Ayesha Price

b. Cape Town, 1975.
Ayesha Price is an artist and art educator who works in various media, often addressing issues concerning gender and cultural identity.

Arts Education


2008-present Bachelor of Visual Arts, University of South Africa
1996 Diploma in Education – Practical Specialisation in Visual Arts Hewatt College of Education (in association with UCT)

Employment


2010 Principal, Zonnebloem Children’s Art Centre, Cape Town
2009-2010 Educator, Iziko South African National Gallery
2008-2009 Visual Arts Education Officer, ISANG1998-2006 Visual Arts Educator, Zonnebloem Children’s Art Centre
2000 Fundraiser, South African National Zakaah Fund
1998-present Art educator and manager of art departments at Iziko SA National gallery and The Children's Art Centre, Cape Town
1997 Visual Arts Educator Grades 4-7, Battswood Art Centre

Exhibitions (solo)


2013 Save the Princess, Lovell Gallery, Cape Town
2012 Archiving the Modesty of the Cape Malay Woman, Art B Gallery, Bellville, South Africa

Exhibitions (group)


2016 Beyond Binaries. Essence Festival, Durban
2016 Delville Wood Museum, Longueval, France
2015 Thupelo Cape Town Trust Exhibition, Provenance Auction House, Cape Town
2007 Africa South, Association for Visual Arts, Cape Town
2006 Artscape, Cape Town (for the Cape Town Festival). Botaki 4, Old Mutual Asset Managers, Pinelands, Cape Town
2005 Botaki 3 & 4: Old Mutual Asset Managers, Cape Town.
2004 Gender & Visuality Exhibition, UWC (History Dept). Battswood Gallery, Cape Town
1999 DisNag, Iziko Slave Lodge & ART 1 Gallery, Cape Town

Workshops & ongoing community projects


2005-present District Six community workshops, Lydia Williams Centre, Cape Town
2004-present Member of art@school.education.com< /a>(voluntary organisation) with Cape Town artists to engage youth and communities through visual arts
1997-present Assisting schools (Zonnebloem Girls Primary, St Agnes Primary, Wynberg Senior Secondary, Al-Wafaa Preschool, Walmer Primary) with banners, signs, stage props and decor, costumes, posters, exhibitions

Workshops/Community projects (previous)


2016: District 6 Museum Peninsula Memory Project. Public participation to produce commemorative artworks. Steel sculpture, video installation, mixed media murals.
2015 Thupelo Artist’s Residency, Ruth Prowse, Cape Town
2011 Mural Painting, Philadelphia University of the Arts, Cape Town & Philadelphia, USA
2010 Strengths & Convictions, Nobel Peace Center & Iziko Museums, Cape Town
2008-2010 Visual Arts Educator and Exhibition Designer for Peacejam Foundation Youth Programmes (Unesco funded project)at the District Six Museum and ISANG Annexe
2008-2009 British Council: ‘Rivers of the World’, Workshops in Cape Town, exhibition in London
2008-2009 Visual Arts Educator and Exhibition Coordinator for Peripheral Vision, a cultural youth exchange programme between District Six Museum and Swedish Arts and Culture Centres: Lava, Zenit, BotkyrkaKunstall
2007-2008 Rivers of the World International Art Project (worked with learners to produce artworks about the Liesbeeck River)
2007 Oorwinning Kanala, Photography workshop , Goodman Gallery, Cape Town
2007 Photographic workshop for District 6 youth with artists Hussein and Hassan Essop for the Goodman Gallery Cape at the Lydia Williams Centre
2002 Isivivane solwazi, Robben Island Museum, Western Cape, South Africa & Devon County, United Kingdom
2002 Visual Arts Educator, Isivivane Solwazi Art and Culture programme, Robben Island Museum Spring School
1999 Mural painting facilitator, Words and Vision, Molo Songololo Productions

Collections


Private, South Africa
Delville Wood Museum, Longueval, France

Commissions


2014 Injustice, sculpture commissioned by V & A Minstrels for Cape Minstrel Carnival
2005 Ti Koeli’s heritage, painting commissioned by The Department of Economic Development and Tourism, Art in Business exhibition at ArtsCape.
2000 Shine Where You Are ; Lulama’s Blanket, Book illustrations commissioned by IDASA
1999 South African National Zakkaah fund. Also private

Awards


2013 The Excellence Certificate for top UNISA 4th year Visual Art student in SA

Other


2006 Visual Art Adjudicator, Fairest Cape Association
2005/6 Contributor (text and photographs), Iziko EPP Publication Picasso and Africa
2004 Reviewing & consulting arts & culture handbook for learners & Educators, Oxford University Press
2003 Visual Art Adjudicator, Lovelife. Textile Workshop, MAPPP-SETA
1997-2003 As member of the Arts Junction (youth arts productions) planned art workshops, exhibitions, production of posters, pamphlets, set & costume design
2000 Book illustrations for IDASA (Project Literacy). Book titles: Shine Where You Are; Lulama's Blanket
1999 Member of the Arts Forum, based at Battswood Art Centre

Brendhan Dickerson

b. Johannesburg, 1968. Lives in Switzerland.

Brendhan Dickerson’s satirical sculptures draw influence from politics and popular culture. He is particularly interested in interactive and kinetic sculpture.

Art Education


1995 Graduated with distinction, Masters in Fine Art (sculpture), University of Cape Town.
1991 Graduated with distinction, BA in Fine Art (sculpture), University of Cape Town.

Exhibitions (solo)


2007 Living conditioned,Erdmann Contemporary,Cape Town.
2004 Suspended Disbelief,Association for the Visual Arts,Cape Town.
1997 A Carnival Show,AVA,Cape Town.

Exhibitions (group)


2010 Recent and New Works, Erdmann Contemporary, Cape Town.
2005 South African Art 1840 – Now, Michael Stevenson, Cape Town.
2000 Cast, Albertyn Stables Art Gallery, Simon’s Town. A Celebration for Bringing New Hope, Bell-Roberts Fine Art Gallery, Cape Town.
1998 SA Sculpture Today, Oudtshoorn Festival.
1996 Four Young Artists, Newtown Gallery, Johannesburg.

Exhibitions (international)


2008 Myerson Fine Art, Menier Gallery, London. Paul Smith, Albermale Street, London.
2001 Fire-sculpture performance on the Rhine,Basel , during a three month residency in the IAAB International Artist Exchange Programme.
1998 Lifetimes: An exhibition of South African Art, Out of Africa Festival,Munich.
1995 International Exhibition of Art Colleges, Hiroshima.

Fire Sculpture Performances


2008 (untitled), launch of The Gordon Institute, Hiddingh Campus, University of Cape Town.
2007Succession Debate Art Seasons South Africa, Paarl. Later extended and performed in District Six, Cape Town as part of X-Cape; Cape 07 Biennial.
2005 Klein Karoo Kunstefees.From Father to Son Grahamstown Festival and Aard-Klop arts festival, Potchefstroom.
2002 With improvised trumpet and percussion, launch of the Spier Outdoor Sculpture Biennial.
2001 Diner’s Club Joubert Park Public Art Project, Johannesburg.

Other


2006-2009: Sculpture Lecturer (part time), Fine Art Department, University of Stellenbosch.
2003 Arts and Crafts Instructor at the Estuary Centre, Swords, Co Dublin, Ireland. Designed and implemented a ceramics programme for mentally handicapped adults.
2002 Guest lecturer, Wits School of Arts, University of the Witwatersrand, Johannesburg.
1999-2000: Lecturer, Michaelis School of Fine Art, University of Cape Town.
1999 Not For Sale, a collaborative musical event at the Independent Armchair Theatre, Cape Town, featuring improvisations on wrought iron percussion sculpture. Accompanied by double bass.
1998 Contributed to Public Eye’s Heritage Day Public Sculpture Intervention Project: Caged stone lions at Rhodes Memorial, with metal scroll: From Rape to Curio.
1995 -1997: Lecturer, Michaelis School of Fine Art, UCT.
1996 Consultant and facilitator to the “Sculptures in Wood” project, Association for the Visual Arts, Cape Town.
1994 Mentor to craft development projects, Small Business Development Corporation, Cape Town.
1992 -1993 Co-ordinator, product developer and trainer, Montebello Design Centre, Cape Town.
1992 Established and ran a blacksmith’s forge, Montebello Design Centre.
[accordion title='Commissions']
2008 The Gordon Institute.
2007 Art Seasons South Africa.
2005 Grahamstown Festival.
2002 Spier.
2001 Joubert Park Public Art Project.

