THE SOUTH AFRICAN

ART TIMES
May’s Black and White Supplement
Page 2 South African Art Times. May

ART PIG
Alex Dobb
Art is good for so many things,
like acclimatising to the frenetic
urban milieu after a long weekend
in a timeless world of green grass,
crackling fires and roast chicken
dinners. Not unlike returning to
mad Moscow after a retreat at your
cousin’s dascha on the Volga (I’d
imagine), a measure of readjust-
ment is necessary.
Jozi can seem scary from a critical
distance. As you plummet back
into the heart of the beast along
her mainline concrete arteries cut-
ting through warehouses, factories,
outsize billboards and mouldering
minedumps the temptation is to
do a quick U-turn and bolt for the
hills. But that would be the sissy’s
option and committed Jozi fiends
know that this city’s magic lies way
deeper than her hardened graf-
fitied surfaces.
It’s only when you’re immersed
in the hum of the inner organism,
bound up in her networks and peo-
ple that you start to feel at home
again. So I start my first morning
back with a speedy espresso at
the brashly named Two Tarts café
in Milpark and make my along
the reddening autumn leaves of
Jan Smuts to the art strip, where
temperatures are rising again with
photographer Pieter Hugo and
painter Alfred Thoba at Warren
Siebrits, Colbert Mashile at Krut
and Ricardo Fornoni, the youngest
blood on the block, preparing for
his latest show, Anima, at Resolu-
tion.
But being an unabashed Goldblatt
freak my first destination is the
Goodman Gallery. For who can re-
sist a show entitled Joburg by this
city’s most duly lauded lensman?
Perhaps the most crucial aspect
about this exhibition is the exten-
siveness of its chronogical sweep,
offering the viewer an excruciat-
ingly considered insider’s take on
the evolution of this metropolis and
its people through the latter half
of the 20th century right up to this
moment.
I’m drawn in from the get go by two
moody colour images, both taken
on 17th Street Fietas in the late
Seventies before the destruction
of its houses and shops under the
Group Areas Act. In the first image
one is struck by the humility and
unassuming scale of the early
colonial architecture; the tin roofs,
peeling pillars and faded stoep
paint highlighting the makeshift
qualities of the era in relation to the
bald capitalist machismo that has
informed the construction of some
the concrete behemoths photo-
graphed by Goldblatt in Sandton in
recent years.
The second image captures what
was once the landmark Avalon
Cinema with its broken neon
sign and faded, peeling posters
advertising double features… I am
struck by the poignant particularity
of the colours of this lost and fad-
ing world and the fact the images
we know from Goldblatt’s early
oeuvre are usually in black and
white…
Soon enough though I find myself
in the thick of an eager throng
of flamboyant seniors brought
together by art historian Mona
Berman and being guided through
the works on show by the brilliantly
erudite Neil Dundas, the solid
rock at the heart of the Goodman.
Dundas points out five early colour
works, explaining that Goldblatt
never exhibited his colour works
in the past because of limitations
in printing techniques. However
with the advent of digital printing,
he has been able to work with
colour negatives from his archive
to achieve the subtlety of hue on
which he has steadfastly refused
to compromise.
Two of the other five colour prints
from the archive were composed
in 1977 and feature the makeshift
kitchen and dark bedroom of a
humble home in Soweto. There
is something painfully touching
about the plastic covers laid down
to protect and preserve the cheap
stainless steel and plastic furniture.
It’s a small gesture that captures a
spirit of pride and optimism against
the odds – a human impulse
that stands out against other
systematic imperatives implicit in
the forms of so much of this city’s
architecture.
Captured by Goldblatt’s lens the
stark shadows of these hulks belie
the crass capitalism and national-
ism that have prevailed through
the reigns of two power-hungry re-
gimes. But the city’s magic shines
through in small and poignant
human gestures immortalised by
Goldblatt, who has never failed to
take the time to notice them. And
that’s the paradoxical glory of this
town really, the everyday human
striving pitted against more com-
plex overriding forces hell bent on
relentlessly fashioning fresh profits
from this rugged Highveld grit.
* David Goldblatt’s Joburg is on
show at the Goodman Gallery until
24 May.

Alex Emsley
THE ARTFUL
VIEWER
Melvyn
Minnnaar
The Good, the Bad, the
Ugly - Why Portraits Matter
Most modern magazines have
cotton on to the ancient truth that
fascinated - and occupied - the
classical masters of Greece and
Rome as much as it does a con-
temporary like Lucian Freud: peo-
ple adore pictures of themselves
and their mates, but pop-shots of
celebrities bring out the crowds.
Check the abundance of published
social and party photos in the
glossies.
Call those pictures portraits
- especially if executed by another
celebrity and under enough hyped
circumstances to lure the televi-
sion cameras - and you have the
basics in place for one of art
history’s enduring themes. It just
doesn’t let go. Portraits are man’s
best friend.
The art of portraiture slips in and
out of the news - never without
drawing the curious crowds
- when, ever-so-often, another
gallery or institution tackles the
theme. More recently, I-Art Gallery
held such an exhibition; some
years back AVA threw out an invi-
tation. In both cases, the results
were pretty mixed.
The problem, it seems, is that
the good-intentioned organis-
ers don’t always consider their
actions thoroughly. The result is a
half-satisfying mixed-bag. With all
due respect and appreciation of
such efforts, it’s an open question
whether the fine, challenging art of
portraiture - particularly in our era
of multi-media, instant visual com-
munication and overhyped fame
- have been well served in such
recent shows.
A picture of a person, done in
whatever medium, is not necessar-
ily a portrait; and a ‘portrait’ is not
necessarily a punchy or relevant
piece of visual communication.
In-between plenty of nonsense
pops up.
Maybe the main problem is that
artists, their sponsors and cura-
tors under-estimate the power
of portraiture. And they forget or
ignore that fact that power has
to be negotiated, even struggled
with.(That social glossy photo too
is a visual statement that works
itself through not a minor editorial
process.)
The power of the permanent im-
age - for such is the subtext of por-
traiture - lies in many things. Vanity
is, of course, a prime motivator.
But there are other issues at stake
in that power game. Money, fame,
status, cultural significance - and
it can work both ways, for both
sitter and portraitist. (The famous
National Portrait Gallery in London
is the temple accommodating
both praised and praise-painter.
Being British, they’ve tuned the
power game to the finest degree,
of course.)
One of the most famous incidents
demonstrating the enormous
power of portraiture, was the
destruction of a formally-com-
missioned portrait by the then
esteemed British painter Graham
Sutherland of the grand old Sir
Winston Churchill in 1954. The
sitter hated the oil painting com-
missioned by the British parlia-
ment for his 80th birthday and it is
alleged that his wife actually burnt
the painting. (An oil study in prepa-
ration only came to light years
later, testifying to Sutherland’s
masterful honesty in his portrayal
of the frail old bull - who, even at
that age, considered himself to be
the hearty warrior.)
How rare will it be today for an
artwork to evoke such passion?
If only!
(The postcard-size painting of
Queen Elizabeth II by the most
famous British painter alive, Lucian
Freud, in the NPG is certainly no
flattering portrait. But a remark-
able statement about both the
aging queen in her awkward tiara
and the old master of the oil paint
stroke.)
Of course, the great and
glamorous still believe that the
only permanent picture of their
countenance worthy to be hung
in boardrooms or such, should be Winston Churchill, (1941). By Yousef Karsh.
executed in oil on canvas (and
framed in gild, of course). Some brilliantly used in a good artist’s obvious medium for portraiture,
how oil paint and canvas (and hand. seldom gets the nod, but masters
a gilded frame) are considered Incidentally, the photographer like David Goldblatt and young-
requirements for proper commen- Yousef Karsh of Ottowa’s black- sters like Pieter Hugo have made
dation. and-white photograph of Winston top-notch, engaging, lingering
Churchill, taken in1941, is one portraits.
Sam Taylor-Wood’s filmed portrait of the iconic images of the last In South Africa the ancient art of
of David Beckham at the NPG and century. portraiture is an endeavour that
it will be crystal-clear that a mod- Photography, somehow the needs a serious rethink.
ern medium like video can be

