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It is with regret....

January 13, 2018 - Mark Read

It is with regret that Everard Read records the recent passing of two of South Africa's finest painters.

Walter Meyer and Helmut Starke.

We shall profoundly miss them and their contribution to not only our gallery but to the entire South African visual art world. 

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Everard Read and CIRCA, featured in, "11 of Johannesburg's Top Art Galleries"

December 4, 2017 - Carina Claassens

From the biggest gallery in sub-Saharan Africa to displays of the best contemporary art, the City of Gold has much to offer in terms of art and culture. Here’s a roundup of Johannesburg’s top art galleries, displaying a collection of both local and international works.

CIRCA on Jellicoe

CIRCA on Jellicoe is an architectural artwork within itself. Its main feature is an aluminium fin façade that allows views into and out of the building and, although small in size, it’s one of the top galleries in the city. Supported by Deutsche Bank, the gallery has been internationally recognised as an excellent contribution to South African architecture. Within the building, visitors view contemporary exhibitions that ever so often combine art, technology and scientific installations.

CIRCA on Jellicoe, 2 Jellicoe Avenue, Rosebank, Johannesburg, South Africa, +27 11 788 4805

Everard Read

Everard Read, Africa’s oldest commercial art gallery, has always been associated with well-known artists. The gallery is dedicated to exhibiting works by South African artists, as well as the development of young artists’ careers. Everard Read moved to Jellicoe Avenue in Rosebank in the late 1970s, alongside CIRCA, and now forms part of the popular Keyes Art Mile.

Everard Read, 6 Jellicoe Avenue, Rosebank, Johannesburg, South Africa, +27 11 788 4805

 

Link to full story: https://theculturetrip.com/africa/south-africa/articles/11-of-johannesburgs-top-art-galleries/?utm_source=facebook&utm_medium=FOShareEmail&utm_campaign=FO_RE_TARGET_31_10_2017_CONTROL&utm_content=CIRCA_on_Jellicoe  

ANGUS TAYLOR WINS HELGAARD STEYN AWARD FOR SCULPTURE

December 1, 2017

PRESS RELEASE

Angus Taylor announced as the winner of the 2017 Helgaard Steyn Award for sculptural work

The internationally renowned sculptor Angus Taylor is the 2017 winner of the Helgaard Steyn Award, one of the most substantial prizes within the South African arts scene dedicated to the promotion of art and culture in South Africa. The award is made in a quadrennial cycle for best performance in literature, musical composition, painting and sculptural works. This year the Award is for approximately R575 000 and any South African born artist is eligible to enter. The prize is awarded for a work of art, in the opinion of the adjudicators, to be the most meritorious in the discipline, provided it was produced in the past four years and that the work is accessible to the South African public.

Taylor, born in Johannesburg in 1970, won his first big award in 1994 when he was announced the winner of the prestigious PPC National Young Sculptor Award. He studied fine arts at the University of Pretoria and graduated in 1997 cum laude. Taylor is best known for his contribution to public art in South Africa. He often takes on projects that are challenging, not only testing his own physical ability in the process, but also questioning the inherent limitations of scale and the materials he utilizes. He is a strong advocate of the anti-monument and the idea that art should not intimidate the viewer. This is also his point of departure when he conceptualises new sculpture, therefore not only making the work more accessible to a wider audience, but creating sculpture that often invites playful interaction.

Taylor stated that he realized what it is to be a South African when he went to New York in 2001 (cf. Everard Read Catalogue, 2002). He then stated that "You can only write poetry in a language you know". Partly for financial reasons, he started making works of art out of local stone and earth. He sources Belfast granite and red Jasper and uses the orange earth of the Witwatersand, which he binds with an alumina-based fondue cement. He has also been known to use perishable materials like thatch. Whether he makes a work in a particular location, he will often use the material from that environment. His use of these materials soon became fundamental to the meaning of the work. The history of the earth – geologically and historically – speaks through the images he creates. When he uses the iron ore that comes from meteorites, or rock that comes from volcanic ash, he connects this with the meaning and content of the work. He has also been known to use ancient techniques for binding earth, using animal blood, egg and lime.

