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Looking back, looking ahead: Strauss & Co’s bumper harvest

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Strauss & Co posted a record turnover of R215 million in 2016, the highest combined income achieved by the company in a single year since its inception in 2009. While the narrative around individual sales matter, it was Strauss & Co’s capacity to achieve a sell-through rate of over 80% at its four live auctions in Johannesburg and Cape Town that contributed to its resounding performance. The outstanding result is a testament to Strauss & Co’s capacity to bring quality work to the market, an aptitude that is also evident in the strong suite of work – by among others, Irma Stern, JH Pierneef, Peter Clarke and Mikhael Subotzky – assembled for the company’s 6 March 2017 sale at the Vineyard Hotel in Cape Town.

TELLING THE STORY: DEO GRATIAS By Billie McTernan

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Standing in a dimly lit studio Kate Tamakloe is trying to remember where she last saw the photo of a major that served in the Ghanaian army. As she does I peer through the frames on the walls at year old faces – some are recognisable, others aren’t. Studying pictures is reminiscent of opening a time capsule or an old family chest full of fading images and memories.

Goodman Gallery Presents Three Booths at 2017 CAPE TOWN ART FAIR

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Goodman Gallery will present three booths at the 2017 Cape Town Art Fair (CTAF), held from 17-19 February 2017 at the Cape Town International Convention Centre. In addition to a group exhibition in the main section of the fair, the gallery will participate in two of the show’s special features  Tomorrows/Todays and Past/Modern – as well as launch Kudzanai Chiurai’s new monograph as part of Woodstock Art Night. 

Footprints: In Conversation with Andrew Tshabangu and Thembinkosi Goniwe

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On 18 February 2017 the Standard Bank Gallery in Johannesburg will host an exhibition that covers the last twenty years of South African photographer Andrew Tshabangu’s career. Born in 1966, Tshabangu has played a significant role in redefining the visual landscape of South Africa, working alongside the likes of Bob Gosani, Ernest Cole, Peter Magubane, Alfred Kumalo, Omar Badsha, Santu Mafokeng, and David Goldblatt. While his black and white photography has certain ‘documentary’ qualities, Tshabangu’s work lends itself to a more poetic vocabulary, and is often described within the framework of magic realism and surrealism.
 

Eddy Kamuanga Ilunga by Billie A. McTernan

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The Mangbetu people, they say, migrated from present day South Sudan between the 18th and 19th century, southwards towards the Democratic Republic of Congo (DRC) where they eventually settled in the North Eastern part of the country, in what is now the Orientale province.

Ben Osaghae (1962-2017)

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By Jess Castellote

It is less than four months since we mourned the death of Sammy Olagbaju, less than two since Rasheed Gbadamosi passed away and now, we are confronted with the death of Ben Osaghae.  Rasheed, I knew him well, but Sammy and Ben were personal friends. In 2012, with the help of Sammy, I published a book: “Nigerian Contemporary Art in Lagos Private Collections”. Just a couple of years ago, Akinyemi Adetunji and I wrote “Ben Osaghae. Visual Chronicles of a society in flux”, a book monograph on Ben.

Kendell Geers to Speak at BOZAR: Afropolitan Contemporary Art Festival

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The Afropolitan Festival is three days of exceptional programming dedicated to Afropolitan art, creativity and state of mind, presented by BOZAR and its partners. Taking place from 3rd to 5th February Afropolitan Festival is a celebration of the Belgian and European artists of African descent currently boosting the European cultural scene. This edition features a special focus on the Belgian Congolese diaspora, on Afropolitan artists in the contemporary art scene, and on the bridges between Sub-Saharans and North Africans. 

SOUTH-SOUTH: Let me begin again

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In the second edition of the South-South series, Goodman Gallery presents Let me begin again, an exhibition drawing parallels between artists from the Global South, looking at and beyond the afterlife of political revolution. The show reveals cross-cultural influence and divergence – both historical and recent – between countries such as Cuba, Brazil, South Africa and Angola, as well as Mozambique, and Namibia; featured artists born in or living between these countries or in the diaspora.

Inclusions: In Conversation with Stephen Allwright

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On show at SMITH Studio is Stephen Allwright’s current solo exhibition, Inclusions, where he explores his own emblematic shorthand, an inverted form of self-portraiture, as well as the extent of ink in resonating with the images forming in his mind. ART AFRICA got to sit down with Stephen to find out more.

