Aspects of Abstraction - Hussein Salim
Schreiner Gallery

Open from Sunday 16 July 2023 at 11h00
Closing Sunday 17 September 2023 at 17h00

Sudanese artist Hussein Salim is one of the great abstract artists to emerge from the African continent. For the past 25 years, he has exhibited his work globally, with more than 40 featured and solo exhibitions. Fleeing his home country, Sudan, in 1997 to escape political unrest and economic upheaval, Hussein Salim has sought to tell the story of his complex life as a refugee. Themes such as his Sudanese culture, dislocation, love, and death are prominent in his artworks, expressed through layering and vibrant colours that are symbolic of his African heritage. With a Master’s Degree in Fine Art from the University of KwaZulu Natal, Hussein Salim’s artworks are academically informed yet artistically expressive for a global audience. 

His journey as a refugee and  being part of the diaspora whilst a tumultuous war rages in his homeland Sudan,  have informed the artist’s creative process and the works on this exhibition.  He has brought together his deeply rooted African heritage, his training as a fine artist and his many years of exploring themes of dislocation, to produce a profoundly contemplative and moving body of work.

Transient Likenesses
Terrence King and Vulindlela Nyoni
Schreiner Gallery

Open from Sunday 19 February 2023 at 11h00
Closes Sunday 30 April 2023 at 17h00

Both previously resident in Pietermaritzburg, Nyoni and King return to the Tatham Art Gallery in an exhibition of printmaking and painting in which places, objects and identities are explored and interpreted. Nyoni, who arrived in South Africa in 1995 as an art student and is currently head of Fine Arts at Nelson Mandela Bay

University looks at the complex experiences of “being” as a diasporic subject. He finds the particular demands of printmaking well-suited to his preoccupation with the concept of “inbetweenness” in his personal reflections. King, formerly head of Fine Arts at UKZN, exhibits sets of paintings many of which might nominally be described as still lifes in that they are founded on direct observation of a source.

They might, however, equally be described as history paintings as they aim to convey something of the history of the objects depicted and how the collection and display of objects reflects a record of possession, alteration and usage.

A walkabout of this exhibition will be conducted by the artists on Tuesday 21 February 2023 at 10h00

Enquiries/Bookings:

reena.bhoodram@msunduzi.gov.za or 033 392 2823

Temporary Exhibitions - May to December 2022

Ihubo leNgabadi/ Song of the Soil: Sbonelo Luthuli

Schreiner Gallery
Open from Sunday 15 May 2022 at 11h00
Closes Sunday 26 June 2022 at 17h00

Award winning ceramic artist from Durban, Sbonelo Luthuli’s exhibition entitled Ihubo leNgabadi/ Song of the Soil, reveals how the artist looks at the spirituality underpinning life in general and how this has affected his own personal life. His work arises from religious, political and traditional practices, heritage, customs and aspects of the dynamics of life in general.

Each work is modeled with the spiritual powers that he experiences, which allow him to unravel, and navigate a path of creative impulses. These impulses draw their character from love, anger, hate, pain, resolve and happiness. His vessels are enhanced with texture and detail that can be aligned to the ways his ancestors are recognised through ritualistic incisions and body scarification.

Enquiries/Bookings reena.bhoodram@msunduzi.gov.za or 033 392 2823

KZN Inland Matric Art 2022

Main Gallery
Opens Wednesday 25 May 2022 at 18h00
Closes Sunday 24 July 2022 at 17h00 

This annual exhibition highlights art works created by students who studied art for Matric in 2021, at schools in Pietermaritzburg and further inland. Art students are challenged by different themes prescribed by the School Examinations Boards, and are encouraged and nurtured by their art teachers to explore different techniques and media. This youthful search for innovation makes a visit to the exhibition an exciting experience.

An external selector assists the Gallery education staff to select works for this varied and eclectic exhibition.

Enquiries pinky.nkabinde@msunduzi.gov.za or 033 392 2811 or reena.bhoodram@msunduzi.gov.za or 033 392 2823

Insurrection - Resurrection

Schreiner Gallery
Opens on Sunday 10 July 2022 at 11h00
Closes Sunday 11 September 2022 at 17h00

The insurrection of July 2021 left citizens of our City shocked and appalled by the rampage of theft and destruction which followed the insurrection. Nobody was left unaffected and each of us has a story to tell of the fear, anxiety and pain which resulted from this decline into anarchy. Jobs were lost, businesses destroyed, leaving shortages of food, and basic supplies for all of our citizens. 

