Young Port Elizabethan artists are uncompromisingly disaffected, writes Tim Hopwood. They're also uniquely on the money

In the early 1970s Fred Scott started collecting art. He discusses the ongoing conflation of the words "collecting" and "investing", and what exactly distinguishes them

A New York publisher has commissioned a 304-page hardcover book on contemporary South African art. author Sue Williamson reveals more about her book project

Paul D Miller, aka DJ Spooky that subliminal kid, is a New York-based electronic music composer with a habit of collaborating. Aside from Yoko Ono, Merzbow and Arto Lindsay, he has also worked with Fernando Alvim and Berni Searle

Visual Century, a new multimedia publishing initiative funded by the dac, aims to promote a critical reappraisal of South African art history, writes Gavin Jantjes

The routine is familiar: a big corporation sponsors an art competition, artists submit work, finalists are selected, someone wins, And then, like clockwork, an article appears whining about art sponsorship. Not again!

Working collaboratively with art learners from Soweto's PJ Simelane High, artists David Andrew and Marcus Neustetter set out answer radical theorist Felix Guattari's question: "What if the classroom operated like an artwork?" By Brenden Gray

Marlene Dumas, who recently won the 2007 Dusseldorf Art Prize, one of Germany's richest art awards, is currently preparing for a mid-career survey exhibition organised by the Museum of Contemp orary Art, Los Angeles, and MOMA, New York. Drawing from the artist's own statements on her working methods and referencing key paintings from her South African survey exhibition, Intimate Relations, Virginia MacKenny argues that it is in her non-traditional and perhaps aberrant app roach to oil-painting that Dumas breaks ground painting 'anxious' surfaces that are integral to the meaning of the work

Doing it for Daddy is a trio of riot grrrrls committed to collectively pioneering a new brand of 'rugged conceptualism'. They talk to Papa Large

The Dead Revolutionaries Club is a self-styled clique of mad, politically incorrect black people. Simba Sambo chats with three members. The Dead Revolutionaries Club is Art South Africa's second Bright Young Thing(s) for 2008

Alhyrian Laue's sexualised constructions, while inviting closer inspection, rarely offer clues to their meaning. By Tim Hopwood

Lerato Shadi's performances are proclamations sent to the universe. By Sean O'Toole

Photo books have long served as the hard currency of the photographic world. Rory Bester surveys a raft of new photography publications released locally and abroad

Kay Hassan moved into a new studio last year, a dedicated space behind his Troyeville home. Rory Bester visited the artist, chatting with him about showing locally, exhibiting internationally and making work outside his studio

The Tallinn Print Triennial, held last year in Estonia, is a valuable sounding board that resonates with the shifting power of the print-visual, writes Dominic Thorburn

During his 24-year exile, photographer George Hallett lived in England, France and Holland. Focussing on his formative English period, Christine Eyene argues that Hallett's practice was consistent in its quest to give history a human face

Statistics. By 1900, 13% of the world's population had become urban. This year, half of the world's population will live in urban areas. By 2030, three out of five people will claim a metropolitan identity. The city is the defining leitmotif of our age, here as elsewhere. In particular, it is the here that interests us. South Africa.

Is it possible for public art projects to address issues of social and cultural justice? Yes, argues Zayd Minty in his profile of doual'art, a Cameroonian public art organisation