gallery, with its high walls and open white space, allows her to explore this avenue. And the audience seem to agree- there was a steady stream of foot traffic through the gallery while we spoke.

Emmanuel, a visual artist who was one of the first tenants to move into the Refinery also talks of how the change has impacted his work. Previously living in Sandton and maintaining a small studio at the Bag Factory in Newtown, Emmanual is now a full time artists working and living in his loft at the Refinery.

“Having the sheer space that I now do has allowed me to work on a scale that I could not in my previ-ous studio” Emmanuel’s next show consists of five drawings that are over two metres in length each.

While working and living in one space can become insular, access from the lofts directly to the Salva-tion Café, and its “rock star salads” is obtained by a lethal staircase that allows Emmanuel to engage with the outside world without using a car.

Echoing the developers senti-ments, Emmanuel admits that it was a leap of faith. “Banks weren’t granting bonds in this area. When I bought, it was only a building site and a vision which has taken 5 years to come together.”

All Photos by Taryn Cohn

Only Rock Star Salads and Good Shoes allowed What do an artist, a developer, a cameraman and a gallerist have in common? An appreciation for the best coffee in town and a taste for a “rock star salad”. Taryn Cohn goes in search of 44 Stanley Avenue Jhb.

Paul Emmanuel’s loft studio


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

Rock Star Salad Salvation Cafe The African Toy Store

44 Stanley Ave Plaza


Finalists for the Sasol wax art award 2008 were announced this morning. Now in its third year, this award has become synonymous with innovative art from highly deserving senior professionals.

This year’s Sasol wax art award finalists, and exhibitors on the prestigious exhibition to be held in October this year, are Stephen Hobbs, Avhashone Mainganye, Hentie van der Merwe, Brett Mur-ray and Tracey Rose.

The finalists were selected from a group of ten semi-finalists who in-clude Kevin Brand, Wilma Cruise, Paul Edmunds and Jan van der Merwe, Terri Kurgan.

The Sasol Wax Art Award is target-ed at mid-career and profession-ally mature artists with substantial exhibition profiles. With total prize monies of R230 000, this award represents the top accolades for professional (mid-career) artists in South Africa.

The selected semi- finalists were selected from over a hundred entries from senior artists all over South Africa. They were expected to submit proposals submitted for a body of work using wax (one of Sasol’s major products worldwide), either in process, medium or concept. The judging panel was led by respected curator and artist Gordon Froud

From these proposals, the five finalists were selected and will each receive R20 000 to produce a body of work for the Sasol Wax Art Award exhi-bition, to be held at the University of Johannesburg Art Gallery on October this year. One winner will be awarded R 130 000, joining the ranks of Jeremy Wafer and Walter Oltmann who won the Award in 2006 and 2007 respectively.

Says Executive Director, Carola Ross, “the group of semi-final-ists this year were diverse and highly respected members of the arts community. Competition was tough. We congratulate these five artists for their outstanding submissions. “

The proposals received explore applications of the product in highly innovative ways.

Says Award Curator and Artistic Director, Les Cohn: “The exhibition in October will reflect five very distinctive and challenging well developed voices of the South Afri-can art landscape. A strong theme running through the submissions was the question of “Power” - from corporate structures to issues of governance, this exhibition will en-gage with some very real concerns that South Africans are facing. “

Also launched today was the part-nership between the Sasol wax art award and Department of Arts and

Culture for the Jewellery Outreach Development Initiative.

The Sasol wax art award and Department of Arts and Culture Jewellery Outreach Initiative identifies skills development and technical excellence in Jewellery design as a priority. Opportunities have thus been developed to act as catalysts for aspirant jewel-lery designers to explore creative concepts, and develop technical excellence. Bringing together students from the University of Jo-hannesburg Jewellery Department and Imfundiso Skills Development project this programme provides skills training, and encourages creative exchange between the two parties.

A mentorship programme with the Durban University of Technology and students from the African Art Centre in Durban is also under development.

Works by the students developed through the extensive training programme and resultant competi-tion will be on display at the South African Fashion Week in August 2008, and at the Sasol wax art award exhibition.

The Sasol wax art award exhibi-tion will run from 14 October – 7 November 2008 at the University of Johannesburg Art Gallery, King-sway Campus.

Finalists announced SASOL Wax Art Award

Sasol wax art award 2008 Judges:Marco Cianfanelli- Artist and advisor to Sasol Melissa Mboweni- Independent Art Consultant, Gordon Fround- Academic, Artist, Curator Daniel Mosako- Curator, Anton van Vouw Museum, University of Pretoria

Anne Marie Kruger- Event Specialist, Sasol, Teresa Lizamore, Curator, Sasol, Musha Neluheni, Artist

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

Curator of the Sasol wax art award, Les CohnExcutive Director of the Sasol wax art award Carola Ross

Annali Cabano Dempsey : Curator of the UJ Art Gallery, Kingsway Campus, Ntuthu Nqabeni Provincial Co-ordinator from DAC , Melissa Mboweni Judge of the Sasol wax art award

Curator of the Sasol art collection Teresa Lizamore


Anita Funke

Nearly R1-million was raised in April by the Johannesburg-based Artist Proof Studio (APS) in an auction supported by South Afri-can artists and held to raise funds for scholarships.The organisers had hoped for R360,000 but close to R900,000 was raised. APS Studio Manager Cara Walters said there had been a “phenomenal” response, leaving APS, a not-for-profit focused on print-making, with an “amazing” R700,000 profit. This money will be used purely for education and scholarships.The community of established South African artists were “hugely” supportive of the event. “We were totally blown away by the support of local artists,” she said. Over 200 artworks were donated – and by “substantial artists” at that too – with one William Ken-tridge etching bringing in R55,000 for the studio. Walters said: “All of our students come from disadvantaged back-grounds…and many come to us already having been turned down by other institutions.” She said the students were of a “very high calibre”, but most could not afford to study. Initially, it was hoped that the auc-tion would raise funds to support the 2009 intake at the APS. The APS take in 40 new students per year, and without adequate or reliable funding, fewer art materi-als can be made available. However, enough money was raised for two years of bursaries for the three-year courses offered at the APS. Each bursary is worth R12,000 per year, and covers the cost of art materials and tuition fees. Local artists, sponsors, and the public “really came to the party” to pull off the event. The sponsors found themselves donating “more money than I think they planned,” and attendance at the auction was likewise beyond expectation. It was estimated that 100 people would attend but there were close to 200. Following the support for the exhibition, the APS have decided to host similar events in future - more good news for future generations of young artists. The APS aims to become more self-sufficient by means of these exhibitions: “We are hoping to turn this auction into an annual event, so that we don’t have to rely on funding,” said Walters.

Artist Proof Studio Charity art auctionraises 900K

Companies making innovative and effective use of arts sponsorship were recognized at the Eleventh Annual Business Day-BASA Awards for business sponsors of the arts. As sponsor of the event, Anglo American hosted the awards on Monday, 26 May 2008 at the Johannesburg Park Station, demonstrating their philosophy of sustained engagement with all facets of our society. Focusing on mutually beneficial business-arts partnerships during 2007, the awards were presented to various businesses in South Africa by Ms. Maria Ramos, CEO of Transnet.In the category Best Use of a Commission of New Art, which rec-ognises those sponsors who have had the vision to support the crea-tion of new, original work in any arts medium and to use the com-mission effectively, nominations went to ABSA for commissioning of four new SA plays, premiered at Aardklop Festival; Rand Merchant Bank for The Thinkers and Sand-ton Central Management District for Sandton Central Illumination Project “The Why Men”. The award was presented to Sandton Central Management District for Sandton Central Illumination Project “The Why Men”. Nominated in the First Time Sponsor category were Coal Stove Productions for “Off the Shelf”; Intel Corporation for Intel Centrino Roadshow; Talk Radio 702 for Africa Remix; and Tsogo Sun for ll Teatro and the South African pre-mier of The Lion King. The award was presented to Tsogo Sun for II Teatro and SA premiere of The Lion King.Increasing Access to the Arts focuses on those sponsors who have helped bring the arts to peo-ple who might not otherwise have access to them. Nominees were

Cell C for Cell C Gospel Festival; Distell for Takeaway Theatre’s ‘Die Liefdeskind’; Exclusive Books for Homebru; Fairheads Trust Company for the Clanwilliam Arts Development Project and Standard Bank Limpopo for ‘Double 07’. The award was presented to Exclusive Books for Homebru.The International Sponsorship category recognises those busi-nesses sponsoring South African arts abroad, or bringing an interna-tional arts project into South Africa, giving our public access to work it would not normally see. The nominees were Mercedes Benz SA (Pty) Ltd for the Mercedes Benz Arts Award; Rand Merchant Bank for The Magic Flute; and Telkom SA for The Lion King. The award was presented to Telkom SA for The Lion KingNominations for Long Term Devel-opment - a category designed to recognise companies that have not only committed to but developed sponsorship of an arts organisa-tion or project over 3 or more years - went to MTN for the MTN Art Collection Project; Nando’s SA for Art in Nando’s restaurants; Pick ‘n Pay for The Zama Dance School in Gugulethu; Spier Holdings (The Africa Centre) for the Spier Contemporary; and Standard Bank for the Standard Bank African Art Collection at the University of the Witwatersrand. Two awards were made to, Pick ‘n Pay for The Zama Dance School in Gugulethu and Standard Bank for the Standard Bank African Art Collection at the University of Witwatersrand. Nominations for Media Sponsor-ship, for consistent support given by electronic or print media to the arts went to Die Burger for Suidoosterfees 2007; Independ-ent Newspapers (Pty) Ltd for The Mercury Durban Theatre Awards;

