Making Peace With Too Much Stuff
September 18, 2017
June 8, 2017
‘Searching Eudaimonia,’ Swain Hoogervorst’s first solo exhibition with Everard Read, hangs in an even horizon line on charcoal-coloured walls. The dark backdrop and incandescent track-lighting activate the procession of canvases, illuminating splashes of oleander pinks, succulent viridians and ashy greys; a bright panorama of painterly sketches.Read More >>
June 8, 2017
Barbara Wildenboer’s second exhibition with Everard Read/CIRCA Cape Town, is dedicated to the invisible hand that guides nature, and the human hand that attempts to interpret it. At its heart, The Invisible Gardener is also a celebration of collage at luxurious scales. A microscopic image is scaled upwards, downwards and reintroduced into a variety of media whilst exploring a number of subject matters. Collages are photographed, cut up and collaged again, re-absorbed into Wildenboer’s visual language.Read More >>
November 22, 2016 - Helen Jennings | Nataal.com
Without a doubt, the maiden voyage for AKAA (Also Known As Africa) was a rousing success and Nataal enjoyed the ride. The international art fair devoted to contemporary art and design from Africa attracted 15,000 visitors to Carreau du Temple in Paris last week to enjoy works by over 100 artists plus insightful performances and debates. “AKAA paves the way for a meeting place where the actors of the contemporary art market from Africa come together to exchange dialogue and share with spontaneity,” says founder and director Victoria Mann.Read More >>
October 27, 2016 - South African Cultural Observatory
Thirty-one-year-old Beth Diane Armstrong is regarded as a leading sculptor of her generation. For the last number of years, she has worked predominantly on monumental artworks made of mild and stainless steel. Multimedia artist Dineo Seshee Bopape (35) uses experimental video montages, sound, found objects, photographs and sculptural installations in her work which has been shown in the US, the Netherlands and the 12th Biennale de Lyon.
Watch a video about the artist here - https://www.youtube.com/watch?v=h6_kUseTPrE&feature=youtu.beRead More >>
October 25, 2016 - Jonathan Foyle | Financial Times
Bronze sculpture is at home in the grounds and interiors of great houses — and for good reason. The grandeur of this lustrous dark matter lies in its use for works of world art spanning 3,500 years. The earliest known bronze sculpture is the tiny Mohenjo-Daro figurine from the Indus valley, created well before Greek Zeus figures, Chinese crucibles, Inca cogged discs or Landseer’s lions in London’s Trafalgar Square.Read More >>
October 20, 2016 - Danny Shorkend | ART AFRICA
Matthew Hindley has extended his series of paintings, entitled 'Resurrection' exhibited at Everard Read in Cape Town last year with its focus on fire and destruction in a new body of work and has developed a slightly different stylistic methodology. His most recent body of work, 'Ruin Lust' at Everard Read in Johannesburg explores the fascination, even aesthetic beauty, associated with violence, explosions, and bomb blasts. In conversation with the artist, what became evident is that in his steering away from the merely 'pretty,' the artist wishes the viewer (and he himself) to confront the shadow side; that a recognition of one's lust for violence and chaos may in fact be cathartic. Tragedy in art may ironically lead to healthier or more profound living.
Read the full article here:Read More >>
October 1, 2016 - Jeanne Mercier
C’est une culture, un peuple et ses
légendes que Thania Petersen aborde dans
un travail de mise en scène aux frontières
du kitsch. Prenant la pose en
costume dans des décors décalés, l’artiste
sud-africaine évoque son histoire
personnelle et celle de sa communauté,
issue d’esclaves malais et indonésiens.Read More >>
April 20, 2016 - Quanta Gauld | Art Throb
Quanta Gauld of Art Throb reviews Everard Read CT's April group show, Pastoral Abstraction.
“all that stuns the soul, all that imprints a feeling of terror, leads to the sublime” (Diderot).
The above quote serves as the opening line for the exhibition guide for ‘Pastoral Abstraction’. The title immediately harks back to an art historical understanding of the pastoral, a genre of 19th century landscape painting that glorified human dominion over and cultivation of the natural environment. This reference provides a crucial starting point to consider the works on show. Drawing on the concept of the sublime, ‘Pastoral Abstraction’ is a contemporary effort to visualise the place of humans in nature in the context of the current historical moment.
Read the full story here.