Banksy nominated for 2014 Webby Award

The elusive street artist known as Banksy has won the 2014 Webby Person of the Year award. The award ceremony will take place on Monday in New York City.

The Webby Awards is the “leading international award honoring excellence on the internet”. The Awards are presented by the International Academy of Digital Arts and Sciences, a body of over a thousand of Internet experts, visionaries, imaginative celebrities and other high-profile thinkers. Members include industry heroes such as Vint Cerf, co-founder of the internet. Academy award winning Actor Kevin Spacey and President of Huffington post Media Group, Arianna Huffington, are just two other notable members.

The Webbys started in 1996, shortly after the invention of the internet, and awards companies, groups and individuals in an assortment of different areas. The 2014 list of nominees and winners is a display of how widely the internet is being used in all different areas.

In October and November of last year, Banksy spent 31 days in New York City and created a new work every day during his visit. The series was called “Better Out Than In”. Many of his artworks are and were destroyed as soon they are created, and so his works live on mainly on the internet and through social media.

No doubt his image as an anonymous social provocateur and guerrilla artist has contributed to his fame and Webby award win. His style is unmistakable and he defies the rules on all fronts. He has a strong Facebook (2.8m) and Instagram (329k) following, and a web page that continues to confuse and illuminate. If one were to visit Banksy’s official website right now, it would feature simply one of his works from New York on a white background and no way to progress onto any other content.

Banksy’s identity remains a secret, and it is doubtful that he will receive his Webby in person tomorrow night.


Here are some of Banksy’s works from his New York City Residency:


Painting with Nazi Officer in Housing Works on 23rd Street.
Here, Banksy bought a painting from a charity thrift store and added the Nazi solider and his tag. He then re-donated it to the store. It sold for $615,000.


Banksy – What We Do in Life Echoes in Eternity


Banksy – The Street is in Play

Politics of Art/Art of Politics

In recent years, the climate around political art in South Africa has come to epitomise some of the issues with the current ANC administration. Critical works by artists such as Brett Murray and Ayanda Mabulu have become the headlining acts for political expression and subsequent government interference. The way the ruling party has dealt with less than flattering depictions of President Jacob Zuma, in particular, tends to call to mind poorly handled national hiccups (and outright scandals) from the past year. One has to question why South Africa’s leaders feel the urge to react to these artworks; why they give them any attention when they have an entire country to govern. The answer is very likely related to the way the ANC of today operates and the general feeling of dissatisfaction with it among the media – despite what last week’s election results may indicate.


Viva Political Expression

The recent spate of contested political artworks began most famously upon the unveiling of Brett Murray’s The Spear at the Goodman Gallery in early May of 2012. The painting in question was of Jacob Zuma in a Lenin-esque ‘looking to the future’ pose, with his fly open and genitals completely exposed. It was exhibited in a series of Murray’s works entitled, “Hail to the Thief”. Many of the artworks show clear criticism against the ruling party – quite notably, an ANC ‘get out of jail free’ card – but none of these seemed to offend their sensibilities.

Shortly after, the ANC made known their intentions in a media statement to sue Murray and the Goodman Gallery to have the painting taken down, labelling it racist and a violation of the president’s dignity. Soon, an ANC protest took place outside the gallery and the City Press were forced to remove an image of the painting from their website. The Spear was later vandalised by ANC supporters, taken down, and the ANC dropped their charges.

Later that year, in an exhibition titled “Our Fathers” at the AVA gallery in Cape Town, artist Ayanda Mabulu published his painting Umshini Wam (Weapon of Mass Destruction). It depicted Zuma in an even further state of undress. He is painted in traditional Zulu attire with his leg raised and detailed genitals on display. Mabulu was not labelled a racist, although the painting was considerably more unflattering than The Spear. Spokesperson for the ANC, Keith Khoza, said that the party could not rule out taking similar actions to those against The Spear, but this never happened.