Awards


1995 Merit Award, International Exhibition of Art Colleges, Hiroshima.

Collections


IDASA, South African National Gallery, Johannesburg Art Gallery, Durban Art Gallery, Oppenheimer Collection, Wooltru, SAB Miller, Webber-Wentzel Bowens, Sandton Hilton, Vodacom, Old Mutual,J.P. Morgan.

Links

Celestino Mudaulane

b. 1972, Maputo Mozambique.

Mudaulane (Mondlane) produces innovative, often monumental ceramic sculptures as well as large, striking drawings. His works are highly imaginative, visualizing a world that mediates the material and the spiritual, the playful and the confrontational.

(Please note that this page is under construction)

Education


1997 Faculty of Fine Arts, Porto (workshop or internship)
1997 University of KwaZulu Natal (workshop or internship)
1994 Art Foundation, South Africa (workshop or internship)
1992 Completed ceramic course, National School of Visual Arts (ENAV), Maputo

Positions held


Founder member, Muvart
Member, Nucleo de Arte, Maputo
Lecturer in ceramics, design and drawing, National School of Visual Arts (ENAV), Maputo

Solo Exhibitions


1997 Núcleo de Arte, Maputo

Group Exhibitions (Mozambique)


2010 Ocupações Temporárias, Maputo
2006 Expo Arte Contemporanea, Museu Nacional de Arte, Maputo
2003 Quero conhecer-te África, Fortaleza de Maputo
2003 Bienal da TDM, Museu Nacional de Arte, Maputo
2003 Exposição Colectiva de Artes Plásticas, Instituto Camões, Maputo
2002 Exposição de Pintura, Desenho, Escultura e Cerâmica, Fundação Alberto Chissano, Maputo
2001 Bienal TDM, Museu Nacional de Arte, Maputo
2001 Contra a Violência Infantil, Centro Cultural Franco-Moçambicano, Maputo
2000 Plasticidades em Moçambique, Instituto Camões, Maputo
1999 Expo Annual Musart, Museu Nacional de Arte, Maputo
1993 2º Workshop, Escola Nacional de Artes Visuais, Maputo

Group Exhibitions (International)


2014 Celestino Mudaulane, Goncalo Mabunda, Mauro Pinto, Galeria 111, Lisbon, Portugal
2011 Idioma Comum, Fundação PLMJ, Lisbon, Portugal
2008 Arte Lisboa 08 - Feira de Arte Contemporânea, FIL, Lisbon, Portugal
2007 Muvart Nouva Africa, Antico Palazzo della Pretura di Castell ‘Arquato, Milan, Italy
2006 Arco’06 - Feira de Arte Contemporânea, Madrid, Spain
2006-08 Replica e Rebelda, travelling exhibition organized by the Camoes Institute
2004 Arte Lisboa 04, Lisbon, Portugal
1997 Exposição de Pintura e Cerâmica, Escola Secundária de Soares dos Reis, Porto, Portugal

Awards


2003 1º Prémio de Cerâmica, Bienal da TDM, Maputo
2003 Prémio de Consagração, Fundação Alberto Chissano, Maputo
1999 1º Prémio de Cerâmica, Expo Annual Musart, Maputo

Publications


2007 Muvart Nouva Africa, Antico Palazzo della Pretura di Castell ‘Arquato, Milan (catalogue/ brochure), Pedro Campos Costa (curator)
2006 Museu Nacional de Arte, Maputo Expo Arte Contemporanea (catalogue, international exhibition
2001 Bienal TDM (catalogue). Edited by Andre Salamao Mabjala and Ciro Pereira
1999 Expo Annual Musart. Museu Nacional de Arte.

Donovan Ward

b. Cape Town, 1962. Lives and works in Cape Town.

Working innovatively with found objects, images, text and paint, Donovan Ward provocatively addresses issues of globalisation and identity.

Barbie Bartmann: Homecoming Queen [review]

© Mario Pissarra, 1/06/2005

 

English critic Mathew Collings says that art today is little more than a sound-bite, and he can’t recall when last he was seriously ‘challenged’ by an artist’s work. Ward’s latest exhibition, a series of Barbie dolls modeled on Sarah Bartmann, which are (mostly) dressed individually and displayed for sale on a glass shelf, tests Collings’€™ ideas. One could quickly construct not one but several soundbites: the displacement of a Eurocentric ideal by an Afro-centric one; the transformation of Sarah Bartmann into a symbol, an icon, and consequently a commodity; an iconoclastic, ‘lite’€™ treatment of a serious subject… Viewed as sound-bite art one can imagine offence being taken at this latest objectification of an already objectified, tragic figure, and Ward may be treading on dangerous grounds here. But Ward is a challenging artist: he makes art using the most unlikely of materials (‘painting’ with cement, for example); and over the last year alone his work could be mistaken as that of at least three different artists. Not least Ward is concerned with critical issues such as globalization, history, culture and identity; and refuses to make, as he puts it, “€œsanitized narratives.”

Ward interprets Bartmann as both victim and agent, and links these ideas to contemporary South African identities. The result is provocative: you are required to make the leap between a historical figure and a metaphor of displacement and repatriation, as well as of fragmentation and unity; and individual Barbies raise different questions. ContemporaryArtist, who is naked, raises the distinctions between Bartmann’€™s display as an exotic, sexualized object in colonial Europe and representations of the body by contemporary female artists. Examples such as Gay Barbie have little obvious relationship to their title, suggesting the importance of naming in conferring identities. Some Barbies highlight multiple, dynamic identities: a picketing figure refers to the crisis in the textile industry (Miss Spring Queen 2004). Then there are Barbies that seem to defy stereotypes but are actually spot on, such as NGO Barbie who reminds me of dolly comrades that do really exist. The invite, an image of Sandy Bay Barbie photographed on the beach suggests that contexts impact on identities. Clearly there is more going on here than can be done justice in 375 words, never mind a sound-bite.

* A slightly edited version of this review appeared in Art South Africa , 2005

Conversations with Donovan Ward [catalogue essay] – Mario Pissarra, 6/06/2005

This essay featured in the catalogue for Botaki Exhibition 3: Conversations with Donovan Ward, an exhibition curated by Mario Pissarra for Old Mutual Asset Managers, Cape Town, 2005

Open article

Coloured by the Other

© Donovan Ward, 03/04/2012

Ideally art is a space for exploration, playing and learning. This work is the antithesis of creativity as its producers abdicate their individualised voices to work within a predetermined framework. This work is presented as a primed, colour by numbers canvas with a portrait, in black line, of an influential, powerful recognisable person who €œspeaks for government and who has gained notoriety for his racialised comments. The lines mark out areas where 10 premixed colours are to be applied. Each area is numbered to correspond to the supplied colours. Viewers are invited to assist in sequentially painting it by referring to the colour code and painting instructions. The completed painting reveals this subject’s altered identity. The restrictive, predictable method and outcome of production also metaphorically illustrates the simplistic way people are essentialised or constructed by power elites .

Donovan Ward,
Ingekleur: Outside The Lines The AVA Gallery, Cape Town l 12 March – 4 April 2012

Guguletu Seven Memorial


© Donovan Ward & Paul Hendricks, 15/03/2006

On 3 March 1986 in the township of Guguletu, seven youth were murdered by the South African state. The Guguletu Seven memorial, dedicated to these seven youth who lost their lives during the liberation struggle, is located in close proximity to where the killings occurred. The memorial is built from Rustenberg granite, steel, screws, tile adhesive, bronze, bricks, cement and concrete. The sculpture represents a discontinuous wall like structure. The seven figures cut out from the concrete and granite slabs speak to the seven families and the nation’€™s loss. The poses representing the seven youth are suggestive of play, dance and resistance, as it seeks to capture their humanity and spirit despite their absence. Their silhouetted forms are derived from the stenciled and spray-can art of the 1980s. On the supporting plinth, beneath each figure, is a bronze plaque with information on it dedicated to one of the youth. Each one of the seven youth are represented in this way. The bronze plaques do not all bear portraits and dates of birth (due to the non-availability of personal details of certain of the youth). Each of the seven plaques however contain the name and date-of-death of the youth. The layout and wording of the plaques are styled on the silk-screened type commemorative posters of the 1980s. The work pays tribute to and commemorates those who made the ultimate sacrifice to build a better South Africa and indeed world. The work is also representative of nation building, as it displays elements of ruin or incompleteness juxtaposed with areas that appears to have been recently built, thus echoing the Nicaraguan woman poet Vidaluz Meneses message: “Pain has been our challenge and the future our hope. We build as though composing a poem: writing, erasing, and creating anew”. These words reflect the spirit of the memorial, as it captures elements of completeness and incompleteness; ruin and visible structure, regularity and irregularity, asserting graphically and symbolically potential, possibility and hope.