The Work & Life of Lilian Mary Nabulime

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Lilian Nabulime is a well-established contemporary female Ugandan artist with a long history and passion for wood carving. A graduate of the Margaret Trowell School of Industrial and Fine Art (MTSIFA), Nabulime was taught by one of Uganda’s greatest sculptors, Francis Nnaggenda, whose influence is evident in her work, not only in their large scale execution but through her use of wood, most notably Kavuyo (1993) and Meeting Point (2014).

SATURN RETURN: In Conversation with Kirsten Sims

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Kirsten Sims is a visual artist working in Woodstock, Cape Town. She holds an honours degree in Illustration from the University of Stellenbosch, and is currently busy with a body of work for her fourth solo show at Salon Ninety One, her representative gallery. During 2015 Sims held her second solo exhibition at the Alison Milne gallery in Toronto, Canada. The Artist represented Salon91 at the Turbine Art Fair during 2015 and 2016, and will be doing so again in July this year. She regularly participates in group exhibitions in South Africa and is in the process of writing and illustrating her second children’s picture book. Kirsten tells us we can expect a preview of her work for her upcoming solo show, Saturn Return, at the Cape Town Art Fair in mid-February.

Jennifer Morrison at Graham’s Fine Art Gallery

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“Whether it is a plant or clouds or smudges on a wall, these can all serve as inspiration for me and act as a starting point for a painting. My inspiration comes from the world around me and then it becomes something of its own. It is sifted through my memory and my imaginings.”

Yellow is the Colour of Water

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On the top floor of an incomplete one-storey building, portraits of Ghanaians – mostly females sitting among yellow jerry cans – hang on the unpainted walls. Others hang on abandoned scaffolds left in the building. These paintings are new artworks by contemporary Ghanaian artist Jeremiah Quarshie, some of which appear a bit exaggerated; but the near realness of Quarshie’s application is a testimony to the ‘hyper-real.’

Spotlight on the Art of Darkness

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The artworld is directing its eyes to the once called ‘dark continent’ with promises of inclusion. In Kinshasa – The Democratic Republic of Congo – the Kin ArtStudio is showing resistance to fierce attempts of appropriation while claiming its contemporaneity and global relevance.
 

The Kenyan Art Scene

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Kenya’s up-and-coming artists are increasingly finding spaces outside of the conventional galleries to exhibit their art. Crossing borders & breaking moulds: Margaretta wa Gacheru writes about Kenya’s burgeoning art scene.

The Rise of the New African Galleries by Valerie Kabov

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The rise of African contemporary art in the international gaze has been more than well documented. But the enthusiasm, has overshadowed an analysis of how this interest has affected the ecology of the African art sector as a whole. While international interest is powering ahead it does so in the context of art infrastructure and gallery sector on the continent largely under supported and under-developed and local markets only beginning to emerge. As a consequence, the international market interest to date has been largely benefitting individual artists represented by international galleries, with trickle down economics working the same way as they do elsewhere to support the growth and economic sustainability of the local art sectors. We see this at forums such as 1:54 African contemporary art fair, where even in its present 4th edition only 16 out of 40 participating galleries are based on the continent.

South Africa the Art of a Nation | British Museum, London By Siobhan Keam

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The task of exploring a thousand years of a country’s history in one exhibition – particularly one with as contested a history as South Africa – is not an easy one. Yet the British Museum has managed to create an exhibition that is informative and well curated, offering new and surprising insights even for a South African audience. ‘South Africa: the art of a nation’ is a thoughtful journey through the artistic history of the country, from as far back as three million BP through to 2013. While you might think an exhibition of this scope would take the form of a purely chronological curatorial structure, Chris Spring and John Giblin’s sensitive juxtaposition of contemporary work with ancient art objects creates a lively conversation between past and present work.

'In Context: Africans in America:' In Conversation with Julie Mehretu

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"At any given moment in time, as I work on a piece, events are unfolding around me, and are a part of my life, the studio and my practice – the Arab/African Spring is one example. I had the news on constantly as I was painting. This all finds its way into my work; to embrace the various histories, contradictions, and complexities; to mash them up, bind them and maybe find the breaks."

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