Kaap-Raaport for the Kaap-Raaport Korekompetisie at the Suidoosterfees and Talk Radio 702 for Africa Remix. The award was presented to Talk Radio 702 for Africa Remix.The category Single Project focus-es on an outstanding sponsorship or a series of projects with one organisation, and the nominees were Bell Dewar & Hall for Artist Proof Studio; Rand Merchant Bank for The Magic Flute and Sandton Central Management District for Sandton Central Illumination Project “The Why Men”. The award was made to Rand Merchant Bank for The Magic Flute Smaller companies with 1-200 full time employees and an an-nual turnover of no more than R10million, who give vital support to arts projects, fall into the category Sponsorship by a Small Business. Nominees were Coal Stove Productions for ‘Off the Shelf’; Intdev Internet Technologies for Night of a 1000 Drawing; and Zetasatsi Trading Services cc for Masakhane Arts and Culture Youth Festival. The award was presented to Coal Stove Productions for ‘Off the Shelf’.Nominations in the category Spon-sorship in Kind, where a company gives non-financial but essential support to the arts, went to Deneys Reitz Inc. for pro bono work with arts and cultural organizations; Fine Music Radio 101.3 for Cam-era Tinta Barocca Music Charitable Trust ; Primi World for Primi Live; and Vukile Property Fund (Ltd) for the National Eisteddfod Academy Di Konokono Festival. The award was presented to Primi World for Primi Live.The Strategic Sponsorship category looks at the best use of a sponsorship programme as an integral part of the sponsor’s

overall marketing strategy. Nominated were Cell C for Cell C Gospel Festival; Exclusive Books for Homebru; and Intel Corporation for Intel Centrino Roadshow. The award went to Cell C for the Cell C Gospel Festival.One of the most popular areas for arts sponsorship is that which involves education and young people. In the category Youth Sponsorship the nominees were Black Like Me for Field Band Foundation; Santam Limited for Santam Child Art; Standard Bank for the Standard Bank National Schools Festival of Drama and Arts; TBWA\Hunt Lascaris for Room 13; and Total SA (Pty) Ltd for Sibikwa Community Theatre. The award was presented to TBWA\Hunt Lascaris for Room 13.The Barloworld ARTWORKS Men-tor of the Year Award, launched in 2005 with support of Barloworld, the programme is underway in Cape Town, Durban and Johan-nesburg, with plans to roll out countrywide. The award goes to business volunteers working directly with arts organisations, sharing skills and expertise to address challenges specific to that arts organisation. The mentor-ing relationship demonstrates commitment and care, bringing real benefit to the mentored arts organization, and is as much an enjoyable growth and learning ex-perience for mentor as mentored arts organization. Nominees were Gillian Crawford mentoring at Artist Proof Studio; Eugenie Drakes mentoring at the Trevor Hud-dleston Centre; Krisen Govender mentoring the Sibikwa Community Theatre; Carlton Hood mentoring District Six Museum; Gail Lemmert mentoring the National Children’s Theatre; Gordon Massie mentoring The Africa Centre; Gary Ninow

mentoring Robin Opperman of the Umcebo Trust; Gregory David Wallis mentoring three designers at the Ifa Lethu Heritage Collec-tion and Carolynne Waterhouse mentoring the South African Ballet Theatre. Two awards were made: Gillian Crawford mentoring Kim Berman / Cara Walters at Artist Proof Studio and Gail Lemmert mentoring Joyce Levinsohn at the National Children’s Theatre. The Chairman’s Premier Award is made at the discretion of the Chairman of Business & arts South Africa, and recognizes sustained and extraordinary commitment to the arts in South Africa. The award went to Nando’s SA, a company that has increasingly, through an innovative and effective invest-ment in the arts, created a legacy beyond shareholder returns. While consistently identifying its brand as a local offering within a globalised context, Nando’s SA has adopted a philosophy that considers its consumers and adapts to accom-modate different markets.The judging panel included Dar-ryl Accone, writer and journalist; Gordon Cook, Vega School of Advertising; Clive Grinaker, CEO of Navitute Sponsorship; Andrew Human, Managing Director, The Loerie Awards; Gianni Mariano, Director Mastrantonio; Sizakele Marutlulle, Advertising Consultant; Ivan May, Marketing Consultant; Welcome Msomi, Chairman of Welcome Msomi Gateway; Fiona Ramsay, actor and media per-sonality; Peter Vundla, Executive Deputy Chairman AMB Capital; Annie Williamson, Sponsorship & Marketing Consultant, Court-ney Mitchell of Grant Thornton monitored the voting process and verified the validity of the results.

Winners of the 11th Business Day-BASA Awards

Man Eater by Norman Catherin

Pheladi Gwangwa from Talk Radio 702 & The First Lady Mrs. Zanele Mbeki For Africa Remix Category: Media Sponsorship

The First Lady Mrs. Zanele Mbeki, Mulligan Pearce and Braam Wessels from Telkom For The Lion King Category: International Sponsorship. Pictures by Nic Voutsas


Selected for Fine Artists a studioNOTES publication

Competitions, Grants, Shows, Public Art Commissions, Resi-dencies and More www.ArtOpportunitiesMonthly.com

International EditionThese opportunities have been selected from several hundred as most appropriate for seri-ous fine artists, traditional or

contemporary. We favor things that are free to the entrants, offer good rewards in relation to the fees, increase the expo-sure of those accepted, or are prestigious or special in some other way. Where an opportunity seems to be a particularly good fit, we have marked it with..|+| as an “editor’s choice. Entries marked with ~ are generally better for artists living nearby or with limited experience. Please keep in mind that these judgements are made only on the basis of

the information available in the prospectus; nothing herein is an endorsement or criticism of any kind. Unlike other listing services, we do not knowingly include for-profit galleries that charge fees to look at slides, individu-als pretending to be galleries or contests that exist only to turn a profit for the promoters. (See www.artopportunitiesmonthly.com/notlisted.html for some of the reasons.) Please report such listings to us.

The listings are in capsule form, arranged by deadline and identified by media, so that you can tell at a glance if something might be suitable for you. The general structure of each entry is: Media:(See Key) Deadline: (Date due) Local restrictions, if any || Short description || Entry fee and/or number of slides (images) being requested || Award–what is being offered || Jurors, if named ||=> Con-tact name || Title of show for prospectus || Address. Phone #;

Fax; Email; Web address.

KEY: AU= Audio, BA = Book Arts, CE = CEramics, CO = COl-lage, CR = CRafts, CU = Com-pUter, DR = DRawing, FI = FIlm, FR = FibeR, FU = FUrniture, GL = GLass, GR = GRaphics, IN = INstallation, JE = JEwelry, ME = MEtal, MM = Mixed Media, NM= New Media, PA = PAint-ing, PE = PErformance, PH = PHotography, PP= PaPer and papermaking, PR = PRints, PS = PaStel, PU = PUblic, QU = QUilt, SC = SCulpture, TX = TeXtiles,

VI = VIdeo, WC = WaterColor; WE = WEb or Net art; WM = WaterMedia; WO = WOod. x before code = “except.” RFP = Request For Proposal, RFQ = Request For Qualifications, |N| = new listing, not in previous issue, |C| = changed since last issue. Other abbreviations: sl = slide, appl = application, digi = digital, CV =curriculum vitae or résumé, K=thousand, M=million, BPS = British Pounds Sterling, EUR = Euro. All amounts in US Dollars un-less otherwise specified.

Art Opportunities Monthly

Media: FI VI. Deadline: Jun 2International. Festival of work relevant to the communities living in Regent Park w/ an emphasis on those from South Asia, Africa, East Asia, Middle East, Caribbean and Latin America. $10/1 (MiniDV, DVD or VHS-NTSC), synopsis, bio, hi res still, etc. => Karin Hazé, Regent Park Film Festival, 415 Gerrard St 2nd Fl, Toronto, Ontario, CANADA M5A 2H4. [email protected]; http://xrl.us/AOM99ca.