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Art Transport withing Cape Area
South African Art Times. May
Photo. Leah Hawker
Lloyd Pollock
Review of Muse 08
Portraits exhibition at
iArt Gallery, Cape Town
A solemn, heavy-handed
portentousness, unleavened by
nuance, irony, ambiguity or wit, still
typifies much South African art.
This glum legacy of the struggle,
when issues were cut and dried,
still informs the work of Reshada
Crouse, whose melodramatic
portrait of Rian Malan looks like a
bulletin from the front-line. Her
turgid Passive Resistance too
reveals her trapped in a time warp.
Although the painting alludes to
Delacroix’s Liberty Leading the
People, its lurid bombast relates it
to Cecil B. de Mille rather than the
grand tradition of history painting.
Christiaan Diedericks heroicises,
nay, sanctifies, Elna Boesak as
a dauntless La Passionaria in a
drawing indistinguishable from
an election poster. This is art
reduced to its lowest common
denominator, art as propaganda,
David Goldblatt’s Flat-cleaner going for a walk on his afternoon off. Hillbrow, 1972 (Photograph)
Part of his Joburg Exhibition, Goodman Gallery (Jhb) Until 24 May
Man with Cigarette, Riaan Malan by Rashade Crouse for more see www.iart.co.za
sloganeering, hagiography and
sham heroics.
Alex Emsley’s Melvyn Minnaar
resonates a similar bogus gran-
diosity. The Vasari of the Cape
Times is glorified as a lofty sage,
his disillusioned eyes gazing fear-
lessly into distance as his intellect
works overtime beneath his noble
domed pate.
What is it with these Emsleys?
Do hero-worship and heel-clicking
run in their genes? Paul Emsley
too adopts a slavishly adulatory
approach in his William Kentridge,
lovingly cataloguing every detail
of bushy eyebrow, crows feet and
distended pores in an official-look-
ing image based on the tried and
trusted academic formulae of cen-
tral focus, frontality, and symmetry,
derived from previous artists
representations of ‘great men’.
Emsley certainly possesses
draughtsmanly skill, and he invests
Kentridge with undeniable dignity,
but, sadly, it is the embalmed
dignity a skilled mortician might
confer on a corpse. Emsley
elevates Kentridge into a repres-
sive public monument a la Mount
Rushmore, and this extreme
formality of approach precludes
psychological insight.
Stagy attitudinising, rather than
first-hand observation, is the basis
of Hardy Botha’s irreverent deline-
ation of Breyten Breytenbach as a
starry-eyed idealist and rabble-
rouser in the clichéd tradition of
60’s T-shirts emblazoned with
Fidel Castro or Che Guevara.
The great poet is juxtaposed with
a blank speech bubble, but it is
not he who has nothing to say, it
is Botha.
“Muse”, iArt’s show of portraiture
from the Klein Karoo Nasionale
Kunstefees is dismayingly hick,
provincial and arriere-garde.
Its most depressing feature is
however a fatal reluctance to truly
engage with the sitter, venture
beyond appearances, and delve
into personality. The artists
respond to the unique challenges
of portraiture in a heart-breakingly
superficial, simplistic and gimmicky
fashion. Bradley Pritchard, Evelyn
Rust, Richard Smith and Elizabeth
Gunter inter alia capture superficial
likenesses, but their style remains
purely illustrational in its adher-
ence to appearances, rather than
transformative imagination.
Louis Jansen van Vuuren is the
worst offender. His Marilyn Martin
is all pretty-pretty mannerism,
pom-poms, tassels and embroi-
dery, and the redoubtable lady is
transmogrified into naught but a
simpering Geisha welcoming us to
the Teahouse of the August Moon.
Hanneke Benade’s heavily stage-
managed Lien Botha – one of the
better works - exemplifies this lack
of genuine involvement with the
sitter. The painting is obviously
painted from a Polaroid
The
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Playwright Mike van Graan appointed
Executive Director of the Africa Centre
AC Press release.
(Mike will be interviewed in the AT
on his return from overseas)
The Africa Centre is proud to
announce the appointment of Mike
van Graan - arts administrator
and playwright - to the position of
Executive Director.
“The Africa Centre is a truly excit-
ing project and I am honoured
to be part of it”, says Van Graan
who has been recognized as one
of the most influential people in
the South African arts and culture
sector.
The Africa Centre is a non-
profit organisation that seeks to
document, promote and celebrate
the arts, culture and heritage of
the African continent. Its major
projects since its inception in 2007
have been the launch of the bien-
nale Spier Contemporary visual
arts exhibition, the Spier Poetry
Exchange and the Spier Perform-
ing Arts Festival.
For the last year, besides work-
ing as an independent theatre
producer, Van Graan has served
as the Secretariat for the Arterial
Network, an informal, dynamic
network of individuals, institutions
and funding partners working to
support the effectiveness and
growth of Africa’s arts and culture
civil society and to enhance the
and go from there
Page 3
Image from www.mikevangraan.co.za
sustainability of creative industries
in Africa. The Arterial Network
was launched on Goiree Island,
Senegal in March last year.
“There is potentially great synergy
between the vision of the Africa
Centre and the work of the Arterial
Network, and I’m looking forward
to the Centre pursuing its objec-
tives beyond the Limpopo, and to
it being shaped and influenced by
increasing contact with colleagues
in other parts of the continent,”
said Van Graan. One of the major
projects of the Africa Centre will be
the creation of an on-line directory
on African arts, culture and herit-
age to facilitate greater networking
and collaboration within the con-
tinent and between practitioners
from Africa and elsewhere.
Van Graan takes over the reins
of the Africa Centre from Tanner
Methvin who has nurtured the
organization since its inception
as a board member assigned this
responsibility while the organiza-
tion searched for a suitable direc-
tor. Methvin will continue to play
an active role in the governance
of the Africa Centre as a board
member.
For more information, see www.
africacentre.net
Art Opportunities Monthly. Selected for Fine Artists studioNOTES publication.Competitions, Grants,
The List Pros Trust
International Edition
These opportunities have been
selected from several hundred as most
appropriate for serious fine artists, tradi-
tional or contemporary. We favor things
that are free to the entrants, offer good
rewards in relation to the fees, increase
the exposure of those accepted, or are
prestigious or special in some other way.
Where an opportunity seems to be a
particularly good fit, we have marked it
with..|+| as an “editor’s choice. Entries
marked with ~ are generally better
for artists living nearby or with limited
experience. Please keep in mind that
these judgements are made only on the
basis of the information available in the
prospectus; nothing herein is an endorse-
ment or criticism of any kind.
Unlike other listing services, we do not
knowingly include for-profit galleries that
charge fees to look at slides, individuals
pretending to be galleries or contests that
exist only to turn a profit for the promot-
ers. (See www.artopportunitiesmonthly.
com/notlisted.html for some of the rea-
sons.) Please report such listings to us.
The listings are in capsule form, arranged
by deadline and identified by media, so
that you can tell at a glance if something
might be suitable for you. The general
structure of each entry is:
Media:(See Key) Deadline: (Date due)
Local restrictions, if any || Short descrip-
tion || Entry fee and/or number of slides
(images) being requested || Award–what
is being offered || Jurors, if named ||=>
Contact name || Title of show for pro-
spectus || Address. Phone #; Fax; Email;
Web address.
KEY: AU= Audio, BA = Book Arts, CE =
CEramics, CO = COllage, CR = CRafts,
CU = CompUter, DR = DRawing, FI =
FIlm, FR = FibeR, FU = FUrniture, GL =
GLass, GR = GRaphics, IN = INstallation,
JE = JEwelry, ME = MEtal, MM = Mixed
Media, NM= New Media, PA = PAinting,
PE = PErformance, PH = PHotography,
PP= PaPer and papermaking, PR =
PRints, PS = PaStel, PU = PUblic, QU =
QUilt, SC = SCulpture, TX = TeXtiles, VI
= VIdeo, WC = WaterColor; WE = WEb
or Net art; WM = WaterMedia; WO =
WOod. x before code = “except.” RFP =
Request For Proposal, RFQ = Request
For Qualifications, |N| = new listing, not
in previous issue, |C| = changed since
last issue. Other abbreviations: sl = slide,
appl = application, digi = digital, CV =cur-
riculum vitae or résumé, K=thousand,
M=million, BPS = British Pounds Sterling,
EUR = Euro.
All amounts in US Dollars unless other-
wise specified.
Always download prospectus from web if
available or send email or #10 SASE for
it or more information.
* * * ** * * * ** *
|N| Media: 2D. Deadline: Apr 30 |+|
International. Competition to develop
functional, well-designed 1) sidewalk
racks and 2) to generate new concepts
for bicycle parking inside commercial and
residential buildings. No fee/1 (booklet
of <11 single-sided 8.5 x 11 sheets or as
slide show on CD), descriptive text, etc.
$5K honorarium for up to 10, then $10K
for winner, etc. Jury: David Byrne, musi-
cian, artist, cyclist; Patricia E. Harris, 1st
Deputy Mayor, NYC; Duncan Jackson,
industrial designer; et al. => CityRacks,
USA. http://xrl.us/AOM99e.
Media: 2D x( PH CU). Deadline: Apr 30
International. Juried show of mini-
atures (5x7” max incl. frame) in artist
membership gallery. $25/12, $35/3-5,
$46 6-7. $1K+. Jury: Sharon Tietjen,
painter, CPSA. => Nancy Thompson,
16th Annual Miniatures, Parklane Gallery,
130 Park Ln, Kirkland WA 98033, USA.
425.742.3909; fax -9172; info@Parklane-
Gallery.com; http://xrl.us/AOM98bz.
Media: 2D. Deadline: Apr 30
International. Publishing (color) cover
art and (B&W) inner pages, illustrations,
occasional cartoons. No fee, submit
by ground mail only. Terms negotiable
upon acceptance. => Art Editor, The
Carolina Quarterly, CB# 3520 Greenlaw
Hall, UNC, Chapel Hill NC 27599-3520,
USA. cquarter@unc.edu; http://xrl.
us/AOM75BT.
Media: PH. Deadline: Apr 30
International. Competition for profes-
sionals and amateurs w/ awards in
21 categories, traditional or digital
methods. $35/1, $20 ea. add’l (online).
Masters Cup, $11.5K, published in the
awards Annual, Creative Excellence
Prize, international exposure and. Jury:
Anthony Haden-Guest, art & collecting
columnist, “Financial Times,” London;
Amy Steigbigel, dir. of photography (NY),
Getty Images; Audrey Jonckheer, dir.
Worldwide Public Relations, Eastman
Kodak; et al. => 3rd Ann. Photography
Masters Cup, International Color Awards,
369 S. Doheny Dr Ste 323, Beverly
Hills CA 90211, USA. Also offices in
UK and Australia. +01 310-499-4394;
info@thecolorawards.com; http://xrl.
us/AOM86q.
|N| Media: All. Deadline: May 1 |+|
International. 3 scholarships of $15K
ea. for students from Eastern Europe
and 6 scholarships of $2K and $1K for
students from anywhere to participate
in low-residency MFA program, also
summer program. No fee, appl. $54K
total. => Klaus Knoll, Nine Scholarships
in International MFA Program, Transart
Institute, PO Box 4668#34726,NYC
NY 10163-4668, USA. 508-682-2853;
fax -2853; admin@transartinstitute.org;
http://xrl.us/AOM99ax.
Media: PH. Deadline: May 1
International. Publication of work on any
subject in small independent mag, all
processes and techniques. $15/12 (free
to subbers, photos [8x10 or smaller] or
300dpi tif/CD, no sl). All entrants who fol-
low rules correctly receive copy of maga-
zine. => Summer Issue (#100), Shots
Magazine, Box 27755, Minneapolis MN
55427-0755, USA. shotsmag@juno.com;
http://xrl.us/AOM76CL.
Media: All 2D x(PH CU DI). Deadline:
May 1
International. Juried competition w/ 5
categories: portraits and figures, still
life, landscape, abstract/experimental,
animal. $13/1 no limit, students: $10/1
(sl or CD). $25K+ in cash, top winners
featured in magazine. Jury: Juliette
Aristides, artist, author; Daniel E. Greene,
artist, teacher; Dean Mitchell, artist; et
al. => 25th Annual Art Competition, The
Artist’s Magazine, 4700 E Galbraith Rd,
Cincinnati OH 45236, USA. 513-531-
2690 x1328; art-competition@fwpubs.
com; http://xrl.us/AOM98aL.
Media: All. Deadline: May 1
International. Annual juried show. $25/3
(CD). Jury: Yasmil Raymond, assist. cur.,
Walker Art Center. => Open Door Ex-
hibit, Rosalux Gallery, 1011 Washington
Ave S, Minneapolis MN 55415, USA.
612-747-3942; info@rosaluxgallery.com;
http://xrl.us/AOM97bk.
|N| Media: Appropriate. Deadline: May
4 |+|
International. Contest of book cover or
poster illustration is inspired by episodes
of the History Channel’s “UFO Hunters”
HD series. No fee/1, (digital file only: jpg,
gif or URL of FTP location to be retrieved
at. HDTV, iPod Touch, History Channel
swag. => Justin, World Famous Comics
UFO Hunters Art Contest, World Famous
Comics, USA. justin@wfcomics.com;
http://xrl.us/AOM99cv.
|N| Media: PH. Deadline: May 5
International. Exhibits on theme of “The
Spaces of the Image”: questions of
mechanisms and staging, perceived as
essential keys to reading the different
photographic projects of recent years. No
fee/10 (CD-MAC or DVD or email), cover
letter on how work relates to theme,
CV, etc. Jury: Gaëlle Morel. => Chuck
Samuels, Theme 2009: The Spaces
of the Image, Le Mois de la Photo à
Montréal, 661, rue Rose-de-Lima, Local
203,Montréal Québec, CANADA H4C
2L7. 514-390-0383; fax -8802; soumis-
sion2009@moisdelaphoto.com; http://xrl.
us/AOM99bq.
|N| Media: PH. Deadline: May 9
International. Juried exhibit. $40/4, $7
ea. addl, max 10 total (CD-PC only),
statement. $2.25k. Jury: Rod Slemmons,
dir., Mus. of Contemporary Photography,
Columbia College. => Ann Pallesen,
Please Ring Bell, Photographic Center
