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| Fine Arts alumna Ann-Marie Tully, and co-curator, Andrea Rolfes have curated SALON I, a pop-up concept exhibition based on the frame-against-frame 19th century salon group exhibitions. The duo have gathered a selection of highly collectable, emerging and established South African contemporary artists, including several Witsies, to include in their second SALON I happening at Upstairs@Bamboo in Melville, Johannesburg, from 2 – 5 October 2014. |
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| SALON I is not a gallery but a ‘pop-up’ shop. It aims to make artists’ products visible to new and established collectors in a convivial atmosphere. The volume and range of artists represented enables low commissions and exceptionally good prices for very collectable artworks – for the run of the exhibition only. Wits alumni exhibitors include Fiona Couldrige (BAFA 1997, BA Hons 1998, MA 1999)Gordon Froud (BAFA PDE 1987), Yannis John Generalis (BA 1990), Rebecca Haysom (BA Hons 2012), Sue Kaplan (PGD 2005, MAFA 2009), Jenny Marcus (BA 1980, BEd 1984),Karin Preller (MAFA 2001), Usha Seejarim (MAFA 2008), Leanne Shakenovsky (BAFA 2009), and Michael Smith (BAFA, PDE 1997) among others. Jurgen Meekel lectures in the School of Arts at Wits, as did SALON I co-curator, Ann-Marie Tully (BA FA 1999, MA 2003) in 2002, 2011/2012, and 2013. Tully is an artist working primarily in oil painting, fabric/embroidery, and ceramics. Her most recent solo exhibition Wolf in Sheep’s Clothing debuted in 2013 and is touring South Africa until 2015. As a curator, Tully has staged several exhibitions including Zoo at NIROXprojects in Johannesburg in 2013, in association with Lauren Beukes’ novel Zoo City(2010). Tully is currently a Research Associate at the Research Centre, Visual Identities in Art and Design, at the Faculty of Art, Design and Architecture at the University of Johannesburg. Her visual and written research explores rhetorical representations of animals. |
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| Que ‘Salon’? The historical origin of the term ‘salon’ harks back to 1725 when exhibitions by the French Royal Academy of Painting and Sculpture were held in the Salon Carré room in the Louvre – or ‘The Salon’. This gave rise to the generic French term ‘salon’ for any large mixed art exhibition. By the mid-19th century, academies became conservative and resisted the rising tide of naturalism, realism, and impressionism. By 1863, Napoleon III’s government set up an alternative: The ‘Salon de Refusés’ exhibition featured ‘scandalous’ paintings such as Édouard Manet’s Déjeuner sur l’herbe, portraying nude figures picnicking. Subsequent Salons des Refusés strongly influenced the development of western art in the 20th century. In South Africa in 2014, the concept of artist-centred ‘salons’ is partially a response to the monopolisation of the gallery system while simultaneously acknowledging the role galleries play in profiling artists. |
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| VENUE: Upstairs@Bamboo | Corner 9th Street & Rustenburg Road, Melville, Johannesburg DATES:
Preview Thursday 2 October 13:00-17:00 | Open Friday 3 October 10:00-17:00
Official Opening Saturday 4 October | Open Sunday 5 October 10:00-15:00.
Exhibition closes at 15:00 on Sunday 5 October. ENQUIRIES:
Ann-Marie Tully | annmart76@yahoo.com
Andrea Rolfes | 0721198615 | andrea.rolfes@gmail.com |
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