Media: FI VI. Deadline: Jun 10International. Showing 12 categories, including animations, narratives, music videos, documentaries. $25-55/1 depending on type and when submitted (½” VHS NTSC or DVD, paperless en-tries preferred). Pct. of sales, etc. Jury: industry professionals. => Jeff Siebert, Toofy Film Fest 2007, Team Toofy Pro-ductions LLC, 9415 Wolfe Pl, Highlands Ranch CO 80129, USA. [email protected]; http://xrl.us/AOM99cm.

Media: All. Deadline: Jun 10 |+|International. Grants to help realize ideas and proposals for 9th biennial, in Mar 09, esp. those identifying “marginal processes of thoughts, relations and acts arising from art and its vicini-ties.” No fee/ (CD or DVD), 5-p. appl submitted electronically but other material by air. Funding. => Production Programme, Sharjah Biennial, P.O. Box 19989, Sharjah, UNITED ARAB EMIR-ATES. [email protected]; http://xrl.us/AOM98ck (click on production application).

Media: All xVI. Deadline: Jun 11International. Juried show of environ-mentally themed work. $24/3 (sl or online), statement. solo show, website w/ 20 images. Jury: Leslie Sobel, artist; Lynda Cole, artist; Cindy Melk, H2O Plus founder, CEO. => One Planet, One Experiment, Woman Made Gallery, 685 N Milwaukee Av, Chicago IL 60622, USA. 312-738-0400; [email protected]; http://xrl.us/AOM98aa.

Media: PR PH. Deadline: Jun 14International. Juried show. $25/3 (sl of CD). $300. Jury: Dr. Andrew Atkinson, Montclair State U. => Matt Kooser, Through the Lens, Printmaking Council of New Jersey, 440 River Rd, Somerville NY 08876, USA. 908-725-2110; [email protected].

|N| Media: Reproducible in 2D. Dead-line: Jun 15International. Publication in artist-run magazine of “Artists’ Writing, Text-Based Work, Manifestoes, Letters to Editor, Comics, Jokes . . . other STUFF.”No fee, see site for details. Publication. => John Henry Blatter, #7, Creative Insubordina-tion, The Daily Constitutional, Box 4683, Richmond VA 23220, USA. 614-325-5235; [email protected]; http://xrl.us/AOM100cj

Media: SC PA MM PH IN. Deadline: Jun 15 ~International. Online gallery/contest of non-representational art, run by artist as commercial venture. $30/4, $5 ea. addl., application, statement; submit online or CD (jpg or tif). Publication on site, $200 Best in Show. => Christina Nelson, July 2008, Abstract EXPOsure, Box 77545,Seattle WA 98177, USA. 702-235-5156; [email protected]; http://xrl.us/AOM99n.

Media: Mail Art. Deadline: Jun 15

International. Contribute decorated white bookmarker or two, perhaps w/ “cultural crosswords” theme, to help Plainsboro Library celebrate connec-tion and community that mail artists create by sharing their work. No fee, no returns. => Emily Townsend, Cultural Crossroads Bookmarkers, 19 Sapphire Dr, West Windsor NJ 08550.

|N| Media: PH. Deadline: Jun 17International. Contest for fashion, fine art, still life, portrait, landscape, nature, travel, photo journalism, documen-tary, street photography, abstract, night, alternative process, tableau, other, music, culture, nude, etc., by artist-run company. $25/4 (online only). $4K+, shows on buildings in NYC art districts, publicity campaign, feature in publication, other awards. Jury: Patrick Witty, photo ed., NYT; David Kesting, gallerist; Tiiu Kiuk, fashion model; public voting. => Nikki Bagli, Exposure, Artists Wanted, USA. [email protected]; http://xrl.us/AOM100bc.

|N| Media: PH. Deadline: Jun 18International. Juried exhibit of images dealing w/horses, digi or trad. photo techniques or combo of both, printing on any medium. $35/3, $10 ea. add’l, no limit (online). $.6K, online gallery presence, Exhibition CD presence, online exhibit, etc. Jury: Christiane Slawik, photog specializing in horses, equestrian. => All Things Horses, The Ctr. for Fine Art Photog., 400 North College Av, Ft Collins CO 80524, USA. 970-224-1010; [email protected]; http://xrl.us/AOM100bq.

|N| Media: AU. Deadline: Jun 21International. Curated online exhibition of unlimited edition, downloadable Sound Art. No fee (2 channel, com-pressed MP3) + image file. Publication. => John Henry Blatter, SoundCast, The Daily Constitutional, Box 4683, Richmond VA 23220, USA. 614-325-5235; [email protected]; http://xrl.us/OM100ck

Media: 2D. Deadline: Jun 25International. Contest for design to transform 8 tanks, plus an additional 8 tops into public art, use specific colors. $50/1 (online only). $30K. => Art All Around, Maine Center for Creativity, USA. [email protected]; http://xrl.us/AOM99w.

|N| Media: PH. Deadline: Jun 28International. Juried exhibit of any photo media, including collage, digital, tradi-tional and alternative processes, and new media, any subject. $5/1, max 10 (jpg or tif on CD only), appl. Purchase award, solo show, etc. Jury: Anthony LaSala, deputy photo ed., Food & Wine mag. => 08 Open Juried, Photomedia Ctr., Box 8518, Erie PA 16505, USA. [email protected]; http://xrl.us/AOM100dp

Media: PA WC PS PH MM. Deadline: Jun 30International. Show of work expressing their own cancer journeys, by people diagnosed w/ any type of cancer, or by their families and friends, caregivers or healthcare providers. No fee/1 (actual work), narrative explaining how work reflects cancer journey. All expense trip to NYC, $26.5K in donations to cancer charities of choice, etc. Jury: cancer survivors, oncologists, health care professionals, journalists and cancer advocates. => Anita Chernewski, Art

Dir.,2008 Lilly Oncology on Canvas, 220 E 42nd St 12th Fl, NY NY 10022-5806, USA. 800-734-4131; [email protected]; http://xrl.us/AOM99bh.

|N| Media: WC. Deadline: Jul 1International. Juried exhibit, transparent only, on single piece of untreated rag or wood pulp paper, no collage, ink, white paint, acrylic gesso, embossing, canvas, Yupo or similar. $35/2(sl), $60 handling fee for shipped work. $12K cash, merch. and purchase. Jury: Joan McKasson, artist. => JoAnn Formia, Watercolor West XL, 2062 E Washington Blvd, Pa-sadena CA 91104, USA. [email protected]; http://xrl.us/AOM100en.

|N| Media: MSC. Deadline: Jul 1International. Awards for liturgical work in: Religious Architecture (new, renovation and restoration), Sacred Landscape Design, Liturgical/Interior Design, Religious Art (visual art, liturgi-cal furnishings, ceremonial objects). $100-$235/3-12 (2 CDs, 8x10 glossy color photos), appl, etc. Exhibition, recognition and feature in “Faith & Form” mag. Jury: James Graham, architect; Michael Landau, architect; Fr. Don Neumann, Houston, TX; et al. => Trena McClure, Faith & Form Awards, Faith & Form Awards Prog., 100 N Tryon St #3500, Durham NC 28202, USA. 704-927-2253; fax -376-9336; [email protected]; http://xrl.us/AOM100cq.

|N| Media: FI VI. Deadline: Jul 1International. 2 competitions: Int. Short Films and Videos (esp. work that inves-tigate new languages or by cinema and art students), Italian Short Films and Videos, festival in Pescara. No fee/1 (DVD PAL), text list (Ital. or English). EU2K+. => Short Films and Videos, Un-imovie C.P. 40, Ufficio postale Roma 20, 00196 Roma, ITALY. +39.338.7535890; fax -085.4157042; [email protected]; http://xrl.us/AOM100ek.

|N| Media: All. Deadline: Jul 1International. Funding for non-profit organizations only, not individuals, for exhibitions, catalogues, other organiza-tional activities directly related to these areas. No fee, 3-page letter, budget, send letter of inquiry first. => Pamela Clapp, Prog Dir, The Andy Warhol Fdn for the Visual Arts, Visual Arts, 65 Bleecker St 7th Fl, NY NY 10012, USA. [email protected]; http://xrl.us/AOM85cm.

Media: FI VI. Deadline: Jul 1International. Festival, categories: The Arts, Bus. & Indus. Children. & Youth, Ed. & Info, Entertainment, The Humani-ties, Mental Health, Phys. Health, Relig., Sci. & Tech., Social Issues, War & Peace, Interactive Online. $80 up, also student categories, fees (DVD, ½” VHS), entry forms. Chris statuettes, etc. => 56th Ann. Columbus Int. Film & Video Fest, The Film Council of Greater Columbus, 1430 S High St rm 322,Columbus OH 43207, USA. 614-444-7460; fax same; [email protected]; http://xrl.us/AOM99ah.

