Dylan Lewis, the Cape Town sculptor who in the 2000s achieved international acclaim for his gestural sculptures of feline predators, is currently showing a selection of his new works at the Kirstenbosch National Botanical Garden. The exhibition, entitled Untamed, features a selection of his recent animal-human figures.

The way in which cities are seen and recorded by artists is of increasing interest to social scientists. Edgar Pieterse, director of the African Centre for Cities (ACC), an inter-disciplinary research centre based at the University of Cape Town, has made looking at art about cities integral to his enquires into urban development. Counter-Currents, a recent edited volume of the ACC's research, included many examples of how artists have interpreted Cape Town's urban sprawl.

Musa Nxumalo, the young Johannesburg photographer whose black and white photos of Soweto youth with a deep-seated love for alternative rock propelled him into the national spotlight last year, is due to show new work at Johannesburg's Afronova Gallery (September 17 – October 16).

After six years at the helm of Art South Africa, Sean O'Toole is stepping down as print magazine editor. This spring edition of the magazine, on shelves in September, will be his last.

Thank you Sean for your hard work and dedication - Suzette, Brendon and the Art South Africa team.

"Painting is unforgiving, instantly revealing levels of integrity, which can be veiled in other mediums," states Lisa Brice in an interview with fellow painter Godfried Donkor in the spring 2010 edition of Art South Africa.

Jodi Bieber's recent Time magazine cover shoot of Aisha, an 18-year-old Afghani woman mutilated by her in-laws, is a big conversational topic right now. Art South Africa applauds Bieber for her reportage work. It bears noting, however, that Bieber isn't the only South African photographer to shine abroad in recent weeks.

The particularities and grit of South Africa's interregnum have, to a large extent, dissipated.

South African literature has always been constitutionally focused on the now even when framed as historical or speculative, writes Andrew van der Vlies