NW, 900 12th Av, Seattle WA 98122,
USA. 206-720-7222x11; apallesen@
pcnw.org; http://xrl.us/AOM88bq.
|N| Media: FI VI. Deadline: May 9
International. Showing shorts and fea-
tures out of the mainstream. $50/1 (DVD
Reg.1 or via withoutabox.com), hi-qual
press photos, synopsis, entry form. =>
Adam Rocha, San Antonio Underground
Film Festival, 1633 Babcock #111,San
Antonio TX 78229, USA. 210-977-9004;
safilm@gmail.com; http://xrl.us/AOM88k.
Media: All. Deadline: May 9
International. Shows of work for 09
season. $10/20 (sl or CD), resume, state-
ment. => Heather Green, Galleries 2009,
Rogue Community Col., 3345 Redwood
Hwy, Grants Pass OR 97527, USA.
541-956-7339; fax -471-3588; hgreen@
roguecc.edu; http://xrl.us/97bj.
Media: FI VI. Deadline: May 10
International. Juried festival of inde-
pendent, alternative work. $20-$90/1
depending on length, when submitted
(VHS NTSC or Region 1 0 DVD).
Gorilla software, free admission, possible
broadcast, other prizes. => 14th Annual
Brainwash Movie Festival, Brainwash,
Box 23302, Oakland CA 94623-0302.
415-273-1545; shelby@brainwashm.
com; http://xrl.us/AOM77w.
Media: PA WC PS DR SC x(GL TX JE
PH CU). Deadline: May 12
International. Juried exhibit of work
depicting any breed of horse in any
setting. $40/3 (sl, CD or photos) + $5
processing fee. $2.5K+. Jury: Dawn
Emerson, C.W. Nave, Jan Woods, et
al. => Shelley Hunter, Fall Open Juried,
Kentucky Horse Park, 3915 Jay Trump
Rd, Lexington KY 40511, USA. 859-281-
6043; fax -6031; shelleyh@aaea.net;
http://xrl.us/AOM98ac.
Media: All. Deadline: May 12
International. Shows for 08-09 season,
by artists or curators, any theme, but par-
ticularl that which is experimental or chal-
lenging. $10/15 (CD or DVD [preferred]
or sl) descrip., appl, etc. Publicity, etc.,
honoraria. => Marilyn Ladd-Simmons,
Call for Artists, SPACES Gallery, 2220
Superior Viaduct, Cleveland OH 44113,
USA. 216-621-2314; fax same; info@
spacesgallery.org; http://xrl.us/AOM87cc.
|N| Media: SC PU. Deadline: May 15 |+|
International. Showing of new outdoor
work that responds to the site, an urban
park in downtown core. No fee/10-20
(sl or phot only ), drawing including
dimensions and materials and location
of work on site, (sl of maquette OK, too).
$2.5K for artist, up to $17.5K for materi-
als, transportation, etc. => Rina Greer,
Toronto Sculpture Garden, 38 Avenue Rd
Ste 713,Toronto Ontario, CANADA M5R
2G2. 416-515-9658; fax -9655; info@
torontosculpturegarden.com; http://xrl.
us/AOM88cL.
|N| Media: PH. Deadline: May 15
International. Publication of work showing
nude form in keeping w/ principles of pur-
ism the “single-minded, artisanal, truthful
pursuit of doing what you do extremely
well.” No fee, online only. Publication on
a billboard in arts district of a prominent
city, possible other use in future but no
compensation ever. Jury: Brett O’Bourke,
managing ed., flavorpill.com; Dennis
Leyva, art& entertainment liaison, City of
Miami Beach; Lydia Fenet, dir. of special
events, Christies Auction House; et al.
=> New Classic Nude Billboard Contest,
Christiania Arts Foundation, USA.
|N| Media: SC etc. Deadline: May 15
International. Juried show, esp. of chal-
lenging and innovative work -- suspend-
ed, hung, rolled, pushed,, inflated, folded,
movable to accommodate changing
space. $15/3, $5 add’l. max 5 (CD), appl.
=> Up: an exhibition of hovering hanging
inflating or wheeled sculpture, Urban Inst
for Contemp Arts, 41 Sheldon Bl SE,
Grand Rapids MI 49503-4227, USA.
jteunis@uica.org; http://xrl.us/AOM99cp.
Media: Mail Art. Deadline: May 15 |+|
International. Exhibition and sale of work
on the theme Global Warming: A Hot
Time in the Old Town!, in artist-run space.
No fee, send by ground (not to exceed
8x10”) or as PDF or jpg < 2MG by email.
30% of sale proceeds to Women’s
Wisdom Project, a nonprofit program of
the Sacramento Food Bank and Family
Services. => Ann Tracy, Mail Art - Global
Warming, Asylum Gallery, 170 Southgate
Rd, Sacramento CA 95815, USA. 916-
804-6095; anntracy51@sbcglobal.net;
http://xrl.us/AOM98ar.
Media: FI. Deadline: May 15
International. Showing several categories
(features, short films, animation, docs,
etc). $25-$85/1, depending on genre and
submission date (or through www.with-
outabox.com). Screenings, etc., at least
9 special awards. => International Film
Festival, Moondance, 970 9th St, Boulder
CO 80302, USA. director@moondance-
filmfestival.com (subject moondance);
http://xrl.us/AOM86ax.
Media: FI VI. Deadline: May 15
International. Showing short work by
“diverse artistic international voices that
define the new trends in independent
film and video.” No fee/1, (DVD NTSC or
miniDVD),3 images, bio, statement. Fee
paid to artists. => Video Installations,
aluCine Toronto Latin@ Media Festival,
90 Oxford St Ste 8, Toronto, ON M5T
1P3, CANADA. 416-966-4989; entry@
alucinefestival.com; http://xrl.us/AOM96s.
|N| Media: FI VI. Deadline: May 20
International. Festival of work (35 min.
max for films, 3-20 for video) that “may
contribute for the development of the
short film concerning its aesthetics,
specific shape and way of production.”
No fee/1 (VHS-NTSC or PAL, or DVD), 2
stills, subtitle list, etc. Jury: popular vote.
=> Sao Paulo Int. Short Film Festival, As-
sociaçao Cultural Kinoforum, Rua Simao
Alvarez, 784/2,Sao Paulo SP 05417-020,
BRAZIL. 55 11 3034-5538; fax -3815-
9474; http://xrl.us/AOM99bf.
|N| Media: 2D (incl. 2D documentation of
3D projects). Deadline: May 20 ~
International. 3-mo online exhibit, by
commercial organization run by artists,
membership available. US$30/5, US$5
ea. add’l (CD or email). Possible gallery
showing or representation. => Curator,
2 - 3 - d - 10, Energy Gallery, 55 Michael
Dr, Toronto, Ontario, CANADA M2H
2A4. info@energygallery.com; http://xrl.
us/AOM88aL.
|N| Media: Appropriate. Deadline: May
24
International. Competition of designs
for A1 size posters presenting latest
developments in interdisciplinary field
of Urban Screens. No fee/1 (online),
summary. All accepted displayed during
conference, some winners also shown on
outdoor sites around Federation Square,
some free tickets. => Call for poster
presentations, Urban Screens Melbourne
08,, Melbourne, AUSTRALIA. exhibi-
tion@urbanscreens.net (subject: USM08
CALL); http://xrl.us/AOM99cr.
Media: PH CE MM PA FI/VI AU SC.
Deadline: May 24
International. Annual juried show,
theme: Freedom. $10/1, max 5 (CD,
DVD or email). Top 3 finalists in ea.
category shown, all entrants shown on
line indefinitely. => Freedom, Altered
Esthetics Gallery, 1224 Quincy St NE,
Minneapolis MN 55413, USA. 612-378-
8888; contact@alteredesthetics.com;
http://xrl.us/AOM98ag.
|N| Media: 2D. Deadline: May 30 |+|
International. Publication in environmen-
tal magazine of work dealing w/ interplay
of art and environmental concerns
(sometimes called “place-based” visual
art). No fee (sample lo res images, and/or
URLS, brief narrative by email or by
ground). => The Bear Deluxe Magazine,
Art & The Environment, Orlo, Box
10342,Portland OR 97296, USA. bear@
orlo.org; http://xrl.us/AOM99bv.
Media: SC. Deadline: May 30 |+|
International. 6-mo. outdoor display of
large scale sculptures in area heavily traf-
ficked by art collectors, others. No fee/2
(sl, photos, CDs, etc). $2.5K honoraium
for ea. of 18 pieces. => Richard L.
Twedt, Pub. Arts Mgr., 2009/10 El Paseo
Invitational, City of Palm Desert, 72-567
Highway 111, Palm Desert CA 92260,
USA. 760- 568-5240; rtwedt@ci.palm-
desert.ca.us; http://xrl.us/AOM96bc.
|N| Media: FI VI. Deadline: May 31 |+|
International. Showing work up to 60
secs., in 4 categories: Fiction/Doc,
Animation, Art/Experimental, Youth/U20.
No fee/1 (max), stills, posters if avail.,
submit on line. => One Minute Film &
Video Festival Aarau, Postfach 2761,CH-
5000 Aarau, SWITZERLAND. info@
oneminute.ch; http://xrl.us/AOM88bn.
|N| Media: FI VI NM etc. Deadline: May
31 |+|
International. Conference and multimedia
exhibition in series of worldwide events
around the redefinition of a growing
digital infrastructure of moving images
in public spaces, including interactive
software applications, participatory
community projects, hybrid projects. No
fee/1 (online). => Call for film&video and
multimedia projects*, Urban Screens
Melbourne 08, AUSTRALIA. exhibition@
urbanscreens.net (subject: USM08 -
question concerning the CALL); http://xrl.
us/AOM99cr.
|N| Media: Encaustic 2D. Deadline:
May 31
International. Juried show of work ad-
dressing color, texture, surface, pattern
or hot/cold or all and made primarily
of encaustic. $45/3 (CD), bio/résumé,
statement, etc. => Jesse, Translucent,
International Encaustic Artists, 101
Townsend Ste 207,SF CA 94107, USA.
415-543-1550; jesse@mmgalleries.com;
http://xrl.us/AOM99bd.
Media: FI. Deadline: May 31
International. Showing work for and by
children, categories: adult-produced live
action, animation, feature, short, TV,
doc, child-produced (3-14). $40-$100/1
depending on type, date submitted (free
for children 3-14) (VHS [PAL or NTSC] or
DVD). $5K+. Jury: adults and chilMedia
Inc, 1517 West Fullerton Av, Chicago
IL 60614, USA. 773-281-9075; fax
-9075; jessicaw@facets.org.; http://xrl.
us/AOM97aa.
Media: All. Deadline: Jun 1
International. Juried exhibit. $30/3, $5
ea add’l, max 7 (sl, CD or 5-min cued
VHS or DVD for time-based). Juror’s
award, solo show. Jury: Chakaia Booker,
sculptor. => 14th Annual International,
SOHO20 Chelsea Gallery, 511 W 25th St
Ste 605, NY NY 10001, USA. 212-367-
8994; fax -8984; soho20@verizon.net;
http://xrl.us/AOM97bp.
Media: All. Deadline: Jun 1
International. Juried exhibit. $30/3, $5
ea add’l, max 7 (sl, CD or 5-min cued
VHS or DVD for time-based). Juror’s
award, solo show. Jury: Chakaia Booker,
sculptor. => 14th Annual International,
SOHO20 Chelsea Gallery, 511 W 25th St
Ste 605, NY NY 10001, USA. 212-367-
8994; fax -8984; soho20@verizon.net;
http://xrl.us/AOM97bp.
|N| Media: FI VI. Deadline: Jun 2
International. Festival of work relevant to
the communities living in Regent Park w/
an emphasis on those from South Asia,
Africa, East Asia, Middle East, Caribbean
and Latin America. $10/1 (MiniDV, DVD
or VHS-NTSC), synopsis, bio, hi res still,
etc. => Karin Hazé, Regent Park Film
Festival, 415 Gerrard St 2nd Fl, Toronto,
Ontario, CANADA M5A 2H4. director@
regentparkfilmfestival.com; http://xrl.
us/AOM99ca.
|N| Media: FI VI. Deadline: Jun 10
International. Showing 12 categories,
including animations, narratives,
music videos, documentaries. $25-55/1
depending on type and when submitted
(½” VHS NTSC or DVD, paperless
entries preferred). Pct. of sales, etc. Jury:
industry professionals. => Jeff Siebert,
Toofy Film Fest 2007, Team Toofy Pro-
ductions LLC, 9415 Wolfe Pl, Highlands
Ranch CO 80129, USA. jeff@toofy.com;
http://xrl.us/AOM99cm.
Media: All. Deadline: Jun 10 |+|
International. Grants to help realize ideas
and proposals for 9th biennial, in Mar 09,
esp. those identifying “marginal process-
es of thoughts, relations and acts arising
from art and its vicinities.” No fee/ (CD or
DVD), 5-p. appl submitted electronically
but other material by air. Funding. =>
Production Programme, Sharjah Biennial,
P.O. Box 19989, Sharjah, UNITED ARAB
EMIRATES. maya.nasser@sharjahbien-
nial.org; http://xrl.us/AOM98ck (click on
production application).
Media: All xVI. Deadline: Jun 11
International. Juried show of environ-
mentally themed work. $24/3 (sl or
online), statement. solo show, website
w/ 20 images. Jury: Leslie Sobel, artist;
Lynda Cole, artist; Cindy Melk, H2O
Plus founder, CEO. => One Planet, One
Experiment, Woman Made Gallery, 685
N Milwaukee Av, Chicago IL 60622, USA.
312-738-0400; gallery@womanmade.
org; http://xrl.us/AOM98aa.
|N| Media: PR PH. Deadline: Jun 14
International. Juried show. $25/3 (sl of
CD). $300. Jury: Dr. Andrew Atkinson,
Montclair State U. => Matt Kooser,
Through the Lens, Printmaking Council
of New Jersey, 440 River Rd, Somerville
NY 08876, USA. 908-725-2110; gallery@
printnj.org.
|N| Media: SC PA MM PH IN. Deadline:
Jun 15 ~
International. Online gallery/contest of
non-representational art, run by artist
as commercial venture. $30/4, $5 ea.
addl., application, statement; submit
online or CD (jpg or tif). Publication on
site, $200 Best in Show. => Christina
Nelson, July 2008, Abstract EXPOsure,
Box 77545,Seattle WA 98177, USA. 702-
235-5156; info@abstractexposure.com;
http://xrl.us/AOM99n.
Media: Mail Art. Deadline: Jun 15
International. Contribute decorated
white bookmarker or two, perhaps w/
“cultural crosswords” theme, to help
Plainsboro Library celebrate connection
and community that mail artists create
by sharing their work. No fee, no returns.
=> Emily Townsend, Cultural Crossroads
Bookmarkers, 19 Sapphire Dr, West
Windsor NJ 08550.
|N| Media: 2D. Deadline: Jun 25
International. Contest for design to trans-
form 8 tanks, plus an additional 8 tops
into public art, use specific colors. $50/1
(online only). $30K. => Art All Around,
Maine Center for Creativity, USA. info@
mainecenterforcreativity.org; http://xrl.
us/AOM99w.
|N| Media: PA WC PS PH MM. Deadline:
Jun 30
International. Show of work expressing
their own cancer journeys, by people
diagnosed w/ any type of cancer, or by
their families and friends, caregivers or
healthcare providers. No fee/1 (actual
work), narrative explaining how work
reflects cancer journey. All expense trip
to NYC, $26.5K in donations to cancer
charities of choice, etc. Jury: cancer
survivors, oncologists, health care
professionals, journalists and cancer
advocates. => Anita Chernewski, Art
Dir.,2008 Lilly Oncology on Canvas, 220
E 42nd St 12th Fl, NY NY 10022-5806,
USA. 800-734-4131; illyoncologyoncan-
vas@cprworldwideusa.com; http://xrl.
us/AOM99bh.
|N| Media: FI VI. Deadline: Jul 1
International. Festival, categories: The
Arts, Bus. & Indus. Children. & Youth, Ed.
& Info, Entertainment, The Humanities,