Donovan Ward & Paul Hendricks Details of image: Finished drawing for Memorial

Barbie Bartmann: Homecoming Queen

© Donovan Ward, 11/12/2005

Generalized representations become fixed within a culture and conceptualized as if ‘true’€™ because constant repetition in a variety of forms and locales validate the oft repeated image and lends credibility to mytholised forms. Barbara Buntman, Whose Identity do we see? Born in 1789 in the vicinity of the Eastern Cape, Sara Bartmann lived for a short period as a slave near Cape Town. Baptised in in 1811 as Sara Bartmann, a ‘Hottentot’ from the Cape Colony, her indigenous name is unknown to us. It was in England and later Paris that Sara Bartmann was displayed as a sexualized exotic object, and subjected to medical and anthropological scrutiny. In Paris she allegedly lived as a prostitute, and after her death there in 1818 her dissected body was displayed at the Musee de l’Homme as a museum curiosity. It was only 184 years later, in 2002, that her remains were repatriated to her homeland, where she was buried as a Khoisan woman near the little town of Hankey . Sara Bartmann has become a controversial and contentious historical figure, as many groups and individuals claim the right to represent her, and have contested the various roles she apparently assumed. Sara Bartmann most probably belonged to the Gonaqua tribe, and was called many things in her lifetime. These included a ‘€˜slave’€™, ‘€˜Hottentot’€™, ‘€˜showgirl’€™ and ‘prostitute’€™. Presently she continues to be labeled an ‘exotic aboriginal woman’, ‘Khoisan woman’€™, ‘ouma’€™, ‘mama’, and ‘€˜mother of the nation’€™. This work attempts to explore the complexity of an African Identity as it relates to Sara Bartmann. It challenges stereotypical representations of community and fixed identities associated with race, class, culture and language. While on the one hand this work acknowledges Sara Bartmann as a national icon symbolizing South Africa’s fragmented history, I also selected her image to highlight the manner in which historical images and symbols have been appropriated and commodified in a world of commercial interests.

Donovan Ward

The Corporate Garden

Power in its various forms often overrides as well as mimics ethical and environmental interests. This artwork informs and is informed by my ongoing observations of dislocation, erasure and substitution.

Past land theft and new forms of dispossession, particularly gentrification, the desecration of burial sites by property developers, and more generally the erasure of physical memory, one that connects people to history, are engaged with in varying degrees in this artwork. Alluded to in this piece as well, are forms of real estate development, which corresponds with global neo-liberal models that drive ‘development’ projects but are disproportionately harmful to the environment and human beings.

Made from fabricated, organic and inorganic objects, this art piece, the size of a grave, constitutes a landscape embodying contradiction, contrast and paradox. The fictitious sections of the work include plastic flowers, razor wire, cement, and a synthetic lawn used at burial ceremonies superimposed on indigenous flora and fauna. Remnants of the natural environment were collected from the lower slopes of Table Mountain, close to an encroaching residential area, and incorporated into the work; they include bone fragments, dead insects, stones, bits of dried indigenous plants, leaves and gravel.

Through juxtaposing the artificial with the real and superimposing the synthetic over the natural, this work speaks to the displacement of the natural and native by imitation and simulation. It, moreover, points to the paradoxical role of technology in exposing yet furthering the ‘dis-placement’ and ‘re-placement’ of the natural and indigenous with simulated fictive environments.

Donovan Ward

Art Education


1991: Part-time (sculpture), Community Arts Project, Woodstock, Cape Town.
1982-1985: Ruth Prowse School of Art, Salt River, Cape Town.

Workshops & Residencies


2019: Sans Frontier, Hardground Printmakers, Association for Visual Arts, Cape Town.
2016: Sans frontiers, Hard Ground Printmakers, The Home Coming Centre, Cape Town.
2015: In Print/In Focus, Michaelis Gallery, University of Cape Town, Cape Town.
2013: Local Artists Public Artmaking Project, Lentegeur Civic Office, Mitchells Plain,  Cape Town.
2009: Drakenstein Remembers June 16 Visual Art Workshop, Cape Winelands, Western Cape. 
2004: 10, Castle of Goodhope, Cape Town.
2002: Spirit of the Place, Bangor, Wales.
1995: Thupelo Workshop, Cape Town.

Solo exhibitions


2014: Brutalised Barbie, Association for Visual Arts, Cape Town.
2005: Barbie Bartmann: Homecoming Queen, Association for Visual Arts, Cape Town.
2002: Ash, Dust and Trade Marks, Bell-Roberts Gallery, Cape Town.
1998: Residues and Emergences, Mau Mau Gallery, Cape Town.

Group exhibitions (local)


2019: There and back to see how far it is, Association for Visual Arts, Cape Town.
2016: Beyond Binaries, Essence Festival, Durban.
2015: In Print/In Focus, Michaelis Gallery, University of Cape Town.
2012: Ingekleur: Outside the Lines, Association for Visual Arts, Cape Town.
20011-12: Natural Selection, Association for Visual Arts, Cape Town.
2010: View from the South, Everard Read Gallery, Cape Town.
2009: In Black and White, Bell-Roberts Gallery, Cape Town.
2009: Sex Power Money, Everard Read Gallery, Cape Town.
2009: Wood, Association for Visual Arts, Cape Town.
2007: ReCenter, X Cape, Look Out Hill, Khayelitsha, Cape Town.
2007: Africa South, Association for Visual Arts, Cape Town.
2007: Greenhouse: From Painting to Plastic, Bell-Roberts Gallery, Somerset West, South Africa.
2006: Anthology, Everard Read Gallery, Cape Town.
2006: 20 artists 06, Bell-Roberts Gallery, Cape Town.
2006: 20 artists 06, Art on Paper Gallery, Johannesburg.
2005: Botaki Exhibition 3, Old Mutual Asset Managers, Cape Town.
2005: Man, Rust-En-Vrede Gallery, Cape Town.
2004: Upfront and Personal, Iziko South African National Gallery, Cape Town.
2004: Botaki, Old Mutual Asset Managers, Cape Town.
2004: Art Cool, Bell-Roberts Gallery, Cape Town. 
2004: Gender and Visuality, University of the Western Cape, Bellville.
2004: 10, Everard Read Gallery, Cape Town.
2003: Supermarket, Klein Karoo Nationale Kunstefees, Oudtshoorn, South Africa. 
2001: Telling Tales, 3rd I Gallery, Cape Town.
2000: Allsorts, Bell-Roberts Gallery.
2000: Praat, Thetha, Talk, Idasa Gallery, Cape Town.
2000: One City Festival, Returning the Gaze, Public Art Project, Cape Town.
1999: Prophecy 2000, 3rd I Gallery, Cape Town.
1999: New Beginnings, Battswood Art Centre, Grassy Park, Cape Town.
1998: Dis Nag, Iziko South African National Art Gallery, Cape Town.
1998: Urban Objects of Desire, Mau Mau Gallery, Cape Town.
1998: Ekhaya, Tsoga Environmental Resource Centre, Langa, Cape Town.
1997: District Six Public Sculpture Project, District Six, Cape Town.
1997: The Legacy of Steve Biko, District Six Museum, Cape Town.
1997: Committees Choice, Association for Visual Arts, Cape Town.
1996: Barricaded Rainbow…,  Centre for African Studies, University of Cape Town, Cape Town.
1996: 5 Cape Artists, Iziko South African National Art Gallery, Cape Town.
1996: Beyond the Rainbow, Athlone Civic Centre, Cape Town.
1995: Outsider Art, Market Gallery, Johannesburg.
1995: Volkskas Atelier Award National Exhibition, University of Stellenbosch.
1995: Volkskas Atelier Award Regional Exhibition, South African Association of Arts, Cape Town.
1994: Man on Woman, Seeff Trust Art Gallery, Cape Town.
1993: The Art of Peace, Seeff Trust Art Gallery, Cape Town.
1991: Community Arts Project Exhibition, Woodstock, Cape Town.
1990: Pieces of Africa, Athlone Technical College, Cape Town.

