“Depicting Society in Nail Varnish: Bev Butkow”

SLOW Magazine

June 2017


“Everything is not always black or white as society would have us believe – sometimes, there can be the shade of grey in between the two extremes. Chartered accountant by training and artist by profession, Bev Butkow, personifies this. Butkow uses her art to break down the boundaries that have come to define who we are as individuals.”

“Beelde wat in lae spreek”

Rapport

6 November 2016


“Brandt se aangrypende landskappe is ’n teenvoeter vir koloniale vergeetagtigheid. Dit gee mens ’n alternatiewe manier om te kyk na die mensdom se aanstootlike geskiedenis. Dit laat die kyker toe om ’n houvas te kry op ’n pynlike verlede in die konteks van ’n moeilike hede.”

“Contemporary African Art Goes Digital”

Skyways

August 2016


“Across all sectors, whether hailing a taxi with Uber or finding a place to stay for your next business trip with AirBnB, new technologies have disrupted traditional models.  The contemporary art world is no exception…Art:i:curate is a site that allows anyone to donate funds for  a particular art project and share in the profit of its sales. In an age where the authenticity of valuable artworks is a growing concern, Verisart offers new ways to digitally certify and verify artworks.”

“Marketing Africa’s Art to the World”

Strategic Marketing Africa

Issue 3 2016


“Artists, gallerists, dealers, auctioneers and academics in the African art field all have a role to pay in challenging misconceptions [and getting] African contemporary artists on a deservedly equal playing field, alongside their peers from other parts of the world”, says Taylor.

“Zim artists seek market in SA”

African Independent

27 May 2016


“Economic hardships in Zimbabwe have not stopped artists from creating work of global competitive quality. Admire Kamudzengerere and Wallen Mapondera are two such artists, who with the help of art dealer Julie Taylor, are looking towards South Africa as a market for their artworks.”

“Technology Expands the World for African Artists”

International New York Times

25 March 2016


“A growing number of sub-Saharan African artists are realizing the importance and potency of technology — social media, apps, websites and online platforms focused on the promotion and archiving of African contemporary art. Smartphones, tablets and even satellite television have also played a role, showing artists that despite the crushing lack of artistic infrastructure across the region…there are still ways to reach out and get the attention of art managers, critics, collectors and gallerists across the region and the world.”

‘The Double Layer of Mediation:’ Online Exhibitions and Technology in Curation

Art Africa (South Africa)

3 February 2016


“The rise and application of new technologies in exhibition and curatorial practice…adds a complex dynamic to the curator’s role, arguably creating a ‘double layer’ of mediation as the relationship between the virtual/digital and physical assumes an increasingly important role.”

“The Appeal of Online Exhibitions”

Business Day (South Africa)

29 January 2016


Excerpt: “The web can prolong the life of an exhibition, and in turn,public engagement and memory of that exhibition and its art.  The economic and intellectual effort behind an exhibition may also be extended.”

“Guns & Rain puts contemporary African art in the spotlight”

The South African (United Kingdom)

3 February 2015


Excerpt: “Contemporary art from South Africa and its surrounds often falls under the international radar.  While art fairs around the world have recently begun showcasing ours, African art it has not gained all the exposure it deserves.  Like many other industries, art has started to move online…”

“Les artistes africains méritent plus de visibilité”

Le Monde Afrique (France)

1 March 2015


Excerpt: “La galerie d’art en ligne Guns & Rain a emprunté son nom au titre du livre de l’anthropologue David Lan qui évoquait la guérilla et les médiums pendant la lutte pour l’indépendance du Zimbabwe. Une façon de dire que choisir et « curater » une œuvre d’art est à la lisière de la culture et de quelque chose de plus spirituel. Et que faire reconnaître les artistes au niveau international est un combat quotidien.”



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