Issue No. 133, September 2008
The bad news that after 2008's Sasol Wax Art Award the petrochemical giant will retract its sponsorship of the competition broke this month. See NEWS for the full story of this. This comes in the wake of the shock last month that the Durban run of the Spier Contemporary award exhibition was cancelled due to last minute withdrawal of key public sector funding.
Issue No. 132, August 2008
Late this month, the SA art community was greeted with the bad news that
the Spier Contemporary's Durban leg has been cancelled. In its official
statement, the Africa Centre cited a drastic reduction in public sector
sponsorship for the event, despite the full amount of this sponsorship
having been initially secured.
Issue No. 131, July 2008
As generations of SA culture pilgrims know, the middle of the year brings the Grahamstown Festival. This month sees Durban Editor Carol Brown trading sundresses and sandals for brogues and thermals, and heading for the inhospitable climatic reality of the Eastern Cape for this important event. In NEWS she reports back.
Elsewhere, it�s a case of �another month, another competition�: the MTN New Contemporaries is close to announcing its 2008 winner, to be chosen from Dineo Bopape, Dan Halter, Michael MacGarry and Themba Shibase.
Issue No. 130, June 2008
Those on the correct mailing lists were greeted with the news early this month that Linda Givon has sold the Goodman Gallery. Both The original Johannesburg venue and its Cape Town incarnation, Goodman Gallery Cape, have been bought by art world mover and shaker Liza Essers. Essers is the veteran of numerous curatorial and commercial endeavours in the realm of fine art and film. Notably, Essers curated the 2007 show 'Shift' in conjunction with the Goodman Gallery, an exhibition which featured work by William Kentridge, Sam Nhlengethwa and Kagiso Pat Mautloa. She was also a co-executive producer of the 2005 film Tsotsi.
Issue No. 129, May 2008
This month sees things getting back to normal a bit, after the flurry of activity in March and April: between Spier Contemporary and the Joburg Art Fair, art lovers could have been forgiven for feeling art was almost as important as sport, for a while at least...
As the events at the major institutions recede from our view for a bit, it is the developments in the realm of the smaller galleries that seem to be capturing attention. Artheat commented recently on the issue of gentrification, as highlighted by the shift of many Cape Town galleries to the previously-marginalised area of Woodstock. In Johannesburg the phenomenon seems to be less of a shift and more of a flowering of numerous new galleries. In NEWS we look at the opening of Artspace in Parkwood, and in an interview I speak to Ricardo Fornoni, curator of the newbie Resolution Gallery, about his endeavours. One hopes that this augers well for art�s growth despite the difficult economic times predicted ahead.
Issue No. 128, April 2008
Hot topic of last month was the Joburg Art Fair, held for the first time ever. Did it, or did it not fulfil expectations? Most people agreed that the fair had been well staged - the quality of the work was high, and by art fair standards, the spaces generous. Putting its commercial intentions right up front, the invitations described the opening night event somewhat brashly as a 'pre-emptive buying opportunity' rather than the more discreet 'collectors' preview' but after all, one might say, buying is what art fairs are all about. Art fairs present the work galleries hope will sell, rather than, as at an exhibition, presenting a curatorial point of view.
Issue No. 127, March 2008
The addition of a new event into the SA art calendar has everyone in a bit of a flurry. This month, as if you didn't know, the Joburg Art Fair kicks off at the Sandton Convention Centre, hosting 22 galleries and numerous side projects. We wish all concerned, and especially the good people at Artlogic, the event co-ordinating company, a successful maiden voyage. In two OPINION pieces, ArtThrob considers the importance of such an event, and the shift in dynamics from the curated shows we are more used to on home turf.
Issue No. 126, February 2008
Speaking to Clive van den Berg at Spier in December last year, he said an
interesting thing about Andrew Putter�s award-winning Secretly I Will
Love You More. Van Den Berg asserted the work�s importance because, he
said, it shifted the emotional register of much SA contemporary art,
especially work that dealt with race-based issues, into one of tenderness
rather than the more frequently-plumbed depths of prejudice, guilt and
recrimination. This month, our ARTBIO focuses on Putter�s career to date,
rightfully inserting him into our mini-pantheon.
Issue No. 125, January 2008
Sue Williamson said in her December ArtThrob editorial that 2007 was �not a bad year� for SA art. As the backbone of this �ArtThrob lite� update, our various contributors get a chance to opine about the good, the better and the challenging from 2007 in their various regions and/or valences. What�s refreshing to see is that this isn�t simply a list of usual suspects and safe choices. Rather, it is evident that the ArtThrob team is increasingly functioning as a network of journalists with its collective finger on the pulse of important SA art. The absence of consensus about what constitutes quality is very healthy.
Issue No. 124, December 2007
Looking back, 2007 was not a bad year. For art in South Africa, that is. Cape'07 did finally happen, in March - in a lite but imaginative version of what was originally planned. And this month, Spier Contemporary opens in a highly innovative art structure for this first edition - three stories of containers form the walls of the space, with a tensile ceiling stretched overhead. A team under the direction of Clive van den Berg has been working frantically on the show, and one hundred artists from across the country will be showing their stuff. One of the criteria: every artist had to show new work. in another first, Cape Town's most famous international artist, Marlene Dumas, came home from the Netherlands for 'Intimate Relations' a breathtaking solo show at Iziko SANG, and Africa Remix, the Simon Njami curated mega exhibition, drew the largest crowds ever to the opening at the Johannesburg Art Gallery in June.
Issue No. 123, November 2007
Playing rugby and studying fine art were considered mutually exclusive activities said Andries Botha to me, in an interview I conducted in 1995, describing such an unholy alliance in his own student years in Pietermaritzburg. I wouldn't venture to say that anything has changed in that respect, but it certainly is excusable to mention South Africa's Rugby World Cup victory in this sort of forum these days. Especially in light of the galvanising effect it has had on our sometimes fractured populace.
In his opening address (see REVIEWS and NEWS) at Durban's Bank Gallery's inaugural exhibition, and Botha's first in the country in 15 years, artist Greg Streak saw fit to compare the country's sports stars with its artists. Both, he claims, share an intense devotion to their work, engage in long periods of training, and many of them leave to pursue careers in other countries. While the latter might be less true of artists these days (although Durban's talents do tend to migrate to the bigger centres), there was a time when the cultural climate was so inhibiting to artists that many left the country for greener pastures. One such artist is Marlene Dumas, who left in 1976, and who, despite maintaining her ties with the country, is presenting her first solo exhibition here more than 30 years later at the South African National Gallery (See LISTINGS). 'Intimate Relations', curated by Dumas herself and Emma Bedford, will cover a broad selection of her work, ranging from early conceptual pieces to very recent paintings and drawings dealing with contemporary global issues.