Group exhibitions (international)


2007: Apartheid/ the South African Mirror, Centre de Cultura Contemporania de Barcelona, Spain.
2007: Uniform: South Africa’s New Clothes, Spanierman Modern, New York.
2007: The Art of Revolution, Saba Cultural and artistic Institute, Tehran.
2002: DAK’ART 2002 Biennale, Dakar, Senegal.
2001-2003: Spirit of the Place, Bangor, Wales.

Other projects


2019-2020: Exhibition Designer, Robben Island Museum, Cape Town.
2018-19: Mural Artwork Coordinator, Pelican Park Community Day Centre, Cape Town.
2017-18: Exhibition Designer, Robben Island Museum Restoration Project, Cape Town.
2016: District 6 Clinic Art Workshop, Facilitator District 6 Museum, Cape Town.
2015-1016: Project Manager & Exhibition Designer, Delville Wood Transformation Project, France.
2013: Artwork Coordinator & Facilitator, Lentegeur Civic Office, Mitchells Plain, Cape Town.
2009: Artwork Coordinator and Facilitator, Drakenstein Remembers June 16 Visual Art Workshop, Cape Winelands, Western Cape.
1999: Anti Racism mural (in collaboration with artists and learners), Landsdowne Public Library, Cape Town.

Public collections


Iziko South African National Gallery, Cape Town.
Durban Art Gallery, Durban.
Delville Wood South African National Museum, Longueval, France.
University of South Africa, Pretoria.

Private collections


ESKOM Art Collection
The Ellerman House Collection
The Earl of Spencer Collection
Annette and Peter Nobel Collection

Commissions


2016: Devils Wood, Delville Wood South African National Museum, Longueval, France.
2011: UDF Memorial, Rocklands Civic Centre Mitchells plain, Commissioned by the City of Cape Town[ In collaboration with Paul Hendricks].
2011: Ashley Kriel Memorial, Community House, Salt River, Cape Town.
2010: Building and Wood Workers International, Trophy Design.
2009: Media & Labour Award Design, Workers World Media Productions.
2006: Meru, Artwork Commission, Safmarine.
2006: Basil D’Olivera Memorial, Sunday Times Heritage Project, Newlands Stadium, Cape Town.
2005: 20 Artists 06, digital print, Bell-Roberts Gallery.
2005: Gugulethu 7 Memorial, in collaboration with Paul Hendricks, Provincial Government &amp and City Council .
2004: Art Cool, LG electronics.
2002: Book cover, International Labour Resource & Information Group.
1995: Right to Work, mural/ large painting on board, WLP, with Paul Hendricks.

Publications (catalogues)


2020: Segregation, Inequality, and Urban Development, Sara Dekhordi, Pollux, Open Access Publication.
2015: Biko’s Ghost, Shannen Hill, University of Minnesota Press.
2011: Visual Century, Vol.4, Wits University Press & the Visual Century Project.
2010: NY Arts,Vol 15, Fall, 2010.
2010: Press Art Sammlung Catalogue, Annette and Peter Nobel Collection.
2009: Public Sculpture, Statues & Memorials ….An Ibhabhathane Project
2007: Apartheid / The South African Mirror, Exhibition Catalogue
2007: From Weapon to Ornament, John Bernt, AMAC Heritage Series
2005: Mario Pissarra, Botaki Exhibition 3, Old Mutual Asset Managers, Cape Town.
2004: Mario Pissarra, Botaki, Omam, Cape Town.
2004: 10, Everard Read. Art Cool. Upfront and Personal.
2002: Dak’ art: Biennale de l’ Art Africain Contemporain, Dakar.
2001: Spirit of the Place exhibition catalogue. 
2001: Returning the Gaze Public Arts Project exhibition catalogue. 
1997: District Six Public Sculpture Project Catalogue
1997: The McCabe Gallery Catalogue
1997: Volkskas Atelier Award Catalogue

Publications (reviews)


2005: M. Pissarra, Donovan Ward, Art South Africa Vol. 4 Issue 1, p. 83.
2004: M. Pro Sobopha, 10, Art South Africa Vol. 2 Issue 4, p. 72.

Publications (other)

2003: Africa e Mediterraneo, Issue 41. 2001: M. Pro Sobopha, Returning the Gaze, NKA Journal of Contemporary Art, 13/14, pp. 56-61.

Awards/ Prizes

1993: First prize, The Art of Peace, Seef Trust Art Gallery, Cape Town.

Awards/ Grants

2002: Cape Tercentenary Foundation

 

Gerry Dixon

b. London, England, 1938; d. Knysna, Western Cape, 2015.

Gerry Dixon is a sculptor with an unorthodox approach to materials, which lends itself to provocative, often humorous expression.

Significant Migrations


1961: Emigrated to Australia.
1963: Returned to London.
1964: Emigrated to South Africa.
1983: Moved to Zimbabwe.
2000: Returned to South Africa.

Solo Exhibitions


Gallery Delta, Harare (1998, 1996, 1990, 1989). Universities of Cape Town, Natal (Pietermaritzburg) and Stellenbosch (1974-77).

Group Exhibitions


2007: ReCenter, Look Out Hill, Khayelitsha, Cape Town.africa south, AVA, Cape Town.
1989-91, 1994-98: Zimbabwe Heritage, National Gallery of Zimbabwe, Harare.
1995, 1993: Pachi Pamwe, Harare.
1990, 1991: Sculpture in Wood, National Gallery of Zimbabwe, Harare.
1990: Zimbabwe Heritage, Auckland, New Zealand.c. 1990: Commonwealth exhibition, Australia.
1989-96: Annual group exhibitions, Gallery Delta.
1979-81: Group exhibitions, Cape Town.
1977: Group exhibition, Cape Town.
1974: Group Exhibition [Aquarius/ Nusas] Universities of Natal (Pietermaritzburg) and Cape Town.

Workshops


1995: Pachi Pamwe International Workshop, Shurugwi, Zimbabwe.
1993: Pachi Pamwe International Workshop, Marondera, Zimbabwe.
1974: Aquarius (Nusas) Workshop, University of Natal, Pietermaritzburg.

Collections


New Zealand College. Dieleman Gallery, BrusselsPrivate collections in Australia, Cyprus, Germany, Mauritius, Netherlands, South Africa, UK, USA, and Zimbabwe.

Publications (catalogues)


1997 National Gallery of Zimbabwe presents MBCA Decade of Award Winners: Zimbabwe Heritage
1986-1996 Contemporary Visual Arts, National Gallery of Zimbabwe, Harare
1994 Sculpture in Wood, Alliance Francaise Harare.
1989 Zimbabwe Heritage
1989 Baringa/ Nedlaw Annual Exhibition of Contemporary Visual Arts, National Gallery of Zimbabwe, Harare.

Publications (Art Magazines)


1990 History. Gallery, March.
1998 Gillian Wright, “Gerry Dixon – the last parrot”, Gallery, pp. 19-25.
1996 Murray Mc Cartney, “Gerry Dixon on site”, Gallery, December: pp. 2-7 (plus both covers).
1994 Gallery, December no.21974: “Loners”, Speak, Cape Town.

Awards


1998, 1995, 1989: Award of Merit, Zimbabwe Heritage exhibitions, National Gallery of Zimbabwe, Harare.
1994, 1989: Highly Commended Certificate, Zimbabwe Heritage exhibitions, National Gallery of Zimbabwe, Harare.
1991 Overall Award of Distinction, Sculpture in Wood, National Gallery of Zimbabwe, Harare.

Commissions


1997 Alliance Francaise [Wood sculpture, Central Park, Harare].

Undocumented Artworks


1972 Multiple Columns (sculpture), earthworks, stone & wood. The Point (sculpture), wood, metal, plastic. Reality (5 component painting), acrylic on board, 70 x 70cm each. Peace?, oil on board, 7 x 7m; all Cape Town.
1964 Burning event. Burned all paintings (except Paranoia), London.
1963 Paranoia. oil on canvas, 2.5 x 1.5m, Brisbane (first painting).
1962 Bones, colour added to bleached bones and suspended, West Queensland Desert, Australia (realisation of role as artist)
1959-61: Chalk graffiti, London Underground (1959-61).