Mental Health, Phys. Health, Relig., Sci.
& Tech., Social Issues, War & Peace,
Interactive Online. $80 up, also student
categories, fees (DVD, ½” VHS), entry
forms. Chris statuettes, etc. => 56th Ann.
Columbus Int. Film & Video Fest, The
Film Council of Greater Columbus, 1430
S High St rm 322,Columbus OH 43207,
USA. 614-444-7460; fax same; info@
chrisawards.org; http://xrl.us/AOM99ah.
| N| Media: All. Deadline: Jul 4
International. Juried open show.
15BPS/10 (CD, sl or 5 min tape or
DVD or VHS or audiotape of text where
appropriate), proposal if for public art.
5K BPS. Jury: Lukasz Gorczyca and
Michal Kaczynski, Raster independent
art space, Warsaw. => Norwich Gallery,
EASTinternational 2009, Norwich School
of Art and Design, Francis House, 3-7
Redwell St, Norwich, Norfolk NR2 4SN,
UK. +44 (0)1603-756247; fax - 615728;
east@norwichgallery.co.uk; http://xrl.
us/AOM99br.
International. Showing narrative and
documentary features and shorts by 1)
South Asians living in the Diaspora or
non-South Asians submitting projects
w/ S. Asian content, cast or crew or 2)
work w/ a unique voice/message made in
South Asia and considered “independent.
$25, shorts, $40, features; appl, descrip,
3 screener films, VHS or DVDs
, Shows, Public Art. Commissions, Residencies and More. www.ArtOpportunitiesMonthly.com
(NTSC Format). Achievement awards,
$10K+ in-kind and services. => Aroon
Shivdasani, 8th Mahindra IAAC Film
Festival, Indo-American Arts Council
Inc, 146 West 29th St #7R-3,NY NY
10001, USA. 212-594-3685; fax -8476;
aroon@iaac.us; http://xrl.us/AOM95bb.
|N| Media: WM DR PR PS x(CU PH).
Deadline: Jul 18
International. Juried show of works
on paper. $40/2 (sl). $6K+. Jury: Jean
Grastorf, AWS, NWS silver star, author;
Charles McVicker, AWS, NWS, illustra-
tor. => 108th Anniv. Exhib., PWCS, Box
555, Swarthmore PA 19081-0555, USA.
215-569-3955; PWCSociety@gmail.
com; http://xrl.us/AOM99f.
Media: WM on paper. Deadline: Jul 28
International. Juried exhibit. $20/1,
2/$35 (sl or CD). $5K+. Jury: Gerald
Brommer, AWS, NWS; Jean Uhl Spicer,
AWS, NWS. => Director, 29th Annual,
Pennsylvania Watercolor Society, Box
626, Mechanicsburg PA 17055-0626,
USA. 717-737-7339; pwsdir@pa.net;
http://xrl.us/AOM98cd.
Media: Appropriate. Deadline: Various
International. Publication of images, etc.
No fee, contact first to discuss format
and other technical details. => Martine
Rouleau, Static: Alarm, London Consor-
tium, Institute of Contemporary Arts, 12,
Carlton House Terrace, London SW1Y
5AH, UK. +44 (0) 20 7839 8669; fax
7930 9896; static@londonconsortium.
com; http://xrl.us/AOM87ce.
|N| Media: Whatever. Deadline: Open
|+|
International. Declare an URM (Urban
Ready Made -- a street, a building,
a view, an object or an event in an
urban- or industrial environment, where
a conjunction of circumstances cause
beauty and art and is so declared by
the observer) in your own surroundings.
No fee. => Marcello’s Art Factory, Den
Haag, THE NETHERLANDS. (+31) 70
3634047; info@urbanreadymades.com;
http://xrl.us/AOM99cq.
|N| Media: SC. Deadline: Open
International. Inclusion in exhibitions
and/or Image Library. No fee/10-20, (sl,
photographs, jpgs, etc or 1 tape, vid. or
CD or DVD), résumé, etc. Jury: artists
and curators. => Artist Submission,
The Sculpture Center, 44-19 Purves St,
Long Island City NY 11101, USA. 718-
361-1750x113; info@sculpture-center.
org; http://xrl.us/AOM76J.
|N| Media: All. Deadline: Open
International. Exhibitions by local,
regional, national, and international
artists. No fee/10-20 (sl or CD), résumé,
sl list. => Ellen Martin, Lincoln Center
City of Ft Collins, 417 W Magnolia St, Ft
Collins CO 80521, USA. 970-416-2737;
emartin@lincolnctr.fcgov.com; http://xrl.
us/AOM99d.
|N| Media: FI VI. Deadline: Open ~
International. Showing mixed media
performances, including film, anima-
tion, puppetry, in artist and musician
collective presenting live music. No fee,
contact for information. Shown at events
in London, Bristol, Liverpool, Manches-
ter. => Detta and Arianna, ELEVEN,
49 Tressillian Rd, London SE4 1YG,
UK. elevenarts@hotmail.com; http://xrl.
us/AOM91q.
Media: DI. Deadline: Open |+|
International. Curated website for work
engaged w/ contemporary ideas, for
sale or not. No fee (jpgs or URL by
email or Zip or CDs or small format
printed proofs). May make work avail-
able for sale as downloads or Print on
Demand. => Selection Committee,
ArtLexis at Spectra Digital, 106 Franklin
St 3rd Fl, NY NY 10013, USA. mail@
artlexis.com; http://xrl.us/AOM87p.
Media: All. Deadline: Open
International. Show of forward-looking
practices, fruition of innovative ideas,
innovative approaches, etc. No fee/10
-20 (CD or DVD), CV, statement or
proposal, description, etc. Pays fees
corresponding to CAR/FAC guidelines.
=> Main Space, eyelevelgallery, 2063
Gottingen St, Halifax, Nova Scotia B3K
3B2, CANADA, USA. 902-425-6412;
fax -0019; director@eyelevelgallery.ca;
http://xrl.us/AOM98g.
Media: All. Deadline: Open
International. Web presence of 25-300
images, 1-10 videos, blog, etc., on
artist-run organization’s site. No fee/25
(on line) or $60/300 for six months. =>
Wooloo Productions, Choriner Strasse
85, 10119 Berlin, GERMANY. +49 (0)
306 676 3097; contact@wooloo.org;
http://xrl.us/AOM98q.
Media: All. Deadline: Open
International. Exhibitions that offer new
ways to experience art, esp. interactive
performance, multi-media installations,
experimental work. No fee/20 (slides,
photos, etc), proposal. => HotHouse
Gallery, 31 East Balbo, Chicago IL
60605, USA. http://xrl.us/AOM87az.
Media: All. Deadline: Open
International. Exhibits during 08-09
in gallery at community center, other
venues, also related performances,
screenings, workshops. No fee/no limit
(CD, sl, DVD, VHS or URL), letter of
infroduction w/ concepts for exhibit,
proposal for related workshop (optional),
résumé. => Nicole DeWald, Gallery
Exhibits, City of Greenbelt Dpt of
Recreation, 15 Crescent Rd, Greenbelt
MD 20770, USA. 240-542-2057; fax
301-220-0561; ndewald@greenbeltmd.
gov; http://xrl.us/AOM98bj.
Media: VI DI time-based. Deadline:
Open
International. Showing all forms
(ideally 2-8 min ea, esp on themes of
typography, translation, life/death or
domesticity) that can be documented in
digital formats, daily, 5 a.m. to 1 a.m., in
Harvard Square to an estimated 53,000
pedestrians. No fee/(send link to an
online portfolio to art@lumeneclipse.
com or DVD, CD, mini DV),short bio,
website, email contact. => Lumen
Eclipse, 248 Beacon St, Somerville MA
02143, USA. art@lumeneclipse.com;
http://xrl.us/AOM97ar.
Media: All. Deadline: Open
International. Juried online boutique
“dedicated to selling the highest quality
creations made by hand.” No fee, use
online appl. => Artchestra, 610 Willow
St Ste J, Alameda CA 94501, USA.
510-769-1830; NewArtist@artchestra.
com; http://xrl.us/AOM91e.
MEMBERSHIP
ORGANIZATIONS
Media: 2D 3D. Deadline: Open
International. Show on site promoting
artists working primarily in realism. No
fee to apply/5-12 (CD or email), appl,
résumé, $60-100/yr depending on level
of membership if selected. => Call for
Artists, TraditionalRealism.com, Box
481894, Charlotte NC 28269, USA.
application@traditionalrealism.com;
http://xrl.us/AOM98cy.
Media: 2D 3D. Deadline: Open
International. Supports, encourages
and promotes 2- and 3-D arts. No fee/6,
35GBP annual fee. Exhibition oppor-
tunities UK and USA, art and craft fair
opportunities in the UK, etc. => Laura
Elliott, International Association of 2 & 3
Dimensional Art, IATTDA, 8 Greenwood,
47 Wayland Close, Bracknell, Berkshire,
RG129LA, UK. 07939282766; info@
iattda.co.uk; http://xrl.us/AOM95bc.
POLITICAL & PEACE
Media: FI VI. Deadline: Aug 15
International. Non-competitive, curated
year-long festival of independent politi-
cal cinema, 0-15min, 15-30 or 30+min,
any genre, at several locations across
Canada (also international locales,
contact for details). No fee/1 (DVD).
Pub. Perf. License Fees paid. =>
Submissions, Cinema Politica, PO Box
55097 (Mackay), Montreal QC H3G
2W5, CANADA. info@cinemapolitica.
org; http://xrl.us/AOM98t.
|N| Media: 2D FI VI. Deadline: Open
International. Publication of work in
online and printed mag devoted to
political art. No fee/unlimited (jpg or gif
under 1 MB ea or physical samples by
mail; if time-based, submit as DVD or
MiniDV, although short works may be
submitted via submitting URL where
they may be downloaded). => Rob
Maguire, Art Threat Magazine, PO
Box 55097,Montreal QC, CANADA.
514-655-6837; editor@artthreat.net.;
http://xrl.us/AOM88w.
Media: All. Deadline: Open |+|
International. Online exhibit of anti-war
work. No fee/6, submit online as jpgs
or as wmv, mpg, avi or mov format,
320x240 pixels up to 15 MB for videos.
=> Hedva Shemesh, Let-The-Muses-
Speak-IAA.org. hedart@gmail.com;
http://xrl.us/AOM91w.
Media: All. Deadline: Open
International. Publication of images
in Iranian emag promoting “common
ideas about the same subject and
sharing talents and experiences w/
world wide artists.” No fee/2-6, submit
online as jpg, or tif, minimum 800x600.
=> BrainStorm Magazine, Kolahstudio.
com. kolahstudio@gmail.com; http://xrl.
us/AOM82d.
Media: FI VI. Deadline: Open |+|
International. Seed funding for projects
that bring together filmmakers from op-
posing sides of armed conflict situations
worldwide. No fee, submit proposal
synopsis, 250 words or less via email
then 5-pg proposal synopsis, samples
of work, etc. by mail. $10K generally.
=> Claude Ibrahimoff-Hurley, Conflict
Zone Film Fund, Make Films Not War,
39 Mesa St Ste 300, The Presidio, SF
CA 94129, USA. 415-561-3104; fax
-3111; filmfund@makefilmsnotwar.org;
http://xrl.us/AOM93bL.
PUBLIC ART
see also web and slide registries
|N| Media: PU. Deadline: May 9
International. RFQ to create original
interactive artwork that will be integrated
into the design of the moving walkway
spaces connecting one concourse
to another. No fee/10 (CD), letter of
interest, résumé. $500K max budget.
=> Christina Roldan, Moving Walkway
Interactive, Broward Cultural Divi-
sion Pub. Art & Design Prog., 100 S
Andrews Av 6th Fl, Ft Lauderdale FL
33301-1829, USA. 954-357-8542; fax
-5769; croldan@broward.org; http://xrl.
us/AOM99ae.
|N| Media: PU. Deadline: May 9
International. RFQ to create original
integrated, innovative, vibrant, inspiring,
welcoming, and environmentally con-
scious sustainable, solar, or alternative
energy powered artwork in new airport
concourse. No fee/10 (CD), letter of
interest, résumé. $270K max budget.
=> Christina Roldan, Alternative Energy
Powered Artwork, Broward Cultural
Division Pub. Art & Design Prog., 100
S Andrews Av 6th Fl, Ft Lauderdale FL
33301-1829, USA. 954-357-8542; fax
-5769; croldan@broward.org; http://xrl.
us/AOM99ac.
|N| Media: PU. Deadline: May 9
International. RFQ to create original
integrated floor design. No fee/10 (CD),
letter of interest, résumé. $500K max
budget. => Christina Roldan, Floor
Design Proj., Concourse A, Terminal
1, Broward Cultural Division Pub. Art &
Design Prog., 100 S Andrews Av 6th
Fl, Ft Lauderdale FL 33301-1829, USA.
954-357-8542; fax -5769; croldan@
broward.org; http://xrl.us/AOM99ad.
|N| Media: PU SC. Deadline: Jun 2 |+|
International. Expression of Interest
(RFQ) for new landmark along highway
to “create a statement of Oldham’s
ambitions for itself and its people.” No
fee, CV, work samples, statement about
motivations and general methodology,
2 refs.,etc. £2 - £3M budget. => Geoff
Wood, Icon for Oldham, working pArts
Ltd, Shoulder of Mutton, 70 Towngate,
Midgley, Luddendenfoot West Yorkshire
HX2 6UJ, WALES. 01422 884 538;
geoff@working-parts.com; http://xrl.
us/AOM99cu.
Media: PU. Deadline: Jun 6
International. RFP to create environ-
mentally-friendly lighting for bridge.
No fee/10 (CD or DVD), 20 copies of:
image list, statement, résumés, all on
3-hole punched paper (also include as
PDF on disk). $2-3 million. Jury: public
art committee. => Yvonne Wise, Call
for Artists: Coronado Bridge Lighting,
Port of San Diego Public Art Dpt, Box
120488, San Diego CA 92112-0488,
USA. 619-400-4706; fax -686-6434;
ywise@portofsandiego.org; http://xrl.
us/AOM98cc.
Media: PU SC. Deadline: Sep 30 |+|
International. RFP for artist/artist team to
design and create welcoming, durable,
site specific, static or kinetic work that
may include water and light features, for
prominent downtown square. No fee/10
(CD), letter of interest, initial concept dr-
wgs or description, 3 refs. $50K budget.
=> Hamilton, Ohio, City of Sculpture,
One High St, Box 545, Hamilton OH
45012, USA. 513-895-3934; hamiltono-
hiocityofsculpture@fuse.net; http://xrl.
us/AOM97ae.
Media: PU. Deadline: Open
International. Roster of experienced
artists for consideration on public art
initiatives commissioned via limited calls
(invitational opportunities) and/or direct
award (single source) contracts. No
fee, contact to request Expression of
Interest #05-008. Jury: panel of artists,
arts and design professionals, Public
Art Program staff. => Edwin Whang,
Buyer, Finance & Supply (Purchasing),
Artist Roster, City of Calgary Pub. Art
Prog, CANADA. 403-268-4090; edwin.
whang@calgary.ca.
RESIDENCIES
lc Media: All. Deadline: Apr 30
International. 1-2 mo. (Jul & Aug) in high
dessert next to Joshua Tree National
Park. $25/3-5 (sl or CD), appl, donate
1 work to program afterwards. studio,
living space. => Frederick Fulmer, Artist
Residency Prog., Joshua Tree High-
lands House, 8178 Fleur Rd, Joshua
Tree CA 92252, USA. 760-366-3636;
info@joshuatreehighlandshouse.com;
http://xrl.us/AOM96an.
Media: PR BA DI NM IN PH. Deadline:
May 2 |+|
International. Up to 6 mo. of 24-hr
access to printmaking, digital and
other facilities. No fee/10 (CD-Mac or
10 min DVD-Mac if time based), 1-p.
s3/30/2008: statement/project descrip.
discussing work intending to pursue at
Kala. $3K, exhibition. Jury: Kala Direc-