Issue No. 122, October 2007
While down here in Cape Town, between small tastes of spring, winter makes a few last stands, exhibitions all over the country seem to be displaying a similar kind of dichotomy - the older established voices assert themselves in the clamour of younger upstarts. Willem Boshoff's mid-career retrospective has opened at the Standard Bank Gallery in Johannesburg (see REVIEWS) and a one-person show opens soon at the Michael Stevenson Gallery in Cape Town. That gallery is currently hosting Penny Siopis, whose work has certainly been in my consciousness for at least 20 years. Of a similar vintage is Jeremy Wafer whose show of recent work at Goodman Gallery Cape Town is reviewed (see REVIEWS). The older and younger mix when Kevin Brand teams up with Sanell Aggenbach for a show at the AVA entitled 'Arcadia'. We also review 'Posters Designed Under Apartheid' at Warren Siebrits Modern and Contemporary Art (see REVIEWS), which takes us back to a poignant moment in our cultural history. All of the older generation mentioned above have their practice firmly rooted in their reaction against that abhorrent ideology which permeated any cultural production for several decades. Since 1994, artistic concerns have diversified, and we see the results of that in the number of shows by younger artists. Lisa Brice, whose solo show opens at Goodman Gallery Cape this month, seems to straddle the divide, having moved from the socio-political concerns of her earlier work into the emotional territory of her current paintings. Spearheading the younger generation of artists whose sensibilities are informed by a post-1994 context are the likes of curators Carrie Timlin and Lily Luz whose multi-part, fabulously named 'The idiotic and inchoate descent into nihilism' opens its final chapter at the Michaelis Gallery. Zander Blom, Jan-Henri Booyens and Michael MacGarry of Avant Car Guard (see STUDENT REVIEWS) appear to be shaping up as the enfants terribles of their generation, taking pops at Pierneef and Kendell Geers alike. Blom opens 'The Drain of Progress' in Johannesburg, which is accompanied by a catalogue raisonné, as he calls it. We will be posting an interview with him early next week.
Issue No. 121, September 2007
As ArtThrob enters its second decade online, it's interesting to look back, and draw a few comparisons between then and now. The second Johanneburg Biennale, curated by Okwui Enwezor opened 10 years ago this month, winning international plaudits and introducing local artists to a larger art world. Sadly, the premature closing of the Biennale was also its death knell. Subsequent attempts to launch an international event on a similar scale have all floundered. 'Africa Remix', now up at the Johannesburg Art Gallery, has come closest to generating something of the same excitement.
Issue No. 120, August 2007
While William Kentridge's much anticipated prouction The Magic Flute opens in Cape Town this month, Kathryn Smith has her first solo outing since her Standard Bank Young Artist Award show, new KZNSA Director Brenton Maart takes the bull by the horns in 'Right Before Your Eyes' and others like Mikhael Subotzky and Berni Searle are showing at a number of international venues simultaneously. Reviews include: Nandipha Mntambo, Nontsikelelo 'Lolo' Veleko, 'Africa Remix' and 'Right before your eyes'. Artbio: Pierre Fouché.
Issue No. 119, July 2007
It was Africa's biggest moment in Venice. Ever. For the first time, there was an African pavilion, located in the Arsenale, After a call for proposals for this pavilion, the nod had gone to Fernando Alvim and Simon Njami to curate a show drawn largely from the Sindika Dokolo Contemporary African Collection of Art. That show was called 'Checklist Luanda Pop'. There was a strong representation of African artists on director Robert Storr's keynote exhibition, 'Think with the sense, feel with the mind: art in the present tense.' Ghanain artist El Anatsui's extraordinary metal fabric hangings draped not only the front of the Palazzo Fortuny but spaces within the Arsenale. And Malian photographer Malick Sidibe won the Golden Lion for Lifetime Achievement.
Issue No. 118, June 2007
For the international artworld, June presents a feast of contemporary art which happens only when the Venice Biennale (every two years) coincides with documenta (every five). Add to that Art Basel in Switzerland and the Munster Sculpture Project, and the mix is potent indeed.
Issue No. 117, May 2007
In mid April, CAPE sent out a questionnaire to 'X-Cape' participants, those on the fringe, asking for feedback on a range of questions relating to their experience as exhibitors on the 'Cape '07' programme of art events. There is to be an assessment session on May 14, looking back at how things actually happened in the end, and looking to the future. (And there were many wonderful moments. Like the viewings of artists' video work on the bank of TV sets for sale in the busy mall under Cape Town station, for example.) 'Any further comments?' reads the last line of the questionnaire.
Here is one from ArtThrob. Is there going to be any form of catalogue, any tangible visual and written record on paper of the events that took place? Something for posterity, to send to all those who took the time and trouble to participate and want a record of it; for all those wanted to come but didn't, and for Cape to have in hand to show for next time around? Without it, it will be hard to convince sponsors, artists, and the overseas press that anything of real value took place. In today's art world, a catalogue is totally essential, the proof that the organisers take their responsibilities seriously.
Issue No. 116, April 2007
Performers styled after Jane Alexander's classic Butcher Boys crept across the roof of the Lookout Centre in Khayelitsha, on the sandy outskirts of Cape Town, site of the opening ceremonies of CAPE '07, looking down as Minister of Culture Pallo Jordan addressed the large crowd of local and international visitors come to celebrate the event. Inside, the newly repainted interior showcased the work of such artists as Godfried Donkor (Ghana//UK), Mumbakwedza Mutasa (Zimbabwe) and Nicholas Hlobo (SA). Events spread across six more major venues boasted crisp presentation and artists on hand to discuss their work with visitors. Parties and other art events made for a hectic five day start up. The international critics and curators who eventually did make it here despite the confusing on-again off-again runup to the event (or at least the ones I spoke to) said that despite their initial reservations in coming, they had been impressed and invigorated by the programme, and looked forward to future events. The action continues this month.
Issue No. 115, March 2007
Less than we had hoped for but a lot better than nothing. That pretty much sums up the position on the evolution of TransCape into Cape '07, opening on March 24. With promised funding still not in hand, director Gavin Jantjes has resigned, sending out a letter to artists expressing regrets about the turn of events, but encouraging them to participate in the new reduced format. The foreign visitors who are expected will still find plenty to see - read Sue Williamson's lengthy interview with the new Cape Africa team of Gabi Ngcobo and Jonathan Garnham.