Media: All. Deadline: Jul 4 International. Juried open show. 15BPS/10 (CD, sl or 5 min tape or DVD or VHS or audiotape of text where appropriate), proposal if for public art. 5K BPS. Jury: Lukasz Gorczyca and Michal Kaczynski, Raster independent art space, Warsaw. => Norwich Gal-

lery, EASTinternational 2009, Norwich School of Art and Design, Francis House, 3-7 Redwell St, Norwich, Norfolk NR2 4SN, UK. +44 (0)1603-756247; fax - 615728; [email protected]; http://xrl.us/AOM99br.

Media: FI VI. Deadline: Jul 4International. 6-day festival of work <20 min, categories: international general; docs; international for/by children/youth; confrontations against violence and intolerance; German; “Eject The Long Night of the Unexpected”. No fee/1 (DVD or online). $40-60K USD. => 24. Int. Kurzfilmfestival, interfilm Berlin, Tempelhofer Ufer 1A, 10961 Berlin, GERMANY. +49 - (0)30 25 29 13 22; [email protected]; http://xrl.us/AOM99bc.

|N| Media: All x4D. Deadline: Jul 14International. Online show of self portraits in artist-run online gallery and hosting service. $35/5, $5 ea addl., ap-ply on line only. Promotion. Jury: pubic voting. => I (pronoun), Projekt30, 233 Montrose Av Ste 6, NY NY 11206, USA. http://xrl.us/projek30email; http://xrl.us/AOM100du.

|N| Media: BA. Deadline: Jul 15 |+|International. Display in town on coast of Tuscany in reading room of new books of original work related to utopian theme, or a book you have done in past that you think will fit project. No fee, no returns. Illustrated catalog to all partici-pants. => Vittore Baroni, The Utopian Library, BAU Cultural Association, via C. Battisti 339, 55049 Viareggio, ITALY. (039) 0584.944546; [email protected]; http://xrl.us/AOM100bL

|N| Media: MSC. Deadline: Jul 15International. Showing poetry, in form of books, catalogs, posters, magazines, CDs, DVDs, etc., that relies heavily on “visuality, sound, poetic performances and other areas w/out abandoning, of course, verbal dimension.”No fee, send 2 (1 for show, 1 for lending library) copies of each item and write “WORTH-LESS COMMERCIAL” on envelope or package in order to avoid problems w/ customs. => Concentrated Experimen-tal Poetry, Clemente Padín, C. Correos C. 1211, 11000 Montevideo, URUGUAY

|N| Media: PH. Deadline: Jul 15International. Juried exhibit, any theme, subject, photo medium, trad. or digi., style and philosophy. $35/3, $10 ea. add’l, no limit (online). $800, online gal-lery presence, Exhibition CD presence, online exhibit, etc. Jury: Hossein Far-mani, photographer, gallerist, founder of Lucie Awards. => 2008 International, The Center for Fine Art Photography, 400 N College, Fort Collins CO 80524, USA. 970-224-1010; [email protected]; http://xrl.us/AOM100br.

Media: FI VI. Deadline: Jul 15International. Showing narrative and documentary features and shorts by 1) South Asians living in the Diaspora or non-South Asians submitting projects w/ S. Asian content, cast or crew or 2) work w/ a unique voice/message made in South Asia and considered “independ-ent. $25, shorts, $40, features; appl, descrip, 3 screener films, VHS or DVDs (NTSC Format). Achievement awards, $10K+ in-kind and services. => Aroon Shivdasani, 8th Mahindra IAAC Film Festival, Indo-American Arts Council Inc, 146 West 29th St #7R-3,NY NY 10001, USA. 212-594-3685; fax -8476;

[email protected]; http://xrl.us/AOM95bb.

Media: WM DR PR PS x(CU PH). Deadline: Jul 18International. Juried show of works on paper. $40/2 (sl). $6K+. Jury: Jean Grastorf, AWS, NWS silver star, author; Charles McVicker, AWS, NWS, illustra-tor. => 108th Anniv. Exhib., PWCS, Box 555, Swarthmore PA 19081-0555, USA. 215-569-3955; [email protected]; http://xrl.us/AOM99f.

|N| Media: FI VI SC IN. Deadline: Jul 21 |+|International. Fest. and juried show of documentaries and experimental and “artistic” work; also, space-oriented work including sculp. and installations; also, 3-mo. residency. No fee, see appl. EU14K+. => 25th Kassel Documentary Film and Video Fest., Re/Cycling Inven-tion, Filmladen Kassel e.V., Goethes-traße 31, 34119 Kassel, GERMANY. ++49.561.70764 -21; fax -41; [email protected]; http://xrl.us/AOM100cr.

Media: WM on paper. Deadline: Jul 28International. Juried exhibit. $20/1, 2/$35 (sl or CD). $5K+. Jury: Gerald Brommer, AWS, NWS; Jean Uhl Spicer, AWS, NWS. => Director, 29th Annual, Pennsylvania Watercolor Society, Box 626, Mechanicsburg PA 17055-0626, USA. 717-737-7339; [email protected]; http://xrl.us/AOM98cd.

|N| Media: DR. Deadline: Aug 1International. Curated exhibition of contemporary work (either already completed or proposed project), esp. experiments in unconventional. No fee/10-20 (CD). No fee, proposal, images. => Aaron Fine, Lineweight, Truman State University Art Gallery, 100 E. Normal St, Kirksville MO 63501-4221, USA. [email protected]

|N| Media: 3D. Deadline: Aug 1 International. Juried exhibit of original, contemporary, funerary biodegradable urns, vessels and reliquaries, scattering vessels and ritual objects to be shown in commercial gallery devoted to genre. $35/3, $5 ea. addl (sl, CD or DVD). $1.5K + purchase, other awards. Jury: Adela Akers, prof. emer. Tyler School of Art; Nadine Jarvis, designer, London; and Sylvia Seventy, artist, educator. => Maureen Lomasney, Ashes to Art scattered, Funeria, Box 221, Graton CA 95444-0221, USA. 800-829-1966; fax -1983; [email protected]; http://xrl.us/AOM100cu.

|N| Media: All. Deadline: Aug 1International. Exhibits in 3 galleries in city-owned performing, conference and visual arts facility. No fee/10-20 (sl or CD), hard copy image list, résumé. deadlines 1st Fri. of July and Aug. => Ellen Martin, Visual Arts Gallery Exhibitions, Lincoln CenterCity of Ft. Collins, 417 W Magnolia St, Ft Collins CO 80521, USA. 970-416--2789; fax -484-0424; [email protected]; http://xrl.us/AOM100h.

|N| Media: All. Deadline: Aug 1International. 6- to 8-wk solo or group shows, emerging and established art-ists. No fee/10 (sl or CD [pref], 2 views of ea OK for 3D artists, or VHS or DVD for time-based), résumé, description of proposed exhibit. => Lia Newman, Exhibitions Opportunity, Artspace, 201 E Davie St, Raleigh NC 27601, USA. 919-821-2787; fax -0383; [email protected]; http://xrl.us/AOM100bg.

|N| Media: All. Deadline: Aug 5International. Juried show. $24/3 (sl, CD, DVD or onsite), statement. Solo show, cash. Jury: Claire Wolf Krantz. => Object of Desire, Woman Made Gallery, 685 N Milwaukee Av, Chicago IL 60622-8021, USA. 312-738-0400; [email protected]; http://xrl.us/AOM93cv.

|N| Media: All x(CR PH FI). Deadline: Aug 8International. Juried show. $35/3. $3.5K. Jury: Gloria Burt, arts activist; David Lobenberg, artist. => Bold Expressions 53rd Annual, Northern California Arts Inc., 5330-B Gibbons, Carmichael CA 95608, USA. 916-240-6312; [email protected]; http://xrl.us/AOM100dV.

|N| Media: CE. Deadline: Aug 15 |+|International. Juried exhibition for work using clay as primary medium. $35/3 (CD). $800. Jury: Patti Warashina. => Emily Free Wilson, Beyond the Brick Yard, Archie Bray Foundation, 2915 Country Club Av, Helena MT 59602, USA. 406-443-3502x18; [email protected]; http://xrl.us/AOM100x.

|N| Media: PH. Deadline: Aug 18International. Juried show of work that tells “a story of human foot print left on this earth,” all photo media, styles and schools of thought. $35/3, $10 ea. add’l, no limit (online submission only). $1.3K, online gallery presence, Exhibition CD presence, online exhibit, etc. Jury: Robert Glenn Ketchum, photographer. => Our Environment; the Good, Bad, and the Ugly, The Center for Fine Art Photography, 400 N College Av, Ft Collins CO 80524, USA. 970-224-1010; [email protected]; http://xrl.us/AOM100bp.

|N| Media: Mail Art. Deadline: Aug 30 |+|International. Exhibit of rejoined per-sons. In an envelope or on a postcard, send your head to: Pierre Bourgie, 251 rg l’Achigan L’Assomption, Québec, CANADA J5W 3M8. Similarly, send your heart to: Hélène Arsenault, 1655 Gay Lussac Jonquière, Québec, CANADA G7S 3K9. A. Catalog to all. => Myself, in Three Parts, USA

|N| Media: FI VI. Deadline: Aug 30 *International. *Regular deadline: Jun 8. Festival of “exciting and inventive films in Action, Adventure, Suspense and Asian Action Cinema genres,” also docs about extreme sports, etc.$65/1, $50/1 if by Jun 8 ( VHS or DVD-NTSC). Awards. => Big Bang Film Festival, Box 25038, Philadelphia PA 19147. [email protected]; http://xrl.us/AOM100bm.

