[15.10.03] Old Ideas for New Media at the BKAA
Did the judges of the Brett Kebble Art Awards have a lack of understanding of what constitutes new media, asks Carine Zaayman.
[15.10.03] The particulars of life elsewhere
David Goldblatt's latest work, on show at the Michael Stevenson Contemporary, focuses on the ravages of asbestos mining. Kim Gurney reports.
[15.10.03] David Goldblatt: Intersections; Asbestos; Particulars
David Goldblatt's working method as well as the subject matter of his latest colour images intrigued Sue Williamson.
[15.10.03] 'AFTERDARK' at João Ferreira
Tracy Lindner Gander's 'AFTERDARK' is a compelling exploration of the landscape of the mind, writes Joyce Monson.
[15.10.03] Mgcineni Pro Sobopha at the AVA
Paul Edmunds finds Mgcineni Pro Sobopha's 'Authentic' both intriguing and appealing, and at the same time feels held at a distance.
[15.10.03] The Vuleka competition
Paul Edmunds briefly reviews the winning works in the recent Vuleka art competition, held at Art.b in Bellvile, Cape Town.
[15.10.03] Reading Room reviewed at the SANG
The 'Reading Room' is an ever-expanding archive that invites direct engagement with of literature on Africa and by Africans. Presented as an artwork, Lauren Shantall investigates this ambitious project.
[15.10.03] Andrew Lamprecht's ulterior motive
Andrew Lamprecht's recent print exhibition 'Alterior' was concerned with self-reflexive mocking, says Margot Saffer.
[01.10.03] The trails and tribulations of Sfiso Ka-Mkame
Sfiso Ka-Mkame's recent pastel works chronicle the trials and tribulations of nation in increasingly bold in scale, colour and pattern, writes Mario Pissarra.
[01.10.03] Set My Chickens Free! or, the meaning within the banal of Gordon Froud
"The technical mastery and fine finish of the works belie the complexity of their conception and significance," writes Carine Zaayman in her review of Gordon Froud's show 'Lost and Found'.
[01.10.03] Real Love
Love, jealousy and wanting to be in two places at once : Gregg Smith.
[01.10.03] In black and white
Kim Gurney reports back from September's Michaelis lunchtime lectures where debate was all in black and white.
[01.10.03] Alan Alborough at the Sasol Art Museum
Paul Edmunds revisits Alan Alborough's 'Work(in/ ing) Pro(gress/ cess)' and doesn't find what he expects, or rather, finds what he didn't expect to.
[15.10.03] What lies beneath?
Stephen Hobbs' new photographic works transpire from yet transcend the ordered architectural grid of downtown Johannesburg. Review by Suzie Copperthwaite.
[01.10.03] Monkeys masquerading as guerrillas
Sean O'Toole reviews the unspectacular pop and fizzle of the show 'art as usual', which was supposed to be the highlight of Christian Nerf's '24.7' residency programme at the JAG.
[01.10.03] Re-cutting the fabric of the modernist dialectic
Brenton Maart contemplates the powerful technique and urgent visual language of painter Robert Botembe.
[01.10.03] Buy one, get one free
While able to engage with the ideas underpinning the works of Antoinette Murdoch and Alex Trapani, Suzie Copperthwaite is struck by the incongruity of their pairing.
[15.09.03] Privileged Witness: Seeing and Being
'Witness', a group show featuring nine prominent artists, recontextualises and relocates works that span 45 years of production.
[15.10.03] 'Atopia' at artSPACEdurban
Using found materials from a local waste centre to build their installations, five Durban artists created a series of engaging temporary installations and soundscapes. Storm Janse van Rensburg reports.
[01.10.03] The forgettable and unforgettable at Red Eye
Khara-Jade Small gets lost in the instantaneous, simultaneous and off-the-cuff revelries at Red Eye's Heritage Day celebrations.
[01.10.03] The new Dutch group portrait
Earlier this year Hentie van der Merwe completed an artist-in-residence project in the ethnically diverse community of Amsterdam Southeast. Jan van Adrichem discusses the artist's preoccupation with group portraiture.
[01.10.03] Absolutely perhaps
Expatriate art dealer, Simon Mee's 'Absolutely/perhaps' was an admirable effort to introduce South African artists to London's fastidious art cognoscenti, writes Sean O'Toole.