Film


1973 Trance, 4 x 20 minute Super 8 recordings of various light phenomena, mainly reflections off water. To be edited for continuous on 5 x 3 m digital screen. Shown at first “€œOther” Film Festival, Cape Town.

Music


1973 Terminal, continuous sine wave at 993hz, 10 units produced, University of Cape Town. Transformation, 20 min unaccompanied piano. Nails, participation piece

Music Performance


1973 Terminal, various sites at UCT including Michaelis Art School, Education Block, and Psychology Department. Sound Sculpture, UCT; University of Natal (Pietermaritzburg); University of Stellenbosch; plus miscellaneous venues, weekly, Cape Town
(1973-5). Spontaneous Music Ensemble, Peter Klatzow, piano; David Kantey, guitar & vibraphone; Dixon, sinewaves & drum, South African College of Music, UCT. Pianist for Terry Riley’s In ‘C’, South African College of Music, UCT. Intermediate Formations, music group with Sherwin Mark, Mike Hammon, & others, South African College of Music, UCT. Solo Drumming, Pencil on upturned wastepaper bin with amplification, University of Natal, Pietermaritzburg.

Music Production


1988: Produced mobile “Scratch” version for Harare. Operating around high density suburbs. Biggest event: Independence Day Celebrations, Central Park, Harare1983. Sound system used for miscellaneous public events until “destroyed by opposing forces”.
1978-82: Formed Modern Dance Syndicate, “Scratch” Dance Club, Cape Town. Originated bass sound system and DJ controls with 5 channel equilizer- first time in South Africa.
1973-74: Designed and built 40 sound source continuous sine/ square wave tones for performance.
1974 Developed guitar bow for creating drone-like rhythms.1965: Monthly dance session presenting Sax Jive (featuring Lemmy Special) and other black musicians, Johannesburg- stopped by “The Branch” (Security Police)

Culinary


1972 “€œOld Cape Seed Loaf” created recipe and name: now available throughout South Africa.
1971-74: Facilitated importation of first sunflower seed hulling machine. Wheat Control Board refused licence to open bakery.

Work Experience


Since 1998: Continuous production of paintings and concept sculpture.
1966-70: Advertising Copywriter/ Creative Director, Newman & Associate (Dixon was the “associate”), Johannesburg.
1962 8 month long oil survey, West Queensland Desert, Australia.
1954-61: Diesl apprenticeship (Transport: manufacturing, design, experimental research), Leyland (London).Chief Design Engineer, Leyland (Johannesburg): Transport Trailer Division – designed and built first car transporters in South Africa. Designed and built metal-elastic abnormal load suspension (3 axles to carry 60 tons) for hydroelectric component transport).

Education


1971: Economics I & II, University of Cape Town.

Gerry Dixon On Site Murray McCartney, Gallery (issue #10) December 1996

Gerry Dixon, The Last ParrotGallery, Murray McCartney (issue #16) June 1998


 
In Praise of ArtistsGallery, Murray McCartney (issue #15) March 1998

Remembering Gerry Dixon, creative spirit and social sculptor: eulogy on the occasion of the memorial celebration of Gerry Dixon (1938-2015), Knysna, 24 July 2015

If you google ‘Gerry Dixon” you will find there are many people with that name. But everyone who knew the Gerry Dixon we did, will, most likely, only know some of the people who made up the extraordinarily rich personality that he was. Certainly, name aside, there was probably no British born person of his generation whose life followed the same, or even similar path, and while there are many artists whose work crosses the visual and the sonic, it is unlikely that his creative output could be confused with that of any other.

Gerard Dixon was born in Southhall, London on 24 June, 1938. He grew up in an England devastated by the war. Gerry was brought up by his working class, socialist father, having lost his mother at a young age, and having been separated from his younger sister who was sent to an orphanage. He grew up distrusting authority, and deeply resistant to conformity. Apprenticed, from the age of 12 as an engineer to Leyland, he was constantly looking outwards, and it is perhaps not surprising that his interest went into exploring the vestiges of empire, then recently reconstituted as the Commonwealth. In 1961 he emigrated to Australia, experiencing truly wild times with characters that, as he put it, were at their sweetest 200 times tougher than Crocodile Dundee. It was, strange as it may seem, in the Australian outback that he discovered jazz, and it was also in the desert that he first found his calling as an artist. In Brisbane, 1963, he began painting, and he was proud that his first significant painting was called “paranoia”, before the term had entered common usage. Returning to London, he decided to travel over land, beginning in India. It was during this journey that he ‘discovered’ hemp and the ‘East’ before these became fashionable in the counter culture of the 1960s.

Back in England, Gerry responded to a notice in a British newspaper, inviting Britons to emigrate to South Africa. In retrospect this advertisement can be understood as being part of the South African government’s efforts to bolster white rule by recruiting European settlers in the post-Sharpeville period. But Gerry knew little about South African politics, and fancied an easy (or easier) life in a imagined Johannesburg that he thought was on the banks of a river (The Vaal), where there would be lots of fishing and swimming. This idea was shattered on his arrival, and certainly he was to prove to be anything but an ordinary settler.

Initially Gerry found work as a chief design engineer at Leyland, where his achievements included designing the first articulated vehicle trailers in South Africa. Always alert to music, he was delighted to discover Kohinoor records, whose collection of jazz music he found to be far more extensive than what was available in London at that time. Barely a year after his arrival Gerry was organizing monthly live music dance sessions featuring black musicians in central Johannesburg. Predictably, these events were closed down by the security police.

In 1966 Gerry moved on to working as a copyrighter and creative director, as the un-named associate in a media company. This period gave him perspectives into the links between marketing and social control, issues that were to preoccupy him throughout most his adult life.

In 1970 Gerry moved to Cape Town, where, he was inspired by the idea of ‘social sculpture’ advocated by (German conceptual artist) Joseph Beuys, where art involved real people in real time, with an emphasis on deconditioning society. He created “Old Cape Seed Loaf”, one of the first health bread alternatives in South Africa that is still on the market. He applied for a license to open a bakery, but this was turned down by the authorities. Undeterred Gerry continued to bake, distributing his loaves by hand to the few bakeries that were receptive to his product.

The early 1970s were also important for Gerry’s experimental music practice. He had been drumming sporadically from at least the early 1960s, but after discovering Terry Riley’s ‘In C”, his focus shifted towards electronic music. His proudest achievement was the sine-wave machine he built that he used for experimental performances, mostly conducted at various sites at the University of Cape Town, including the Psychology Department, College of Music and Fine Arts school.

In 1979 Gerry met Henry (Coombes, Mauritian artist and dj and a lifelong friend), and through Henry he met Jane (Taylor), Frankie (Kruger), myself and others, with an unofficial ‘headquarters’ at 10 Camp Street. He moved in with Jane, (her son) Dylan, and (Henry’s son) Sarane to 22 Camp Street, with the two homes becoming the effective social and organizational hub of what was to become an extraordinary chapter in the lives of many people living in Cape Town.

At that time, we would gatecrash other people’s parties with Henry’s unique record collection, (mostly imported reggae and new wave). Without Gerry this would probably have not progressed beyond a series of exuberant parties. It was Gerry who saw the possibilities for a new club culture, and he organized what was initially a one-night event in Sea Point (at Ellingtons, the in-house club for the hotel Claridges). Borrowing the title of a song by Canadian band Pere Ubu, the event announced itself as ‘The Modern Dance’. An all-white affair, attended by what then represented the emerging ‘alternative’ music scene in Cape Town, the first night was successful enough for us to be invited back five weeks later, then three weeks. One of our circle, Lee (Hobbs), identified a gay club in the centre of town, 1886 Long Street, with a declining clientele. We were given the Wednesday night slot, which were so successful that we soon took over the Friday and Saturday slots as well. While 1886 was pumping, Gerry was quietly putting together the pieces to take this project to another level. Having registered a private company, The Modern Dance Syndicate, he secured the lease to an abandoned club at 88 Shortmarket Street. (These premises, then filled with rubble, was formerly The Navigators Den, a dive for sailors and prostitutes that is memorialized in the history of South African documentary photography through the photographs of Billy Monk).