When, late last year, Mabulu exhibited a painting portraying Zuma dancing on the backs Marikana workers, a similar reaction was experienced: outrage and “disgust”. Mabulu has, in the past, created many artworks that ‘disrespect’ South African leaders. Most significantly is a work entitled Ingw ayizidli Ngamabala Isakuluma ikaka Okwesihlunu Senyama (You Sold us out), in which Nelson Mandela is seen kissing F.W. de Klerk and clippings from newspapers frame them with resentment and anger.

As Chris Thurman highlighted in an article late last year, it seems “you can say what you like about anyone – as long as it is not Zuma”.

In a commentary on The Spear, playwright Mike van Graan asserts that the position of political artists is to “expose the vanity, the hypocrisy and the excesses ” of powerful politicians the way a child might. By all accounts, this is what artists such as Murray and Mabulu do. It is a medium that cannot harm anyone in the ways other forms of protest might, but the ANC seem to appropriate these artworks as physical attacks. But as Mabulu explains in an article for the Mail & Guardian, “I’m not attacking you; I’m respectfully asking a question”.

Van Graan makes a radical statement in suggesting that we should “learn from our political leadership and blame Apartheid”. It is difficult to phrase his argument as eloquently as he does himself, but he suggests that Apartheid is as least partly to blame for our leaders’ inability to recognise artistic expression as symbolic, rather than purely literal. He continues to suggest that this is what creates the “racist paradigm” in which Murray (and not Mabulu) is labelled a racist simply for being white, and becomes the excuse for ignoring the criticism of real issues within the party.

The evasive and accusatory manner in which politicians handle PR from artwork is strikingly similar to the way they handle legitimate national incidences. E-tolls require that citizens pay extra for what they are meant to have a right to, in the same way that artists are made to pay in court for utilising their right to free expression. The Nkandla scandal has been dealt with by Jacob Zuma with a frankly unrealistic level of obliviousness. The latest reason used for the 200 million rand homestead being upgraded has been (and arguably quite insultingly), the rape of his wife. Most recently however was the censorship of DA and EFF adverts by the ANC-funded national broadcaster, SABC. It is not a far stretch to assume that there was interference in banning the adverts of the two strongest opposition parties to the ANC. Censorship of adverts, like censorship of art, is not what one would expect from a supposedly free and democratic country.

Both President Barack Obama and Canadian Prime Minister, Stephen Harper, have been painted rather famously in the nude and either paid no attention or had wonderfully funny responses. If the ANC and Zuma learned how to react (or rather, not) from leaders such as these, we might end up with a more constitutional South Africa, and a political art scene that understands metaphor and can have a sense of humour.


Take a look at this video I compiled on the youth, art, politics, and the recent election in South Africa. I attempted to keep it casual and light as a compliment to the article. Enjoy.

Express Yourself

Something that strikes me about all modes of artwork is their platform for creative expression and the emotions they can inspire in audiences. The emotional impact of a painting is, in my opinion at least, the most impressive.

Books and films envelop you in their story long enough to emotionally invest in the story and characters. Photographs reflect images that are immediately recognisable to us; their power lies in the composition and how the image is taken. Paintings, however, do something very different. Most often they can’t tell a story as effectively as books, and they can’t reflect reality as exactly as a photograph. Because of this, we don’t connect with them in the same way we would a movie. Many paintings have no recognisable subject matter at all, and yet have the ability to inspire a moving, visceral emotion immediately upon viewing: joy, sadness, passion, fear. It’s not quite as sophisticated as sympathising with the inner psychological world of a character, but it is much more startling.

I think of paintings from the late nineteenth and early twentieth century when remembering my most powerful and unexplained emotional reactions to paintings. Often the movements don’t matter. It was a time in history when formalist painting – aesthetically ‘pleasing’ and unemotional art – was really being rejected. This had a lot to do with war and political unrest being rife at that time. This quote from Barnett Newman, one of the major figures in the Abstract Expressionism movement, explains why emotional expression became vital in art at the time, and much earlier too:

“We felt the moral crisis of a world in shambles, a world destroyed by a great depression and a fierce World War, and it was impossible at that time to paint the kind of paintings that we were doing—flowers, reclining nudes, and people playing the cello.”