|N| Media: PA. Deadline: Aug 31International. Juried show of work max size 144 sq in. No fee/2 (online only). $10K. => SmallWorks North America 2008, Greenwich Workshop Galley, 1657 Post Rd, Fairfield CT 06824, USA. 800-243-4246; [email protected]; http://xrl.us/AOM100ec

|N| Media: All. Deadline: OpenInternational. Solo and group exhibitions for 09 season. No fee, CD, résumé, price list, statement. => Chuck Gniech, Call for Proposals, Solo and Group Exhibitions, Gallery 180 of The Illinois Institute of Art-Chicago, 180 N Wabash, Chicago IL 60601, USA. 312-280-3500; [email protected]; http://xrl.us/AOM100j


Media: Appropriate. Deadline: VariousInternational. Publication of images, etc. No fee, contact first to discuss format and other technical details. => Martine Rouleau, Static: Alarm, London Consortium, Institute of Contemporary Arts, 12, Carlton House Terrace, London SW1Y 5AH, UK. +44 (0) 20 7839 8669; fax 7930 9896; [email protected]; http://xrl.us/AOM87ce.

Media: Whatever. Deadline: Open |+|International. Declare an URM (Urban Ready Made -- a street, a building, a view, an object or an event in an urban- or industrial environment, where a conjunction of circumstances cause beauty and art and is so declared by the observer) in your own surroundings. No fee. => Marcello’s Art Factory, Den Haag, THE NETHERLANDS. (+31) 70 3634047; [email protected]; http://xrl.us/AOM99cq.

Media: SC. Deadline: OpenInternational. Inclusion in exhibitions and/or Image Library. No fee/10-20, (sl, photographs, jpgs, etc or 1 tape, vid. or CD or DVD), résumé, etc. Jury: artists and curators. => Artist Submission, The Sculpture Center, 44-19 Purves St, Long Island City NY 11101, USA. 718-361-1750x113; [email protected]; http://xrl.us/AOM76J.

Media: All. Deadline: OpenInternational. Exhibitions by local, regional, national, and international artists. No fee/10-20 (sl or CD), résumé, sl list. => Ellen Martin, Lincoln Center City of Ft Collins, 417 W Magnolia St, Ft Collins CO 80521, USA. 970-416-2737; [email protected]; http://xrl.us/AOM99d.

Media: FI VI. Deadline: Open ~International. Showing mixed media performances, including film, animation, puppetry, in artist and musician collective presenting live music. No fee, contact for information. Shown at events in London, Bristol, Liverpool, Manchester. => Detta and Arianna, ELEVEN, 49 Tressillian Rd, London SE4 1YG, UK. [email protected]; http://xrl.us/AOM91q.

Media: DI. Deadline: Open |+|International. Curated website for work engaged w/ contemporary ideas, for sale or not. No fee (jpgs or URL by email or Zip or CDs or small format printed proofs). May make work available for sale as downloads or Print on Demand. => Selection Committee, ArtLexis at Spectra Digital, 106 Franklin St 3rd Fl, NY NY 10013, USA. [email protected]; http://xrl.us/AOM87p.

Media: All. Deadline: OpenInternational. Show of forward-looking practices, fruition of innovative ideas, innovative approaches, etc. No fee/10 -20 (CD or DVD), CV, statement or proposal, description, etc. Pays fees corresponding to CAR/FAC guidelines. => Main Space, eyelevelgallery, 2063 Gottingen St, Halifax, Nova Scotia B3K 3B2, CANADA, USA. 902-425-6412; fax -0019; [email protected]; http://xrl.us/AOM98g.

Media: All. Deadline: OpenInternational. Web presence of 25-300 images, 1-10 videos, blog, etc., on artist-run organization’s site. No fee/25 (on line) or $60/300 for six months. => Wooloo Productions, Choriner Strasse 85, 10119 Berlin, GERMANY. +49 (0) 306 676 3097; [email protected]; http://xrl.us/AOM98q.

Media: All. Deadline: OpenInternational. Exhibitions that offer new ways to experience art, esp. interactive performance, multi-media installations, experimental work. No fee/20 (slides, photos, etc), proposal. => HotHouse Gallery, 31 East Balbo, Chicago IL 60605, USA. http://xrl.us/AOM87az.

Media: All. Deadline: OpenInternational. Exhibits during 08-09 in gal-lery at community center, other venues, also related performances, screenings, workshops. No fee/no limit (CD, sl, DVD, VHS or URL), letter of infroduc-tion w/ concepts for exhibit, proposal for related workshop (optional), résumé. => Nicole DeWald, Gallery Exhibits, City of Greenbelt Dpt of Recreation, 15 Crescent Rd, Greenbelt MD 20770, USA. 240-542-2057; fax 301-220-0561; [email protected]; http://xrl.us/AOM98bj.

Media: VI DI time-based. Deadline: OpenInternational. Showing all forms (ideally 2-8 min ea, esp on themes of typography, translation, life/death or domesticity) that can be documented in digital formats, daily, 5 a.m. to 1 a.m., in Harvard Square to an estimated 53,000 pedestrians. No fee/(send link to an online portfolio to [email protected] or DVD, CD, mini DV),short bio, website, email contact. => Lumen Eclipse, 248 Beacon St, Somer-ville MA 02143, USA. [email protected]; http://xrl.us/AOM97ar.

Media: All. Deadline: OpenInternational. Juried online boutique “dedicated to selling the highest quality creations made by hand.” No fee, use online appl. => Artchestra, 610 Willow St Ste J, Alameda CA 94501, USA. 510-769-1830; [email protected]; http://xrl.us/AOM91e.

Media: 2D 3D. Deadline: OpenInternational. Show on site promoting artists working primarily in realism. No fee to apply/5-12 (CD or email), appl, résumé, $60-100/yr depending on level of membership if selected. => Call for Artists, TraditionalRealism.com, Box 481894, Charlotte NC 28269, USA. [email protected]; http://xrl.us/AOM98cy.

POLITICAL & PEACE

Media: FI VI. Deadline: Aug 15International. Non-competitive, curated year-long festival of independent political cinema, 0-15min, 15-30 or 30+min, any genre, at several locations across Canada (also international locales, contact for details). No fee/1 (DVD). Pub. Perf. License Fees paid. => Submis-sions, Cinema Politica, PO Box 55097 (Mackay), Montreal QC H3G 2W5, CANADA. [email protected]; http://xrl.us/AOM98t.

Media: 2D FI VI. Deadline: OpenInternational. Publication of work in online and printed mag devoted to political art. No fee/unlimited (jpg or gif under 1 MB ea or physical samples by mail; if time-based, submit as DVD or MiniDV, although short works may be submitted via submitting URL where they may be downloaded). => Rob Maguire, Art Threat Magazine, PO Box 55097,Mon-treal QC, CANADA. 514-655-6837; [email protected].; http://xrl.us/AOM88w.

Media: All. Deadline: Open |+|International. Online exhibit of anti-war work. No fee/6, submit online as jpgs or as wmv, mpg, avi or mov format, 320x240 pixels up to 15 MB for videos. => Hedva Shemesh, Let-The-Muses-Speak-IAA.org. [email protected]; http://xrl.us/AOM91w.

Media: All. Deadline: OpenInternational. Publication of images in Iranian emag promoting “common ideas about the same subject and sharing talents and experiences w/ world wide artists.” No fee/2-6, submit online as jpg, or tif, minimum 800x600. => BrainStorm Magazine, Kolahstudio.com. [email protected]; http://xrl.us/AOM82d.

Media: FI VI. Deadline: Open |+|International. Seed funding for projects that bring together filmmakers from op-posing sides of armed conflict situations worldwide. No fee, submit proposal synopsis, 250 words or less via email then 5-pg proposal synopsis, samples of work, etc. by mail. $10K generally. => Claude Ibrahimoff-Hurley, Conflict Zone Film Fund, Make Films Not War, 39 Mesa St Ste 300, The Presidio, SF CA 94129, USA. 415-561-3104; fax -3111; [email protected]; http://xrl.us/AOM93bL.

PUBLIC ART

Media: PU SC. Deadline: Jun 2 |+|International. Expression of Interest (RFQ) for new landmark along highway to “create a statement of Oldham’s ambitions for itself and its people.” No fee, CV, work samples, statement about motivations and general methodology, 2 refs.,etc. £2 - £3M budget. => Geoff Wood, Icon for Oldham, working pArts Ltd, Shoulder of Mutton, 70 Towngate, Midgley, Luddendenfoot West Yorkshire HX2 6UJ, WALES. 01422 884 538;

[email protected]; http://xrl.us/AOM99cu.

