Art for the Arch – Celebrating Archbishop Tutu’s 90th birthday with a good cause

September 20, 2021 - Mail & Guardian

The Embassy of France in South Africa and The French Institute of South Africa are proud to support the Art for the Arch auction, as part of the Desmond and Leah Tutu Foundation’s 90@90 campaign, which aims to raise R90-million for the Tutu Legacy Fund, from 7 October 2020 to 7 October 2022.

Funds raised from the Art for the Arch auction will go towards an exciting long-term exhibition celebrating the work of Archbishop Tutu, titled Truth to Power, which will open in October 2021. The Embassy is honoured to be part of this momentous occasion ꟷ both Desmond and Leah Tutu have continued to be outstanding examples of compassionate and courageous leadership, which is reflected in the Foundation’s work and continues to inspire many. 

John Meyer, West of Sutherland, acrylic on canvas, 76 by 94,5cm. Estimate R600 000 – 800 000


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Never mind NFTs, Black figurative painting is the style du jour of the early 2020s

June 29, 2021 - Sean O'Toole |

Makamo shuns exclusive gallery representation, opting instead for hybrid modes of trade. He is not averse to collaborations with commercial galleries. In March this year, he held a solo exhibition with Everard Read in Cape Town. The show featured examples of Makamo’s pop portraiture depicting young black subjects in the style of his celebrated 2019 Time magazine cover featuring his cousin, Mapule Maoto. The works offered at Everard Read were priced between R78,000 and R1.4 million. The exhibition drew “a broad and enthusiastic audience,” says Charles Shields, a co-owner and director of Everard Read. “Happily we pretty much sold out too.”

In distinction to Samson, the secondary market for works by Makamo in South Africa is robust. Aspire Art Auction has sold a dozen lots, while rival auction house Strauss & Co has shifted 99 lots. In July 2020, Makamo’s oil on canvas Portrait of a Girl Wearing Earrings sold at Strauss & Co for R455 200, a secondary-market record for the artist. The price is still a long way off the six figure sums commanded by Beauford Delaney, Ben Enwonwu and Gerard Sekoto, post-war painters whose practice links the current riotous innovation fuelling the art market to a long and venerable tradition of figurative description of Black lives by Black artists.

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May 11, 2021 - Celeste Jacobs | visi

A return to an ancient sense of connectivity and present-day existential exploration is brought to life – CHANT is currently on show until 28 May 2021 in Cape Town. Here, the internationally acclaimed, Faith XLVII, shares insights on work, the depth of her process and more.


South Africa’s new art-world power couple are reshaping their country’s story

April 1, 2021 - Emma Crichton-Miller | Financial Times

Artists Teresa Kutala Firmino and Blessing Ngobeni draw on their personal experiences to create powerful political work.


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REVIEW: INTIMATE ANECDOTES: Brett Charles Seiler's 'Timber'


For Brett Charles Seiler’s latest offering, Everard Read’s walls were painted black to host the frames and chalked afterthoughts, which along with the dimension-defining wooden sculptures, complete the collection that is ‘Timber’.

There’s a certainty to the introspective musings which hyphenate the works; they read like epiphanies, or tail-ends of conversations, or journal entries. These short stories such as, “after making love to a man he asked me if I believed in god” and “a homosexual with bad teeth” are part of what makes Seiler the dynamic artist he is. These intimate anecdotes seem both symptomatic of our symbiosis with social media, while feeling like a distinct, narrating voice emerging to guide the audience through the experience of the exhibition. More specifically, the experience of Seiler’s perspectives. From his bold linework, both in the ‘text’ and in the formation of his subjects, to his choice of canvas size and accompanying materials, to his use of space – Seiler is steadily extruding moments, and memories, and meanings to fulfil his vision as he enhances his style with each new work. ‘Timber’ is made up of building materials such as roof paint, bitumen, screws, and wood all accented by a familiar school-board shade of green to create room in which to ponder the institutionalisation of masculinity as you navigate Seiler’s themes and thinking.


ARCO 2021 E-XHIBITION: Blessing Ngobeni & Teresa Kutala Firmino

March 17, 2021

Everard Read Cape Town is delighted to be part of the ARCO Lisboa and Madrid online E-XHIBITIONS for 2021. We are featuring a selection of new works by Blessing Ngobeni and Teresa Kutala Firmino.

Click here to view the E-XHIBITION

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Elize Vossgatter: Carving through the chaos

March 7, 2021 - Monique du Plessis | PILOTENKUECHE

Standing in front of any of Elize Vossgatter’s paintings, you feel your hand reaching out at once. The vast and intricate microcosm to be found in each valley and plateau draw you in even further. Suddenly, you find yourself so close that you start to merge with the painting.

Each carving motion reveals topographies wholly charged with layers of time. Sediments of our history as humans within this increasingly non-organic, non-natural, non-Earth divulge in every crevice of the painting’s surface. The deeper one peers into these valleys, the more monumental everything starts to feel.


Grace of Abstraction: On Mia Thom, Chris Soal, Jennifer Morrison, and Mark Rautenbach

February 8, 2021 - Ashraf Jamal | ARTTHROB

Abstraction is a misnomer that assumes one is dealing with ideas and not things or events. It is all three – mindful, palpable, eventful. If abstraction has been divorced from the Real, this is because we’ve maintained a hoax that existence precedes essence – or vice versa, depending on one’s point of view – when in fact all of life, all art, fudges more commonly than it is parsed. The Real is an ideology, as is Abstraction. If the former now dominates – it has since Plato, who loathed artists – it is because now, most fervently, we ascribe to narrative, story, imputed-expected-received outcomes. Ours is a material age, an age of palpable Ideas, of people as representative of Ideas. It is no accident that we find ourselves avidly and blinkerdly preoccupied with indices such as race-age-gender-sexual persuasion, at the expense of all else that makes up a life. We subtract rather than abstract, shut out and shut in, the better to solidify what differentiates rather than connects us. Balkanised, separatist, we are fast abandoning the synthetic and synergetic power of abstraction.



January 25, 2021 - Wanted Reporter | WANTED

We speak to Mark Read, chairman of the Everard Read group of galleries and also a passionate botanist and conservationist.



Long Read | Regarding Lady Skollie’s ‘Bound’

December 18, 2020 - DANIELLE BOWLER | NEW FRAME

When poet and scholar Gabeba Baderoon was a graduate assistant at the University of Cape Town in 1988, there was a conference on Joseph Conrad’s novel Heart of Darkness. As she looked at the programme, her gaze paused, fixing its attention on the cover image. It was something “meant to be glanced at briefly before one went into the substance of the programme”. But she looked intently, instead, and saw that it was a “picturesque image of an enslaved figure”, caught in a “play of visibility and invisibility”.