Ann Bryant Art Gallery Newsletter May 2016 9 St Marks Rd, Southernwood, East London, 5201 T

Ann Bryant Art Gallery Newsletter May 2016 9 St Marks Rd, Southernwood, East London, 5201 t. 043-722 4044 e. [email protected] www.annbryant.co.za

letter from the chairperson of ELFAS Dear Members,

Our big event this month is the “Anything but Painting” exhibition. Entries must please be in by 5 p.m. on Monday the 23rd May, ready to be exhibited, entry forms and labels filled in, all the usual requirements. I would be very grateful for any voluntary assistance over those three days, as Leon will be away at a work related conference. Hopefully, one or two people would like the opportunity of setting up an exhibition; the way I see it, is that there are useful skills to be learnt for anyone who is interested in curatorial work. Leon and I have just returned from a wonderful visit to the late Auriol Batten’s home. Her son, Chris has given the Ann Bryant Art Gallery five beautiful paintings of hers, which will be enjoyed by many visitors. Auriol was friendly with the Bryant family and was a chairperson of the art society. She was an eminent botanical artist, internationally known and respected. The gallery held a retrospective exhibition of her work in 2011, which she attended as the guest of honour. We at the gallery love our work on days like today.

Yours in art, Terry

page 1 letter from the curator Dear readers

The year is running ahead of us. ARTISTS PLEASE TAKE NOTE THE DEPARTMENT OF SPORT, RECREATION, ARTS AND CULTURE ARE CALLING FOR ENTRIES for their exhibition at the Grahamstown National Arts Festival. Please remember to submit a small portfolio about yourself as well as a picture of yourself. There will be somebody at the gallery to take a picture of you if you don’t have one. To enter this exhibition is really worthwhile. Your artwork (if selected) will be framed by the department free of charge also if your work is sold they will not take any commission. So please bring your artworks on Monday 16th May 2016 at 10:00a.m. Artists who are interested in participating in the SASOL NEW SIGNATURES ART COMPETITION please remember to submit your entries on Wednesday 21 and Thursday 22 June 2016. There will be a crit. session for entrants so that the organizers can explain why particular artworks were chosen and others not, Very useful for anybody interested. The crit. session will take place on 29 June 2016. I will keep you posted closer to the time. Another exciting exhibition lined up for September is a new solo exhibition by the well-known local artist Greg Schultz and look out for the dates of the Art-in-the Park which will be happening in the near future. If anybody is interested in listening to the radio. I give a talk on what is happening in the art scene and at the gallery every Wednesday evening at 6:30 p.m. on Wild Coast FM 98.6.

Every Friday lunch time 13h00 – 14h00 upstairs in the main gallery the Friends of the Ann Bryant show a documentary on various artists free of charge. All are welcome. Come and enjoy the ambiance of the Ann Bryant, watching different features on famous artist, and art movements.

Enjoy the newsletter and hope to see you at the gallery in the near future. Warm regards Leon

page 2 CLAYSTATIONza

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page 3 www.sasolnewsignatures.co.za

Sasol New Signatures art competition to put the chemistry behind creativity under a microscope

Johannesburg, South Africa – It is the things that we cannot see that can have the greatest influence on who we are and the things we appreciate such as art. This is why this year’s Sasol New Signatures art competition is putting the spotlight on the chemistry behind creativity. The objective is to decipher and depict the correlation between the two, which to some may appear to be poles apart.

“The tagline for this year’s Sasol New Signatures art competition is, ‘the chemistry behind creativity’. We chose this tagline deliberately as it speaks to who we are as Sasol – an international integrated chemicals and energy company that continues to use creativity to produce products that add value and are used in everyday life,” said Richard Hughes, Group Manager for Sponsorships at Sasol.

“We leverage our understanding of the correlation between chemistry and creativity to form long standing relationships such as the one we have with the Association of Arts Pretoria with whom Sasol New Signatures is organised annually.” Entries for the Sasol New Signatures art competition are now open with information sessions being held at venues around the country from mid- April. Judging takes place in July and the winner will be announced on 2 September after which the winning works will be on display for a month at the Pretoria Art Museum. The winner receives R 100 000 and a solo exhibition at next year’s event, with the runner up winning R25 000 and five merit award winners each being awarded R10 000.