The three adjudicators for the award, Angela de Jesus of the University of the Free State, Prof. Rita Swanepoel from North West University and Annali Dempsey, curator of the University of Johannesburg Gallery, were unanimous in their choice of Taylor's monumental sculpture, titled Dionysus as the winner of the award. The sculpture is carved in Belfast granite, a gabbro, dating back more than two billion years. It is an extremely dense stone that is difficult to carve. The reclining figure measures 4.1 metres in height (the figure would have been 8.2m tall if he were standing) and 6.2m width. He weighs between 25 and 30 tons, and is located at the Tokara Wine Estate in Stellenbosch. The sculpture can be visited in groups by appointment through the IS Art Gallery.

It took Taylor 12 months to complete the sculpture. This included the conceptualisation and the modelling of a maquette, followed by the modelling of a scale model, and finally, upscaling the sculpture to its current size. The detailed elements were then once again modelled in clay. This was followed by the production of a steel mesh mould, which was welded onto the clay, and later used for carving the stone to shape the figure.

Although the detail elements (i.e. hands, feet, face, elbows and knees) were carved at his sculpture studio in Pretoria, the actual installation in Stellenbosch entailed 8 weeks of on-site building and carving, which was done in a variety of weather conditions. The amount of time, physical input and work that was invested in making this sculpture, complemented by the sheer scale of Dionysus, makes Angus Taylor a worthy winner of 2017 Helgaard Steyn Award for sculpture.

 

Artist statement by Angus Taylor

approaches concerning the external world.

In the first approach I have a healthy, but strong disregard towards everything outside my creative autonomy. When engaging with local and natural materials, the process often has, even to me, surprising outcomes 

I seek in the unknown and throughout this process, I create. When looking at the visual manifestations (the artworks) of this ongoing search, I am able to consider whether I have discovered something new and determine what it is that I have discovered. These beacons, pointers or markers then enter the world of others.

My first approach is more focussed on personal discovery. The external positive and negative feedback should remain just so, namely on the outside. For this reason, both enthusiastic appreciation and passionate disapproval are equally unimportant or irrelevant.

On the other hand, the Sotho saying Motho ke motho ka batho babang (a person is a person because of other people) is also relevant and even more so within the context where my studio thrives off the energy of a collective. Human beings are considered the most social animals on earth which leads me to believe that, if what you put into the external world (your artworks) are not understood, or in some way appreciated, or communicates to others ineffectively, then they are failures. If the artworks leave you numb, fail to stimulate a single synapse or turn something in your gut, they do not work.

However, an artwork that speaks without words can convey an understanding of the visceral nature of being, or entice contemplation, which, in turn, enables us to find more clarity and meaning. It gives depth to our life experiences. This is what I hope to achieve and receiving an accolade such as the Helgaard Steyn Award for Sculpture tells me that I, for some part at least, have succeeded somewhere along the way. This inspires me to continue seeking and sharing. Thank you to the Helgaard Steyn Trust for this incredible award.

About the Helgaard Steyn Trust

The Helgaard Steyn Trust was established in the estate of Dr J H Steyn (1902-1983) and named after his father, once MPC for Bloemfontein and the youngest brother of M T Steyn, the last president of the former Republic of the Free State. The current trustees are Me Hanneli Rupert-Koegelenberg, Mr Gerard Rupert, Mr Francois van der Merwe and ABSA TRUST LTD. The venue of presentation of the award alternates between Bloemfontein and Potchefstroom, due to the previous affiliations of the Steyn family. The vice-chancellors of the North West University (Potchefstroom Campus) and the University of the Free State are tasked annually to each appoint an adjudicator, while the third adjudicator is appointed by the two adjudicators of the NWU and the UFS. Each relevant year nominations are called for by way of public notification inter alia to directors and curators of public art museums and galleries. The adjudicators then have to choose the winner from the nominated artists.