There will still be seven major venues, and more than one hundred events on XCape, the fringe. There'll be Marlene Dumas prints in a Khayelitsha B&B. Plus the stunning new Goodman Cape opens on March 22, and all the other galleries will have their best artists forward. So please come visit. An update of venues and artists will appear mid month, on March 18.
A little further north, the KKNK - the Klein Karoo Nasionale Kunstefees opens in Oudsthoorn, and much further the announcement regarding the African participation at the 52nd Venice Biennale has finally been made.
Issue No. 114, February 2007
In exactly the same way we did last year, we all gasp that the first month of the new year has already passed. Maybe, though, with the rush of the festive season over and now that we are settling into the groove for another year's hard work, it is an opportunity for reflection on the year past and anticipation for the year (or 11 months thereof) to come. To this end, all of our regional editors have contributed to a review of 2006 [See REVIEWS], listing their three best shows, a best newcomer, South Africans making the most interesting work and the most important local art event during the period. Given their regional biases there is a lot of variation in the results, but a number of names and events come up repeatedly - Peter van Heerden, Nicholas Hlobo, Mikhael Subotsky, the KZNSA's Young Artists' Project, and inevitably, 'TransCape' which was actually postponed until this year. It is set to begin next month, so we run an article [See OPINION], previously published in Domus, n. 898, December 2006, by Italian art critic and researcher Iolanda Pensa. Her reflection on the process leading up to next month's event, benefiting from her outsider's view, expresses equal measures of caution and optimism. I think that's pretty much how we feel here too, although I might add a dash of excitement. The latest issue of New Yorker carries an image by Lolo Veleko on their art listings page. To order your own Lolo Veleko prints, exclusively offered by Editions for ArtThrob, check the EDITIONS section this month, and read all about this rapidly rising young photographer in ARTBIO, written by Tracy Murinik.
Issue No. 113, January 2007
'ArtThrob is brilliant!', said Documenta 12 director Roger Buergel in a brief conversation with me following a panel discussion in New York this week. 'We used it for all our research'. In his presentation at a New Museum discussion on globalism versus provincialism enitled 'Location Location, Location', Buergel had emphasised the importance the Documenta organisers are placing on the role of the world media in disseminating - and inititiating - art discourse. In February, Documenta will hold a small forum of media people in Johannesburg around the enigmatic question 'What is to be done?'
Issue No. 112, December 2006
In the middle of December, the announcement will be made from Venice as to which proposal has been accepted for space created for an African Pavilion in the Arsenale for next year's 52nd Venice Biennale. This year's director, Robert Storr opened up the doors to all comers with an unprecedented announcement on the Biennale website that the space, security and electricity would be free to the successful curator, and the original deadline of October 31 was extended to November 24.
Speculation has been that maybe thirty proposals will reach the table. Artists Ed Young and Christian Nerf travelled to New York to put their case to Storr personally (see DIARY) and the general intrigue and backbiting - and that's just so far - could have been the subject of a new reality TV show.
Issue No. 111, November 2006
Passing through Cape Town this month on a trip timed to tie in with the last days of Trans Cape (ouch) and organise a future show in Barcelona, Spanish curator Pep Subiros commented that for him, South Africa was the most alive artistic community in the world ... one in which young artists go beyond their subjective interests to embrace the collective and address historical and social conditions. Looking at the list of exhibitions on offer this month and at the focus of some of those shows, one might agree with Pep ... scanning down the list, one sees HIV/Aids, farm life and labour conditions under scrutiny, an exhibition produced by offenders in correctional centres in KZN, politically inclined artist Manfred Zylla is showing at Momo, Clive van den Berg's Goodman Gallery show 'Skin and Ghosts' which considers the porosity of skin in an age of AIDS is reviewed ... and so it goes.
Issue No. 110, October 2006
The Cape Africa Platform may have flunked out on opening TRANS CAPE in September as scheduled, but Capetonians celebrated the postponed not-a-biennale anyway - twice. Andrew Lamprecht put together the 'real' Cape Biennale salon-style at blank projects while CAPE itself linked up various spaces in an Art Circuit night around the city centre. There was even a foreign journalist, Italian Iolanda Pensa, who flew in to dissect the non event for Domus.
Issue No. 109, September 2006
Many will be heaving a sigh of relief that the initial shock of the postponement of TRANS CAPE is beginning to wear off, and the hope is that the organisers will use the time they have bought by making the event truly live up to its initial promise - with taxi routes, maps and great art. Overseas reactions to the news varied.
Issue No. 108, August 2006
Shock waves are going through the South African art world with the news that TRANS CAPE, the mega art event scheduled to open in 24 venues in and around Cape Town on September 23 has been postponed for six months.
Issue No. 107, July 2006
Where are the young white women?, asks Linda Stupart in her review of 'Second to None' at the SANG this month, noting that while the older generations are represented, the rising artists on the show seem to be almost exclusively black. Do curators ever get the balance of age/gender/race right? Should they have to?
Issue No. 106, June 2006
Is there any other country where the subject of Biennales so divides the art world? The pros believe the international focus is essential to raising the profile of the whole art scene, the cons that with limited resources we should be concentrating on the local. A chief spokesperson for the cons is Mario Pissarra, who took three years to take issue (on his website) with an ArtThrob review of the 2003 Venice Biennale, and a piece written at the same time by SANG director Marilyn Martin. In the opposite corner and speaking up for the pros is Malcolm Payne, who argues for the inestimable value of Biennales in this month's OPINION.
Issue No. 105, May 2006
The news that Picasso's 'Dora Maar with Cat' has just sold for an astounding US$95 million at New York's Sotheby's will no doubt create an even greater incentive for Capetonians to take in the 'Picasso in Africa' show at the National Gallery. Already there are reports of viewers queuing in the rain to get inside - which must be a first for the SANG.
Issue No. 104, April 2006
Unbelievably, nine years after the early demise of the now legendary 2nd Johannesburg Biennale in 1997, wistful rumours of its imminent resuscitation still circulate on the international circuit, and were repeated to me again at the Havana Bienal in Cuba last week. Perhaps they will be laid to rest when the first Trans Cape takes place later this year, planned to occur every two years...
Issue No. 103, March 2006
At last the visual artists of South Africa have a credible organisation - VANSA, the Visual Arts Network of South Africa - to represent them at government level. The first national VANSA conference, held in Cape Town, in February brought artists and cultural workers from all over the country and a strong spirit of optimism pervaded the proceedings.
Issue No. 102, February 2006
Every year, the editors of ArtThrob attempt to come up with a 'Best of' list as a look back at the artists and art events of the previous year. This is always a highly subjective exercise, but to see who thought what about who, go to 'News'.