The chaos of the world reflected in the artists’ works. I like to think that they began painting with their hearts, instead of their minds; that the paint felt its way onto the canvas, rather than being planned out and structured. Perhaps images of some of these paintings can convey more accurately the raw emotions they were created in the image of:


Edvard Munch - The Scream (1893)

Edvard Munch – The Scream (1893)


Karl Schmidt-Rottluff – Corner of a Park (1910)



Emile Nolde – Still Life of Masks (1911)


Pablo Picasso – Guernica (1937)

The first three paintings are by artists that belonged to the German Expressionist movement. The last is by Picasso, who did just about everything under the sun before his death. I chose mostly scary or shocking images to better illustrate what I mean by paintings that make you feel something. I’m not even sure what some of them make me feel, but it is something powerful and I find that fascinating.

Since that time, the tendency to express oneself emotionally through art has not faded away. It has manifested itself differently through the decades, as it still does today, but the importance of this form of expression has been realised more and more. Creating art has been recognised for it’s therapeutic abilities and it’s capacity for healing. People no longer go to art museums just to view beautiful paintings, but also to feel something; to take some emotion or insight away. I think that is an experience unlike any other, and one that is so valuable in appreciating art and understanding oneself.

I highly recommend visiting the biggest museum you have access to and exploring its halls for works that make you feel something.

Academic Inflation – How Education is Robbing you of Creativity

“Even a circus lion learns to sit in front of the whip, but you call such a lion well-trained, not well-educated”. This idea is taken from the thought-provoking film, 3 Idiots, and it makes a poignant comment on how unimaginative schooling systems are breeding generations of well-trained automatons.

The issue of hierarchical and test-based education systems is one that has been discussed and critiqued widely in recent years. The structure of this system is attributed to an anti-chronological process of thought: In order to get a certain job, I need a degree; to get a degree, I need to do well at university; in order to get into university, I need a prescribed number of A’s, and so on. It is easy to see how this way of thinking drains all creativity out of schooling. Sixteen years of learning become nothing more than a glorified checklist in pursuit of employment. The only thing more dangerous than this problem is the innumerable students who have no idea that it is happening to them.


Are books coming before creativity?


In 1958, a series of creative tasks were conducted with around 400 children by Professor E. Paul Torrence. The purpose of these tasks was to develop a way to measure creative aptitude. The progress and success of the subjects was tracked into adulthood, and it was accurately predicted that children with higher levels of simultaneous divergent and convergent thinking would be significantly more successful in their careers. Since then, the “Torrance tasks” have become the recognised standard for judging CQ – creativity quotient. According to a Newsweek article, over 300,000 scores were analysed recently, and the results were more than disheartening. While IQ scores tend to rise with every generation, CQ scores have been dropping rapidly since 1990. This is attributed mainly to the structure of schooling from a young age, and how too much emphasis is placed on academics and left-brain dominated subjects.

Sir Ken Robinson, a highly respected author, speaker and educational advisor in the arts coined the term ‘academic inflation’ in a TED talk in 2006. The talk was about the state of national education systems and how they ‘educate out’ creativity from childhood. Robinson describes academic inflation as being similar to economic inflation. Fifty years ago, having a degree meant a guaranteed job. In 2014, an undergrad means very little and one needs at least a postgraduate degree to have any hope of a decent occupation. One can never be too educated, but global population growth rates and lack of jobs have created a frenzied environment in which students are pressured to produce high results as opposed to unique thought.

In the competitive global job market today, employees need to be more creative and adaptable than ever. As is said in Newsweek, a recent survey of 1,500 CEOs “identified creativity as the No. 1 ‘leadership competency’ of the future”. It is paradoxical, then, that our entire learning lives should, to quote Robinson, “educat[e] people out of their creative capabilities”. When finally, after years of institutionalised conformist thinking, we have reached the stage of having employment, we now have to teach ourselves to be unique again; to forget most of what the last twenty years taught us was important. For many creative people, it is easy to wonder if a degree is worth that ordeal.