 

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 Persverklaring

Angus Taylor aangewys as die wenner van die 2017 Helgaard Steyntoekenning vir beeldoukunstige werk

Die internasionale befaamde beeldhouer, Angus Taylor is die 2017 wenner van die Helgaard Steyntoekenning vir die bevordering van artistieke kultuur in Suid-Afrika. Hierdie toekenning is een van die grootste pryse vir die bevordering van kuns en kultuur in Suid-Afrika. Die prys word in vierjaarlikse siklusse op 'n roterende basis toegeken vir die beste werke in literatuur, musikale komposisie, skilder en beeldhoukunstige werke. Hierdie jaar was beeldhou aan die beurt. Die prysgeld beloop ongeveer R575 000. Enige Suid-Afrikaanse gebore kunstenaar kan inskryf om vir die prys in aanmerking te kom. Die prys word toegeken vir die kunswerk wat volgens die beoordelaars die mees uitstaande en verdienstelike werk in die betrokke dissipline is. Die werk moes egter in die vier voorgaande jare geproduseer word en moet ook fisiek toeganklik wees vir die Suid-Afrikaanse publiek.

Taylor, gebore in 1970 in Johannesburg, het sy eerste groot prys in 1994 verower toe hy aangewys is as die wenner van die gesogte PPC National Young Sculptor-prys [PPS se nasionale prys vir jong beeldhouers]. Hy het beeldende kunste aan die Universiteit van Pretoria studeer en sy graad in 1997 cum laude verwerf. Taylor is algemeen bekend vir sy bydrae tot publieke kuns in Suid-Afrika. Hy kies dikwels projekte wat uitdagend is en wat nie net sy eie fisieke vermoëns in die skeppingsproses uitdaag nie, maar oor die inherente beperkings van skaal en die materiale waarvan hy gebruik maak bevraagteken. Hy is 'n groot teenstander van die oprigting van monumente en die idee dat kuns die aanskouer moet intimideer. Dit is ook sy vertrekpunt wanneer hy 'n nuwe beeldhouwerk konseptualiseer. Hy streef nie net daarna om die werk meer toeganklik vir 'n wyer gehoor te maak nie, maar ook om beeldhouwerke te skep wat dikwels 'n speelse interaksie met die aanskouer ontlok.

Volgens die Everard Read Katalogus (2002) het Taylor besef wat dit beteken om 'n Suid-Afrikaner te wees toe hy in 2001 New York besoek het. Hy het toe gesê dat 'n mens slegs poësie kan skryf in 'n taal wat jy ken. Deels om finansiële redes het hy begin om werke uit klip en grond te skep. Hy het begin om Belfast graniet en rooi jaspis te gebruik, asook die oranje grond van die Witwatersrand wat hy gebind het met 'n alumniagebaseerde fondusement. Hy staan ook daarvoor bekend dat hy graag materiale gebruik wat verganklik is en maklik weer tot niet gaan. Taylor maak dikwels gebruik van materiale uit die spesifieke omgewing waar hy werk. Sy gebruik van hierdie aardse materiale het spoedig fundamenteel tot die betekenis van die werk bygedra. Die geskiedenis van die grond – geologies en histories – spreek deur die beelde wat hy skep. Of hy nou ystererts afkomstig van meteoriete gebruik of klip of rotse van vulkaniese as, hy verbind dit met die betekenis en inhoud van die werk. Hy is selfs daarvoor bekend dat hy antieke tegnieke aanwend vir die binding van grond, soos om dierebloed, eiers en kalk te gebruik.