Media: PU. Deadline: Jun 6International. RFP to create environ-mentally-friendly lighting for bridge. No fee/10 (CD or DVD), 20 copies of: image list, statement, résumés, all on 3-hole punched paper (also include as PDF on disk). $2-3 million. Jury: public art com-mittee. => Yvonne Wise, Call for Artists: Coronado Bridge Lighting, Port of San Diego Public Art Dpt, Box 120488, San Diego CA 92112-0488, USA. 619-400-4706; fax -686-6434; [email protected]; http://xrl.us/AOM98cc.

Media: PU SC. Deadline: Sep 30 |+|International. RFP for artist/artist team to design and create welcoming, durable, site specific, static or kinetic work that may include water and light features, for prominent downtown square. No fee/10 (CD), letter of interest, initial concept drwgs or description, 3 refs. $50K budget. => Hamilton, Ohio, City of Sculpture, One High St, Box 545, Hamilton OH 45012, USA. 513-895-3934; [email protected]; http://xrl.us/AOM97ae.

|N| Media: PU etc. Deadline: Jun 13International. RFP for outdoor works that “reinvent and redefine tradition of art in public spaces,” to enhance downtown character, attract visitors, for yr.-long show. No fee/10 (CD or sl, may additionally send hard copies), 1-5 color laser copies, photographs or digi prints, résumé, refs., proposal. $1-2.5K honorarium ea. => Megan Whilden, Art-scape: 2008-09, City of Pittsfield, Office of Cultural Development, 28 Renne Av, Pittsfield MA 01201, USA. 413-499-9348; [email protected]; http://xrl.us/AOM100dq.

Media: PU. Deadline: OpenInternational. Roster of experienced artists for consideration on public art initiatives commissioned via limited calls (invitational opportunities) and/or direct award (single source) contracts. No fee, contact to request Expression of Interest #05-008. Jury: panel of artists, arts and design professionals, Public Art Program staff. => Edwin Whang, Buyer, Finance & Supply (Purchasing), Artist Roster, City of Calgary Pub. Art Prog, CANADA. 403-268-4090; [email protected].

RESIDENCIES

|N| Media: MSC. Deadline: Jul 7 |+|International. Develop research projects w/ companies and organizations in Basque Country (Spain) between Oct 08-Jul 09, for artists committed to their environment and interested in stimulating interaction between different cultural and social systems, and who can contr. No fee, reg form, descrip. of role of artist in society, motivation for project, registra-tion. EU10-12K. => Call for artists, Disonancias, Grupo Xabide, Centro Kursaal Elkargunea, Avda. de la Zurriola 1 Etorbidea, E- 20002 Donostia-San Sebastián, SPAIN. [email protected]; http://xrl.us/OM100cL.

|N| Media: NM VI FI IN PE. Deadline: Jul 15 |+|International. 4-6 wks for 4-6 artists to collaborate. w/ curators and artists in artist-run residency and project space (in old orphanage), esp. if installation and context based work, vid/film and perform-ance, w/ 3- to 4-wk exhibit in public space or chapel’s exhibition. No fee, project descrip, vis. documentation, résumés, budget. Accommodations, living facilities, etc, travel and materials budgets. => Hotel Mariakapel, korte achterstraat 2a, 1621GA, the NETHERLANDS. [email protected]; http://xrl.us/AOM100cy.

Media: All. Deadline: Jul 15 |+|International. 1 wk. -1 yr. on small island in Azores (east of Portugal), “surrounded by simple beauty, the abundance of nature, and the company of others in the process of creating.” $20/3, financial info, letter of proposal, 3 rec, CV, EU30/night donation requested if accepted, some partial scholarships, work exchange. Studio space, private bedroom, shared bath, etc., possible financial assistance. => Adrianna Jonet, Residencies - 2008, Footpaths Foundation, 8 Rideout La, Stoughton MA 02072, USA. fax 781-436-3800; [email protected]; http://xrl.us/o76AOM.

Media: VI NM MSC. Deadline: Jul 15International. 5 days (Sep-Jan) to use sophisticated imaging and production tools, etc., to create new work. No fee/1 (miniDV, DVD or VHS), project descrip., résumé, preferred dates, examples, etc., $100 studio fee if accepted. => Hank Rudolph, Residency Prog., Experimental Television Center, 109 Lower Fairfield Rd, Newark Valley NY 13811, USA. 607-687-4341; fax same; [email protected]; http://xrl.us/AOM83cs.

Media: All. Deadline: Jul 15International. 2-4 wks Nov thru Apr in historic studio/house in national park. $50/6, work plan, appl, recs, etc. Studio, apartment, $500/mo. stipend. => A-I-R Prog, Weir Farm Trust, 735 Nod Hill Rd, Wilton CT 06897, USA. 203-761-9945; http://xrl.us/AOM97as.

|N| Media: PR PH-process BA DI VI NM. Deadline: Jul 31International. 1-3 mo. of 24-hr access to printmaking, digital and other facilities starting in Sep, Oct, Nov or Dec. No fee/20 (sl or CD/DVD or 10 min of video portfolio), résumé, letter re artistic goal, $150-$365/mo. access fee if accepted. Storage space exhibition opportunities, 20% discount on classes, private tutoring. => Patrick Stockstill, Artist-in-Residence Program, Kala Art Institute, 1060 Heinz Av, Berkeley CA 94710, USA. 510-549-2977; fax -540-6914; [email protected]; http://xrl.us/AOM74PP

|N| Media: GL. Deadline: Aug 25 |+|International. 3-mo. or 6-wk. fellowships in major glass-blowing factory, sometimes in view of visitors, for those w/ hot glass-working skills. No fee/10 (CD), bio, appl., statement how use fellowship, résumé, slide list, 2 recs. Housing, stipend, 24-hr. access to facilities. => Fellowship 2009, CGCA, WheatonArts, 1501 Glasstown Rd, Millville NJ 08332-1566, USA. 800-998-4552x106; fax 856-825-2410; [email protected]; http://xrl.us/AOM100er.

|N| Media: All. Deadline: Aug 31 |+|International. 2-3 months for non-Finn-ish artists to familiarize themselves w/ region and Finnish society and “bring a fresh element from other cultures to local cultural life.” No fee, written appl, CV, images of previous work. Apartment, work and exhibition facilities, 20EUR/day allowance, give workshop in local school, donate 1 work of art. => Åsa Lönnqvist, A.I.R, Pro Artibus, Gustav Wasas gata 11, FIN-10600 Ekenäs, FINLAND. [email protected]; http://xrl.us/AOM100ds.

|N| Media: All. Deadline: Open |+|International. 1 wk - 2 mo. to create site-specific work. No fee, (sl, 8x10 digi prints, VHS, DVD, interactive CD-Mac, etc), catalogs, résumés, etc; no specific proposals. Work space, access to tools, prof. tech. and curatorial help, labor, honorarium, per diem for meals, airfare, etc. => Residency Program, The Mattress Factory, 500 Sampsonia Wy, Pittsburgh PA 15212-4444, USA. 412-231-3169x222; fax 322-2231; [email protected]; http://xrl.us/AOM76BN.

|N| Media: All. Deadline: OpenInternational. 4-12 wks. in 2500 sq. ft. Victorian house for research, develop-ment and production of ongoing or new bodies of work. No fee ( CD, DVD or URL), project descrip. or work plan w/ length of stay required, résumé. => Elizabeth Monoian, Pittsburgh A.I.R., Society for Cultural Exchange, 4912 Hatfield St, Pittsburgh PA 15201, USA. [email protected]; http://xrl.us/AOM80cw.

Media: All. Deadline: Open |+|International. 1-3 mo. to live/work for art-ists whose lives and work compromised by domestic strife, political upheaval or natural disasters. No fee/10 (sl or CD), appl, recs., statement of residency goals. Live/work space, use of facilities. => Gabe Gomez, Emergency Relief Residency Prog., The Santa Fe Art Inst., Box 24044, Santa Fe NM 87502, USA. 505-424-5050; [email protected]; http://xrl.us/AOM98n.

Media: All. Deadline: OpenInternational. 1-4 wks in quiet, private house in unspoiled New England village in hills east of Berkshire Mountains. No fee to apply, photocoopy or sample of

work, résumé or letter of purpose, $165/week if accepted. => Preston & Ann Browning, Wellspring House, Box 2006, Ashfield MA 01330, USA. 413-628-3276; [email protected]; http://xrl.us/AOM91aj.

Media: All. Deadline: OpenInternational. 4-6 wks. or less in summer for women on farm w/ “wildflowers, a pond to swim in, fields to dream in, woods to ramble.” No fee/work examples, description of self, your interest in the farm, available dates; shared costs if accepted. Living and studio space. => Kate Millet, Women’s Art Colony Farm, 59 East 4th St 5E,NY NY 10003, USA. 845-473-9267; http://xrl.us/AOM91v.