In order to further solidify the support of visual arts in South Africa, the competition will now also offer feedback sessions at the various selection points country wide. The National Chairperson along with selectors will be available after the selection process to enter into discussions with the entrants as to why certain entered works were accepted and others rejected. It is through these feedback sessions that entrants are given the opportunity to grow and learn from the experience of entering one of the biggest visual art competitions in South Africa.

Artists who are up to the challenge to explore the chemistry behind creativity can submit their artworks at one of several collection points around the country on 21 or 22 June 2016.

For more information on Sasol New Signatures, visit :

www.sasolnewsignatures.co.za jeff rankin

The Sound of Reeds Rustling

The story of a public commission in Lusikisiki by Jeff Rankin

Public commissions for artists in South Africa are too few, so it was both surprising and welcome that my proposal for artwork in a major addition for St Elizabeth’s Hospital in Lusikisiki was accepted. The spacious new Resource Centre offers theatres, conference rooms and research

library, and stands tall on the skyline At work on site during across the hills of the town. installation of the artwork.

Initially the request was for completion of the artwork in 2 months from start to finish. Lusikisiki was daunting: in illegal shoes Impossible, given the area to be covered: and borrowed hard hat, I toured the site panels about 1 metre high and 50 metres with well-disguised alarm at the extent of wide! So when we got serious the time was the job and the heights at which the extended to 4 months, which still promised artwork had to be installed. But hungry to take me off the streets, day and night, artists find they have unknown strengths, for the whole time. An early visit to and will take risks they would never

A much larger canvas than I would normally work on: one half of the atrium area.

page 6 jeff rankin gamble on when the belly is full; I came back to the studio ready to meet the deadline, blind faith my assurance.

Given the size/time ratio I’ve described, any sane artist would have proposed a technique to accommodate these

pressures. Not me: I had proposed wood- Using a belt sander as a cut, having disowned any right to sanity cutting tool. years before, and the proposal was accepted. (The reader may be familiar with the technique, where I use the original woodcut as the artwork by colouring the cut recesses and rolling the relief surface with a dark ink. This is usually done after making an edition of prints, but in this case the wood panels were simply too big to print, besides which there was certainly no time to make prints). Opening a tiny set of

Meguro woodcut tools and holding the 2 One of the main images at an early stage of cutting,and in its finished state (detail).

page 7 jeff rankin

Artwork panels join to form long panels around the perimeter of the atrium.

essential tools up against a metre-high strong whiskies and the same blind faith piece of board, then imagining this board will cure. 50 metres wide, then looking again at the tools, I cried the kind of cry only three The theme for the project was simple: the name Lusikisiki, I was told, comes from the

Detail from 3 of rustling sound of the reeds growing the main artwork panels. commonly in the area, so reeds should be part of the imagery. I ran with this as a repetitive connector for what became the seven major images in the work. These echo the idea of resource, but with a strong traditional resonance which I am sure will appeal to the majority of viewers passing through the atrium area containing the artwork. So from places I had been to gather reference or have it suggested, a fish eagle searches for prey below, cattle graze on a hillside, a hand draws with a pencil, a woman carries a bundle of sticks for firewood, a hen pecks at the ground in front of a homestead, a man rides his horse next to the road, and a water tap offers its special sustenance. In total I spent just under 4 months on the work in my studio, and a final week in early March with two brilliant assistants installing the work on site. Despite all the crying and

page 8 jeff rankin whiskies to get me through (not to mention perimeter of the atrium interior. Panels had the patient moral and practical support of to join as seamlessly as possible when the family & friends), the job was done. I havn’t work was installed, so there was quite a bit yet seen the artwork free of scaffold and of cursing and tweaking on site to get this other incomplete construction, so look to happen. forward to going back when the Resource Centre is operating as it should. The multi- Motivated by my hunger, the blindness of void atrium threatened to drown the my faith, my refusal to look down from artwork when the first panel was installed, precariously rocking 10 metre-high but with all 50 metres in place the artwork scaffolds, and my absolute passion about stands up well in the space, as a collective. artwork for public appreciation, this The scale of the building gives it subtlety, memorable project was not only done on a quiet invitation to view. time; it also reflects a successful end to working with the commissioning architects, professional collaborators whose skills are perfectly matched with those of willing artists. The dovetailing process is some- times tricky but worth the effort. I enjoyed being part of a machine where - as long as the artwork meets the promised criteria - my job was like that of anyone else on site. Creative ego was swallowed in the dust and clutter. Of course it’s good to feel that the work has a permanent public presence, that hopefully over time many curious

