BLACK & WHITE. johans borman 8 NOVEMBER TO 6 DECEMBER Tel. +27 (0) Website:

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1 BLACK & WHITE 8 NOVEMBER TO 6 DECEMBER 2014 johans borman F I N E A R T Tel. +27 (0) art@johansborman.co.za Website:

2 Contents 3 Foreword 5 Albert Coertse 6, 40, 43, 45 Owusu-Ankomah 7, 9, 25, 41 William Kentridge 8 Pablo Picasso 10, 36, 59 Anthony Lane 12, 30 Cecil Skotnes 13 Douglas Portway 14, 33, 37, 60 Jaco Sieberhagen 17, 28 Paul Emsley 18 Diane Victor 19 Guy Tillim 21 Sanell Aggenbach 22 Maggie Laubser 23, 35 Peter Clarke 24 Deborah Bell 26 Gabriel Clark-Brown 27 Dumile Feni 29 Sydney Kumalo 32 Richard Mudariki 44, 46 Wehrner Lemmer 47, 51 Marlene von Dürckheim 48, 50 Lars Fischedick 49 Ben Nicholson 52, 70 Kyle Weeks 53, 58 Diane McLean 54 François Krige 55, 57 Jaco Benade 56, 63 Ben Coutouvidis 64 Karin Daymond 67 Thom Pierce 73 Roxandra Dardagan Britz 74 Jacobus Kloppers 77 Pieter Wenning

3 BLACK & WHITE The most colourful thing in the world is black and white, it contains all colours and at the same time excludes all. Vikram Verma Black and white offer a highly visual contrast, and are widely used to depict opposites. In Western culture, white and black traditionally symbolize the dichotomy of good and evil, metaphorically related to light and darkness, and day and night. In Chinese philosophy, the circular black and white yin & yang symbol is based on a sun chart which was plotted measuring the changes in the length of the sun s shadow over a period of one year, creating the ecliptic light and shadow shapes inside the circle. The yin and yang concept describes how apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world, and how they give rise to each other as they interrelate to one another in their pursuit of balance. Many tangible dualities such as light and dark, fire and water, and male and female are thought of as physical manifestations of the duality of yin and yang. When we engage with a work of art, the underlying concept of balance in its composition is usually not that obvious, but can be critical in determining the success of the work. Physically and psychologically, we are hardwired to observe the contrast of light and shadow, good and bad, and black and white in the way we experience our daily surroundings. Such experiences usually confirm the complimentary and interdependent forces, or the contrasting opposites of our world. Black and white, together with ochre, were the first colours used in art. Dating back 33,000 years, the paintings of animals in the Lascaux Cave in France stand as evidence of this. In 2002, a new discovery was made when a piece of ochre decorated with a delicate geometric pattern was found on the southern Cape coast. The piece is conservatively estimated at 77,000 years old it was made before any modern human had walked in Europe. The long argument about the site of the origin of art seems now to be drawing to a close: Africa is not only the cradle of humankind, but seems also to be the place where art as we know it began. Using charcoal for contour lines and calcite or chalk to fill in the background and create highlights, Palaeolithic artists used what was readily available to them to document their lives and immediate environments. Whilst carefully depicting their rituals and ancient animals they were unaware that by placing these opposite hues next to each other, they were creating the first works of art the white reflecting light, as it was later discovered to be the combination of all colours, and the black absorbing light, in the absence of colour.

4 These early rock artists were definitely unware that the soot and charcoal on the rock, later to be described by the Old English word blæc ( black, dark, ink ), would come to be associated with power, elegance, fear, evil, unhappiness, depth, style, sadness, remorse, anger, mourning and death. Nor would they have foreseen that the chalky powder, to be described by the Old English word hwīt, ( to be white or bright, light ), would later be associated with purity, simplicity, peace, humility, precision, innocence, youth, goodness, sterility and marriage. They discovered that by placing these contrasting colours next to each other one could create the illusion of three-dimensional form, physically reproducing what the eye saw. They were the pioneers of visual art by exploring this interplay, they paved the way for millennia of artists who have since explored the endless possibilities of black and white to create a visual illusion. When we analyse any work of art in monochrome, the potential contribution of colour to its compositional harmony and balance is negated, and any flaws become much more obvious. We can therefore argue that by viewing an artwork in black and white, we are experiencing the essence of such a work without the compositional assistance that colour may offer. The inspiration to curate an exhibition of this nature is not only motivated by the philosophical and art historical aspects, but also by the opportunity to include many different media particularly drawings, which are so often overshadowed by the visually stronger media of painting, sculpture, graphic art and photography. Johans Borman Cape Town November 2014