The new club, called Scratch, (named after Jamaican music legend Lee Scratch Perry), opened in 1979.

Gerry’s role in Scratch was pivotal. He designed the sound-system, second to none, as everyone who was there can vouch. He put together the steady supply of new music from (London based) Dub Vendor, this in the time of the cultural boycott. He ensured the smooth running of events, and he was the frontline person dealing with the authorities. He also intermittently played records, selecting the slowest, heaviest tunes, some of which, like Lee Perry’s ‘Who slew the chicken?’, I’m sure were never played in any club or sound system anywhere! And who can forget his dancing? He would pick his spot where he got the optimum benefits of the sound and hold it as long as he was not needed elsewhere.

Scratch’s biggest achievement was in breaking the racist, sexist apartheid mould. It was a genuinely integrated club, that apart from the initial core of rebellious white youth, attracted hundreds of young, emerging rastas from the townships. It was a place where women could dance freely without harassment, and where gays and lesbians were welcome.

There was little décor, the club was painted black, broken only by a map of Africa in front of the elevated dj booth, and a large florescent orange ‘No’ that Gerry painted on the one wall.

It was inevitable that Scratch would be identified as a site of social deviance. Breaking racial, gender and sexual taboos, it was an island of cultural resistance in an oppressive ocean. When the authorities gave up searching for evidence of selling alcohol without a licence, something we didn’t do as we saw alcohol as part of the culture we rejected, they enacted archaic legislation to prevent dancing on Sundays, closing us down at midnight on Saturday evenings. We responded by opening earlier, and eventually they gave that one up, but resorted to increasing raids on the club, releasing teargas canisters into the premises. The police also began turning away and assaulting township patrons, and conducted increased raids on Camp Street, and Gerry received death threats. By this time, Scratch had evolved into an almost entirely reggae club frequented by a mostly black clientele. Finally, a group of plain clothed police attacked patrons outside the club. Jane and Gerry were among those beaten, but it was Gerry who bore the brunt of the attack, he was beaten till he lost consciousness.

It was clear that Scratch’s days were numbered, and in 1983 Gerry and Jane departed for Zimbabwe, then newly independent. Henry left for Mauritius. A new generation, (among them Steve Gordon), took over the doomed club, and subsequently opened other short-lived initiatives inspired by Scratch. Gerry had also designed a mobile sound system which was used for township gigs (many of them featuring rasta deejay Jeff Thomas, a legendary figure in Cape Town’s reggae scene, who had also become one of the Scratch djs). Later, another former regular (Justin Dyssel) would open The Base at Scratch’s old premises.

In Harare Gerry plugged into a thriving reggae sound system culture. He built a mobile sound system that was used in low-income communities. He had also designed a giant set of four speakers that were used for many events. These included official occasions, such as independence day celebrations in Harare stadium. Among those who used his equipment was Thomas Maphumo.

Around the time he turned 50, and not long after the birth of (his son) Garvey, Gerry rediscovered his identity as a visual artist. Working principally with a wide range of woods, often introducing resin and other synthetic or found materials, Gerry produced strikingly original works with a high technical finish. Many were cheeky and whimsical, with a predilection for puns and titles that were poised between the absurdity of neo-dada and incisive social critique. For just over 10 years he enjoyed reasonable critical and commercial success, exhibiting regularly in group shows at Gallery Delta and the National Gallery. He received several merit awards for his contributions to annual exhibits at the National Gallery, and was chosen to represent Zimbabwe at the Commonwealth exhibit in New Zealand. His art was discussed at length in two articles in Gallery magazine, (edited by Barbara Murray), and he participated in two Pachipamwe workshops (part of the Triangle Network). Among his sales several works were bought by the Diehleman Gallery in Belgium.

But not everything went smoothly. A sign of things to come was when Maphumo’s sound crew returned Gerry his speakers, throwing them off the back of a truck. So died a remarkable set of speakers, so ended a chapter in Gerry’s life. Another sign of things to come was when he spent a few days in jail after responding violently to a house robbery. Jane and Garvey returned to South Africa in 2000, Jane and Gerry having separated earlier. But the tipping point came during the period of so-called land invasions. Gerry was attacked twice in his home. He responded to the second attack by leaving immediately for South Africa.

Gerry lived briefly in Knysna, where Jane and Garvey had settled, and then went on to house-sit in Napier (a rural village in the Westen Cape). There he met Lynne (Greenwood Smith), who offered him an indefinite stay as house-sitter, first, briefly at Napier, later at Pearly Beach (a remote village, near Gansbaai). With Lynne frequently away, Gerry spent much of his time on his own, with only Lynne’s dogs for company. He thrived on the natural environment, and found that much of the area had a white stone that was suitable for carving. He was immensely prolific, producing many sculptures and hundreds of drawings.

But, despite this late rejuvenation of his creative talent, Gerry struggled to find an outlet for his work, and he sold little. He also lost several works when galleries holding his sculptures on consignment closed down without informing him. Equally unsettling, his photographic records of his works were harshly depleted following unsuccessful efforts to introduce his works to the Everard Read Gallery in Johannesburg and the Serpentine Gallery in London.

With little recognition of his work as a sculptor since his return to South Africa, living on a meager pension, and faced with a range of ongoing ailments, one could have expected that much of this late work would have been grim or negative in tone. But not so, much of the work Gerry made at Pearly Beach builds on the achievements of his earlier Harare sculptures. There is the innovative approach to materials, the fine attention to detail, and a lightness of tone that expresses a delight with making, and with being in the world. That so much of this work affirms spirit serves as a constant reminder of the Gerry who, while being such a distinct and individualist character, was at heart a very social being whose vision and actions made a profound impact on the lives of many who were privileged to know him, as well as on countless others who benefitted from his generosity.

Certainly, my own life was significantly affected through my friendship with Gerry, and I give thanks for the positive ways in which I grew through our exhilarating encounters. Rest in peace, dear friend.

Mario Pissarra

Isaac Nkululeko Makeleni

Isaac Nkululeko Makeleni

b.  Vasco, Cape Town, 1950; d. Nyanga East, Cape Town, 2008.

A self-taught sculptor and painter with a history of involvement in community arts initiatives, Makeleni’s creative works are rich in allusions to historical, political and cultural themes.

Education


Nyanga Public Primary and Higher Schools (completed Standard 5/ Grade 7).
Self-taught artist