tors and Bay Area cur. => Lauren Dav-
ies, 2008 Fellowship Awards, Kala Art
Institute, 1060 Heinz Av, Berkeley CA
94710, USA. 510-549-2977; lauren@
kala.org; http://xrl.us/AOM98bn.
Media: All. Deadline: May 5 |+|
International. Fall 08 or Winter 09 to
work, develop ideas, conduct research.
No fee/9 (sl or CD or 3-5 2-min samples
if time-based work), appl résumé, recs.,
etc. Studio, use of media lab, shops,
printmaking studio, other facilities,
travel allowance, $2K for materials, $3K
stipend. Jury: panel of artists, curators,
and arts professionals. => Claudia
Gonzales-Griffin, Artist-in-Residence
Prog., McColl Center for Visual Art, 721
North Tryon St, Charlotte NC 28202,
USA. 704-332-5535x22; fax -377-9808;
cgriffin@mccollcenter.org; http://xrl.
us/AOM85bh.
Media: All. Deadline: May 31 |+|
International. 2-6 mo in studio in small
village on west coast of Finland to
begin or complete work. No fee, artistic
documentation (CD only) CV, project
plan, appl. Studio space, apartment,
etc. => Ateljé Stundars, KulturÖsterbot-
ten, Handelsesplanaden 23, FI-65100
VAASA, FINLAND. +358 6 324 2211;
fax -2210; atelje.stundars@svof.fi;
http://xrl.us/AOM97bs.
|N| Media: All. Deadline: Jul 15 |+|
International. 1 wk. -1 yr. on small
island in Azores (east of Portugal),
“surrounded by simple beauty, the
abundance of nature, and the company
of others in the process of creating.”
$20/3, financial info, letter of proposal, 3
rec, CV, EU30/night donation requested
if accepted, some partial scholarships,
work exchange. Studio space, private
bedroom, shared bath, etc., possible
financial assistance. => Adrianna Jonet,
Residencies - 2008, Footpaths Founda-
tion, 8 Rideout La, Stoughton MA
02072, USA. fax 781-436-3800; artist@
azoreswalks.com; http://xrl.us/o76AOM.
|N| Media: VI NM MSC. Deadline:
Jul 15
International. 5 days (Sep-Jan) to use
sophisticated imaging and production
tools, etc., to create new work. No fee/1
(miniDV, DVD or VHS), project descrip.,
résumé, preferred dates, examples,
etc., $100 studio fee if accepted. =>
Hank Rudolph, Residency Prog.,
Experimental Television Center, 109
Lower Fairfield Rd, Newark Valley NY
13811, USA. 607-687-4341; fax same;
etc@experimentaltvcenter.org; http://xrl.
us/AOM83cs.
Media: All. Deadline: Jul 15
International. 2-4 wks Nov thru Apr in
historic studio/house in national park.
$50/6, work plan, appl, recs, etc. Studio,
apartment, $500/mo. stipend. => A-I-R
Prog, Weir Farm Trust, 735 Nod Hill Rd,
Wilton CT 06897, USA. 203-761-9945;
http://xrl.us/AOM97as.
|N| Media: All. Deadline: Open |+|
International. 1-3 mo. to live/work for art-
ists whose lives and work compromised
by domestic strife, political upheaval
or natural disasters. No fee/10 (sl or
CD), appl, recs., statement of residency
goals. Live/work space, use of facilities.
=> Gabe Gomez, Emergency Relief
Residency Prog., The Santa Fe Art
Inst., Box 24044, Santa Fe NM 87502,
USA. 505-424-5050; ggomez@sfai.org;
http://xrl.us/AOM98n.
|N| Media: All. Deadline: Open
International. 1-4 wks in quiet, private
house in unspoiled New England village
in hills east of Berkshire Mountains.
No fee to apply, photocoopy or sample
of work, résumé or letter of purpose,
$165/week if accepted. => Preston &
Ann Browning, Wellspring House, Box
2006, Ashfield MA 01330, USA. 413-
628-3276; browning@wellspringhouse.
net; http://xrl.us/AOM91aj.
|N| Media: All. Deadline: Open
International. 4-6 wks. or less in sum-
mer for women on farm w/ “wildflowers,
a pond to swim in, fields to dream in,
woods to ramble.” No fee/work exam-
ples, description of self, your interest in
the farm, available dates; shared costs
if accepted. Living and studio space. =>
Kate Millet, Women’s Art Colony Farm,
59 East 4th St 5E,NY NY 10003, USA.
845-473-9267; http://xrl.us/AOM91v.
Media: All CR. Deadline: Open
International. Unstructured time and
space for creative individuals to develop
new work on Island of Itaparica in Bay
of All Saints, across from Salvador,
Bahia, Brazil. $35/12 (sl, CD/DVD or
as approp.), appl., project descrip.,
résumé, recs, etc. Round trip airfare,
private bedroom, studio, most meals.
=> Admissions, Instituto Sacatar, Rua
da Alegria 10, Itaparica BA 44460,
BRASIL. info@sacatar.org; http://xrl.
us/AOM87bu.
Media: All. Deadline: Open
International. For contemp. artists to
create new work using experimental
materials and techniques. By invitation
only, do not apply directly. Work collabo-
ratively w/ FWM’s staff of printers and
technicians. Jury: panel of prominent
artists and gallerists. => The Fabric
Workshop and Mus., 1315 Cherry St,
Philadelphia PA 19107-2026, USA.
215-568-1111; fax -8211; info@fabric-
workshopandmuseum.org; http://xrl.
us/AOM75AK.
Media: CE. Deadline: Contact |+|
International. Short and long term stays
in well-equipped studio for sculptural,
functional or experimental work, also
woodfire work Oct-May. $10/5-10 (sl
or CD), appl, résumé, letter of intent,
recommendations, teach 8-week adult
class. Semi-private lofted studio, oppor-
tunity to exhibit work, electric, raku, and
soda kilns. => Residency Prog., The
Clay Studio of Missoula, 910 Dickens
St, Missoula MT 59802, USA. 406-543-
0509; info@theclaystudioofmissoula.
org; http://xrl.us/AOM96bn.
Media: All. Deadline: Open |+|
International. 1 wk. to 1 yr. on small
island in Azores (east of Portugal),
“surrounded by simple beauty, the abun-
dance of nature, and the company of
others in the process of creating.” $20/3,
financial info, letter of proposal, 3 rec,
CV, $EU30/night donation requested
if accepted, some partial scholarships,
work exchange. Studio space, private
bedroom, shared bath, etc., possible
financial assistance. => Adrianna
Jonet, Residencies 2008, Footpaths to
Creativity, 8 Rideout La, Stoughton MA
02072, USA. 617-549-2452; http://xrl.
us/o76AOM.
Media: All. Deadline: Open
International. Stay and work on the
edge of the North Atlantic Ocean. By
invitation only, but artists may send an
expression of interest and information
about their work. => Fdn Dir, Pouch
Cove Fdn, PO Box 693, Pouch Cove,
Newfoundland A0L 3L0, CANADA. 800-
563-9100; jb@jamesbaird.ca; http://xrl.
us/AOM85m.
SLIDE & WEB REGISTRIES
see also Public Art
Media: PP. Deadline: Open
International. For use by curators, re-
view, historical and scholarly purposes,
etc. $25/3, $40/6, résumé, statement.
=> Registry, Hand Papermaking, Box
1070, Beltsville MD 220704-1070,
USA. 800-821-6604; fax 301-220-2394;
info@handpapermaking.org; http://xrl.
us/AOM98dn.
Media: All. Deadline: Open |+|
International. Juried interactive data-
base of online digital images, slides,
video and DVD documenting the work
of emerging artists, used by curators,
gallerists, collectors, etc.,separate
submission procedures for video. No
fee/15, (sl, vid. or DVD), bio, statement;
digital work by email only. Jury: Matthew
Higgs, director, chief curator. => Cu-
rated Artists’ Registry, White Columns,
320 West 13th St, NY NY 10014, USA.
info@whitecolumns.org; http://xrl.
us/AOM83n.
WEB, DIGITAL, NEW MEDIA
|N| Media: FI VI. Deadline: Jun 30
International. On- and off-line festival
of animated work < 15 min. w/ theme
“Here We Are!”. No fee/3 (online and/or
download as Quicktime mov, Windows
Media .wmv, Flash video .swf or .flv or
Real Media .rm or online), bio, URL, etc.
as attachment. => Wilfried Agricola de
Cologne, CologneOFF IV, VideoChan-
nel, Mauritiussteinweg 64,D - 50676 Co-
logne, GERMANY. info@nmartproject.
net; http://xrl.us/AOM99b.
Media: DR. Deadline: Open
International. On-line community of
people who draw and wish to dis-
seminate their drawing. No fee, email
for instructions on how to join, add work
to site. => Marion Ray Behr, Drawing
Blog. A. mylyne@prodigy.net; http://xrl.
us/AOM86da.
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Compiled by Benny Shaboy, California
USA, New York Correspondent, Tamara
Wyndham.
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Art Opportunities Monthly (AOM ),
published monthly except August, is
available by email ($20/yr) as a PDF..
You can print it out, so it is easily
portable, you don’t have to download it
and it’s neatly formatted. Left on your
computer, you have even more options:
you can se
The
South
African
Art
Times
www.arttimes.co.za
 Art in the Park, set to shine
in Pietermaritzburg’s calendar
The spectre of autumn leaves and
artistic endeavour is synonymous
with the Nashua-sponsored Art
in the Park, one of the landmark
events on Pietermaritzburg’s an-
nual calendar.
The 46th edition, from May 28
to June 1 at Alexandra Park, will
draw 55 artists, some of whom
have been exhibiting for more than
a decade. However, the growing
popularity of Nashua Art in the
Park has meant the selection
committee has had to turn away
68 artists to validate the standard
of entries, in 2008.
The 2007 exhibition featured
several mediums, including
glassworks and sculptures. In
attendance was 2005’s top selling
exhibitor, renowned watercolour
artist Mat Louwrens, whose
pioneering sand art is proving
increasingly popular. Mat has
exhibited at this venue since 1980
and his wife, Naomi, joined in
2002 as an exhibitor specialising
in garden scenes and flower paint-
ings. Mat has exhibited in the U.S.
and Canada and his work is hung
throughout the world.
Fires in the evening will enhance
the unique Art in the Park ambi-
ence, as will an extensive pro-
gramme of music throughout the
exhibition. A nominal R10 entrance
fee will be charged with children
under 12 allowed in free. Parking
will be available in Kershaw Park
and is free and plentiful.
The O’Brien footbridge has been
opened and visitors are urged to
please use this parking, which can
be entered via Alan Paton Avenue
(Durban Road).
No pets will be allowed into the
exhibition, except guide dogs.
Prior arrangement must be made
with the organisers. The exhibi-
tion is open from 10 am to 8 pm
Wednesday to Saturday, and
Sunday 9am to 4pm.
Contact Pietermaritzburg Tour-
ism on 033-3451348 or Karin
Degenaar on 084 4607 708 for
further information.
Vuleka prize money doubled
Calling all artists! With the prize
money doubled and a ticket to
Paris for the overall winner, enter
now for the Vuleka Art Competition
Closing date for entries: Friday 22
August 2008, 15:00 Exhibition of
selected works opens Wednesday
3 September 2008, 18:30 for
19:00 Calling all artists! With the
prize money doubled and the op-
portunity to fly to Paris in the offing
for the overall winner, it seems to
be worth the while to enter your
new work for the 2008 Vuleka Art
Competition.
Vuleka is the Xhosa word for
‘open’ and that means this
prestigious national art competi-
tion is open to any artist (18 years
and older) who has not had a solo
exhibition in the past three years.
But only original works of art
completed during 2007/2008
may be entered. Vuleka is hosted
annually by The Arts Association
of Bellville (art.b) in conjunction
with the financial services group
Sanlam. It is aimed at encouraging
creativity, innovation and adventur-
ous art from all cultures. Selected
artists from the competition will
also participate in an exhibition in
Bellville’s art.b Gallery from 3 to 24
September 2008.
Artists may enter unlimited art-
works in any of three categories,
even all of them:
• Paintings in oil, water colour or
acrylic; • Three-dimensional works;
ceramics included, and
• Works in any other medium,
including photography.
Apart from a winner in each of
these categories, the best artwork
overall will be selected.
For the overall winner a cheque of
R10 000 and a FREE return flight
ticket to Paris are waiting. The
visit to Paris offers the winner the
opportunity to gain new inspiration
in the arts and broaden his/her
horizons.
Prize money of R5 000 is at stake
for each category winner.
The artists may offer their works
for sale.
For entry forms/particulars inter-
ested parties are invited to contact
Maxie Oosthuizen at 021 918
2301 or maxie.oosthuizen@cape-
town.gov.za or at art.b Gallery.
BASA awards enter 11th year
Patrick Burnett
The eleventh edition of the an-
nual Business & Arts South Africa
(BASA) awards take place this
month, with this year’s awards
characterised by a high quality of
entries and a better understanding
of how business can work with and
for the arts.
That’s according to BASA CEO
Nicola Danby, who believes
that not only is business taking
increasingly to supporting the arts,
but that art organisations are also
becoming increasingly aware of
how they can can offer value to
businesses in terms of issues like
marketing and profile.
Danby said the quality of entries
was up on last year, although they
would like to see more entries
from small businesses.
The awards seek to recognize
businesses that lift the profile of
the arts through arts sponsorship.
Some of the categories included
are: International sponsorship;
long term development; single
project and youth sponsorship.
The international sponsorship
category recognises efforts made
in sponsoring South African art
overseas and bringing interna-
tional projects to South Africa.
The 2008 nominees are Mercedes
Benz for the annual Mercedes
Benz Arts Award, Rand Merchant
Bank for The Magic Flute and
Telkom SA Limited for The Lion
King.
In the long-term development
category, nominations go to
MTN for the MTN Art Collection
Project, Nando’s for Art in Nando’s
restaurants, Pick ‘n Pay for The
Zama Dance School in Gugu-
lethu, Spier Holdings for the Spier
Contemporary and Standard Bank
for the Standard Bank African Art
Collection at the University of the
Witwatersrand.
The awards will be presented on
26 May at Johannesburg Park Sta-
tion. The judging panel includes
Darryl Accone, Gordon Cook,
Andrew Human, Clive Grinaker,
Gianni Mariano, Sizakele Marut-
lulle, Ivan May, Welcome Msomi,
Fiona Ramsay, Peter Vundla, and
Annie Williamson. -- WCN