Media: All CR. Deadline: OpenInternational. Unstructured time and space for creative individuals to develop new work on Island of Itaparica in Bay of All Saints, across from Salvador, Bahia, Brazil. $35/12 (sl, CD/DVD or as approp.), appl., project descrip., résumé, recs, etc. Round trip airfare, private bedroom, studio, most meals. => Admis-sions, Instituto Sacatar, Rua da Alegria 10, Itaparica BA 44460, BRASIL. [email protected]; http://xrl.us/AOM87bu.

Media: All. Deadline: OpenInternational. For contemp. artists to create new work using experimental ma-terials and techniques. By invitation only, do not apply directly. Work collaboratively w/ FWM’s staff of printers and techni-cians. Jury: panel of prominent artists and gallerists. => The Fabric Workshop and Mus., 1315 Cherry St, Philadelphia PA 19107-2026, USA. 215-568-1111; fax -8211; [email protected]; http://xrl.us/AOM75AK.

Media: CE. Deadline: Contact |+|International. Short and long term stays in well-equipped studio for sculptural, functional or experimental work, also woodfire work Oct-May. $10/5-10 (sl or CD), appl, résumé, letter of intent, recom-mendations, teach 8-week adult class. Semi-private lofted studio, opportunity to exhibit work, electric, raku, and soda kilns. => Residency Prog., The Clay Stu-dio of Missoula, 910 Dickens St, Missoula MT 59802, USA. 406-543-0509; [email protected]; http://xrl.us/AOM96bn.

Media: All. Deadline: Open |+|International. 1 wk. to 1 yr. on small island in Azores (east of Portugal), “surrounded by simple beauty, the abundance of nature, and the company of others in the process of creating.” $20/3, financial info, letter of proposal, 3 rec, CV, $EU30/night donation requested if accepted, some partial scholarships, work exchange. Studio space, private bedroom, shared bath, etc., possible financial assistance. => Adrianna Jonet, Residencies 2008, Footpaths to Creativity, 8 Rideout La, Stoughton MA 02072, USA. 617-549-2452; http://xrl.us/o76AOM.

Media: All. Deadline: OpenInternational. Stay and work on the edge of the North Atlantic Ocean. By invitation only, but artists may send an expression of interest and information about their work. => Fdn Dir, Pouch Cove Fdn, PO Box 693, Pouch Cove, Newfoundland A0L 3L0, CANADA. 800-563-9100; [email protected]; http://xrl.us/AOM85m.

SLIDE & WEB REGISTRIES see also Public Art

|N| Media: PU. Deadline: OpenInternational. For consideration for projects throughout city, etc. No fee/portfolio, CV, appl. => Artist Registry, Cleveland Public Art, 1951 West 26th St #101, Cleveland OH 44113, USA. 216-621-5330; fax -5423; [email protected]; http://xrl.us/AOM90aq

|N| Media: All. Deadline: OpenInternational. Centralized database that members and affiliates of VANOC can reference when programming events. No fee, submit on line. => Cultural Olympiad Artist Registry, VANOC, 3585 Graveley St, Vancouver BC, CANADA V5K 5L5. 1.877.408.2010; [email protected]; http://xrl.us/AOM100eL

Media: PP. Deadline: OpenInternational. For use by curators, review, historical and scholarly purposes, etc. $25/3, $40/6, résumé, statement. =>

Registry, Hand Papermaking, Box 1070, Beltsville MD 220704-1070, USA. 800-821-6604; fax 301-220-2394; [email protected]; http://xrl.us/AOM98dn.

Media: All. Deadline: Open |+|International. Juried interactive database of online digital images, slides, video and DVD documenting the work of emerging artists, used by curators, gallerists, collectors, etc.,separate submission procedures for video. No fee/15, (sl, vid. or DVD), bio, statement; digital work by email only. Jury: Matthew Higgs, director, chief curator. => Curated Artists’ Regis-try, White Columns, 320 West 13th St, NY NY 10014, USA. [email protected]; http://xrl.us/AOM83n.

WEB, DIGITAL, NEW MEDIA

Media: VI DI NM. Deadline: Jun 16 |+|Festival of inventive and visually rich video created in 21st cent., esp if deal w/ facade of food, agriculture and the environment or are silent or made esp. for viewing on Web or mobile hand held device. No fee/2 (sl sheet, audio CD, VHS, mini-DV, etc.) 5 copies of appl, proposal, etc. $700 stipend + $3.3K in services, etc. => Video Art Festival #003, Harvestworks, 596 Broadway Ste 602, NY NY 10012. 212-431-1130x13; fax -7693; [email protected]; http://xrl.us/AOM99bb.

|C| Media: FI VI. Deadline: Aug 1International. On- and off-line festival of animated work < 15 min. w/ theme “Here We Are!”. No fee/3 (online and/or download as Quicktime . mov, Windows Media .wmv, Flash video .swf or. flv or RealMedia .rm or online), bio, URL, etc. as attachment. => Wilfried Agricola de Cologne, CologneOFF IV, VideoChan-nel, Mauritiussteinweg 64, D - 50676 Cologne, GERMANY. [email protected]; http://xrl.us/AOM100dj

|N| Media: NM WE VI FI. Deadline: Open |+|International. On line and physical show-ing of work <16 min. relating to mother or grandmother, relationship of mother and child, and how people in general or creator in particular deal w/ loss of a mother. No fee/1 (Quicktime . mov, Windows Media .wmv, Flash video .swf or.flv or Real Media .rm, preferably from own URL or via sendspace.com), bio, 2 screenshots, etc. => VideoChannel: Mother, netEX - networked experience, USA. [email protected] (VideoChan-nel: Mother); http://xrl.us/AOM100dk

|N| Media: WE. Deadline: OpenInternational. Netart projects com-pleted after 1 Jan 2004 and not part of JavaMuseum. No fee/5, submit by email according to entry form on line: name, bio, portrait photo, short descrip, URL, etc. => netart features, JavaMuseum, USA. [email protected]; http://xrl.us/AOM100dh

Media: DR. Deadline: OpenInternational. On-line community of people who draw and wish to dis-seminate their drawing. No fee, email for instructions on how to join, add work to site. => Marion Ray Behr, Drawing Blog. [email protected]; http://xrl.us/AOM86da.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Compiled by Benny Shaboy; NY Corre-spondent, Tamara Wyndham.Subscribe today to get a free bonus list of 80-100 open deadline opportunities. Show your art in the AOM online gallery FREE when you subscribe.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Art Opportunities Monthly (AOM ), published monthly except August, available as a PDF

Get the book at www.ArtOpportunitiesBook.com


National Arts Management Symposium

It is that time of the year again – winter is crawling under the skin and the 3rd National Arts Manage-ment Symposium is around the corner.The programme and guest speak-ers have been confirmed. We have also taken into account the needs expressed by last year’s attendees and we can brag with 9 top guest speakers from different genres that will make it worth attending this symposium. This year’s symposium takes place on Wed 11 and Thu 12 June here in Potchefstroom.The closing date for registration is FRIDAY 30 MAY 2008.Please visit our new website at www.artema.co.za for the detail programme and registration form.

Nominations open for 10th Annual Arts & Culture Trust (ACT) Awards

Nominations are open for the tenth annual Arts & Culture Trust (ACT) Awards 2008 presented by Nedbank, supported by CLAS-SICfeel Magazine and Fine Music Radio 101.3. The deadline for nominations is 11 July 2008. All nominations must be submitted on the prescribed nomination forms which can be downloaded from the ACT website at www.act.org.za.

Mosaic Mural Art Competition

In celebration of the completion of their new building in Hermanus, the Enlighten Education Trust (EET) has launched an exciting Mosaic Art Competition.

The Enlighten Education Trust has built the Enlighten Centre in Hermanus to provide a space for much needed education and skills training to local communities. EET works hard to improve the quality of education and life of communi-ties in the Overstrand.

Any person between the age of 18 and 30 years on 29 August 2008 living between Gansbaai and Cape Town who is not a professional artist - is encouraged to enter. The prize monies total an unbelievable R61 000 and if you are not already established as a professional artist, this competi-tion offers you the opportunity to become one. Entry is free and groups are encouraged to enter. Entry forms are available at local community and art centres, secondary schools and libraries. For a full list or to enter on-line go to www.enlightenmosaic.org.za or simply SMS the word “mosaic” to 32545.

Entries have to reach EET on or before 29 August and the winners will be announced before 23 September 2008. The first prize is R40 000 with three merit prizes of R7 000 each.