Die drie beoordelaars vir die prys, Angela de Jesus van die Universiteit van die Vrystaat, prof. Rita Swanepoel van die Noordwes-Universiteit en

hannesburg, was eenstemmig in hul aanwysing van Taylor se monumentale beeld met die titel Dionysus as die wenner van die prys. Die beeldhouwerk is gekerf uit Belfast grabbronet, wat meer as twee biljoen jaar oud is, en wat ook 'n besonder digte klip is wat dit moeilik maak om te kerf. Die afmetings van die terugleunende figuur is 4.1 meter hoog (hy sou 8.2 meter lank gewees het indien dit 'n staande beeld sou wees) en in breedte 6.2 meter. Die beeld weeg tussen 25-30 ton en is gesitueer op die Tokara Wynlandgoed in Stellenbosch waar dit per afspraak in groepe besigtig kan word deur IS-kunsgalery.

Dit het Taylor 12 maande geneem om die beeld te voltooi, wat die konseptualisering en die modellering van die maket insluit, die modellering van 'n skaalmodel, en daarna die vergroting van die beeld tot sy werklike grootte. Daarna is die gedetailleerde elemente (soos die hande, voete, gesig, elmboë en knieë) weer in klei gemodelleer. Hierdie proses is opgevolg deur die vervaardiging van 'n staal gaasvorm wat op die klei gesweis is en wat later gebruik is om die klip te sny om die figuur te vorm. Alhoewel hierdie detailelemente in sy beeldhou-ateljee in Pretoria gekerf is, het die installering van die beeld in Stellenbosch 8 weke geduur onder verskillende weerstoestande. Die hoeveelheid tyd, fisieke arbeid en konseptualiseringsinsette in die skep van hierdie beeldhouwerk, saam met die skaal van die Dionysus, maak van Angus Taylor 'n waardige wenner van die 2017 Helgaard Steyn-toekenning vir beeldhouwerk.

Kunstenaarsverklaring deur Angus Taylor

Ek volg dikwels twee teenstrydige benaderings met betrekking tot die eksterne wêreld wanneer ek kuns skep en uitstal.

Die eerste benadering behels 'n gesonde, dog sterk, minagting vir alles buite my skeppende outonomie. Wanneer ek met plaaslike en natuurlike materiale werk het die proses heel dikwels, selfs vir my, verrassende uitkomste.

Ek begeef my in die onbekende en in die proses skep ek. Wanneer ek terugkyk op hierdie visuele manifestasies (die kunswerke) wat tydens my soektog geskep is, kan ek met redelike sekerheid bepaal of ek iets geleer het en presies wat ek in die proses ontdek het. Hierdie bakens, aanwysers of merkers, betree dan die wêreld van ander 

My eerste benadering is meer gefokus op persoonlike ontdekking. Die eksterne positiewe en negatiewe terugvoer rakende die kunswerke behoort dus op 'n afstand te bly. Daarom is entoesiastiese waardering en passievolle weersin ewe onbelangrik en irrelevant.

Aan die ander kant is die Sotho-slagspreuk Motho ke motho ka batho babang ('n mens is 'n mens as gevolg van ander mense) ook relevant, en selfs meer binne die konteks waar my beeldhou-ateljee floreer op die energie van ‘n kollektief. Mense word beskou as die mees sosiale diere op aarde en dit laat my glo dat kunswerke wat nie verstaan of waardeer word nie óf nie effektief kommunikeer nie, beskou kan word mislukte pogings. As die kunswerke jou koud laat en nie 'n enkele sinaps stimuleer óf jou maag laat draai nie, werk dit nie.

Hierteenoor kan kunswerke wat sonder woorde kommunikeer ons in staat stel om meer duidelikheid en betekenis te vind deur begrip van die intrinsieke aard van wesentlikheid oor te dra of bepeinsing te ontlok. Dit verdiep dus ons ervaring van die lewe en dít is waarna ek streef. ‘n Toekenning soos die Helgaard Steyn-prys vir Beeldhoukuns bevestig dat ek êrens langs die pad wel daarin geslaag het. Dié gedagte moedig my aan om verder te soek en te deel. Baie dankie aan die Helgaard Steyn Trust vir hierdie ongelooflike toekenning.