Launch: 2008 Sasol New Signatures Art Competition

1 April 2008, Johannesburg – Sas-
ol has launched the search for the
2008 Sasol New Signatures Art
Competition winner. The company,
in partnership with the Associa-
tion of Arts Pretoria, is calling on
all emerging South African artists
to unleash their creative talents
and enter the prestigious annual
competition, now in its 19th year.
The competition carries total prize
money of R100 000, comprising
an overall first prize of R60 000, a
runner-up award of R15 000 and
five merit awards of R5 000 each.
The winners will be announced at
the opening of the competition ex-
hibition at the Pretoria Art Museum
on Wednesday, 20 August 2007.
“The New Signatures Art Competi-
tion is both the longest running
and most prestigious competition
for emerging artists in South
Africa. Over the years it has
made a significant contribution
in promoting and exposing the
creative talent of new artists to the
South African public,” says Teresa
Lizamore, art curator, Sasol.
To afford more emerging artists the
opportunity to enter the competi-
tion, all works selected for the
exhibition will be transported by
Sasol from regional collection
points at Bloemfontein, Cape
Town, Durban, Polokwane, Port
Elizabeth and Stellenbosch to
Pretoria.
Workshops will be held nationally
to assist artists in understand-
ing the competition, the judging
process and provide advice on
conceptualisation, display and
presentation of works. Attendance
is free of charge and to reserve
a place, bookings can be made
through Nandi Hilliard on 012 346
3100. The workshops are pre-
sented by Franci Cronje who has
been the chairperson of the Sasol
New Signatures Art Competition
since 2002 and who is a perma-
nent member of the selection and
judging committee. She has been
an artist and photographer since
1980 and has also worked as a tel-
evision film maker, producing and
directing inserts for local television.
She is currently studying towards
her PhD degree in Media Studies.
The competition is open to up-
and-coming South African artists,
aged 18 years and older, who
have not yet held a solo exhibition,
apart from an exhibition being held
for academic purposes. Artists
are invited to submit one or two
art works at six venues across
the country or via the Internet.
Physical submissions will be
accepted at the collection points
on Wednesday 2 July 2008 and
Thursday 3 July 2008 between
10:00 and 16:00. Internet entries
may be submitted from 2 June
2008 to 3 July 2008 at www.
sasolsignatures.co.za.
Regional selection judges will
select approximately 100 works
nationwide for display at the
prestigious Sasol New Signatures
exhibition at the Pretoria Art
Museum. The exhibition opens on
Wednesday 20 August 2008 and
closes on Sunday 21 September
2008.
More details and entry forms can
be obtained from Nandi Hilliard
(012 346 3100) and at www.
artsassociationpta.co.za, or www.
sasolsignatures.co.za.

