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DAC Kills NAC's Funding Ability BUSINESS MARCH 2010 | E-mail: [email protected] | Member of the Global Art Information GroupART DAC kills NAC’s funding ability Arts funding is now greatly compromised “The fact that a R14 million NAC budget equates to only R 2 million for individual arts and cultural initiatives suggests that over 85% of the NAC budget is being used elsewhere, presum- ably for paying fat cat salaries. While it’s easy to express distaste for the Department’s budget cuts, one also can’t help wondering what the NAC is doing with the money it does have” The Department of Arts and Culture has cut the National Arts Council budget in half for the 2010/2011 financial year, leaving only R 14 million in the NAC budget. Furthermore, the NAC has calculated that this will leave only R 2 million across all provinces and all 7 disciplines (including film, theatre, music and visual arts). The NAC will thus only be having one funding call this year, and, as anyone who has organised a large-scale project, event or exhibi- tion will attest, R 2 million is close on what one large-scale cultural project requires, an amount now intended to serve all proposals across the country. The Chairperson of the NAC, Adv. Brenda Madumise exclaimed that “We are of course disappointed at this reduction to the NAC and the sectors we support, and even more distressed by the painful consequences that this will automatically have for our artists.” She went on to say that “the NAC will continue to make a strong case to government on behalf of the creative industries during the Council’s remaining term of office. However, given the political consensus already reached on the overall budget, we recognise that we must all prepare for difficult times ahead.” In a slew of mismanagements and budget cuts (this announcement comes shortly after the DAC’s termination of the 2010 Task Team), this new hurdle only confirms government’s lack of commitment to the Arts and Culture sector, particularly in 2010, despite President Zuma’s proclamation at his November adress to the Arts and Culture Sector that: “The cultural industry sector is a very important partner in our drive to build a social and cultural identity for our nation. Any foreigner who wants to understand South Africans better is likely Dutch disease 2010, Bronze, taxidermied African Crow, antelope hair, nylon leaves, timber, epoxy, enamel paint. by Michael McGarry from his to listen to our music, watch our films or television dramas. That is show entitled: “This is the world in which we grow and we will grow to hate you.” to be seen at The Brodie/Stevenson Johannesburg. how important you are to the image of this country and its identity.” Major Tretchikoff Exhibition planed for end October Furthermore, the fact that a R14 million NAC budget equates to only R 2 million for individual arts and cultural initiatives suggests that over 85% of the NAC budget is being used elsewhere, presuma- Rumours have been circulating exhibition end October. Billed in the annals of South African bly for administrative costs (read paying salaries), so while it’s easy for some time about a major as a major retrospective, the art history, not only a a market- to express distaste for the Department’s budget cuts, one also can’t Tretchikoff exhibition in 2010, exhibition will present many ing genius, but as an artist as help wondering what the NAC is doing with the money it does have. and yesterday during his Pecha of Tretchikoff’s rarely seen well. Kucha talk at the Design Inda- paintings, as well as multiples Lamprecht confirmed that he The NAC Communications and Marketing manager was ba, curator to the stars, Andrew and responses to Tretchikoff’s is “in negotiation with a major unavailable for comment at this time. Lamprecht, confirmed that he oeuvre by other South African gallery” to host the exhibition. is working with the Tretchikoff artists. The exhibition is set to See www.arttimes.co.za to Foundation on launching the re-examine Tretchikoff’s place follow this story. Advertise with us -We truly cover the South African Visual Art World South African Art Times (Circulation 6 500 copies per month) Business Art (Circulation 6 500 copies per month) Art Life (Circulation 6 500 copies per month) Daily updates of breaking news from around the country at www.arttimes.co.za (+8 000 individual online visitors per month) No other local art publication has our reach and reasonable advertising rates Please go to www.arttimes.co.za for more information, or call Eugene at 021 424 7732 for prices and availability Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Published monthly by Global Art Information Editor: Gabriel