Artists info needed

Information Wanted I am preparing a biography on the work of Port Elizabeth artist Fred Page (Frederick Hutchinson Page). I am looking for images of his work suitable for inclusion in the text. I need clear images be-tween 200 - 400KB in size which may be emailed to me at [email protected]. If vailable, the following information would be appreciated: size, media and date and with permission, the name of the owner. Jeanne Wright

Looking for Artists

The Origins Centre Gallery seeks artistsThe Origins Centre Gallery at Wits University seeks artists to exhibit on the premises. The artists’ works must allude to themes found in the Origins Centre Museum such as the origins of humanity, early language, early art, the San people and culture, African tribal culture and anything else along such lines. The Centre is willing to provide funding for exhibitions, depending on the artists’ needs. If you are interested in this prospect (or know someone else who might be), please contact Caitlin Ellwood on 072 874 0082 or 011 717 4706 or send an e-mail to [email protected]

Studio Spaces offered

GoodHopeArt provides open studios for visual artists. It is situated in the historical Adam Tas room at the Castle of Good Hope, Cape Town. Basic facilities including secured parking and safe environment. Space only available for professional artists who are serious about entering the art industry.Contact Studio Manager Tel: +27(0) 83 285 7874Email: [email protected]

Art Business for Sale

One stop art shop for sale on the south coast of Natal. Beautiful old house with wooden floors,sea views, garden and plenty of parking. Shop contains an art gallery, art supply room, beading and scrapbooking supplies, coffee shop and studio for lessons.Net income per month is R11

000,00. Price R250 000,00 includ-ing all stock. Contact Nick on 072149 7517Art Classes offered

The Elliott’s painting workshopsBased in Villiersdorp at their exten-sive gallery and studio complex, Dale and Mel Elliott lead the way in the painting workshop concept in South Africa. They run three day courses in oils, acrylics and water- colours throughout the year, handling beginners, intermediate and advanced artists on their multi level classes They have held over 300 courses, attended by over 2500 creative folk over the past two decades and in addition they conduct outdoor and advanced painting workshops twice a year for intermediate and advanced artists. For further information or bookings, please call: 028 840 2927

Live Portrait DemonstrationsProfessional Portrait artist giveslive demonstrations to classes andgroups in pencil, charcoal, pasteland oil. Artist also acceptscommissions in same mediums.Contact Willie 083 746 [email protected]. Box 2740, Brooklyn Square,Pretoria, 0075 Life drawing classes

Life Drawing in KenilworthThe Gill Allderman Gallery situ-ated in Kenilworth, will be offering life drawing classes on Thursday mornings 10.30am - 1.00pm. Come and draw in a relaxed crea-tive space. Surrounded by magnifi-cant art works you will feel inspired and be part of an interactive gallery space. Beginers welcome. Please call 083 5562540 or email [email protected]. for further information or to book.

Art Materials for Sale

Indigo Art in SeapointStockists of all artists materi-als, framing, Canvas’s made to order at factory prices. We also stock Ceramic and all Mozaicing requirement. We are outside at the Adelphi Centre Main Rd Seapoint. 021 434 8982

Canvasses

Art StuffStretched Canvasses, Hiring and

custom made easels, painting and print stretching. Transport withing Cape area Tel. 021 448 2799 wwww.artstuff.co.za ABC Canvass8 Woltemade Street, Stellenberg Tel 021 910 [email protected]

Special on our canvasses Order or phone for price list : Schalk 073 [email protected] 14 Irene Avenue Somerset WestRemember we deliver free any where in Cape Town if you order R500 or more.

Truly FantasticArtists Canvases and easelsStreched canvases made to order021 785 7755. 083 4278936

Art Shows offered

Art Shows:I am organising regular Art Show days at Timberlake Organic Village (N2, between Sedgefield and Wilderness, Garden Route). First couple being on 22nd June and 13th July. Any artists interested in exhibiting, please do contact me by cell or email. The only fee is R50 which secures a place (no commission on sales). Shanda Rossouw: diFFerent StroKes Art Shows, 084 622 7244 [email protected]

Art Transport

Aspiring Art LogisticsSouth Africa’s specialist in packaging and transporting of your valuable art and collectables. Free quotations Tel. 881 3477

Bronze Casting Commissions

Sculptures, Commissions and Installations.Tel. 0824574290 www.andresteadsculpture.com

Art FoundriesLoop Art Foundry and Sculpture GalleryTel 086 111 2473 www.tlafoundry.co.za

Framing

Art AttackFraming & Art Supplies Cnr All Saints & Dirkie Uys Street

Bredasdorp, 028 4252192 [email protected] Free Quotes,Free Pickup and Delivery of Framing orders over R1000.Anywhere in Cape Town.

DK art/frame/designPicture Framing, Hand made frames, Gold & Silver Leafing, Interior Deco & Gifts, Original art, Sculptures Contact: Gail Ballard, The Gallery Venue, 011 704 6811

Cameo Framers and Gallery 198 Long Street, Waterkloof, Pretoria, (012) 460 5497

Canterbury Framers and Gallery58 Vinyard Rd, Claremont, Cape Town 021 674 0568

Econo No-Frill- Frames for ArtistsIntroducing cost effective frames for artists, for small works. Prices of frames range from between R80 to R150 in varying colours, exclud-ing VAT and postage. They can be bought directly through the Elliott Art Studios. To place an order call: 028 840 2927

Galerie de LyonsUpper Level Gardens Shopping Centre Ph: 021 4616046 e-mail: [email protected]

In Fin ArtWolfe Street Chelsea,Wynberg. Tel. 021 7612816www.infinart.co.za

Rialto Art Centre22 Mills Street, Strand, Tel and fax: 021 8538061 More than 20 years experience in picture framing.Supplier to hotels, offices and the home.Blockmounting, tapestry and 3D picture framing

Art for Sale

The Fibreworks Group work in fi-bre and textile media and embrace a large range of techniques, mate-rials, textures and subject matter. See their work and exhibition catalogues at www.fibreworksart.com Contact : Helga Beaumont 072 1601285 / 031 7640854

Artists Websites

Art By Anne Maria Valimaki.Acrylic paintings ,Impressionism See my website http://kotisivu.dnainternet.net/ov6/

oovee/anne.htm

Visit www.cecilbyrnesart.com and contact the artist for more information or commissions (nothing is too small or to large). Work is represented locally in private homes, guest houses and holiday apartments and coporate enviorments, and internationally on 5 of the continents except South America..

www.africanartsearch.co.za features bronze sculptures by Llewellyn Davies, paintings by Makiwa Mutombo, Errol Boyley, Jocelyn Boyley and jewellery design by Carmen Dean.

Galleries

Alette Wessels KunskamerExhibition of Old Masters. Maroelana Centre, MaroelanaGPS : S25º 46.748 EO28º 15.615Tel: 012 346 0728 Cell: 084 589 0711

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Free Classifieds E-mail us your classifieds at [email protected] Please note that we reserve the right to print, and edit. Please note that we do not hold any responsibility in wrongly supplied information, nor implications, good or bad resulting from these advert.


SculptureCommissionsInstallations

[email protected]

Tel: +27 82 457 4290Fax: +27 21 788 6538

CTAS EXHIBITORS CALLING ALL ARTISTS!

In support of South African artists, CTAS arranges small, medium and large-scale exhibitions at premier venues in the greater Cape Town area.

We currently have hundreds of Artists with whom we correspond, and would love to have you on board as a valued CTAS Friend!

Please contact Karina - or e-mail / fax us your details – to find out about our exciting exhibition being held at the Baxter Theatre in Cape Town. The closing date for this exhibition is soon – so don’t

delay! Soon to be announced are our other exciting exhibitions in the pipeline………

Company Sponsorship Positions also Available

Karina 082 3186 535 Fax 086 6533 021 e-mail: [email protected] www.cta-splendour.co.za

CK2002/095588/23 Representing the Splendour of Art

ADVERTISE WITH THE SA ART TIMES Circulation:8 000 printed and distributed to key distribution points across South Africa. For further details of exactly were copies go, and readership details please go to our website at www.arttimes.co.za

(Size, Without Vat, with Vat) COLOUR BOND

Eighth Page R 1 000 R 1 140 (125 x 80 mm) Quarter Page R 2 600 R 2 964 (260 x 80 mm) Quarter Page Vertical R 3 000 R 3 420 (200 x 83 mm) 6 month contract R 5 000 R 5 700 (125 x 80 mm) Half Page R 5 000 R 5 700 (260 x 165 mm) Full Page R 6 500 R 7 410 (260 x 395 mm)

BLACK AND WHITE NEWSPRINT

Eighth page R 500 R 570 (125 x 80 mm) Quarter Page R 1 300 R 1 482 (260 x 80 mm) Quarter Page Vertical R 1 800 R 2 052 (200 x 83 mm) Half Page R 2 500 R 2 850 (125 x 80 mm) Full Page R 3 250 R 3 705 (260 x 165 mm) Six month feature contract R 2 500 R 2 850 (125 x 80 mm) For further enquiries contact Leone Rouse 021 424 7733 (tel) 424 7732 (fax) 021 761 7736 (tel/fax) 072 990 4444 (cell)

south african art times: june 08 suppliment

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