As carpeting was passing viewers will remember a unique already in place we and authentic connection with the images. weren’t able to put extra supports in place to stabilize the scaffolds. The following are gratefully acknowledged for their So installing the work part in this project: offered an extra dose of adrenalin. Eastern Cape Depts of Health and Public Works; Renee van Rensburg & Gerhard du Toit (Architects); I hope the pictures convey how the artwork GVK Siya Zama (Contractors); was done and installed. There were 29 Ndaweni Mjutu & Bonisile Ndweyisile (who helped separate panels all told, making up 7 sepa- to install the work on site). rate stretches of artwork around the No reproduction of images permitted without the artist’s permission. permanent collection Terence Mc Caw “Cape Impressionism” was Terence By Barry Gibb Mc Caw; though not as obviously impressionist as the two artists The Ann Bryant boasts two works by mentioned above. His free brushwork Terence McCaw who was a typical in building up his paint surfaces, representative of the “New Group” capturing the light and suppressing founded in 1938 by those forward details can be largely related to an thinking South African artists who said impressionistic approach. His portrait they wished to “throw out the junk”; of his fellow artist friend, Freda Lock, meaning the old world type, art that apart from its warm, brown tonality related to the academic art institutions evokes a late 19th century, French of England and Europe where many of impressionist ambience. our pioneer modern artists received their initial training. Those that stand E g Artist at Work 1938, out are those who adapted their Johannesburg Art Gallery. academic training to South African conditions, notably to our much brighter sunlight. Thus it was the ones who also found inspiration in the non-academic European movements like French Impressionism, who were most successful in their adaptions to the South African environment and developed a manner of expression which has been called “Cape Impressionism” This we saw particularly in the work of Hugo Naude and Strat Caldecott.

But within the” New Group” one of It could be a Degas or Cezanne the main exponents of this so called inspired composition as we look

page 10 permanent collection down across a roughly daubed, tilted art which offered a way out of perspective floor, which indicates a Impressionism. They see it in the shallowing of the surface a la Cezanne light decorative quality of the of whom he was a great admirer. vase of flowers and in the offbeat Continuing over her shoulder to composition. Here Peter Wenning the sketchy impression of a vase of who made the transition from a flowers she is painting; possibly taken Japanese inspired Post -Impressionism from that on the table to her right. would have been a more positive, This serves to take our spectator’s eye hands on influence for which McCaw fully around the canvas to the seated gives him full credit. We see this in artist boldly placed in the centre. his Her dark jacket and hair with its free E g Tree scene 1938, Esme Berman, auburn brushstrokes, contrastingly the Story of South African Art, page sets off the bright lights on the canvas 282. before her. This pulls our eye up to complete its journey around the format.

Mc Caw sets up a typical Degas like tension in having his centrally placed model inclined to the left (anti our left right literary reading) but kept in the picture by the strip of wall or screen on the left which serves to separate us from her space which acquires an Unlike the impressionistic “Artist at ambience of the privacy in which she Work”, broken outlines define the works. white walls of the cottages which are decoratively placed in a broad Other writers have associated this horizontal panel across the centre of work more with post impressionism the composition. They are bisected by and the influence of Japanese the rugged, slender vertical trunks of

page 11 permanent collection the trees in a decoratively conceived and Lippi Lipchitz he became an realism. enthusiastic supporter and co-founder of the” New Group” of progressive Terence (John) Mc Caw was born in young Cape Town artists in 1938, 1913 at Pilgrim’s Rest in the Transvaal. ready to update South African art to He studied art at the Wits Tech Art more contemporary approach. School under Sidney Carter and In 1939 the Second World War broke Emily Fern; between 1930 & 1933. out and General Smuts brought South Carter’s influence lingered. He worked Africa in on the side of Britain as part in Cape Town for a year and then in of the British Empire forces against Johannesburg as a commercial artist the Nazi German aggressors. So and won first Prize in an S A R poster from 1943 to the war’s end in 1945 competition. In 1935 he left for Terence Mc Caw became an official England to attend classes at Central war artist with the South African School and Heatherelys School in forces in North Africa and Italy. His London where he exhibited with the renderings of the armed forces on the “London Group” and the battlefronts brought him considerable 2) popularity, which he continued to “Royal Water-colour Society” In 1936 enjoy for the quality of his work during he travelled in Spain and West Africa, the late 1940s and into the 1950s. returning to South Africa in 1937 He spent a year painting in Zanzibar, and exhibiting in Johannesburg and Tanzania in 1950, but from the early settling in Cape Town. Here, fresh 1950s his output began to become with his overseas stimulus, along erratic. From a full range of subjects with Gregoire Boonzaier, Freida Lock he turned increasingly to landscapes,