Clark-Brown [email protected] News: [email protected] Opinions and views expressed in the SA Art Times do not necessarily represent the offi cial viewpoint of the editor, PO Box 15881 Vlaeberg, 8018 Advertising: Eugene Fisher [email protected] Shows: [email protected] staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, Tel. 021 424 7733 Fax. 021 424 7732 Subscriptions: Bastienne Klein [email protected] Artwork: [email protected] product or service. Copyright of the enclosed material in this publication is reserved. PAGE 02 BUSINESSART | MARCH 2010 The Jo-Marie Rabie Column “BLUE CHIP ART” Illustration by Nils Burwitz, reproduced in The South African Art Market 1971/72. Image courtesy: Esmé Berman “I got myself into hot water”, she replied in reference to “handbook for collectors”. “Among several informative articles contributed by knowledgeable writers was a segment for which I had called upon half-a-dozen nationally respected art experts to evaluate the collectibility of the artists whose works had been sold in various notable commercial galleries and on auc- tion sales during the preceding year. Their selections were carefully collated and the top recommendations in the fields of painting, sculpture and graphic arts were presented in declining sequence. The outcome? I was not among the arbitrators, but I was pilloried by artists who considered themselves far more important than the experts had decreed. My good friend Cecil Skotnes actually expressed the fear that my career in art was over!” South African art market, 1971/72: a handbook for collectors (Jo- profit to be gained from its increased financial value.” hannesburg, Art Institute of South Africa, 1972) it was an attempt Who’s the next “sure thing”, I dared to ask. “When it comes to I am almost completely convinced that most to answer the questions most frequently put to her by the public. ear-marking the potential ‘Blue Chip Artist’, the reckless stick ROI. But search as I may, I could not find a copy of this rare little gem. their neck outs. The wisest dealers did not recognize the invest- of you would know what those three letters stand for, but until a few days ago, I did not. “What’s the expected ROI?”, I was asked So, I took the plunge and e-mailed Mrs Berman with a list of ques- ment worth of Vincent Van Gogh during his life-time. Who by a board member at a meeting I attended to discuss a potential tions pertaining to the so called “blue chip artists”. dreamed during the 1930s that the ‘appalling’ Irma Stern would branding and marketing project I have become involved in. I could “I got myself into hot water”, she replied in reference to “hand- ultimately become the highest priced South African artist.” not answer her question. I had no clue what an ROI was - the book for collectors”. “Among several informative articles “‘Blue Chip Artist’ certainly does not apply to the Flash-in- boardroom and it’s jargon is an alien world to me. It turned out to contributed by knowledgeable writers was a segment for which I the-Pan, to the Politically Correct or to the current Wunderkind mean Return On Investment. had called upon half-a-dozen nationally respected art experts to – voguish figures that can more appropriately be described as Unlike me, terminology like “Return on investment” clearly evaluate the collectibility of the artists whose works had been sold ‘Hot’! And it is the case of the ‘Hot Artists’ that confuses the is- belongs in a boardroom, but like all else in a world possessed by in various notable commercial galleries and on auction sales dur- sue – and reinforces my personal disinclination to associate myself the notion that anybody can do anything (did you hear that Britney ing the preceding year. Their selections were carefully collated and with financial values. I was very much aware, for instance, as I Spears has now written a children’s book?), jargon seems to seep the top recommendations in the fields of painting, sculpture and observed the art scene during many years in Los Angeles, that sev- and creep across borders and boundaries – moving effortlessly be- graphic arts were presented in declining sequence. The outcome? eral of the most prominent collectors there – determined to be seen tween boardroom and auction room, gambling hall and art gallery. I was not among the arbitrators, but I was pilloried by artists who to be on the cutting edge – made a beeline for the ‘Hot Artists’. So, it probably comes as no surprise that ROI is now a recognized considered themselves far more important than the experts had Indeed, in many cases it was their patronage that accounted for incentive for buying works of art or that the term “blue chip” is decreed.
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