Issue No. 101, January 2006
In the holiday spirit we have produced a small update, allowing our contributors to take a year-end break. Some regulars, and other less regular contributors, however, have been hard at work. Johannesburg-based artist José Ferreira has allowed us to publish his extensive notes on eKapa SESSIONS, which find him in a reflective mode. Ruth Sacks also gives us her impressions of the three days which are sure to remain a talking point for some time to come. In addition to this she has written a report on the Vernissage of the Trienal de Luanda which she was invited to attend last month, and for which she has been appointed Cape Town co-ordinator.
Issue No. 100, December 2005
Who would ever have thought that Kendell Geers would be the voice of reason? Well, that's how it turned out on the last day of SESSIONS eKapa. While other panelists fumbled - Tracey Rose um-ed and ah-ed with little more articulacy than Cheech and Chong, and Thembi Goniwe set aside his prepared paper to criticise 'certain gurus' - Lesego Rampolokeng played the perfect shapeshifting foil to Geer's measured and considered presentation.
Issue No. 99, November 2005
SPECIAL FEATURE: ART AND SOCIAL DEVELOPMENT: Over the last decade, contemporary South African art has attracted unprecedented interest with local and international exhibitions increasing and sale prices soaring. Many artists, and their support systems, are seen to be riding the crest of this wave. But how widespread is this success? This issue, focused on art and social development, examines the visual arts sector and poses some tough questions.
Issue No. 98, October 2005
Shockwaves ran through the South African art world this month at the horrifying news that mining magnate Brett Kebble was shot dead in his car in Johannesburg on the night of September 28. Kebble, often described as a 'larger than life' figure, was one of the most generous and supportive art patrons in the country, raising the level of his Brett Kebble Arts Awards exhibition to international standards in two years.
Issue No. 97, September 2005
Biennales in Africa seem like bush fires: they are ignited, they flare up and
light the scene briefly, sometimes memorably and unforgettably, and then they
die. Or if they survive, it is only as a dull glow which lights little beyond
the immediate surroundings. Enter the first Luanda Trienal, of which the major
events will take place over three months in the first half of next year. In a
special preview, the editor reports on some of the ambitious plans for
this new art event.
Issue No. 96, August 2005
William Kentridge, whose last retrospective at the South African National Gallery in Cape Town was one of the biggest crowd pullers in the SANG's history, is again the subject of a differently curated - this time by Carolyn Christov-Bakargiev - retrospective at the Johannesburg Art Gallery, see Robyn's Sassen's review. Much as the country's most famous artist deserves these accolades, ArtThrob's question is this: why do the large art institutions not take more initiative in bringing the art careers of other late and mid-career artists to the attention of the public in locally curated retrospectives? The drawings, the different bodies of work in varying media building links and connections across the years all take on a new richness and complexity when seen as a whole. Artists like Penny Siopis, Clive van den Berg, Sandile Zulu, Moshekwa Langa and Brett Murray come to mind. What a treat it would be to see a substantial exhibition from each, spanning the last 10 or 20 years.
Issue No. 95, July 2005
Didn't get to Venice this year? In her illuminating review, Laurie Ann Farrell of the Museum for African Art in New York rates the 51st Biennale an 'experience par excellence'. Only 10 years younger than the Venice Biennale, the NSA Gallery in Durban celebrates its centenary this month - which must surely make it the oldest non-museum gallery in the country. Congratulations to the NSA on surviving this long - and going from strength to strength - are definitely in order.
Issue No. 94, June 2005
'I couldn't help thinking that if anyone wanted to wipe out all the major personas of the Johannesburg art world, present and slightly past, all you'd have to do is unleash some terrorist-type action on the JAG on the evening of Sunday May 1, 2005.' So writes Kathryn Smith in her reflective report on the impact of the performance of international art star Marina Abromovic at the Johannesburg Art Gallery. It wasn't only Abromovic and fellow artist Paolo Canevari who earned press coverage - organiser and opening speaker Kendell Geers earned the scorn and indignation of the local press by daring to suggest that local artists were getting 'worse and worse', 'festering under a rock' and 'culturally isolated'.
Issue No. 93, May 2005
It is hard to know who or what is the greatest victim of the unedifying Nelson Mandela art print scam: the charities the sale of the prints was supposed to benefit, the reputation of South Africa's great leader, or the credibility of South African art. In OPINION this month, Sue Williamson dolefully looks at the issues.
On the brighter side, no less than six South African-born artists will be showing on the two main exhibitions in the Italian Pavilion and the Arsenale on the 51st Venice Biennale, more than any other country except the United States (9), Spain (8) and Germany(7). One of them is Berni Searle, whose new show opens this month at Michael Stevenson in Cape Town. Searle has been selected to exhibit on the exhibition 'Always a little further', which will be in the Arsenale and is curated by Biennale co-director Rosa Martinez. The five other artists, who will show in the Italian Pavilion, are Robin Rhode, Zwelethu Mthethwa, William Kentridge, Marlene Dumas and Candice Breitz.
Issue No. 92, April 2005
What is the art world to make of the sorry Nelson Mandela artists' prints affair? The wheeling and dealing now receiving extensive coverage in the press is unsavoury to say the least, and the credibility of artists and the validity of editioned prints is being called into serious question. An opinion piece will appear in News next month.
Issue No. 91, March 2005
Joost Bosland, writing from New York, perceives a possible new highlighting and understanding of African art outside of the continent. As I write this, Iziko South African National Gallery's head of contemporary art, Emma Bedford is in that city as part of a hand-selected group of international curators invited to provide fresh ideas to the curators of MoMA. March sees shows that tend towards representing the great names in South African art. Look through the listings and the reviews and names such as Norman Catherine, the late Gerard Sekoto, the late Dumile Feni, Jurgan Schadeberg, Malcolm Payne, Sue Williamson and William Kentridge seem to dominate. Can it be that another corner has been turned here at home?
Issue No. 90, February 2005
All is quiet, feels the editor this month - why so little discussion and debate in our art world? What do we say about art or, perhaps more tellingly, what does the nature of the art we focus on in this publication have to do with the fact that very little ever seems to be said? Even at openings and walkabouts, I have found that hardly anyone is interested in the art anymore. Of the gossip about the artists, curators, hangers-on, etc, much fills the cluttered whites cubes and other volumes dotted around our country. Of art there is silence.
Issue No. 89, January 2005
Moshekwa Langa, Paul Emmanuel and Jacki McInnes exhibit in Jo�burg while Mark Hipper�s work is on view in Cape Town. Aryan Kaganof digitally streams and Pippa Skotnes is to be seen in Oslo. Joost Bosland begins his critical examination of how Africa is represented overseas. Photographer Guy Tillim is the Artbio and some ArtThrob editors and others give an overview of 2004.