Die Helgaard Steyn Trust

Die Helgaard Steyn Trust het tot stand gekom uit die boedel van dr J H Steyn (1902-1983) en is na sy vader, 'n voormalige LPR van Bloemfontein en die jongste broer van die MT Steyn, die laaste president van die destydse Republiek van die Oranje-Vrystaat. Die huidige trustees is Me Hanneli Rupert-Koegelenberg, Mnr Gerard Rupert, Mnr Francois van der Merwe en ABSA TRUST LTD. Die oorhandiging van die prys roteer jaarliks tussen Bloemfontein en Potchefstroom vanweë die vorige affiliasies van die Steynfamilie met die twee Universiteite. Die NWU en die Universiteit van die Vrystaat word jaarliks versoek om elk 'n beoordelaar aan te wys om die wenner van die betrokke jaar se prys te kies. Die derde beoordelaar word deur die twee beoordelaars van dieonderskeidelik die NWU en die Universiteit van die Vrystaat aangewys. Hierdie jaar sal die oorhandiging in Bloemfontein plaasvind.

Elke betrokke jaar se benoeming word deur middel van openbare kennisgewings bekend gestel inter alia ook aan galery- en museumbestuurders en kurators. Die beoordelaars wys die wenner uit die genomineerde kunstenaars aan.

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Image credits: 

Profile picture Angus Taylor. Photo: Rhino Africa

Angus Taylor, Dionysus (2017), Belfast granite and steel, solidified with concrete, 410 x 620 x 300 cm. Photo: Ivan Volschenk. Image courtesy of the artist.

NIGEL MULLINS: Artthrob Review

November 27, 2017 - Dave Mann

Inside and Outside the Image: Nigel Mullins’ ‘Artefacts from the Anthropocene’

Nigel Mullins

By Dave Mann

November 21, 2017

CIRCA

01.11-25.11.2017

Images, at one level, document moments in time. They can come to represent how we remember and understand those moments. In the globalised image-intensive world, we tend to attach an unquestionable significance and sometimes faith to the images we see the most. We know this, but most of us tend to do little about it. Nigel Mullins knows this too.

In ‘Artefacts from the Anthropocene,’ at CIRCA Joburg, Mullins attempts to immerse himself in making sense of history. Through images of mass gatherings, political figureheads and social evolutions, Mullins invites us to consider the weave of history and its hierarchies. He’s done the footwork, the antique crate-digging, that allows viewers to journey through the Anthropocene – the age of human changes on a global scale – and consider what’s next.

‘Mass gatherings are a persistent global phenomenon,’ explains Mullins. ‘They are, for me, totally emblematic of the human-dominated now, of a global existential state. History is proof that something has to happen, one thing will always lead to another with no plausible end in itself. In a sense, I want the paintings to be outside history, not indifferent, but embroiled and fascinated.’

Mullins’ show reminds you to take a step back and consider your knowledge of history and power, and how it has been informed by a few prominent images via books, screens and posters.

Mullins paints thick, oily renditions of political leaders such as Mao Zedong and Fidel Castro, war-time medals from across the globe caked onto canvas, and densely-populated vignettes of protests, inaugurations, and celebrations. The range of images gives the show a museum-like quality. But the materials of his work offer a different narrative. Brittle frames, twisted wire fixings and bold, chunky gatherings of paint scratch at surfaces, investigate prevailing narratives, and draw moveable, applicable themes to our shared histories.  

In the painting, Portrait of Chairman Mao for example, Mao’s face is smudged, distorted and contained by a chipped and ageing frame. It is an immediately recognisable image, but the way Mullins recreates it puts forward the idea that the image you know, may not represent the truest version of history. It is beneath these layers of paint and outside of these crumbling frames, where the full story can be found. Instead of telling you how things happened, what people did, and when events took place, the works prompt you to question the myth of an image. They call into question, what’s taking place both inside and outside of a single image.

You’ll see this again in paintings such as Artefacts from the Age of Conquest and Antecedents to the Heroic Global Order which make use of wartime medals in their original colours and shapes. By using images of medals – emblems that signify power, history, and moment – Mullins  touches on the overwhelming archive of images that bear their own versions of mythical history.