For further reading...CLICK:

Stephan Welz & Co.

page 12 permanent collection two of which are in the Ann Bryant on the right. Minimal indications of Gallery’s collection. doors, windows and balconies in darker tones of grey appear in the E g Arcos Spain, oil on canvas 1952, extended facades. This large, virtually purchased 1953 monochrome picture- space is relieved by a broken brown-green coloured roof on one of the buildings and slightly warmed by touches of brown on a couple of roof edges. Certain gables seem to catch a white light coming from outside. These are set off by the darker cloud covered sky which creates a quiet before the storm of feeling. E g Farm, Outbuildings, Cape (oil on hardboard), Ann Bryant Art Gallery, purchased by E L Society of Fine Arts, This has to be a personal expression Exhibition1962. of Mc Caw’s impression of a Spanish village on a light grey, cloudy day in contrast to the “sunny Spain” image of that country in most people’s minds. Little silhouette type figures like black dots receding in the distance are set against a broad swathe of white-grey across the facades of the buildings on either side of the street giving a broad impression of space. A narrow Here Mc Caw has moved across wall down the centre divides the road into post impressionism with the into a raised, light brown left lane and originally Japanese inspired outlines a lower, wider, grey-green section and flatter planes, as translated by

page 13 permanent collection

Peter Wenning into a South African sharply contrasting dark green and situation. Wenning was a more brown foliage of the trees which in direct post-impressionist inspiration turn set off the whites of the buildings to Mc Caw and especially to his as well as defining their shapes. contemporary co-founder of the New The creamy pale blue of the sky, Group, Gregoire Boonzaier who would wedged in between the decoratively have been a reinforcing influence in conceived tree masses on either side the direction of more solid, compacted is painted over a dark ground which compositions with outlines defining shows through here and there (a la the angles of cubic masses as on the John Constable) relating somehow roofs and gables of buildings (Gregoire to the dark foliage. The immediate had called himself a house painter). foreground of cool greens, pinky Within their outlined planes they browns, ochres, whites etc, all lightly, built up their richly pigmented colour impressionistically rendered focus surfaces in a decoratively realistic on the stronger angles and contrasts manner. of the middle distance; its trees and buildings blocking off any deep space In this work by Terence Mc Caw, he vistas, thus keeping this typically old demonstrates these characteristics, Cape rural scene compacted and working into and over his defining close to the picture surface; loosely in outlines. Even where they are blotted harmony with that of the wall. out they are felt as in the ochre mass Comfortable in his studio in Hout over the white wall coming in from Bay, Terence did not feel the need the left. With his ochres, whites and to push his creativity any further and greens with touches of brown and continued to produce popular works purple, he retains a cool tonality. reflecting the lingering rusticity of Many of these colours and tones his picturesque environment. So his are applied in segmented areas, like critical acclaim began to fall away the chunks of white representing from the early 1950s as his work sunlit facades. These are broken by rate became erratic; putting in an the pale blue shadows cast by the extra effort when funds were short,

page 14 permanent collection but secure in his popularity with the public. He seems to have carried on contentedly in this way until his death in 1978.

page 15 MY RAINBOW PALLETTE

Through our sacrifices and struggle, we have advanced to a point where non- racial democracy is no longer a simple craving.

Visual Artists, a group of people in the community who have a passion to understand, make a change have never been bound by the color of their skin. Their contribution to the society has been to reflect the world around them and also conscientize those who are in the dark.

As we commemorate the 40 years since the rise of the youth in quest for a non- racial South Africa, our exhibition will portray the Voices of the Young people in promoting unity, social cohesion, the beauty of the environment around us and also the social ills that need to be corrected for the benefit of our future generations through the creativity of their hands. South Africans will be remembering our icon, uNkosi uDalibhunga Rholihlahla Mandela as a Youth Leader that we all claim to be a unifying figure amongst South Africans.