In the wake of the mayhem, citizens banded together and took control to protect what was left. Communities protected their neighbourhoods, helped each other, fed the hungry, cleaned up the City and guarded unaffected shopping centres. A year after the anarchy, we believe it is important to revisit this disaster and not let it be forgotten that our worlds are fragile and can be destroyed at any moment. 

In an attempt to heal our community, and acknowledge our resilience and intrinsic humanity, the Tatham Art Gallery is hosting a public participation exhibition where every person affected by the disaster of July 2021 is invited to express their experience and fears, and their hopes for the future, through photographs, words, or poetry.

For details on how to participate, contact reena.bhoodram@msunduzi.gov.za or 033 392 2823

W.O.M.A.N

Main Gallery
Open from Friday 05 August 2022 at 10h00
Closes Sunday 09 October 2022 at 17h00

On 9 August each year, South Africans celebrate Women’s Day. This exhibition celebrates women in art works drawn from the Gallery's permanent collection.  We pause to remember the multiple and complex roles played by women in our societies.

This exhibition is displayed in recognition of the bravery of the women in our country who have fought for equal rights, and those women who have lost their lives to gender based violence, and those who have dedicated and sacrificed their lives to caring for others. We pay tribute to the women who have suffered extraordinary hardship in order to raise families and provide for their children, and we celebrate the women who have become high achievers in our community.

W.O.M.A.N we salute you.

Enquiries pinky.nkabinde@msunduzi.gov.za or 033 392 2811

visit/re/visit

Main Gallery 
Schreiner Gallery

Opens Friday 03 December 2021
Closes Sunday 23 January 2022

The visit/re/visit exhibition is the result of a competition run in collaboration with Epworth High School during 2021, as part of the Tatham Art Gallery’s Outreach programme.

The art competition was based on the Tatham Art Gallery collection, and was open to all High School students, regardless of whether they studied art or not. Students were invited to reinterpret a number of pre-selected art works, and create their own original art work as their competition entry. All entries submitted are on display.

Prizes were awarded for first, second and third places and a number of submissions were highly commended. All prizes were generously sponsored by Panda Paints.

Watch the press for details of a talkshop. Also look at the Gallery's Facebook page and Instagram account for more information.

First prize: 
Amahle Buthelezi -The space in between 
Second prize: 
Philasande Gumede -Old Zulu teapot 
Third prize: 
Nqubeko Ndlovu - Meditating Temptation

Highly commended: 
Dominique Bennetts - Threading through Gran’s history 
Rosalind Thae Bournes-Harper - Ashes to Ashes
Anna Beth Dahl - Elysium
Ashley du Toit -Adventures with Ash
Henry Haden -Restoration 
Olivia Margot Henning -Ineffable 
Nokwanda Shongwe -My wêreld is Halfpadrond
Amara Suffla -To drown in air 

Home Truths: Tsholofelo Moche 

Schreiner Gallery
Opens: Sunday 27 March 2022
Closes: Sunday 08 May 2022

Home Truths explores the nuanced relationship that people have with history and perceptions on how this forms part of the present. The body of work is developed with reference to ongoing conversations between the artist and his father on isithakazelo (praise names). 

Moche’s creative exploration begins with items that form part of his family heirloom. Some of these items are exhibited in their original form, some are explored as conduits to be appropriated into sculptures, while others are re-imagined as photography. 

The purpose of Home Truths is to invite audiences toward the center of these conversations as though they are involved as mediators to the question: upon which history should we cast our identity? 

The artist will conduct a three day workshop on  20, 21 and 22 April 2022. (See page 18 for details). The artist will also conduct a walkabout 

Material is Metaphor:
Rohini Amratlal, Bhekazi Ernest Ngcobo, Jessica Bothma and Nindya Bucktowar 

Schreiner Gallery 
Opens Sunday 06 February 2022 at 11h00
Closes Sunday 20 March 2022 at 14h00 

This exhibition, curated by Jess Bothma and Jenny Stretton focuses on how artists consider their materials - the ‘stuff’ they craft and experiment with to give a voice to a personal vision. Visual metaphors are ‘primary’ images that the viewer understands as ideas, ideas which form connections to ‘secondary’ images that, depending on syntax, intensity, and frequency, act in concert to become a narrative.