The S outh African Art Times

is looking for an office administrator due to the growing demands of this growing business

Duties include: Processing subscriptions, Distribution, General Queries, Invoicing, Client service, Updating listings, Postage processing

Needs to be computer literate with Word, Excel (Basic knowledge), E-mail and Web browsing skills, articulate
enjoy working with artistic as well as financial professionals.

Hours are half days, person, if shows self motivation and complete understanding of sought targets could work from their abode.
Candidates should be based in the Cape Town Area

E-mail: art@arttimes with any queries. Salary would depend on market related relevant experience

Entries close 31 May 2008

 South African Art Times. May 2008
http://www2.nysun.com/arti-
cle/60389
By KATE TAYLOR
s Staff Reporter of the Sun
The uncertainty roiling the financial
markets in recent weeks raises
questions about the market for fine
art, which has risen dramatically
in recent years — and may also
be ripe for a correction. But unlike
holdings in other sectors, investors
s have no way to hedge against a
fall in the art market. No deriva-
tives market exists for works of art,
unlike weather, or commodities, or,
more recently, real estate prices.
The founders of a new art “hedge
fund,” however, envision a day
when investors in the art market
-may be able to buy Impression-
ism futures, instead of an actual
Monet. The Art Trading Fund,
based in London, plans to develop
an art market index — like the
Dow or the S&P 500 — on the
basis of which people could bet
on which direction the market will
go, one of the founders said in an
interview.
“That’s a long-term strategy,”
Justin Williams said. “We’re devel-
oping it with a big private institution
and a couple of big players in the
art market and an academic.”
In the meantime, the managers of
the Art Trading Fund, which was
profiled in this month’s Art+ Auc-
tion, have identified stocks they
believe have a high correlation to
the art market, such as Sotheby’s
and luxury goods companies like
http://www.vault.com/nr/news-
main.jsp?nr_page=3&ch_
id=261&article_id=23801470&cat_
id=2853
In 1949 Alfred W. Jones estab-
lished the first hedge fund-type
structure when he borrowed
funds (used leverage) to increase
his long positions while adding
a portfolio of short stocks in an
investment fund with an incentive
fee structure. Carol J. Loomis used
the term “hedge fund” in her 1966
Fortune magazine article where
she discussed the structure and in-
vestment strategy used by Jones.
Jones had set up his pool of inves-
tors as a limited partnership and
was, thus, able to avoid the report-
ing requirements to which mutual
funds were subjected. What drew
Fortune’s attention to Jones was
that his fund significantly outper-
formed traditional investments.
From 1960-1965 Jones’ invest-
ments returned 325 percent while
the Fidelity mutual fund returned
225 percent. During the 10-year
period from 1955-1965 Jones’ fund
returned 670 percent compared
to the Dreyfuss fund, which only
returned 358 percent.
After the Fortune article, other
money managers found Jones’ in-
vestment style both profitable and
intriguing and, thus, a growth spurt
in the hedge fund industry began.
In an attempt to copy Jones’ style
(and hopefully performance), many
money managers began selling
short securities without prior
experience. Haphazard short sell-
ing by new hedge fund managers
adversely affected their perform-
Richemont, and are buying put
options on them (options to sell at
a fixed price). The idea is that, if
the art market falls, these stocks
will fall, too, and the fund can turn
these options into cash.
But the Art Trading Fund does not
give investors a real hedge, the
corporate-raider-turned-art dealer
Asher Edelman noted, since the
art market and stock in companies
such as Sotheby’s aren’t perfectly
correlated. Sotheby’s stock could
fall for reasons other than an art
market decline, like bad manage-
ment, high fees discouraging
people from consigning, or, as
happened earlier this month, a
drop in the overall stock market.
In any case, the Art Trading Fund’s
strategy of shorting these stocks,
in addition to buying and selling
art, distinguishes it from numer-
ous other art funds, which since
the 1970s have formed with great
fanfare and subsequently dis-
solved. To anyone used to thinking
of art as something that people
buy in order to enjoy looking at it
in their homes, the mechanics of
an art fund can be a bit jarring.
It is like a mutual fund, except
that what it buys and sells is art
instead of stocks. The investors
are not necessarily collectors or
aesthetes, simply people who
want to diversify their investment
portfolio.
Some people in the worlds of art
and finance view such funds with
skepticism. “If they are run in an
entrepreneurial fashion without six
or seven layers of various advisers
A Brief History of the Hedge Fund Industry
ance during the bull market of
the mid-late 1960s. These hedge
fund managers were not actually
“hedging” their positions at all;
they were leveraged to the long
side of the portfolio (betting that
the market would go up), which
was particularly risky entering the
bear markets of the 70s (when the
markets declined).
According to Alexander Ineichen in
his book Absolute Returns, these
managers produced substantial
losses in 1969-70 and a major
bloodletting ensued in the 1973-74
bear market. Ineichen’s book is
one of the most recommended
books for those interested in learn-
ing in more depth about the hedge
fund industry and its strategies.
The more experienced hedge fund
managers survived the 1970s
bear market. But, unfortunately
many other hedge fund manag-
ers closed the doors. According
to Gabelli in 1984, when Sandra
Manske formed Tremont Partners
and began researching the hedge
fund industry, she was only able
to identify 68 funds. It is hard to
determine an exact figure for the
funds at this time due to the lack of
marketing and public registration.
Ineichen also states that the hedge
fund industry remained relatively
small until the early 1990s, when
the financial press once again
highlighted the returns achieved
by hedge fund superstars George
Soros (Quantum Fund) and Julian
Robertson (Tiger Fund and its off-
shore sister, Jaguar Fund). What
differed about this new growth of
hedge fund managers was that the
Seeking A Hedge For Art
and dealers and so on, they can
be successful,” Mr. Edelman said,
noting as an example a private
fund started in the early 1990s by
the former managing partner at
Goldman Sachs, Robert Mnuchin.
But most funds can’t point to their
successes with rigorous account-
ing — meaning realized gains
minus unrealized losses — and
they “have structured themselves
to where I don’t think they’ll make
any money,” Mr. Edelman said. He
added that one of the largest cur-
rently operating funds, the Fine Art
Fund, has approached him several
times about investing, but he has
chosen not to do so.
Like the Art Trading Fund, the
Fine Art Fund is managed out
of London. But it is officially
registered in Delaware and regu-
lated by the U.S. Securities and
Exchange Commission, whereas
the Art Trading Fund is officially
registered offshore, in Guernsey,
Channel Islands, and regulated by
the Guernsey Financial Services
Commission.
The Fine Art Fund usually buys
one or two million dollars worth of
art works every week and gener-
ally holds them for a year before
selling, its chief executive, Philip
Hoffman, said. Some of the art the
fund owns is rented out to inves-
tors, and sometimes pieces will be
loaned, free of charge, to museum
exhibitions. But at any given time,
80% of the work is in a high-secu-
rity warehouse in Switzerland.
While the Fine Art Fund buys
what Mr. Hoffman referred to as
hedge fund managers added a va-
riety of trading strategies, including
the infamous global macro strategy
pursued by George Soros. Soros
traded in the currency markets by
buying and selling various curren-
cies and most notably made over
$1 billion betting against the British
pound. Robertson employed mod-
ern financial derivatives such as
futures and options, which didn’t
exist when Jones started his fund.
The ability to use futures, op-
tions, swaps and other complex
derivatives led to an explosion in
the number of trading strategies.
These strategies are not allowed
to be employed in the mutual fund
industry. Therefore, managers
who felt that they could exploit the
markets using these tools had to
set up hedge funds. At the end of
1999, Tremont Partners estimated
as many as 4,000 hedge funds ex-
isted, 2,600 of which were tracked
in its database.
Estimates show that there were
300 hedge funds in existence in
1990. By 2000 that number had
increased to 3,000 and by 2003
there were reported to be over
6,000 hedge funds. According
to Hal Lux, the doubling of the
number of hedge funds over the
past three years has been due to
the ability of hedge funds to out-
perform traditional markets in the
recent bear market and investors’
increased interest in the advanced
trading strategies that they employ.
The growth in the hedge fund
industry also stems from increased
interest in the industry from institu-
“rarities” and holds them for a year,
the Art Trading Fund is focused on
the mid-market and keeps works
only a few months. A significant
part of the latter’s business is in
the work of living artists, to whom
the fund has a relationship like that
of an exclusive dealer for an artist.
Mr. Williams said the fund has 10
artists on contract. It has the exclu-
sive right to buy their art; every six
months, the fund’s partners look at
each artist’s production and buy as
many pieces as they want. What
they don’t want the artist can’t sell
elsewhere.
“It’s a guarantee for them,” Mr.
Williams said. “Twice a year, they
have a liquidity event. They know
they’re going to be paid on time,”
he said, adding: “Galleries usually
take a long time to pay them.”
Mr. Williams wouldn’t name the
artists on contract, because the
fund wants its transactions to be
anonymous. But it’s safe to say
they’re not artists you’ve heard
of. “We’re not looking for the next
Damien Hirst,” Mr. Williams said.
“We’re not looking for risk. We look
at each artist as a mini-business.
We look at their track record for
the last three years, and if they
have a following.” They currently
have 15 more artists lined up to
join, he added.
In the meantime, Mr. Williams
said that he and his partners,
Chris Carlson and Roy Petley, are
working to develop a reliable art
market index — or, perhaps, a set
of indexes for different segments
of the market, like Impressionists,
tional investors (pension funds and
endowments) and from the number
of hedge fund managers entering
the industry. Between 1992 and
2000 the institutional investor’s
share of the overall hedge fund
market increased 147 percent.
What Makes a Hedge Fund a
Hedge Fund?
The main distinguishing charac-
teristics of hedge funds are the
following:
Hedge funds can “hedge” their
portfolio
Hedge funds use derivatives
Hedge funds can short sell
Hedge funds have the ability to
use leverage.
These characteristics make hedge
funds different from most other in-
vestment funds, especially mutual
funds. To get a good understand-
ing of how a hedge fund manager
operates, it is very important to
understand these concepts. The
four concepts are now defined in
detail:
Hedging
Hedging refers to the execution
of additional trades by the hedge
fund manager in an attempt to
counterbalance any risk involved
with the existing positions in the
portfolio. Hedging can be accom-
plished in many different ways,
although the most basic technique
is to purchase a long position and
a secondary short position in a
similar security (See Gap exam-
ple). This is used to offset price
fluctuations and is an effective way
Old Masters, etc. — on the basis
of which they could do a true
hedge.
A few art market indexes already
exist. The best known is the Mei/
Moses Fine Art Index — actually a
group of indexes in the categories
of Old Masters and 19th century,
Impressionist and modern, post-
war and contemporary, and Ameri-
can before 1950 — developed by
the economists Jianping Mei, of
NYU’s Stern School of Business,
and Michael Moses. The Mei/Mo-
ses indexes, like the Case-Shiller
Home Price Indexes, which are
used for the housing derivatives
market, are based on repeat trans-
actions — that is, on paintings, or
houses, that have sold more than
once. But the Mei/Moses indexes
are based only on auction results,
not on the equal or larger number
of private sales. Since dealers
and collectors don’t disclose the
terms of private art sales, it will be
extremely challenging to develop
a reliable index. Mr. Williams said
that he and his partners are hoping
to use the information from their
own transactions as well as those
of other dealers in their network.
In an interview, Mr. Moses said
he believes people will eventu-
ally be able to trade options or
futures based on an art market
index. But one problem he noted
is how often such an index can be
updated to reflect current trends.
The Case-Shiller Indexes are
updated monthly, but because of
the smaller number of transac-
tions in the art market than in the
real estate market, the Mei/Moses
of neutralizing the effects of market
conditions.
Derivatives
Derivatives that are used by
hedge funds can take on many
forms, and the more complex
derivatives (interest rate swaps,
foreign currency swaps, contract
for differences, total return swaps,
etc.) are not covered in this book.
Discussed now are the most basic
forms of derivatives: ‘put’ and “call’
options on stocks:
Short selling (going “short”)
Short selling involves the selling
of a security that the seller does
not own. Short sellers believe that
the stock price will fall and that
they will be able to repurchase the
stock at a lower price in the future.
Thus, they will profit from selling
the stock at a higher price, then
buy it in the future at a lower price.
(The opposite of going “short” is
going “long,” when investors buy
stocks they believe will rise.)
Leverage
Leverage measures the amount
of assets being borrowed for
each investment dollar. Leverage
(borrowing additional funds) is
utilized by hedge fund managers
when they believe that the cost of
the borrowed funds will be minimal
compared to the returns of a
particular position. It can be a key
component to hedge fund man-
agement since it gives the hedge
fund managers the ability to have
Page 7
indexes are only updated annually.
The other problem, Mr. Moses
said, is: “Are there going to be
enough people who are interested
in trading this kind of index?”
Without enough investors, a
market in art futures would not be
liquid. “There are probably a lot
of people who would want to take
a long position” — that is, betting
that the art market will go up, Mr.
Moses said. “The more difficult
thing is figuring out who’s going
to bet short,” he said, though he
noted that a person with a lot of art
might want to short the index, to
protect against losses in case of a
market fall.
The art market lags behind the
stock market in its trends, so how
the panic over subprime mort-
gages will affect the price of Monet
is yet to be seen. But anyone who
can provide liquidity to a market
that has none — whether by buy-
ing up downgraded mortgages or,
potentially, by creating a market
in art futures — stands to make
a lot of money. “There’s always a
lot of profit supplying liquidity in
a market that doesn’t have it and
wants it,” Mr. Edelman said. “And
given what’s going on in the world,
that’s probably where things are
headed,” he added. “It’s the begin-
nings of a major liquidity squeeze.
We have had a world awash in
liquidity and in a matter of days,
that’s gone.”
higher returns (and potentially lose
more) with borrowed funds.
Typical hedge fund leverage
depends on the type of financial
instruments that the hedge fund
trades. Fixed income has lower
risk levels so it is not uncommon to
have four or five times the value of
the fund borrowed. Equities have
a higher risk profile and therefore
typical leverage is one and a half
to two times the value of the fund.
However hedge funds are usually
comprised of long and short posi-
tions, so a large market rise or fall
has little impact if their profitable
positions were equally balanced by
their losing positions.
The simplest examples in eve-
ryday life of leverage are house
mortgages and car loans. The
bank manager uses the house or
the car as collateral for the loan
from the bank. The bank manager
can then sell the house or the car if
you default on your loan. Similarly,
the hedge fund manager uses
the financial instruments in his
account as collateral for the funds
they have borrowed from their
bank (prime broker). The primary
sources of leverage are financial
institutions and banks. If the hedge
fund manager cannot pay the loan
back, the financial institution can
then sell the collateral (the finan-
cial instruments in the account) to
pay back the loan.