5 Albert Coertse (b 1980) Verviervoud 2014 Acrylic on board 103 x 103 cm Signed, dated and titled verso page 5

6 Owusu-Ankomah (b 1956) Thinking the Microcron No Acrylic on canvas 84,5 x 135 cm Signed and dated bottom left page 6

7 William Kentridge (b 1955) Self portrait 2010 Linocut - Edition number 5/25 47 x 31,5 cm Signed and numbered in pencil in the margin page 7

8 Pablo Picasso ( ) Deux têtes de femme de face (Accompanied by a book) Etching - Edition number 76/90 23 x 17 cm Signed in the margin Paul Eluard and Pablo Picasso A Pablo Picasso (Cramer 43) The book, signed and numbered 76 by the author in pen and ink, from the total edition of 90, containing a signed etching by the artist, (Bloch 373), after the reduction of the plate (of which there were 65 impressions taken), published by Edition des Trois Collines, Geneve/Paris, page 8

9 William Kentridge (b 1955) Sleeper with Ubu 1997 Drypoint, two copper plates, power tool engraved - Edition number 1/50 97,5 x 193 cm Signed and dated bottom right, numbered bottom left page 9

10 Anthony Lane (b 1961) Reclining figure Brass on a black slate base 48 x 180 x 60 cm page 10

11 Anthony Lane (b 1961) Sitting figure Brass on a black slate base 71 x 180 x 60 cm page 11

12 Cecil Skotnes ( ) Reclining figure and portrait Carved, incised and painted wood panel 45 x 61 cm Signed bottom right page 12

13 Douglas Portway ( ) Boys with kite Mixed media on paper 31,5 x 49,5 cm Signed bottom right page 13

14 Jaco Sieberhagen (b 1961) Blink Stefaans Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 14

15 Jaco Sieberhagen (b 1961) Dream chasers Laser cut mild steel and paint - Edition number 2/7 Height: 51 cm Signed and editioned on the bottom of the base page 15

16 Jaco Sieberhagen (b 1961) Eternal strife Laser cut mild steel and paint - Edition number 2/7 Height: 36,5 cm Signed and editioned on the bottom of the base page 16

17 Paul Emsley (b 1947) The bull 1999 Conté on paper 42 x 63 cm Signed bottom right page 17

18 Diane Victor (b 1964) Vloeksteen 2012 Charcoal on paper 108 x 150 cm Signed and dated bottom middle page 18

19 Guy Tillim (b 1962) Portrait III, Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KIS-ML, December 2002 Archival pigment ink on 300gsm coated cotton paper Edition number 5/5 86,5 x 59,5 cm Signed Certificate of Authenticity page 19

20 Guy Tillim (b 1962) Portrait VI, Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KIS-ML, December 2002 Archival pigment ink on 300gsm coated cotton paper Edition number 5/5 86,5 x 59,5 cm Signed Certificate of Authenticity page 20

21 Sanell Aggenbach (b 1975) The player 2007 Acrylic on canvas (diptych) 74 x 112 cm Signed, titled and dated verso page 21

22 Maggie Laubser ( ) Girl with folded arms Charcoal on paper 47 x 30 cm Signed bottom middle page 22

23 Peter Clarke ( ) Skipping 1961 Woodcut - Edition number 2/10 28,5 x 16,5 cm Signed, dated and numbered in the margin page 23

24 Deborah Bell (b 1957) Shining Through the Shadows 1999 Etching with Chine-collé - Edition number 14/25 72,5 x 110,5 cm Signed, dated, titled and numbered in the margin page 24

25 William Kentridge (b 1955) Dancing nose Aquatint, sugarlift 39,5 x 34,5 cm Signed and numbered in pencil in the margin page 25

26 Gabriel Clark-Brown (b 1965) Singing hearts Etching - Edition number 3/18 21 x 29,5 cm Signed, titled and numbered in the margin page 26

27 Dumile Feni ( ) Untitled (embrace) 1985 Pen and ink on paper 45,5 x 61 cm Signed and dated bottom left page 27

28 Paul Emsley (b 1947) Nude Conté on paper 42 x 22 cm Signed bottom right page 28

29 Sydney Kumalo ( ) Seated figure c1966 Bronze - Edition number 1/4 Height: 31 cm page 29

30 Cecil Skotnes ( ) 40. Pondos bring Shaka peace offerings 1973 Woodcut - Edition number 70/ x 33 cm Signed, dated and numbered in the margin page 30