Our exhibition will also be featuring a Young Artist, by the name of Sonwabiso Ngcai, with works depicting his life journey as a twin. The Eastern Cape Department of Sport, Recreation, Arts and Culture, in future, will be giving an opportunity to a best Individual Artist to be prominently featured in our exhibition as the strategy of growth.

page 16 EASTERN CAPE HANDMADE EXHIBITION

We live in a world of extreme commercialism, artificial raw materials and mass production. There is an ever-increasing quest for speed and convenience. Information is readily available at our finger-tips. You will often find a group of people sitting together busy on their cellphones or tablets communicating with others elsewhere. The Department of Sport, Recreation, Arts and Culture, as the custodian of arts and culture in the Eastern Cape, together with the Eastern Cape Development Corporation, Small Enterprise Development, Eastern Cape Arts and Culture Council, Amathole Municipality, Buffalo City Municipality and OR Tambo District Municipality, invites people of South Africa to slow down and get back to basics.

The ability to be creative has always being an integral part of human nature. This creativity found in all early civilizations became an essential aspect of existence. From early drawings on cave walls to the adornment of the self, people have continuously adapted this creativity to address a specific need.

The ability to create has gone beyond the need for survival or self- adornment. It now includes various types of dress, grasswork, wirework, claywork, beadwork, etc. leyo ke yimisebenzi yezandla.

Our Eastern Cape Handmade showcase will highlight the uniqueness and creativity of each of our eight districts. A closer look reveals the intricately woven grasswork of the Alfred Nzo District, the superb contemporary beadwork of the Amathole District, the amazing wool weaving of the Sarah Baartman District, the finest wirework of the Chris Hani District, the decorative décor of the Nelson Mandela Metro, the painstaking carving of wood in the O R Tambo District, and the delicate hand – made clay pots of the Joe Gqabi District.

page 17 EAST LONDON FINE ART SOCIETY EXHIBITION “ANYTHING BUT PAINTING”

Opening: THURSDAY 26th MAY 2016 at 18h30.

Every year, on the East London Fine Art Society’s Annual Exhibition Calendar shows the date of the established “Anything but Painting” exhibition.

The East London Fine Art Society invites artists to submit their artwork on the theme “Anything but Painting” which can be woodwork, beadwork, leatherwork, sculpture, needlework, or simply anything where painting is not the dominant media.

Please submit your work on or before Monday 23rd May 2016. The exhibition will be opened at the Coach House of the Ann Bryant Art Gallery, East London at 18h30 on Thursday 26th May and will close Saturday 11th June 2016.

ARTISTS PLEASE TAKE NOTE: A MAXIMUM OF SIX ARTWORKS ALLOWED PER ARTIST. ENTRY FEE: R5.00 per entry for members and R15.00 per entry for non-members

Please be advised: NO LATE ENTRIES WILL BE ACCEPTED.

Entry and label forms can be downloaded from the Ann Bryant Art Gallery website at www.annbryant.co.za or collected from the gallery 9 St Marks Road, Southernwood

KOM SKILDER BY LA CREUZETTE SAAM MET LOUIS JANSEN VAN VUUREN EN MARIE STANDER…16 TOT 22 AUGUSTUS 2016 Algemene Inligting Die toer word aangebied deur gashere Louis Jansen van Vuuren en Hardy Olivier by Château de la Creuzette op die Franse platteland. (www.lacreuzette.com.) Bekende kunstenaar, Marie Stander is ons gas-kunstenaar en vergesel die toer.

Wanneer: 16de to die 22ste Augustus 2016.

Koste: €3 250 per persoon wat deel, en sluit in : Vervoer van Charles de Gaulle lughawe na la Creuzette Treinrit terug na Parys aan die einde van die kuier, Luukse verblyf by la Creuzette op die Franse platteland Alle etes en drankies by La Creuzette (ook restourante wat besoek word), Alle ekskursies (bv kastele, markte, tuine) asook toegangsgeld en fooitjies Die week-lange skilder-kursus en alle kuns-materiaal.

Bo en behalwe die koste van die toer, moet jy net begroot vir jou retoer-vlug na Frankryk, die Schengen visum, asook jou eie sakgeld vir persoonlike inkopies.