Exhibitions


2013 Against the Grain, Iziko South African National Gallery. Curated by Mario Pissarra. Featured works "Together Forever"€, "€œTogether Forever II"€, "€œCross"€, "Mandela and de Klerk", "€œPrescribed..."€ and "€œFall of Nyanga Bush"€. Full-colour catalogue with essay on artist, published by ASAI.
2012 Siyakubona, Cape Gallery, Cape Town.
2011 A Natural Selection. 1991-2011, AVA. Curated by Clare Butcher. Featured work "€œPrescribed..."
2007 & Beyond Encryption, Cape Gallery.
2007 Africa South, AVA, Cape Town. Curated by Mario Pissarra. Featured work "€œPrescribed..."
2007 Exhibition to accompany international conference of Jungian psychologists, Cape Town International Conference Centre. Curated by Josie Grinrod and Kate Gottgens. Featured work "For Whom the Bell Tolls"€ purchased by the curator (Grinrod).
2007 Exhibition #1. Gill Alderman Gallery, Kenilworth. Featured work "Together Forever (II)"€
2006  Stop Crime awareness campaign, organised by City of Cape Town. Exhibition listed on artist'€™s CV, details not known
2005 Group exhibition, Zolani Centre, Nyanga. Sponsored by Old Mutual. Exhibition listed on artist'€™s CV, details not known.
2004 Masivuke ma Africa exhibition, Walter Teka School, Nyanga.
2004 Botaki. Old Mutual Asset Managers, Cape Town. Curated by Mario Pissarra. Featured work "Together Forever (II)"€. Small illustrated catalogue.
2002 Human Rights Media Centre, Athlone. Exhibition listed on artist’s CV, details not known.
2002-03 Exhibition for opening ceremony of ICC cricket World Cup. Exhibition listed on artist's CV, details not known.
2002 Umbono. Castle of Good Hope. Exhibition listed on artist'€™s CV, details not known.
2001 A Woman'€™s Journey. Philani Nutrition Project exhibition, Castle of Good Hope. Exhibition listed on artist'€™s CV, details not known.
1999 One City, Many Cultures Festival. Makeleni co-ordinated group of artists who painted six street signs in Guguletu, organised by Public Eye. See http://www.public-eye.co.za/99-p4.html Listed in Artthrob, with photograph of artist http://www.artthrob.co.za/99sept/listings.html
1999 Masivuke ma Africa Calendar Exhibition, Zolani Centre, Nyanga. Exhibition listed on artist's CV, details not known. (Unclear if same as 1997 entry for calendar exhibition at Zolani Centre, listed on another version of CV)
1998 Cape Town Arts Festival. Exhibition listed on artist's CV, details not known (unclear if same as above)
1998 Group exhibition, Zolani Centre, Nyanga. Exhibition listed on artist'€™s CV, details not known (unclear if linked to mosaic exterior of Zolani Centre, which Makeleni participated in).
1997 Engaging the Shadows exhibition-project, Robben Island Museum. Colour photograph of two dolls produced by the artist featured along with listing in Mail & Guardian 6 February 1997.
1996 Primart Gallery, Claremont, Cape Town.
1996: Wood panel workshop and exhibition, AVA. Panel sold to unknown buyer.
1996 Community projects exhibition, South African National Gallery. Exhibition listed on artist'€™s CV, details not known.
1995 Exhibited his first "€œBlack Doll"€ at Primart, Claremont.
1994 Twenty Pieces of wood, British Council, Cape Town. Exhibition listed on artist's CV, details not known.
1993 Irma Stern Museum, Cape Town. Exhibition listed on artist's CV, details not known.
1993 Exhibited crafts at Red Shed, V & A Waterfront, Cape Town, as part of Masizakhe co-operative.
1993 Safmarine House, Cape Town. Exhibition listed on artist'€™s CV, details not known.
1992-93 Made in Wood. South African National Gallery, Cape Town. Featured work "Sam Nujoma and Company"€. Catalogue includes b/w illustration of work and short biography.
1992 Visual Arts Group travelling exhibition at Zolani Centre, Nyanga; Uluntu Centre, Guguletu; Mayibuye Centre UWC; Centre for African Studies, UCT; and South African Association of Arts, Church Street. Featured several works, including "Mellow Yellow"€. Key role in running adult and childrens workshops at Zolani Centre.
1992 Mural painting exhibition- workshop, Baxter Theatre Gallery. Painted panel with Willie Bester and Vincent Silimela, purchased by Mayibuye Centre, UWC.
1991 [with Willie Bester and Ismael Thyssen], Gallery International, Cape Town. Featured several works, including "€œSam Nujoma and Company". Exhibition opened by Albie Sachs.
1991 Visual Arts Group travelling exhibition at Manenberg People's Centre; Zolani Centre, Nyanga; and Uluntu Centre, Guguletu. Featured several works including "Mandela and De Klerk": (Sold) and "Together Forever".
1987 Eye of the Artist, St Mary'€™s Church, Guguletu. Organised by CAP students
1986 Primart Gallery, Claremont

Collections


Iziko Museums ("€œSeven Vices"€).
University of the Western Cape.

Publications


Martin, Marilyn et al (1992) Made in Wood: Work from the Western Cape. South African National Gallery, Cape Town. ISBN 1 874817 07 3
Pissarra, Mario (2004) Botaki. Old Mutual asset Managers, Pinelands. Available online (click here) 
Pissarra, Mario (2011) (ed.) Visual Century: South African art in context. Vol 3: 1973-92. Wits University Press, Johannesburg. ISBN 978 1 86814 526 3. Introduction online (includes discussion of Makeleni)

Pissarra, M (2013) Against the Grain. ASAI, Cape Town, 64 pp. ISBN
978 0 620 57044 2

Other


1990 -€“ c. 1993 Active member of Visual Arts Group Served on executive, including as chairperson.
c. 1992: Workshop for criminal offenders for Nicro, Mitchells plain. Run on behalf of Visual Arts Group.
c. 1992: Co-founder Masizakhe crafts co-operative.
1991: Member of Federation of South African Cultural Organisations (FOSACO) delegations in talks with the South African National Gallery, South African Association of Arts, and City of Cape Town, concerning the democratisation of para-statal cultural institutions.
Early 1980s: Founded Makeleni Arts & Crafts
Early 1980s: briefly associated with Nyanga Arts Centre and Community Arts Project

Links

Ishmael Thyssen

b. Jan Kempdorp, Northern Cape, 1953. Lives in Steenberg, Western Cape.

Primarily a wood sculptor, Thyssen also paints, prints and carves relief panels. His often contemplative figures are influenced by modernist and African sources, as well as by social concerns.



Education


1976-1977: Art Class, Methodist Church, Somerset West, South Africa.
1980-1984: Studied at Community Arts Project (under Cecil Skotnes), Woodstock, Cape Town.

Exhibitions (solo)


2013 Return, The Framery Art Gallery, Sea Point, Cape Town.
2000 Association for Visual Arts, Cape Town.
2000 Winchester Hotel, Seapoint, Cape Town.
1991 Centre for African Studies, University of Cape Town.
1987 Riverside Centre, Rondebosch, Cape Town.

Exhibitions (group)


2014 ‘Against the Grain’, Sanlam Art Gallery, Bellville, South Africa.
2013 ‘Against the Grain’, Iziko South African National Gallery, Cape Town.
2006 Kalk Bay Modern (with Peter Clarke), Kalk Bay, Cape Town.
2002 ‘New directions’, The Framery Gallery, Sea Point, Cape Town.
2000 Greatmore Studios, Woodstock, Cape Town.
2000 Retreat Municipal library, Retreat, Cape Town.
1996 Galerie Knud Grothe, Charlttenlund, Denmark
1993 Manneberg Jazz Cafe’ (with Donovan Ward), Cape Town.
1992 Primordial Stirrings, Primart Gallery, Claremont, Cape Town.
1992 Village Studio, Constantia, Cape Town.
1992 ‘Made in Wood’, Iziko South African National Gallery, Cape Town.
1991 Gallery International (with Willie Bester and Isaac Makeleni), Cape Town.
1990/1991 ‘Art-on-the-box, [Primart], Cape Town.
1990 [Members exhibition], Dorp Street Gallery, Stellenbosch, South Africa.
1989 Centre for African Studies, University of Cape Town.
1989 Rahmen Galerie(with Peter Clarke and Tyrone Appolis), Langen, Germany.
1989 ‘Images of Wood’, Johannesburg Art Gallery.
1987 Cavendish Square, Claremont, Cape Town.
1987 African Treasures, National Touring exhibition, South Africa.
1986 South African National Gallery, Cape Town.
1984 Riverside Centre, Rondebosch, Cape Town. (organised by South African Institute of race relations)
1983 Gowlett gallery, Cape Town.
1982 Hugo Naude House, Worcester, South Africa.

Collections


Iziko South African National Gallery
Centre for African Studies (UCT) Collection
University of the Western Cape
Investec Bank Collection
Standard Bank

Publications


2013 Mario Pissarra, 'Against the Grain’, Cape Town : Africa South Art Initiative.
1993 Martin, Marilyn; Proud, Hayden; et al, ‘Made in Wood: Work from the Western Cape’, South African National Gallery, Cape Town
?1989 Images of Wood

Education

Other

Jill Joubert

b. Tzaneen, Limpopo, South Africa, 1954. Lives in Cape Town

Jill Joubert is an artist, puppeteer and teacher. She is a former founding member of the Handspring Puppet Company and former principal of the Peter Clarke Art Centre (formerly the Frank Joubert Art Centre). Working predominately in wood her artwork depicts an interest in sacred European and African Art as well as creation stories and folktales from around the world.