31 Cecil Skotnes ( ) 17. Dingiswayo advises Shaka 1973 Woodcut - Edition number 70/ x 33 cm Signed, dated and numbered in the margin page 31

32 Richard Mudariki (b 1985) From Cape to Cairo 2013 Charcoal and pastel on paper 71 x 50 cm Signed, titled and dated in the margin page 32

33 Jaco Sieberhagen (b 1961) Toe ons nog kinders was Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 33

34 Jaco Sieberhagen (b 1961) Goede Hoop Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 34

35 Peter Clarke ( ) Woodgatherers & Arums 1961 Woodcut - Edition number 7/10 29 x 45 cm Signed, dated , titled and numbered in the margin page 35

36 Anthony Lane (b 1961) Sidewalk Nickel plated brass on Corain 144 x 35 x 200 cm page 36

37 Jaco Sieberhagen (b 1961) Navigator Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 37

38 Jaco Sieberhagen (b 1961) The young ones Laser cut mild steel and paint - Edition number 2/7 Height: 55,5 cm Signed and editioned on the bottom of the base page 38

39 Jaco Sieberhagen (b 1961) Generasies Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 39

40 Owusu-Ankomah (b 1956) Movement No Acrylic on canvas 40 x 50 cm Signed bottom right, dated bottom left page 40

41 William Kentridge (b 1955) News From Nowhere 2007 Lithograph in colours, collage, hand colouring with letterpress 160 x 120 cm Signed bottom right page 41

42 William Kentridge (b 1955) Traité D Arithmétique 2007 Lithograph in colours, collage, hand colouring with letterpress 160 x 120 cm Signed bottom right page 42

43 Owusu-Ankomah (b 1956) Microcron-kundum No Acrylic on canvas 100 x 125 cm Signed and dated bottom left page 43

44 Wehrner Lemmer (b 1963) Cappuccino Spraypainted mild steel Height: 175,5 cm page 44

45 Owusu-Ankomah (b 1956) Prelude to the Microcron No Acrylic on canvas 90 x 100 cm Signed and dated bottom left page 45

46 Wehrner Lemmer (b 1963) Le Blanc Spraypainted mild steel Height: 207 cm page 46

47 Marlene von Dürckheim (b 1945) Still life - flasks, jug and bowls 2014 Oil on canvas (diptych) 50 x 100 cm Signed and dated bottom right page 47

48 Lars Fischedick (b 1968) Folded I 2014 Acrylic on wood 86 x 117 cm Signed, dated and titled verso page 48

49 Ben Nicholson ( ) St Ives from Trezion 1962 Etching - Edition number 29/50 26,5 x 38 cm Signed, numbered and dated in the margin page 49

50 Lars Fischedick (b 1968) Kreuzung 2014 Acrylic on wood 60 x 58 cm Signed, dated and titled verso page 50

51 Marlene von Dürckheim (b 1945) Breekwater, September Oil on canvas (pentaptych) 20 x 100 cm Signed and dated bottom right page 51

52 Kyle Weeks (b 1992) Untitled, April 2014 Archival pigment ink on cotton rag paper - Edition of 5 18,2 x 26 cm Signed, numbered and dated verso page 52

53 Diane McLean (b 1963) Still life with porcelain doorknob 2014 Oil on board 32,5 x 38,5 cm Signed and dated bottom right page 53

54 François Krige ( ) Driftwood Etching 25 x 20 cm Signed bottom left page 54

55 Jaco Benade (b 1964) Blue Porcelain I 2014 Oil on paper 45 x 50 cm Signed and dated bottom right page 55

56 Ben Coutouvidis (b 1970) Running tap Oil on canvas 27 x 34 cm Signed bottom left page 56

57 Jaco Benade (b 1964) Blue Porcelain II 2014 Oil on paper 45 x 50 cm Signed and dated bottom right page 57

58 Diane McLean (b 1963) Still life with classical sculpture 2014 Oil on board 32,5 x 38,5 cm Signed and dated bottom right page 58