In works such as in Inauguration, which puts forward a scene of hundreds of people gathered in a single frame, the myth of the image can even appear dreamlike. You can’t see the faces of the subjects, but you know, somehow, the energy of the crowd and the atmosphere of the day – like a story you’ve heard before, or a dream you can only recall parts of.  

‘History has no end,’ Mullins says. ‘It’s not a means towards an end. But our understanding of the complexity that we are in is shaky.’

 

THOM PIERCE’S "THE HORSEMEN OF SEMONKONG" – TURNING HEADS ACROSS THE WORLD

October 13, 2017 - Everard Read JHB

The first exhibition of The Horsemen of Semonkong took place at CIRCA, Johannesburg in October 2016. Since then Pierce’s work has been shown around the world as part of award exhibitions and photographic festivals. It has been featured in print and online in various publications including Vogue, Esquire and The Guardian.

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ArtSpoken & Reviews

October 10, 2017 - Sharmini Brookes

From Canaletto to Angus Taylor - Rosebank Artfest

Sharmini Brookes 10/08/2017 07:40:02
Sharmini Brookes: Rosebank is for art lovers and I enjoyed wandering from the Exhibition On Screen’s viewing of Canaletto to the Everard Read Gallery sculptures.

The Exhibition On Screen at Rosebank Mall Cinema Nouveau takes us on a tour of over 200 paintings, drawings and prints by Canaletto and some of his 18th Century counterparts which are the basis of the Royal Collection held at the Queen’s Gallery, Buckingham Place and Windsor Castle. The collection was bought by the young King George 111 in 1762 from Joseph Smith, the British Consul in Venice and a speculative art dealer who targeted the lucrative British market for landscape paintings to both advertise their knowledge of the Grand Tour many had undertaken and to remind them of the places they visited. He quickly moved away from other popular landscape painters of the time to collecting Canaletto because, as he explains to his clients, one can feel the sun in his paintings.

The film takes us to Venice too so we can compare the real views with Canaletto’s interpretation of it and takes pains to argue that while it may seem almost photographic in appearance due to the fine detail and painterly skill of capturing the picturesque textures of surfaces as well as the architectural accuracy of the buildings, Canaletto ordered and designed it to his particular taste and viewpoint, peopling it with characters that were real enough but not necessarily in the scene at the time and moving columns, structures and objects to realise his artistic vision. A sketchbook, showing detailed topographical and architectural drawings backs up the view that Canaletto painted in his studio – assembling the drawings he had made while out and about to recreate his view of Venice – and yet his view of Venice seems ultra-real in the way we remember places we have visited some time ago.

From the ‘Feast of the Ascension in Venice’ to the ‘Regatta at Ca’ Foscare’ to the many views of San Marco square, these paintings are a delight to view. There are also his paintings of London, when he spent time there, of views overlooking the River Thames.

A few streets down from the Rosebank Mall, at the corner of Jellicoe and Keyes Avenue, is the Everard Read Gallery. People say that once you have your work exhibited here, you have made it as an artist. A South African of Scottish heritage, Angus Taylor could be seen at home amongst his monumental sculptures fully togged in kilt and sporran. His exhibition here is entitled ‘In The Middle Of It’ and suggests where he finds himself at this point in time – beyond the first anxieties of a struggling artist at the beginning of his career – his being between the first and third world – between Africa and Europe – and immersed in the challenges of his work.

The first work, ‘Resistance As Nurture’, we see are a series of small bronze figures in various stages of struggle with pieces of stone revolving around within a transparent box in a never ending revolution. It initially reminded me of some of Kentridge’s mechanical art pieces but also of Sisiphus’s eternal struggle carrying his rock up the mountain. Later on in the exhibition, these figures are lined up in a row and we can peruse them in greater detail. Then one notices how the pieces of stone or rock are slowly added on becoming almost unbearable in the middle but towards the end many drop off leaving two pieces that look like angel’s wings or one on the leg looking like the wing on Mercury’s feet suggesting a kind of lightness and freedom. This work, probably, best sums up the title of the exhibition and the artist’s view of where he sees himself.