Hoe werk dit: Om jou plek(ke) te verseker op dié toer, is ‘n deposito ten bedrae van 1000 Euros per persoon betaalbaar en sodra jy bevestig dat jy saam kom, sal ons vra vir VISA of MASTERCARD details waarteen die bedrag gedebiteer kan word. Die balans van die toer-koste sal eers betaalbaar wees met aankoms by la Creuzette. (Fakture hiervoor, sal uitgereik word om en by ‘n maand voordat die toer vertrek sodat jy jou valuta kan bestel).

Hardy sal Visum-briewe uitreik gedurende Mei /Junie wat die aansoeke sal vergemaklik en gaste kan dan hulle afsprake maak by die Franse Konsulaat om hulle Schengen visums te bekom.

La Creuzette gaste maak gewoonlik hulle eie reis-reëlings, maar ons Franse gashere sal help indien dit nodig is. Die meeste besoekers vlieg normaalweg op die direkte Air France vlug uit die Kaap of Johannesburg die aand voor die la Creuzette vakansie begin (dus 15de Augustus) en Hardy ontmoet almal op die lughawe om 07h30 die oggend van die 16de.

Diegene wie verkies om via London, Amsterdam of dalk Dubai te vlieg, sal reeds vir vorige dag in Parys moet aankom om betyds te wees vir die begin van die toer, vroeg-oggend op die 16de. Hardy sal help met Hotel-besprekings indien nodig en reël vir ‘n ontmoetingspunt in die middestad.

Ons reis, kuier-kuier per bussie na Boussac waar ons wonderlike vakansie sal begin…Aan die einde van die onvergeetlike week by la Creuzette, reis ons terug na Parys per trein van Chateauroux stasie en kom net na 12h00 in die Parysse middestand aan. Die res van die dag is tot almal se beskikking om die stad in te vaar, totdat dit tyd is om lughawe toe te gaan. KOM SKILDER BY LA CREUZETTE SAAM MET LOUIS JANSEN VAN VUUREN EN MARIE STANDER…16 TOT 22 AUGUSTUS 2016 Algemene Inligting Die toer word aangebied deur gashere Louis Jansen van Vuuren en Hardy Olivier by Château de la Creuzette op die Franse platteland. (www.lacreuzette.com.) Bekende kunstenaar, Marie Stander is ons gas-kunstenaar en vergesel die toer.

Wanneer: 16de to die 22ste Augustus 2016.

Bo en behalwe die koste van die toer, moet jy net begroot vir jou retoer-vlug na Frankryk, die Schengen visum, asook jou eie sakgeld vir persoonlike inkopies.

Hardy sal Visum-briewe uitreik gedurende Mei /Junie wat die aansoeke sal vergemaklik en gaste kan dan hulle afsprake maak by die Franse Konsulaat om hulle Schengen visums te bekom.

page 21

Faith-Based Art Exhibition National Arts Fest 2016

CALL FOR SUBMISSIONS

40 Stones in the wall is a faith-based exhibition at the National Arts Festival which is now going into its third year. It is organized by artists from local Grahamstown churches under the banner of SpiritFest. The purpose of the exhibition is to create a space where the arts can testify to the beauty and glory of God and also engage viewers on issues of faith.

We are looking for artists of Christian faith to submit work. There is no restriction on the theme of the work and it does not have to be overtly Christian. We are looking for work that is inspired by your Christian faith in whatever form that might take.

The work can be in any medium (including video/audio pieces) and we will consider work of all sizes.

HOW TO SUBMIT A WORK

Send a picture of your work/s and include the label information: Title, size and medium to Jonathan Griffiths at [email protected]

Please also tell us about yourself and any relevant background and meaning to the artwork/s.

DEADLINE FOR SUBMISSIONS: 10th JUNE

If your artwork is selected you must be able to get it to us in Grahamstown by no later than 20th JUNE.

Please feel free to contact us if you have any questions or would like to know more about how you can be involved. You can visit us on facebook.com/40stonesinthewall or contact:

Jonathan Griffiths [email protected] Cell: 076 907 0149

page 22 The Eastern Cape Highland gathering will be held at Cambridge High School on Saturday, 3rd September, 2016.

