Archive: Issue No. 85, September 2004

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Deborah Poynton

Deborah Poynton


Paul Emmanuel

Paul Emmanuel
'Twelve Phases of Orange'
hand coloured hand printed stone lithograph


Ryan Arenson

Ryan Arenson
White Tree, 2004
Oil on canvas


Abrie Fourie

Installation views
Museum for African Art, New York



   [03.09.04] The Compulsive Power of Deborah Poynton
Lloyd Pollak is stunned by Deborah Poynton's vast figurative canvases which reveal as much about the dark flipside of the South African psyche as they do about her knowledge of 17th century Dutch painting.

   [03.09.04] Paul Emmanuel: The medium is the message
Kim Gurney is impressed with Paul Emmanuel's skill and presentation, but finds the works in 'After-image' disparate in spite of this.


   [03.09.04] Lomography: setting high art trends with low-tech gear puts the Lomo's idiosyncrasies to a trend-test by involving some of the 'usual suspects'. Lomo comes up trumps, Robyn Sassen discovers.

   [03.09.04] On Ryan Arenson and his nostalgia for South African purism
Robyn Sassen struggles with the issues raised by Ryan Arenson's current show at The Premises Gallery. Beautiful post-modern gestures and sophisticated woodblock skills don't seem totally comfortably here.

   [03.09.04] Norman King Norman and the morals of laughing at violence
A major retrospective of Norman Catherine's works, at the Pretoria Art Museum, challenges Robyn Sassen to consider the changing faces of his represented social violence.

   [01.05.04] Look Inside Nine
Dutch curator Paul Faber has created an exhibition based on the family that relates the complicated story of South Africa and its history in a universal language. Following a successful run in Amsterdam last year, the exhibition has opened to rave reviews here.


   [03.09.04] 'Inversions' by Daphne Prevoo at the NSA
Gabi Ngcobo identifies with Daphne Prevoo's exploration of spaces, limits and demarcation.

   [03.09.04] Joseph Manana and Richard Mthembiseni Shange at the African Art Centre
Gabi Ngcobo is equally impressed by Jpseph Manana's new paintings and Richard Mthembiseni Shange's telephone wire heads.


   [01.08.04] Abrie Fourie at the Museum for African Art
Ruth Sacks visits Abrie Fourie's 'End of the World' at the Museum for African Art in New York, where she concludes that the artist has not escaped cliché, but that this is acceptable in post 9/11 New York.

   [01.08.04] Jenny Altschuler at The Gallery at Corporate Museum Frame
Rima Geffen reviews Jenny Altschuler's show in Virginia, and is interested by her take on South Africa in the 80s, as well as her more recent work, which goes some way to affirming her own existence.