In this exhibition the artist invites the viewer to experience material in novel ways by selecting, working, and presenting material in a particular context. Materiality, history, societal structures, identity and more, all intersect to create an artwork, but it is materiality that is the focus in this exhibition; the “what” so much more than the “how” or the “when”.

Jess Bothma and Ernest Ngcobo, will conduct a 3 day workshop on 23, 24 and 25 February 2022 where they will unpack the concept of using materials as metaphor (See page 18 for details).

Enquiries/Bookings : reena.bhoodram@msunduzi.gov.za or 033 392 2823

Current Exhibitions from the Collection

Making Conversation

This eclectic display of British, French and South African art works spans more than three centuries. Each art work has its own story to tell.

This exhibition of art works selected form the Gallery’s permanent collection is hung together in thematic groupings. Despite differences in origin and influence, unexpected conversations between art works create interesting visual connections and collectively, the art works tell a story through this display.

Still Life with Omega Flowers (1919), by the English artist Roger Fry, was purchased in London for the Gallery’s collection in 1985. This painting extends the Gallery’s collection of British Post-Impressionist art works.

Between 1908 and 1912 the British artist, William Orpen, and his family spent their summers at Howth, a village just north of Dublin in Ireland. Howth Head offers spectacular views over the Irish Sea. A bell tent would be erected for shelter and it was here that Orpen started painting in the open air. He developed a distinctive plein-air style that featured figures composed of touches of colour with no drawn outline, influenced by the French Impressionists. In the Tent, Howth of 1912 is one of a series of paintings from this period.

The oldest and largest painting in this exhibition was painted by the Dutch artist, Jan Wijnants,  in about 1670 ((below) Jan Wijnants, Wooded Landscape (c.1670), oil on canvas). The painting migrated back and forth across the Atlantic Ocean a number of times.

In the early twentieth century a Mr Berlein from Johannesburg bought the painting at an auction in Paris for his wife. In about 1970 the painting was sold to Mrs Joice Nicholson. She sent the painting overseas for the December 1978 auction at Christies in London.  It did not realize the expected price, and was sent back to the Nicholsons at St Michaels-on-Sea, Natal. In 1983 Mr Nicholson donated the painting to the Tatham Art Gallery in memory of his deceased wife.

Judith Mason Attwood’s powerful mixed media triptych, From the Tombs of the Pharaohs of Jo’burg (1986), is a recent addition to this exhibition. According to the artist, the subject matter is meant to be neither an anti- capitalist nor pro-industrial monument. The assemblage symbolises a variety of men from Zulu to San who sought work on the Reef, with the gilded Tiger-fish of progress devouring the pastoral buck.

This painting by John Northcote Nash, the brother of artist Paul Nash, is an example of early English Modernism. The dry application of paint is due to John Nash’s association with Harold Gilman at 19 Fitzroy Street, London, the rendezvous of a number of artists. Gilman warned Nash against mixing paint with oil. “There’s enough oil in the paint anyhow,” he said, “without adding more to the treacherous stuff.”

Each of the varied European and South African art works on this display has its own story to tell. Preller’s painting, Still Life with Pomegranates (1951), is a typical assembly of objets trouvé used by the artist in his still life paintings. The patterned vase, fruit and wooden fruiterer’s box are all talismans to which he frequently turned for artistic inspiration. The patterned Persian vase becomes a central object. This vase, given to him as a boy by his mother, was cherished and was often referred to by Preller as one of his 'household gods', a collection of modest but important objects that were to inspire works throughout his lifetime.

A brass plaque on the base of the frame is engraved; “Jan Hofmeyer Memorial trophy for public speaking, presented by Alan Paton”. This painting was used as floating trophy and presented to the winner of the Jan Hofmeyer Speech Contest which was held annually, until it was purchased by the Tatham Art Gallery.

Brendan Bell’s art work, Meditation: Avalon Springs (below) is a gouache work on paper, with elements of collage. It was created after a family holiday at a holiday resort. Viewers are invited to make their own interpretations of this complex work, which is structured like a medieval altar piece, by considering texture, water, landscape, religious icons, multicultural figures and even furniture.