Issue No. 88, December 2004
Bell-Roberts move to new premises and host a show to accompany the launch of their book '10 Years
100 Artists'. Katherine Bull shows in Cape Town and Carol-Anne Gainer in
Johannesburg. Kentridge takes on the Met in New York. Iziko SANG's
'Decade of Democracy' comes under critical review and Wim Botha is
awarded the Standard Bank Young Artist award for 2005. The NAC board
hangs in the balance.
Issue No. 87, November 2004
Khwezi Gule, newly appointed to the post of Curator of Contemporary Collections
at JAG, and Fellow Curator of the Brett Kebble Art Awards, guest edited this
month's issue, entitled 'Durban Poison'. Reviews: the Brett Kebble Art Awards
(BKAA) exhibition, reported on by Kim Gurney, and first-time reviewer Charles
Maggs, master sculptor Bruce Arnott in an exhibition of new work at
the Irma Stern Museum, a photographic exhibition at the Bensusan Museum by
Robyn Sassen, Stephen Inggs at Art on Paper, Colbert Mashile, S'fiso Ka Mkame's
symbolically-laden oil pastels, Michael Godby and Liese van
der Watt investigate 'Prejuger' at Greatmore, a show of work by recent Stellenbosch
graduates, John Sampson's intriguing compositions, 'Flip' at the Iziko Michaelis
Collection, and Rory Palmer's show at the 38 Special Gallery; Artbio: Jay Pather.
Issue No. 86, October 2004
Comics Brew hit the Mother City with events and exhibitions at several galleries;
Reviews: Kim Gurney examines three
sculptors at Michael Stevenson Contemporary; Ruth Sacks questions the boundaries
between art and 'glorified wallpaper' in Gina
Waldman's show at Bell-Roberts; Robert
Hodgins is as sharp and witty as ever at Goodman;
Gabi Ngcobo is seduced by the visual qualities of Theresa-Anne
Mackintosh's prints and paintings at the NSA. Robyn Sassen refuses to play
Alice in Wonderland in her review of Brenda
Schmahmann's monograph on South African women artists, 'Through the Looking
Glass' ; Artbio: Samson Mudzunga.
Issue No. 85, September 2004
Andrew Lamprecht's editorial debut at Artthrob; Reviews: Kim Gurney on 'A Place
Robyn Sassen reviews Robert Hodgins, Ruth Sacks visits Gina Waldman’s
show, Gabi Ngcobo on Theresa- Anne Mackintosh’s ‘Jackie
The Kid', Carine Zaayman on the [R][R][F] 2004 --->XP new media project,
Robyn Sassen on Brenda Schmahmann, Deborah Poynton at Michael Stevenson Gallery
by Eva Franzidis; the Brett Kebble Art Awards website; Artbio:
Issue No. 84, August 2004
The Sound Art Issue: Guest Edited by James Webb; Reviews: 'A Decade of Democracy', Julia Rosa Clark, 'Democracy X', 'A Place Called Home', Heleen Verwey, Odd Enjinears, Grahamstown National Arts Festival, Frances Goodman, Kudzanai Chiurai; Artbio: James Webb
Issue No. 83, July 2004
Thando Mama receives the Belgian Community's Award at Dakar Biennale; Interviews with Zwelethu Mthethwa, Roger Ballen and Paul Stopforth; Reviews: Keith Dietrich, Manfred Zylla, 'Images of Defiance', Bronwen Vaughan-Evans, John Roome, and 'Three Young Painters'; Artbio: Keith Dietrich
Issue No. 82, June 2004
Doctor of Literature honoris causa was conferred upon Willliam Kentridge; Two open letters to the visual art community; Orbituaries: Durant Sihlali and George Msimang; Reviews: Guy Tillim, Nicola Grobler, Julia Rosa Clark, 'Democracy X', Willem Boshoff's 'Nonplussed', Carol-anne Gainer's 'Pale', Santu Mofokeng's 'Chasing Shadows', Dakar Biennale, and the publication 'Moving in Time and Space' ; Gallery Choice: Guy du Toit; Artbio: Thando Mama
Issue No. 81, May 2004
Reviews: 'A Decade of Democracy', 'Staged Realities', Lizza Littlewort, Thea Soggot, Wendy Anziska, Ranjith Kally, HIV(E) project, Paul Faber, and Andrew Nhlangwini ; Gallery Choice: Kendell Geers; Artbio: Churchill Madikida
Issue No. 80, April 2004
Democracy in Focus; Klein Karoo Nasionale Kunstefees; TAXI Art Books launch book on Deborah Bell; Reviews: Peet Pienaar, Michelle Booth, Visions of Paradise, The Premises, 'Borders and Beyond', Durban overview, 'City & Country', Zwelethu Mthethwa, Claudette Schreuders; Gallery Choice: John Muafangejo; Artbio: Tracy Lindner Gander
Issue No. 79, March 2004
The Pink Issue: guest edited by Andrew Lamprecht; Reviews: Berni Searle's 'Vapour', Contributions by: Storm Janse van Rensburg, Andrew Verster, Kim Stern, Anonymous, Virginia MacKenny, Andre Vorster, Michael Stevenson, and Steven Cohen; Gallery Choice: Judith Mason; Artbio: Jean Brundrit
Issue No. 78, February 2004
Cape Town Festival report; Berni Searle's two CT shows; Candice Breitz at Sonnabend; Introducing 'Art of Line': Mario Pissarra; Reviews: Berni Searle, Brendhan Dickerson, Ed Young, Vuyisa Nyamende, and South African Art Information Directory; Gallery Choice: Durant Sihlali & Willem Boshoff; Artbio: Paul Edmunds
Issue No. 77, January 2004
Opening of the new Constitutional Court in Johannesburg; 10 recommendations for the year ahead; winners of the 2002 Cape Town Public Sculpture Competition, Fritha Langerman and Katherine Bull, unveil their public sculpture; Reviews: Cameron Platter; and Steven Cohen's performance in New York; Gallery Choice: Hylton Nel; Artbio: Kathryn Smith
Issue No. 76, December 2003
2003 in review; Kathryn Smith selected as the Standard Bank Young Artist of 2004; Reviews: Karl Gietl, Minette Vári, The Michaelis Graduate Exhibition, Paul Edmunds, Esther Mahlangu, 'Picnic', Resfest, DIY, Kay Hassan, Brenton Maart, Penny Siopis, 'Home', 'Looking Both Ways: Art of the Contemporary African Diaspora'; Publication reviews: the Fresh project, Okwui Enwezor's (ed.) The Short Century: Independence and Liberation Movements in Africa 1945- 1994, Moshekwa Langa, Chris Ledochowski's Cape Flats Details, Michael Meyersfeld's Gaze; Gallery Choice: Hylton Nel; Artbio: Kathryn Smith