59 Anthony Lane (b 1961) Rythm Nickel plated brass on a black slate base 123 x 90 x 90 cm page 59

60 Jaco Sieberhagen (b 1961) Vreugde Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 60

61 Jaco Sieberhagen (b 1961) A girl called Harmony Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 61

62 Jaco Sieberhagen (b 1961) Moedertjielief Laser cut mild steel and paint - Edition number 2/7 Height: 56,5 cm Signed and editioned on the bottom of the base page 62

63 Ben Coutouvidis (b 1970) Dog on Clifton Beach Oil on canvas 80 x 100 cm Signed bottom right page 63

64 Karin Daymond (b 1967) Karoo Alone IV Charcoal and pencil on paper 90 x 150 cm Signed bottom right page 64

65 Karin Daymond (b 1967) She Turns Clockwise Charcoal and pencil on paper 119 x 119 cm Signed bottom right page 65

66 Karin Daymond (b 1967) She Turns Anti-Clockwise Charcoal and pencil on paper 119 x 119 cm Signed bottom right page 66

67 Thom Pierce (b 1978) Simplify 3 Archival pigment ink on cotton paper - Edition number 1/9 60 x 60 cm Signed, titled and numbered in the margin page 67

68 Thom Pierce (b 1978) Simplify 7 Archival pigment ink on cotton paper - Edition number 1/9 60 x 60 cm Signed, titled and numbered in the margin page 68

69 Thom Pierce (b 1978) Simplify 2 Archival pigment ink on cotton paper - Edition number 1/9 60 x 60 cm Signed, titled and numbered in the margin page 69

70 Kyle Weeks (b 1992) Vredehoek Quarry, Cape Town, Inkjet on 308gm Photo Rag Cotton Paper (sold as a pair) - Edition number 1/5 28,5 x 40 cm each Signed and numbered in the margin page 70

71 Kyle Weeks (b 1992) Seapoint Promenade, Cape Town, Inkjet on 308gm Photo Rag Cotton Paper - Edition number 1/5 28,5 x 40 cm Signed and numbered in the margin page 71

72 Kyle Weeks (b 1992) Molteno Dam, Cape Town, Inkjet on 308gm Photo Rag Cotton Paper - Edition number 1/5 28,5 x 40 cm Signed and numbered in the margin page 72

73 Roxandra Dardagan Britz (b 1962) Debris Etching - Edition number 8/20 90 x 152 cm Signed, titled and numbered in the margin page 73

74 Jacobus Kloppers (b 1959) Plek IV 1999 Bitumin and aluminum 80 x 80 cm Signed, dated and titled verso page 74

75 Jacobus Kloppers (b 1959) Plek VI 1999 Bitumin and aluminum 80 x 80 cm Signed, dated and titled verso page 75

76 Jacobus Kloppers (b 1959) Plek V 1999 Bitumin and aluminum 80 x 80 cm Signed, dated and titled verso page 76

77 Pieter Wenning ( ) I. Commissioner Street Impression size 9,5 x 13,5 cm Sheet size 28,5 x 37,5 cm II. Worked out Stope I Impression size 10 x 12,5 cm Sheet size 28,5 x 37,5 cm III. Kaffir Location Impression size 8 x 20 cm Sheet size 28,5 x 37,5 cm page 77

78 Pieter Wenning ( ) IV. Kaffir Girl Impression size 9,5 x 6 cm Sheet size 37,5 x 28,5 cm VI. Willows Impression size 12,5 x 10 cm Sheet size 37,5 x 28,5 cm V. Bezuidenhout Valley I Impression size 6,5 x 25 cm Sheet size 28,5 x 37,5 cm page 78

79 Pieter Wenning ( ) VII. Worked out Stope II Impression size 20 x 12,5 cm Sheet size 37,5 x 28,5 cm VIII. Near the mines Impression size 8 x 12 cm Sheet size 28,5 x 37,5 cm IX. Head Gear Impression size 6,5 x 25 cm Sheet size 28,5 x 37,5 cm page 79

80 Pieter Wenning ( ) IX. Head Gear Impression size 6,5 x 25 cm Sheet size 28,5 x 37,5 cm VII. Worked out Stope II Impression size 20 x 12,5 cm Sheet size 37,5 x 28,5 cm VIII. Near the mines Impression size 8 x 12 cm Sheet size 37,5 x 28,5 cm page 80

81 Written by Johans Borman and Zach Taljaard Proof reading Amy Catchpole Photography Zach Taljaard and Amy Catchpole Colour editing, design and layout Amy Catchpole Johans Borman Fine Art, Cape Town, 2013 Johans Borman

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