What do you do if you're not earning big bucks yet still want to buy some art for your walls? Kim Gurney investigates
The pricing of Joachim Schönfeldt's beautifully conceived three-headed lioness sculpture, recently exhibited in Johannesburg, offers a rousing critique of the local art market. So why isn't anyone talking about the issue, asks Rory Bester
An advert showing the outline of a woman seated, her shape rendered using cut-up maps, has landed a Johannesburg advertising agency in hot water. Kim Gurney discusses the wider implications of the Gerhard Marx case
The art market requires some unusual metaphors to account for spurts of growth. Kim Gurney investigates the recent rise in value of earlier twentieth century South African art
Despite seeing his optimism thoroughly defeated by eKapa, Edgar Pieterse was nonetheless inspired by a Kenyan speaker's provocative suggestion
The happy days of post-independence are over, says N'Goné Fall, and culture in Africa is at a crossroads
Siobhan McCusker I The Substation I Johannesburg
Even when you're staging polemical debates hosts should respect basic party etiquette, writes Storm Janse van Rensburg
Call it anything you want, says Rory Bester, but the fact is South Africa desperately needs a large-scale exhibition
The recent Sessions eKapa might have comprised an elaborate plot of farcical denouement but it also offered incisive food for thought, writes Kim Gurney
On the edge of wrong I Labia I Cape Town
The itinerant exhibition has the potential to activate a concept of the post-apartheid as a particular manifestation of the postcolonial, argues Premesh Lalu
Instead of retreating into the binary space of violence, it might be time explore the interstices of marginality, says Noëleen Murray
eKapa launches in a year of numerous similarly-styled mass spectacles. By Kim Gurney
Even the packaging of eKapa was problematic, reports Kim Gurney
There has been a noticeable upswing in the prices paid for South African paintings. Kim Gurney investigates the trend
Relations between the South African visual arts world and its African neighbours are currently in the spotlight. Kim Gurney reports on various initiatives planned to remedy the country's perceived isolation
Documented, critical research into walter Battiss's happenings is limited. A new book, published to coincide with a retrospective show of his work, corrects this with an essay by Kathryn Smith
The revitalisation of Johannesburg's inner city is tentative but real. Angelique Serrao looks at how the visual arts are participating in this process
Pierre Bourdieu once dismissed photography as an art that imitates art. BUT IT'S ALSO COLLECTABLE,
WRITES Kim Gurney
From 34 Long Street to Room 14, Graskop, Art South Africa profiles the country's new (or sometimes just improved) galleries
I must start by reporting a case of theft. I would not have written this book if 20 kilograms of my intellectual property had not been stolen by a baggage handler at Athens Airport. It's a long story, going back more than ten years, but I think you might enjoy it. I would like to present it as my credentials: it explains why a novelist would go where an art historian fears to tread.
The expression "But is it art?" has been framing challenges to visual culture since early modernism. In South Africa, the dance fraternity is finally catching on.
Above Nadine Gordimer's writing desk is a Teke mask, from the Congo. It's been hanging there, since she steamed up the Congo River in 1960. The mask is flat, with curvilinear and geometric designs, says Karel Nel, whose expertise on African art is sought by Sotheby's. "It's always been in front of her," he says of the mask, reminding her of where she is, in Africa.
In May 1960, the members of Polly Street Art Centre were seen as independent artists at an exhibition of Urban African Art organised by the Johannesburg Committee of the Union Festival.
In the last decade new manifestations of documentary photography have emerged that allow for more creative responses to what was a highly conventionalised genre. This is significant in a medium that remained largely unchanged in its formal and conceptual elements throughout the apartheid era.
In this brave new world of global media kings and high gloss publications, what has replaced the homebrewed cultural zine of yesteryear? Perhaps the angry poets and leftfield editors with ink stains on their fingers have turned to blogging — the new digital vanguard?
In June 1995 a new Afrikaans-language porn magazine, published by the owners of the South African edition of Hustler, hit the market. The title, Loslyf, roughly translates as "loose body".
Penny Siopis, an artist and Professor of Fine Arts at Johannesburg's University of the Witwatersrand, will be the subject of an extensive monograph published by the Goodman Gallery.
Ever since French fashion designer Paul Poiret let his love of Russian Impressionist paintings spill over into his dress designs, there's been an undeniable borrowing of art in the fashion world.
A paradox lies at the heart of 10 Years 100 Artists, a sumptuous new publication listing the biographies of 100 South African artists. The editor outsourced the selection of the artists to 15 writers with different backgrounds, experience and opinion in an attempt to be broadly inclusive. Many of the writers in turn applied a particular selection bias which, though openly declared, resulted in a book skewed towards emerging artists and new media.
After dragging the Johannesburg Art Gallery (JAG) through years of misguided and inappropriate leadership, grossly inefficient management and a general lack of any creative vision, Rochelle Keene has finally stepped down. Taking the helm is Clive Kellner, who is now faced with the exciting task of leading JAG from the Keene quagmire into a new position of strength.
According to the press release, this was the first year that the country's premiere fashion showcase, SA Fashion Week, had (limited) tickets available for purchase by the public. For the past seven years it's just been open to industry and media types; this year normal people were allowed to be there too.
The road of red soil that leads to Samson Mudzunga's house could not be more rustic or unaffected. Mudzunga's house, at the foot of a hill, is neither. It is an obvious sign of his wealth and success. Mudzunga lives in the town of Mphephu, in the Limpopo province.
Earlier this year I decided I had experienced once too often the inaccessible language of the seminars offered by the Wits Institute for Social and Economic Research (WISER), which was established at the University of the Witwatersrand in 2001.
Khwezi Gule, Brett Kebble Awards Curatorial Fellow
As the first Brett Kebble Art Awards (BKAA) Curatorial Fellow, my participation in the selection process was very enlightening.
South Africa-born photographer Gary Schneider is receiving a great deal of attention in the United States. A major retrospective, Gary Schneider: Portraits, closed recently at Harvard University and is en-route to The Contemporary Museum, Honolulu.