Faith-Based Art Exhibition National Arts Fest 2016 A great opportunity for artists and crafters to CALL FOR SUBMISSIONS

40 Stones in the wall is a faith-based exhibition at the National Arts Festival which is now market their wares. going into its third year. It is organized by artists from local Grahamstown churches under the banner of SpiritFest. The purpose of the exhibition is to create a space where the arts can testify to the beauty and glory of God and also engage viewers on issues of faith. As members of the We are looking for artists of Christian faith to submit work. There is no restriction on the theme of the work and it does not have to be overtly Christian. We are looking for work East London Fine Art Society and the that is inspired by your Christian faith in whatever form that might take.

The work can be in any medium (including video/audio pieces) and we will consider Friends of the Ann Bryant are not-for-profit work of all sizes. the R50 fee charge is waived for stall holders. HOW TO SUBMIT A WORK

Send a picture of your work/s and include the label information: Title, size and medium to Jonathan Griffiths at [email protected] Please see entry form on the following page. Please also tell us about yourself and any relevant background and meaning to the artwork/s.

DEADLINE FOR SUBMISSIONS: 10th JUNE The entry form can also be downloaded from

If your artwork is selected you must be able to get it to us in Grahamstown by no later than 20th JUNE.

The Ann Bryant website: Please feel free to contact us if you have any questions or would like to know more about how you can be involved. You can visit us on facebook.com/40stonesinthewall or contact:

Jonathan Griffiths www.annbryant.co.za [email protected] Cell: 076 907 0149

page 23 EASTERN CAPE HIGHLAND GATHERING 2016

P.O.Box 19570 Tecoma East London 5214; TEL: 082 9000948; Email: [email protected]

The East London Caledonian Society will be hosting the Eastern Cape Highland Gathering 1) At Cambridge High School 2) On Saturday 03 September 2016. 3) 08:30- 17:00

Although the main events are the Highland Dancing and Pipe Band competitions, the Gathering is also a wonderful opportunity for other persons to publicise their activities.

The Gathering committee therefore invites you to erect your stall on the day. Cost will be R50 per stall. This amount allows entrance to the stallholder and one other person.

NB! NO FOOD STALLS EXCEPT BY EXPRESS INVITATION OF THE EHCG COMMITTEE.

Please return reply and payment as soon as possible.

Yours faithfully D.J.Rankin (Convenor: Eastern Cape Highland Gathering)

To: The Eastern Cape Highland Gathering. P.O.Box 465 East London 5200 (Standard Bank Vincent Park. PlusPlan Account: 277787025)

I …………………………………………………………………………………………… of ………………………………………………………………………………………………

Telephone: …………………………….(w) …………………………….(h)

……………………………………….…. (c) hereby apply for a stall at Cambridge High School on Saturday 03 September 2016.

NB! NO FOOD STALLS EXCEPT BY EXPRESS INVITATION OF THE EHCG COMMITTEE.

Enclosed please find my cheque / deposit slip for R50-00 in full payment. Signed:

page 24 ART GALLERIES, FRAMERS AND ART SUPPLIERS (in alphabetical order)

Arts Unlimited Art Gallery

6 Bell Road, Vincent contact - Iwona or Daniel landline: 043 726 3355 email: [email protected] website: www.africanartsunlimited.com Original Art - Creative Picture Framing - Advice

Creative Visual Designs (CVD)

12 Jarvis Road, Berea (cnr Jarvis, entrance Berkley) contact - Louise landline: 043-726 1449 email: [email protected] Picture Framing, Gallery and Art Supplies

Floradale Fine Art Gallery

Our East London nursery and country shopping centre is easily found on the Old Transkei Road (R102/M10 to Gonubie) near Beacon Bay. Contact Rose landline: 043-740 2031 mobile: 078 2947252

Hobby Crafts

Western Park, Western Avenue, Vincent (Old Mica) contact: Lauren landline: 043-727 1297 email: [email protected] website: www.hobbycrafts.co.za

Malcolm Dewey Fine Art

60 Darlington Road, Berea contact: Malcolm mobile: 083 711 9888 website: www.malcolmdeweyfineart.com The gallery displays selected works from local and national artists.

Moore Street Framers

1 Winchester Road, Chiselhurst contact: Bev landline: 043-726 9381 mobile: 084 208 1407 email: [email protected]

Vincent Art Gallery

8 Dawson Road, Selborne contact: Rene landline: 043-722 1471 mobile: 083 700 4711 website: www.vincentartgallery.co.za