Send your classifieds to advertise your artists website, services, art material, art lessons etc here. Free for the months of June and July.
Artists Websites
For New Age Art visit
www.artandartists.co.za/johan-
nesblom
Artists looking for work
Young Artist / Illustrator seeking
work
I have a National Diploma and Im
a practicing Fine Artist / Illustrator
currently working as a graphic
designer. Im seeking any form of
work involved in the Visual Arts.
Warren Petersen
blackpride21@gmail.com
I have been teaching art for ten
years at Thogo craft school in
We look forward to recieving your free classifid ad before the 26 May for June’s edition of The SA Art Times
Free Classified Adverts
Reach over 12 000 - 16 000 readers of The SA Art Times monthly
send your classifieds to: art@arttimes.co.za
Terms and conditions: adverts can be edited down, rejected if not deemed relevant.
as Photoshop and Coreldraw.
Please contact me for my cv or
examples of my work. Adelle
Herselman 082 923 5063
adelle_herselman@yahoo.com
Looking for Artists
I am interested in getting into
contact with Alma Vorster in the
hope of
buying one of her etchings. I live
in the uk.
Susan Erskine Jones
gareth@uberdog.net
I am looking for Corrine de Haast
to do a mural for our new house.
Eric Levine
susannaeric@mweb.co.za
New Galleries, Art Routes
There’s a New Art Route with a
difference in the Western Cape.
The bizarre rural hamlet of Baard-
scheerdersbos (near Gans Bay) in
the Overberg is fast becoming an
aesthetic haven and is sprouting
artists between the organic veg
gies, donkey carts and fynbos!
Nine of these artists will be
opening their studios to the public
for the first time as a group on
Sunday 4 May from 10 - 5pm and
meanderers are encouraged to
travel between rural studios on
the local donkey and horse carts.
Artists participating include Joshua
Miles, winner of the UCT Michaelis
Graduate Award toward the end of
the eighties, who will be showing
Cape Town.
his oils and woodcuts , Amanda
I teach any form of painting: fabric
Jephson, MA FA and ex UCT Fine
painting, oil painting, acrylic paint-
Arts lecturer (oils and graphite) ,
ing, silk painting.
Andrée Bonthuys, Kebble Finalist
I teach various different arts
and multiple Ceramic Award
and crafts like : decoupage, 3d
recipient will show mixed media
decoupage, pewter art, guilding,
and sculpture, Claudette Barnes,
jewelry making, mosaic and many
ex ad agency exec, painting and
more crafts. If you are a school
Vic Breach, photography. Also on
who is looking for a part time
show will be woodwork and furni-
teacher a parent doing home
ture at “Serenity” by well-known
schooling and you are looking for
craftsman PD Coetzer and sculp-
your child to do something creative
ture, mosaicwork and paintings by
please give me a call.
Annalie and Coleen.
Cindy Tel/Fax : 021 704 3598
The Open Day promises to be an
enlightening and fun event. If Art
Qualified, reliable artist seek-
is becoming “The New Good In-
ing permanent employment in
vestment”, perhaps the well-known
Pretoria region. I have experience
Johannesburg Architect who snuck
in teaching, administration and
into town recently and snapped up
graphic design programmes such
about 15 works, was onto a really
Advertise your Website here for free until 1 August 08
Advertisie your Art Classes here for free until 1 August 08
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E-mail us at art@arttimes.co.za
good thing!
For more info visit http://www.
freewebs.com/artroute or www.
overberginfo.com
Studio Spaces offered
GoodHopeArt provides open
studios for visual artists. It is
situated in the historical Adam
Tas room at the Castle of Good
Hope, Cape Town. Basic facilities
including secured parking and safe
environment. Space only available
for professional artists who are
serious about entering the art
industry.
Contact Studio Manager
Tel: +27(0) 83 285 7874
Email: Nico.Eilers@Telkomsa.net
Art Classes offered
Live Portrait Demonstrations
Professional Portrait artist gives
live demonstrations to classes and
groups in pencil, charcoal, pastel
and oil. Artist also accepts
commissions in same mediums.
Contact Willie 083 746 1208
willie_jacobs@yahoo.com
P.O. Box 2740, Brooklyn Square,
Pretoria, 0075
Painting workshop with acclaimed
Eugene Hurter, White River
Saturday 10 MAY OPEN DAY:
EUGENE WILL DEMONSTRATE
HIS SPECIAL SKILLS.
ANYONE WELCOME!!! 11 - 13
MAY FULL DAY WORKSHOPS
THEME: HOW TO PRODUCE
PAINTINGS ECONOMICALLY.
“I don’t buy anything from art
shops except paints and brushes. I
make everything myself.”
Eugene has had many sell-out
exhibitions and decided to become
a full time artist in 1981. He has
done commissions for many cor-
porates such as Anglo American,
Standard Bank,
Barclays Bank and Old Mutual.
Many of his commissioned paint-
ings can also be viewed
at wine estates such as Belling-
ham, Slanghoek, Bouvlei Cellars,
Botha Cellars and many others.
In 1986 he was invited to exhibit
in the International Art Expo in Los
Angeles, USA. At the time
he was working in water colour
and was the only South African
water colour artist to be honoured
in this way. Eugene relocated to
Mpumalanga in 2002. He lives in
Lydenburg with his wife, Hester,
where he has
established a studio and gallery.
He regularly exhibits his work in
Dullstroom and Gauteng as well.
His work can be viewed on www.
fineartportfolio.co.za The workshop
will be held at the Ambience Inn,
28 Wally Scott Street, White River
website www.ambienceinn.co.za
Prices: R465 for the open day,
including beverages, cake and
light lunch. All are welcome.
Daily prices for workshop: R400
each including snacks, tea and
light lunch.
Full course R1500 including open
day and all workshops.
Prices for bed and breakfast
should you want to stay at Ambi-
ence are R450 per person per
day for a single room and R350
per person sharing.
Please book without delay!
Contact Daleen Mulder 082 341
5522 or 013 751 2584 evenings.
International School of Painting,
Drawing and Sculpture in
Umbria, Italy Desc: Intensive
studio programs for developing
painters and sculptors
from around the world. Internation-
ally distinguished artists teach and
critique, and visiting artists and
scholars lecture. Students work
full-time in their studios and
classes, and take weekly trips to
study
and draw from the great art of Italy.
Students, residents and faculty
live and work in Montecastello di
Vibio, a hill town in Umbria, one of
Italy’s most beautiful regions.
Price: 2-6 weeks, 2000-4800 Euro
Name: Marc Servin, Director
Phone: +39 075 8780072 Email:
info@giotto.us
Website: www.giotto.us
Canvasses
Art Stuff
Stretched Canvasses, Hiring and
custom made easels, painting and
print stretching. Transport withing
Cape area Tel. 021 448 2799
wwww.artstuff.co.za
ABC Canvass
8 Woltemade Street, Stellenberg
Tel 021 910 0556
canvas@artnetwork.co.za
Special on our canvasses
Order or phone for price list :
Schalk 073 1606844
sokruger@yahoo.com 14 Irene
Avenue Somerset West
Remember we deliver free any
where in Cape Town if you
order R500 or more.
Truly Fantastic
Artists Canvases and easels
Streched canvases made to order
021 785 7755. 083 4278936
Art Transport
Aspiring Art Logistics
South Africa’s specialist in
packaging and transporting of your
valuable art and collectables. Free
quotations Tel. 881 3477
Bronze Casting
Commissions
Sculptures, Commissions and
Installations.
Tel. 0824574290
www.andresteadsculpture.com
Art Foundries
Loop Art Foundry and Sculpture
Gallery
Tel 086 111 2473 www.tlafoundry.
co.za
Framing
In Fin Art
Wolfe Street Chelsea,Wynberg.
Tel. 021 7612816
www.infinart.co.za
Canterbury Framers and Gallery
58 Vinyard Rd, Claremont, Cape
Town 021 674 0568
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Special ends 1 August 08