Issue No. 75, November 2003
Guy Tillim wins the DaimlerChrysler Art Award for creative photography; Kagiso Pat Mautloa is the subject of the ninth publication in the TAXI Art Books series; William Kentridge wins the Goslar Kaiserring Award; The new dealers are making waves; Reviews: Wim Botha, Francine Scialom Greenblatt, Liza Grobler, Julia Teale, Durant Sihlali & Frank Ledimo, Colin Richards, Clive van den Berg, Rienke Enghardt, Aidan Walsh & Lise Hugo; Book Reviews: TAXI-008: Steven Cohen, The Fresh series, Sue Williamson: Selected Works, Fact or Fiction, Roger Ballen, Guy Tillim's Departure, and two new Irma Stern publications; Gallery Choice: Wim Botha; Artbio: Sue Williamson
Issue No. 74, October 2003
Wits University opens its new interdisciplinary school; Brett Kebble Art Award; Taxi08: Steven Cohen; Reviews: David Goldblatt, Tracy Lindner Gander, Stephen Hobbs, Brett Kebble
Art Awards, Andrew Lamprecht, Mgcineni Pro Sobopha, and Vuleka art competition; Gallery Choice: Langa Magwa; Artbio: Sam Nhlengethwa
Issue No. 73, September 2003
Cape Town International Convention Centre sculpture controversy; Samson Mudzunga under scrutiny; Criticism in crisis; Reviews: 3rd International Impact Printmaking Conference, Willem Boshoff, 'Witness' at Warren Siebrits, and Hentie van der Merwe and Luan Nel at the Goodman; Gallery Choice: Willem Boshoff; Artbio: Peter Clarke
Issue No. 72, August 2003
3rd International Impact Printmaking Conference; Thando Mama wins the 2003 MTN New Contemporaries Award; DaimlerChrysler Arts Award nominees; News feature: Art Criticism in SA; Sandile Zulu and Jeremy Wafer, 'Console', Usha Seejarim, Sue Williamson at the Michaelis lunchtime lecture series, and the new Arabella Sheraton Grand Hotel reviewed; Gallery Choice: Colbert Mashile; Artbio: Colin Richards
Issue No. 71, July 2003
News feature: The Status of Black Contemporary Art; Lynne Lomofsky's
'Body of Evidence'; In Grahamstown, Tracey Rose's 'Ciao Bella', Berni
Searle's Standard Bank Young Artist exhibition, 'Homing in', and Joanne
Bloch, Langa Magwa and Mark Hipper at the National Arts Festival reviewed;
Jo'burg reviews Bongi Bhengu and David Koloane; Sue Williamson reviews
shows at the Venice Beinnale; Artbio: David Koloane
Issue No. 70, June 2003
Guy Tillim takes over Cape Town; launch of the Brett Kebble Art Awards;
Alan Alborough, Sanell Aggenbach, Virginia MacKenny, James Webb, 'Male
Order', 'Lexicons and Labyrinths', and Noria Mabasa's Taxi art
monograph reviewed; Gallery Choice: Colbert Mashile; Artbio: Chris Ledochowski
Issue No. 69, May 2003
Who owns the city? Zayd Minty, Paul Edmunds & Sean O'Toole focus on
public art in the innercity; Kendell Geers at the Goodman; Sue Williamson's
first solo show in Europe; Michael Stevenson Contemporary opens in Cape
Town; 'Coexistence', Jane Alexander, 'ReCollection', and Elizabeth Gunter
reviewed; Artbio: Kim Lieberman
Issue No. 68, April 2003
Brett Murray and Jane Alexander at the SANG; Willie Bester at the AVA;
William Kentridge is the featured artist for Editions for ArtThrob;
Doreen Southwood wins the Sasol art prize at KKNK; Bruce Gordon, KKNK,
Kim Lieberman, Pieter Badenhorst, and Carol-anne Gainer reviewed; Artbio:
Issue No. 67, March 2003
First National Bank withdraw from the Vita Art Prize; Jeff Koons lectures
at Michaelis; Bruce Gordon gets a tatoo; William Kentridge returns to
the Goodman Gallery; Warren Siebrits, L&B, David Krut's small print
gallery, and Zwelethu Mthethwa reviewed; VANSA launch in Natal and Western
Cape; Artbio: Angela Buckland
Issue No. 66, February 2003
Robert Hodgin's 'La Contessa Venemosa' is the second offering in the
Editions for ArtThrob; YDESIRE at the Castle of Good Hope; Zayd
Minty looks back on The Black Arts Collective; Robert Hodgins, Kevin
Brand, and William Kentridge's 'Confessions of Zeno' reviewed; Michelle
Matthews weighs up Broadcast Quality: The art of Big Brother II
and Sean O'Toole reviews Group Portrait; Trinity Session at Berlin's
Transmediale; Artbio: Diane Victor
Issue No. 65, January 2003
Artthrob interviews JAG director, Rochelle Keene; Paul Edmunds reviews
William Kentridge's retrospective; Lisa Schmidt reports on the Aids-focussed
'Africa Apart' in Berlin; Sue Williamson reviews Robert Hodgins, the
monograph of the master painter; Artbio: Berni Searle
Issue No. 64, December 2002
Jeremy Wafer retrospective in Durban; David Koloane's new Taxi Art book;
Berni Searle is the SBYO 2004; Artthrob's 2002 Year-end Summary; the
year's best art books and catalogues; Norman Catherine, Jane Alexander's
award-winning 'African Adventure' series, and Zwelethu Mthethwa's 'Coloured/Colored'
reviewed; Artbio: David Goldblatt
Issue No. 63, November 2002
William Kentridge returns home; SANAVA charity exhibition; a look at
Turner Prize winner Steve McQueen's 'Western Deep'; MountX at the SANG;
Kendell Geers interview and the on-going debate between Geers and the
JAG; Jeremy Wafer, Matthew Hindley, 'Comics Brew', Photofesta Maputo,
and Taxi monograph on David Koloane reviewed; Artbio: Malcolm Payne
Issue No. 62, October 2002
Staff changes at Artthrob; Bittercomix and Claudette Schreuders at the
AVA; Fritha Langerman and Katherine Bull win the Cape Town Public Sculpture