 

The Invasion by Stately Queens Come to Rescue Princesses Trapped in Four Impenetrable Towers

 

An Abandoned Saint and Other Forgotten Stories

 

Education

2013  Master of Fine Arts with Distinction (puppetry, sculpture and performance), University of Cape Town, Cape Town, South Africa
1991  Advanced Diploma in Fine Art (sculpture), University of Cape Town, Cape Town, South Africa
1990  Honours degree in History of Arts, University of Cape Town, Cape Town, South Africa
1976  Bachelor of Arts, University of Cape Town, Cape Town, South Africa

Solo Exhibitions

2018  An Abandoned Saint and other Forgotten Stories, SMITH Studio, Cape Town, South Africa
2016  The Invasion by Stately Queens come to Rescue Princesses Trapped in Four Impenetrable Towers, SMITH Studio, Cape Town, South Africa
2014  Apple Girl, MAFA Graduation exhibition at the Michaelis School of Fine Art, University of Cape Town, Cape Town, South Africa

Group Exhibitions

2017  Beyond Binaries, ICC Essence Festival in Durban; Durban Art Gallery; KZNSA Gallery, Durban, South Africa
2009  Staff exhibition, Frank Joubert Art Centre, Cape Town, South Africa
1995  Juggling with the Familiar, Centre for African Studies, UCT, Cape Town, South Africa
1992  Meditations, Iziko South African National Gallery, Touch Gallery, Cape Town, South Africa
1991  Keeping the Wrong Company, Woman’s Centre, Observatory, South Africa
1989  An Exhibition of Cape Town Puppeteers, Artscape Foyer, Cape Town, South Africa
1987  Exhibition of South African Puppetry, UNISA gallery, Pretoria, South Africa (curated by Handspring Puppet Company and Lucy Alexander)
1976  Touch Wood, Iziko South African National Gallery, Cape Town, South Africa
1974  Involvement, Iziko South African National Gallery, Cape Town, South Africa

Teaching

2014 - 2016  Visual Art, The Warhorse Education Project and The Kickstarter Project, KZN; Johannesburg and the Free State, South Africa
2013 - present  Creative Arts for Foundation Phase PGCE students, UCT Department of Education, Cape Town, South Africa
2010 - 2016  Puppetry, Handspring Trust, Net Vir Pret, Barrydale, South Africa
2010 - 2015  Visual Art, Ibhabhathane Project, Western Cape, Limpopo, KZN and Free State, South Africa
1998 - 2007  Visual Art and Design Method for FET. PGCE students, UCT Department of Education, Cape Town, South Africa
1997 - 2009  Principal, Frank Joubert Centre, Cape Town, South Africa
1997 - 2009  Co-founder, Ibhabhathane Project, South Africa
1984 - 1996  Art, Herzlia Middle and High School, Cape Town, South Africa
1977 - 1980  Art, Herzlia High School, Cape Town, South Africa

Writing

2009  Public Sculpture, Statues and Memorials in Cape Town, Paarl, Barrydale and George, commissioned by the WCED, this book was written to support FET Visual Art and Design teachers in the Western Cape
2008  The Other Side of the Street, commissioned by WCED to support FET Focus Schools of the Arts, this package engaged with alternative teaching centres: Polly Street in Johannesburg, Rorke’s Drift in KZN and The Community Arts Project (CAP), in Cape Town.
2006  An Introduction to African Art, a book written for both GET and FET teachers related to the exhibition, Picasso and Africa, Iziko South African National Gallery, Cape Town, South Africa
2005  Art on our Doorstep: A Meeting of Two Cultures, a package for both GET and FET teachers to engage with the Iziko Old Townhouse exhibition of Dutch painting of the 1600’s and the San/Bushman exhibition at the Iziko Natural History Museum

Other

2015 - 2016  Created and performed, The Tale of the Willow Pattern Plate, Rosebank Theatre, Cape Town; Barrydale and Magnet Theatre, Cape Town, South Africa
2014  Co-created and performed, Bokele and the Sun, Rosebank Theatre and Fringe Festival, Cape Town, South Africa
1995  Re-scripted, made puppets, performed and trained Afrikaans and Xhosa presenters, EDUMEDIA video(Western Cape Education Department)
1981 - 1983  Founder member, Handspring Puppet Company

Mambakwedza Mutasa

Mambakwedza Mutasa

b. Harare, 1974. Lives in Harare, Zimbabwe

Mambakwedza Mutasa’s sculptures combine wood, stone and metal to reflect spiritual and political realities.

Motivations


Inspired by the creator to create, a sheep to the shepherd, an instrument to glorify his living word in the spirit of Jesus Christ , a mirror to his Godliness, as to bring consciousness of the presence of the present things.

Exhibitions (Zimbabwe)


2010 Domboramwari Art Village, Summer Exhibition
2005 HIFA
2004 Baraka (Mutasa show), NGZ; Harare biennale
2003 Batapata, NGZ
2000 Group exhibition, NGZ; Inner space, Harare

Exhibitions (international)


2007 Cape 07, Cape Town
2006 Dak’Art; Greatmore Studios, Cape Town, South Africa
2004 Arthaus, Ghana
2003 Miller Gallery, Spain
2002 Sufhouse gallery, Canada
2001-2003 Steve Gallery, USA
2000 Sarenco Gallery, Italy
1999 Kuona Workshop, Kenya; Zvakanaka, Holland
1998 J. Lathan Gallery, Oakland, California, USA
1997 AIDS Exhibition, Australia
1993-2003 Delta Gallery, Harare
1991-1999 Heritage, National Gallery of Zimbabwe, Harare

Workshops & residencies


2007 Greatmore Studios
2006 Greatmore Studios, Cape Town
2004 Insaka international workshop, Zambia
2003 Atlantica
1999 Batapata International Artists Workshop, Mutare, Zimbabwe,

Batapata international Artist Workshop, Boulton
Kuona Workshop, Kenya
Zvakanaka Gallery, Holland
Arthaus international workshop, Ghana

Awards and Grants


2005 Elizabeth Greenshield Foundation award
2002 Elizabeth Greenshield Foundation award
2001 Commonwealth award, London
1999 Elizabeth Greenshield Foundation award
1998 High commendation, National Gallery of Zimbabwe
1997 Award of Merit for Weldart, National Gallery of Zimbabwe
1996 Award of Merit for Painting; Highly commended for Weldart; Award of Merit for Weldart, National Gallery of Zimbabwe
1994 Highly commended for Graphic Art, National Gallery of Zimbabwe
1994 Award of Merit for Metal (Weldart), National Gallery of Zimbabwe

Selected articles


Greatmore Studios, 2007
Dak’Art Biennale, 2006
Stone Sculpture, compiled by Doreen Sibanda, 2005
Harare Biennale [catalogue]; 25 year silver jubilee [catalogue], 2004
Batapata artists workshop [catalogue], 2003
Commonwealth Awards [catalogue], 2002
Enrico Mascellanie Sarenco [art magazine], 2000
[newspaper] Holland 8 July, 1999
Delta Gallery [art magazine] No.12, 1998
Heritage 97 [catalogue]; Decade of award winners [catalogue], 1997
Heritage96 [catalogue] (National Gallery of Zimbabwe), 1996
Delta Gallery [art magazine] No.2, 1995
Herald [art review]; Heritage 94 [catalogue] (National Gallery of Zimbabwe) 1994
The Chronicle-[art review] Nov 18; Tubantia

Meshack Raphalalani

b. Venda, South Africa, 1950.

Raphalalani is a wood sculptor working in the Venda tradition, exhibiting both locally and abroad. Historical events, traditional ceremonies and rituals are recurring themes in his work. He was a founding member of The VhaVenda Arts Foundation.


 

 

 

Education


Venda Land Training Institution
1972 Art Method teaching, Ndaleni Educational Training Centre, KwaZulu Natal

Selected Exhibitions

2015 Art Santa Fe 2015, Sante Fe Convention Center, New Mexico, USA
2003 Contemporary Natural, group exhibition, Mukondeni Fine Arts Gallery, Johannesburg
2003 Design-in Africa, group exhibition, Mukondeni Fine Arts Gallery, Johannesburg
1985 Tributaries, Africana Museum (now Museum Africa), Johannesburg
1985 Venda Sun Hotel, Limpopo
1972 & 1978 University of Fort Hare, Alice

Workshops


2017 Roots, Woodcarving expo, Los Angeles, USA
2016 Transvisions in Wood, Karoo
2016 World Wood Day, Kathmandu, Nepal

Awards


2015 First Prize. Arts and culture for a sustainable Future.Champion World Woodcarving competition. Durban
2015 Winner of World Wood Day Foundation competition, California
1986 African Art Festival, first prize, University of Zululand, KwaZulu Natal

Links