• Perimeter Gallery

The South African Landscape

This display, selected from the Gallery’s permanent collection, features landscape paintings by South African artists.  Any two or more paintings in this display invite comparison and discussion.

South African art legend and pioneer of township art, David Ntuthu Koloane, was born in 1938 and died in 2019.

Koloane is well known for his focus on promoting previously marginalised black artists from the townships, and for his role in establishing the Bag Factory Studio in Johannesburg. Koloane’s own paintings, drawings and collages explore the socio-political landscape in South Africa.

In this painting, Moonlight and Roses, Koloane has created what appears to be an idyllic scene. The title of the work suggests that romance is in the air as a couple stroll in the foreground and the moon rises over the city skyline behind them. But all is not what it appears to be. Koloane regularly includes stray dogs in his paintings, which represent vulnerability and stand as a metaphor or commentary on city life. It is not clear if the dogs are scavenging, fighting or playing, but their presence is an ominous suggestion that there is more to city life than meets the eye.

The paintings are as varied as the South African Landscape, and show many different ways in which artists engage with their environment.  To a greater or lesser degree, all of them deal with abstraction. Some images are easily readable as particular places while others merely suggest space.  All retain an abiding respect for the two-dimensionality of the painted surface.

Landscape is used as a springboard for diverse personal exploration.  There are challenges of suggesting spaces with marks and colour; engaging the viewer in experiencing particular weather conditions and landscape formations; and inviting consideration of environmental issues.  Many of the paintings depict people, sometimes starkly visible and at other times almost dissolved in the landscape.

Human figures are often completely absent from landscape paintings. When they do appear, they are often dominated by their surroundings. Figures can play various roles to enforce the artist’s view of the rural or urban environment. Images can range from detailed observation to simplification or even distortion, often to enhance a mood or express feelings. You are invited to ponder the depiction of figures in the paintings in the display.

The Diamond Bozas painting of the sugarcane lands of Zululand (above) is a rich source for such exploration.

Edith Picking Flowers was possibly painted in Kent. Valerie Leigh, a previous Director of the Tatham Art Gallery, wrote, “The prominent feature in this painting is the cliff. The inclusion of Edith in this painting has a special poignancy. The small figure is placed near the cliff which provides a sunny, flower-filled setting, emphasizing the figure’s femininity, vulnerability and mortality.”

This English landscape forms part of this exhibition for a special reason. It was painted by well known South African artist Bertha King Everard. Bertha and her sister Edith King were both born in South Africa but lived and studied art in England before their return to South Africa early in the 20th Century.

Landscapes by South African artists can stir up different associations with the land for different viewers, such as elements of memory and place.

In his landscape, Mist at kwaMenyezwayo (below) , Mduduzi Xakaza depicts the richness of the mountains and hills of his birth place in Maphumulo, KwaZulu-Natal.

This was also the home of artist Vuminkosi Zulu.

When the piece was painted, Xakaza was meditating deeply about the late Vuminkosi Zulu's work, whose life was often affected by bloody skirmishes between two communities within the amaBomvu Tribal Authority of kwaMenyezwayo. At some point, in the late 1980s, Zulu had to flee his home due to such conflicts.

The title of the painting Absence/Presence by Virginia MacKenny raises more questions than answers. The composition is strange with the focal point being a draped green cloth on the left side which dominates the painting. There is absence of water in the dry dam with the jetty standing exposed in the middle section  of the composition. A post with a sign only known by the artist is facing away from the viewer. Three boats lie abandoned on the sand.

This display, selected from the Gallery’s permanent collection, focuses on landscape painting by South African artists, but makes room for some exceptions. To a greater or lesser degree, all these artworks deal with abstraction.

Andrew Verster’s Storm Colour could suggest the climatic changes that are taking place and affecting our weather patterns which in many cases have become unpredictable and intense.

Jacob Hendrik Pierneef (1886-1957) is considered the iconic painter of the South African Landscape. Of Dutch parentage, he was born in South Africa but also spent time living in Europe, where he came into contact with broader contemporary ideas about art making. The work of Dutch artist and theorist Willem van Konijnenburg inspired Pierneef to greater abstraction of nature.

Pierneef spent most of his life in the Transvaal, but travelled widely around South Africa and Namibia. In 1951 he received an honorary doctorate from the University of Natal.