Competition; Kendell Geers calls for the resignation of JAG director;
Giulio Tambellini and Warren Siebrits' new Rosebank gallery reviewed;
Artbio: Thembinkosi Goniwe
Issue No. 61, September 2002
Penny Siopis at the Goodman & the Posel Galleries; Doreen Southwood
at the Bell-Roberts Gallery; Editor's Documenta Diary; ACT Award 2002
nominees announced; 'Outpost' at the NSA Gallery and Documenta 11 reviewed;
Artbio: Doreen Southwood
Issue No. 60, August 2002
Jhb gearing up for WSSD; The 3rd Cape Town Public Sculpture Competition;
Siwela Sonke Dance Theatre; Flash Art story highlights South Africa;
Interview: Aryan Kaganof; Martienssen Prize show, Tracy Lindner Gander
and Documenta Reviewed; Artbio: Marco Cianfanelli
Issue No. 59, July 2002
Alan Alborough scoops the FNB Vita Art Prize; Marco Cianfanelli wins
the Absa L'Atelier; 'Pulse' project 'Silence/Violence' in Durban & Nieu-Bethesda;
Gtown National Arts Festival wearing thin; 'Grime' & 'Mari Mira' reviewed;
Artbio: Santu Mofokeng
Issue No. 58, June 2002
First reports from DocumentaII; Sue Williamson at the Dakar Biennale
2002; David Goldblatt, Fritha Langerman, After Apartheid: Documentary
Photographers, Peter Friedl and Soccer is Power! reviewed; Artbio: Kendell
Issue No. 57, May 2002
SA artists make DocumentaII; Dakar Biennale 2002; Sue Williamson, Handspring
Puppet Company, and Antoinette Murdoch and Doreen Southwood reviewed;
Artbio: Leora Farber
Issue No. 56, April 2002
BIG Torino 2002; James Webb's 'Phonosynthesizer'; Students review Month
of Photography highlights: Lien Botha, Julia Tiffin, Angela Buckland
and Sarel Eloff; Paul Edmunds and Kathryn Smith get to grips with KKNK;
Artbio: Bronwen Findlay
Issue No. 55, March 2002
Local industry Feedback rages this month; The Second Month of Photography
opens in Cape Town; Klein Karoo National Arts Festival; FNB Vita Art
Prize 2002 nominees announced; Design Indaba, Dave Southwood, Apartheid
Museum, and Video art at Michaelis reviewed; Artbio: Dave Southwood
Issue No. 54, Februray 2002
'The Short Century' opens in New York; World Wide Video Festival at
Michaelis; National Arts Council CEO outlines the way forward; Dorothee
Kreutzfeldt, Arlene Amaler-Raviv and Dale Yudelman, 'Surviving the Lens',Egon
Tania, and Spier Outdoor Sculpture Biennial reviewed; Artbio: Hylton
Issue No. 53, January 2002
Spier Outdoor Sculpture Biennial; Moshekwa Langa resident at the SANG;
Kathryn Smith looks at the Joubert Park Project; Veronique Malherbe,
Gail Neke and Nadja Daehnke, and Handspring Puppets reviewed; Artbio:
Strijdom van der Merwe
Issue No. 52, December 2001
Robin Rhode makes Artist of the Year in Artthrob's Top 10; Homeport
at the V&A Waterfront; Walter Oltmann's SBYA exhibition in Durban; Tracy
Murinik spots fresh talent among the Michaelis fourth-years; Brett Murray
and Post reviewed; Artbio: Conrad Botes
Issue No. 51, November 2001
Joubert Park Public Art Project; Standard Bank Young Artist 2002; DaimlerChrysler
award for sculpture; Spier Outdoor Sculpture Biennial launch; Willie
Bester, Paul Edmunds, Minnette Vári and Mara Verna reviewed;
Artbio: Isaac Nkosinathi Khanyile
Issue No. 50, October 2001
Joubert Park Public Art Project; Walter Oltmann's SBYA show in PMB;
Sam Nhlengethwa reviewed; Plus Aardklop and the World Wide Video Festival;
Artbio: Pitso Chinzima
Issue No. 49, September 2001
Paul du Toit sells out at the Bell-Roberts Art Gallery; Ruth Prowse
School of Art Exhibition & Auction; Jo'burg Pride 2001; 'See Eazi' art
fair at the NSA; 'The | Premises' opens in Jo'burg; Artbio: Mandla Mabila
Issue No. 48, August 2001
The FNB Vita Art Prize 2001; first MTN New Contemporaries award; Sasol
New Signatures; Bridget Baker; Bonita Alice; Taxi-003 Jeremy Wafer;
SA artists for Sao Paulo and World Wide Video Fest; Artbio: Willem Boshoff
Issue No. 47, July 2001
Grahamstown Festival reviewed; Venice Biennale reviewed; Stefanus Rademeyer
wins the Absa Atelier Award; HIV/AIDS Billboards Portfolio project wins
a Medal d'Excellence; Sue Williamson's New York diary; Artbio: Walter
Issue No. 46, June 2001
Book Review special; 'Fokofo' at the DAG; 'Inferno & Paradiso' reviewed;
David Goldblatt scoops an honorary doctorate; 'The Short Century' in
Berlin; Sue Williamson's New York and Spain Diaries; Artbio: Siemon
Issue No. 45, May 2001
Robert Hodgins at João Ferreira; Dorothee Kreutzfeldt at the
SANG; Katherine Bull & Fritha Langerman at the University of Stellenbosh
Art Gallery; TaXi-002 - Samson Mudzunga out now!; Yinka Shonibare interviewed
in Johannesburg; Basa awards announced; Kathryn Smith's Maputo Diary;
Artbio: Usha Seejarim
Issue No. 44, April 2001
FNB Vita Award finalists announced; Oudtshoorn and the Visual Arts;
'Inferno and Paradise' at the SANG; Jürgen Schadeberg at Axis Gallery
in New York; Artbio: Thomas Mulcaire
Issue No. 43, March 2001
Alan Alborough at the SANG; Absa Atelier finalist show; South Africans
in Venice; Taxi 001 on a shelf near you; Public Eye turns two; Artbio:
Issue No. 42, February 2001
Artthrob going into print; Juncture at the Granary; Justine Mahoney
at Bell-Roberts Contemporary; Obituary for Johannesburg's Market Gallery;
Part II of Kathryn Smith's overview of the Johannesburg art scene -
Galleries in jeopardy; Artbio: Greg Streak
Issue No. 41, January 2001
Doreen Southwood at Bell-Roberts Contemporary; Hoerikwaggo - Images
of Table Mountain at the SANG; HSL at the Castle; Gambling with Art