In the second room are the monumental statues of ‘The Gatekeeper’ with a red Jasper head and another with arm outstretched but what looks like a Graphite head. The bronze is roughly hewn and riveted together with bolts and moulded to form the immense body. There is an attractive quality to the un-smoothness of the texture – it shows the work put into it and somehow makes it more human and less godlike. I notice though that the hands and feet are delicately carved – showing the fragile detail of knuckles and lines and the well-formed nails – a reference perhaps to the refined delicacy of the artist’s hands in making these works.

The stones – red Jasper formed a billion years after the earth was formed; black Belfast Granite, harder than normal Granite because the linkages between the molecules of metal are more flexible and so it is not so brittle; stone with various stages of iron in it or with bits of quartz and silica – are found pieces picked up in Belfast and Rustenburg and are quite beautiful.

The final piece made with strips of metal fills a whole room and is of a man seated on the ground with his legs folded to one side and leaning his weight on one hand. The monumentality of the piece belies the tender vulnerability of this pose. A photograph of the same piece made in stone is shown installed in a public park or garden.

This is an exhibition I was glad to have seen and heartily recommend a viewing. One feels almost exalted at the end of it.

Canaletto and The Art of Venice is on at Ster-Kinekor Cinema Nouveau from Saturday 7 October.

Angus Taylor – In The Middle Of It is showing at the Everard Read Gallery until 2 November 2017.


Sharmini Brookes
Freelance writer
sharminibrookes@yahoo.co.uk
078 477 6938
 
Related Venues:
Everard Read Gallery, 6 Jellicoe Avenue Rosebank Johannesburg

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Spotlight on FNB JoburgArtFair 2017

September 15, 2017 - Artthrob

Joburg Art Fair talks and discussions

FNB JoburgArtFair 

Image and text curtesy of Artthrob.

 

Talks, talks, talks

The FNB JAF Talks Programme always delivers and there were some real winners lined up this time. Robin Rhode, The Armoury Show executive director Benjamin Genocchio, and a mammoth conversation around the 10th Berlin Biennale. Two group chats were particularly memorable: Lady Skollie, Zohra Opoku, Peju Alatise, Sethembile Msezane (moderated by Pulane Kingston) and Penny Siopis, Sue Williamson, Mmakgabo Mapula Helen Sebidi in conversation with Dr. Zoe Whitley.

 

 

 

For more information please contact Kylie Serebro at kylie@everard.co.za 011 788 4805 

BETH DIANE ARMSTRONG TO OPEN AT STANDARD BANK GALLERY

August 3, 2017 - Everard Read JHB

Beth Diane Armstrong

Standard Bank Young Artist 2017

in perpetuum

 

in perpetuum is a sculptural exhibition centred on contrasting variations of density and looseness. Accompanying her 2017 Standard Bank Young Artist Award for Visual Art, the exhibition highlights Armstrong’s use of sculpture to explore different expressions of these two terms in relation to scale, structure, materiality, space, representation and process.

 

3 August, 2017 marks the opening of Armstong's solo show, in perpetuum at the Standard Bank Gallery, Johannesburg.

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TURBINE ART FAIR: FIVE YEARS ON

July 13, 2017 - Everard Read JHB

The annual Turbine Art Fair will celebrate its fifth consecutive opening on Thursday, 13 July 2013. The fair, which showcases some of South Africa’s finest contemporary art, offers audiences a chance to view and buy work from established as well as emerging local artists.

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LIBERTY BATTSON CURATES THE CONFESSIONAL

July 13, 2017 - Everard Read JHB

10 July, 2017 marks the opening of The Confession; a group show curated by 2014 L’Atelier Art Competition winner and Everard Read represented artist, Liberty Battson.

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