Lola Frost’s enigmatic Between Here and There depicts an unspecified forest in which the trees appear to spew out like volcanic lava whilst also drawing the eye into and beyond. This spatial tension creates a sense of unease. Is the viewer invited in or cautioned not to enter this faintly menacing landscape? 

For concert goers they have become a serene background to the world-class music performed in this room. While listening, the audience could focus on a painting and ponder on the meaning of land from different perspectives. One could ask: Who painted this landscape? How has the scene changed over the years? What impact did the changes have on people’s lives?

• Lorna Ferguson Room

Vessels and Containers

Part of the current display is a historic overview of 20th century South African commercial potteries. These potteries, of which few still operate, played an important part in South African society between the two World Wars. Viewers interested in the history of design will find a fascinating fusion of European and African influences. 

On the right hand side as you enter, ceramics from a number of historical South African commercial studios are displayed in chronological order. Information about these studios is posted on the inner walls of the cabinets. Look out for indigenous imagery that contextualizes these South African ceramics.

On the left hand side of the room you will see hand-made ceramic vessels by well-known individual South African artists. Note that some male potters were influenced by traditional female Zulu potters.

• Ceramics Room

Containers for Liquid

Ceramics Room
Opens Thursday 01 March 2018

This display is a juxtaposition of liquid-holding containers from the Gallery’s permanent collection, which represents different cultures, purposes, designs and materials.

The artists have used materials as diverse as earthenware, stoneware, porcelain, glass, wood and metal.

The designs vary according to the liquids they are meant to hold, such as water, milk, beer, wine, tea, or coffee.

Can you distinguish South African vessels from Oriental and European ones?

There are a number of earthenware vessels. Some are high fired, but the bulk are low fired and burnished. The vessel by Maggie Mikula has been embellished with a beaded design, rendering the vessel more sculptural and decorative than functional.

Porcelain originated in the East and has been widely used to hold hot liquids. René Lalique (1860-1945) was a famous French designer of glass containers, often used as vases. The Nala and Magwaza families are renowned for their exquisitely decorated burnished earthenware forms, based on traditional Zulu beer vessels.

On show are vessels made from materials as diverse as earthenware, porcelain, glass, wood, and bronze. We challenge you as the viewer to compare the various forms and functions.

The vessel by Hendrik Stroebel (above) is too large for a cabinet and is mounted on a free standing wrought-iron stand. The design represents different cultures and religions, and is a surprizing combination of metal, clay and embroidery.

The delicate Limoges cups and saucers arrived at the Tatham Art Gallery between 1923 and 1926 as part of the valuable Whitwell collection. This French town is famous for its fine 19th Century porcelain.

Look out for unique vessels produced at the famous Rorke’s Drift Art Centre near Dundee.

The two coffee pots on the exhibition are both examples of early South African studio pottery. See if you can find all ten teapots on display including the large Ardmore teapot (below).

• Ceramics Room

Making Conversation 

Perimeter Gallery 

The art works in this display are drawn from the Gallery’s European and South African collections. Conversations are created by juxtaposing art works created in different places, at different times, but which have interesting visual connections. 

This display also invites the viewer to make other comparisons, whether functional, stylistic or symbolic, or the original intentions of the artists. 

The painting of lemons by Dorothy Browne remains pertinent today with many local home-made remedies created to boost immunity against the COVID-19 pandemic. 

Paintings on display by Siyabonga Sikosana and Thami Jali consider South African township life. The artisits’ use of materials and differences in style and observation, make for an interesting dialogue.

Schreiner Gallery

TEMPORARY EXHIBITION PROPOSALS

The Schreiner Gallery in the Tatham Art Gallery is a temporary exhibition space for artists and groups working primarily in the Msunduzi region. Artists are invited to make portfolio submissions for exhibitions from May . These exhibitions are accompanied by walkabouts, workshops, or artist-in-residence programmes.

Portfolios are submitted to the Gallery’s Exhibitions Committee for consideration, and need to include the following: 

• A proposed title and motivation for the exhibition

• A brief CV of the participating artist/s or curator

• At least three original examples of work must be submitted

• Terms and conditions, proposal forms, and checklist can be found here

Enquiries

bryony.clark@msunduzi.gov.za or 033 392 2825

pinky.nkabinde@msunduzi.gov.za or  033 392 2811

reena.bhoodram@msunduzi.gov.za or 033 392 2823

More information can be obtained with the  application form.