- Kathryn Smith examines some of the financial factors governing the
struggle of artists and galleries to survive; ArtThrob's artists of
2000; Artbio: Brad Hammond
Issue No. 40, December 2000
Holland South Africa Line; Michaelis student show; Joubert Park Project;
Koos Malgas dies; Save the Jhb Biennale; Books for Christmas; Artbio:
Issue No. 39, November 2000
!Xoe... Off Site at Brendon Bell-roberts; Steve McQueen in Cape Town;
Marc Chagall in both Johannesburg and Cape Town; Brett Murray and Wayne
Barker inaugurate Brendon-Bell Roberts' new gallery in London; Artbio:
Issue No. 38, October 2000
uBudoda: Images of Masculinity at the AVA; Peet Pienaar at Brendon Bell-roberts;
Clive van den Berg at the Goodman; Artbio: Kay Hassan
Issue No. 37, September 2000
Cape Town OneCity Festival; 'Trapped Reflections' and 'Outposts' in
Gauteng; Paris Conference on the State of Visual Arts in Africa and
the Diaspora; Artbio: Claudette Schreuders
Issue No. 36, August 2000
Madame Haenggi & Constance Stuart Larrabee remembered; The big4 at Brendon
Bell-Roberts; Fifth Biennale of Contemporary Art in Lyons; Kathryn Smith
Reviews the Vitas show; Artbio: Terry Kurgan
Issue No. 35, July 2000
Terry Kurgan is this year's Vita star; Brad Hammond wins Absa Atelier
Award; !Xoe comes again to Nieu Bethesda; Channeltoo goes digital; Artbio:
Issue No. 34, June 2000
Dak/Art 2000 reviewed; New committee formed to promote Africa in Venice;
Young artists' shows in Cape Town: 'Bitterkomix' and 'Emergency'; Artbio:
Issue No. 33, May 2000
Dak/Art 2000 Diary; Brett Murray's public sculpture unveiled; SoftServe
II; Robert Hodgins at the Goodman: Artbio: Bernie Searle
Issue No. 32, April 2000
Karoo Art Festival Reportback; Rotterdam Foto Biennale; Special Book
Review Section: Artbio: Andries Botha
Issue No. 31, March 2000
South African Art in the Nineties: Conclusion; Vita 2000 nominees, Exchange:
Overseas opportunities for artists; Artbio: Hentie van der Merwe.
Issue No. 30, February 2000
Final Issue of South African Art in the Nineties; Arlene Amaler-Raviv
& Dale Yudelman show at the AVA; pminc. wraps; 'Emergence' curators
interviewed; Artbio: Senzeni Marasela
Issue No. 29, January 2000
Review of South African Art in the Nineties; One Night Stand at Joao
Ferriera; Artbio: Dorothee Kreutzfeldt
Issue No. 28, December 1999
Artery reviewed; Report back on South meets West in Ghana; Carnegie
International reviewed; Artbio: Linda Givon
Issue No. 27, November 1999
Softserve at the SANG; William Kentridge wins Carnegie International;
Alan Alborough wins Standard Bank Young Artist Award; Artbio: Robin
Issue No. 26, October 1999
Biennale Questionaire; Kentridge opens at the Goodman; Artbio: Karel
Issue No. 25, September 1999
Special Biennale discussion; Cape Town Month of Photography; 'Liberated
Voices' opens in New York; Artbio: Penny Siopis.
Issue No. 24, August 1999
Kay Hassan wins new Daimler-Chrysler Art Award; Smithsonian show reviewed;
Artbio: Wille Bester
Issue No. 23, July 1999
Grahamstown Festival roundup; report on the Venice Biennale; Jane Alexander
Issue No. 22, June 1999
Veronique Malherbe; '[Rewind] Fast Forward.ZA' in Holland; David Koloane;
Issue No. 21, May 1999
William Kentridge in Artbio; Ezrom Legae remembered; 'New Worlds' in
London; Grey Areas reviewed
Issue No. 20, April 1999
Video fest 'Channel'; Klein Karoo festival; Zwelethu Mthethwa in Artbio;
'Trafique' in Belgium
Issue No. 19, March 1999
Jo Ractliffe in Artbio; video by Konrad Welz; Vita nominees; Cape Town
Art Night; Klein Karoo festival
Issue No. 18, February 1999
Moshekwa Langa in Artbio; Lisa Brice catalogue launch; Cairo Biennale;
Bonn show; 'Dreams and Clouds' in Gothenburg
Issue No. 17, January 1999
'eye Africa'; artbio: Lisa Brice; New series: The Professional Artist:
Issue No. 16, December 1998
African photography; artbio: Stephen Hobbs; Willie Saayman screensavers;
Vita nominations online
Issue No. 15, November 1998
Okwui Enwezor named Documenta director; artbio: Clive van den Berg;
Minnette Vári video; Stockholm Journal
Issue No. 14, October 1998
Candice Breitz; São Paulo Bienal; 2nd Johannesburg Biennale,
one year on; 'Dreams and Clouds'
Issue No. 13, September 1998
Funding crisis at the SANG; Brett Murray in artbio; São Paulo
Issue No. 12, August 1998
The FNB Vita awards; artbio: Randolph Hartzenberg; Robert Weinek on
video art in South Africa; Abandon Your Culture project
Issue No. 11, July 1998
Grahamstown Festival; artbio: Mustafa Maluka; Happy birthday Madiba;
!Xoe site-specific project
Issue No. 10, June 1998
Dakar Biennale; artbio: Kevin Brand; Mark Coetzee on censorship; Tracy
Murinik on 'Memorias Intimas Marcas'
Issue No. 9, May 1998
Steven Cohen; 'Memorias Intimas Marcas'; 'Transpositions'; Brian Eno
Issue No. 8, April 1998
Idasa Gallery opens; Houston Fotofest; artbio: Tracy Payne
Issue No. 7, February/March 1998
Claudette Schreuders; Arlene Amaler-Raviv; artbio: Minnette Vári
Issue No. 6, January 1998
Isolde Krams; 'Cyst'; Passages from India; Biennale: 'Life's Little
Issue No. 5, December 1997
'Taking Stock'; Biennale: 'Important and Exportant',' Graft'
Issue No. 4, November 1997
Biennale: 'Alternating Currents', 'Transversions', 'Hong Kong, Etc';
Vita Awards Show.
Issue No. 3, October 1997
District Six Sculpture Festival; 'Thirty Minutes'; Biennale Preview,
Issue No. 2, September 1997
Focus on art books; 'Memorias, Intimas, Marcas'; Peet Pienaar; Joachim
Issue No. 1, August 1997
Bridget Baker, Andrew Putter