A study was conducted last year in conjunction with Adobe, in which 4,000 Matric or higher teachers, as well as parents were surveyed about creativity in the classroom. An overwhelming majority agreed that “fostering creativity in education today will fuel the economies of the future.” The top concerns of many parents and teachers were that the education system doesn’t value creativity and that schools don’t allow enough time for creative learning. In addition to this, they agreed that the greatest hindrance to creativity is an “education system that is too reliant on testing”. Testing does little more than to unfairly reward those with good memories and quick thinking, and yet it is the prominent standard of assessment at almost all levels of public schooling.

While tertiary education is vital for some, there is a lot that can be said for those who weren’t taught to think like the rest of the herd. Many revered icons, such as Quentin Tarantino and Mark Zuckerberg, never studied or dropped out of studying towards their degrees. They simply didn’t need them. University is a valuable tool for many people, but being uninfluenced by an academic mind frame often fosters creative thinking and fresh ideas. Hundreds of millionaires with unique visions would support this claim.

Parents, teachers, psychologists, educationalists and employers all seem to agree that creativity is vital for the successful future of our world. And yet, the powers that dictate structure do not seem to be coming to the party. Creative and academic exploration need to be valued equally, and time-based testing assessments should gradually become a thing of the past. Once that has happened, the imagination of future generations might know no limits.

You don’t have to be Picasso to use a paintbrush

When one thinks about artists, we tend to envision the greats: Da Vinci, Monet, Van Gogh. Beyond that, perhaps contemporary artists that have appealed to us, like those I have shared in previous posts. It makes sense that we do this; one doesn’t think of struggling plain Jane in Hollywood when the word actor is mentioned – (I think of Ryan Gosling, but maybe that’s just me).

Anyway, my point is that there are millions of artists out there who don’t get any of the recognition that professionals do. There are those who aspire to make art their career and struggle, but there are also those who make art purely for themselves. In some regards, I think that is even more admirable than those who turn art into jobs. I may be generalizing, but I think that a lot of people don’t do many things they don’t have to anymore. Hobbies have largely been replaced with social networking and browsing the internet. Making art is something that takes time, patience, determination and genuine interest. I know this from personal experience.

I thought I would interview someone who is not a professional artist, but has spent decades working on their skills nonetheless. I wondered for a while who to speak to, but it dawned on me that the choice was obvious: my mom.

She has been painting her afternoons away since before I can remember and long before I was even alive. It takes guts to dedicate half of your life to something, but I don’t think I would have developed the interest myself if I hadn’t watched her for years growing up. I may be more than a little biased, but I think she’s pretty amazing.

Jeannine Evans (my wonderful mother), began drawing when she was very young. She used to take my grandmother’s sketching pads and pencils, and draw what interested her that way. She says that she “never really decided to start [making art], it just evolved slowly”. However, she began getting more serious about it when she got her first job, and attended a series of short courses which eventually ended up in her experimenting with oil paints. She has been in love ever since.

She explains that painting is “a place that [she] can escape to… a way to achieve something”. One only has to watch her work and rework the same area ten times to understand the depth of her passion and determination. Having never had any formal training, Jeannine finds that watching DVDs of professional artists working, as well as reading art books and magazines help her in honing her skills.

I think it is really important to support non-professional artists. If you live in a small town as I do, I can guarantee that there are dozens of talented painters displaying their work in a nearby gallery. Owning a work with a name is nice, but owning one from an unknown artist does so much more good. Jeannine explains that she feels genuinely humbled when “anyone wants something that [she’s] created on their walls”. A day with a painting sale is a very good day indeed.

She exhibits all around the Grahamstown, Bathurst and Port Alfred areas alongside many other talented artists. If you ever happen to be at the National Arts Festival in Grahamstown, I highly recommend taking a look at the local artists’ exhibition and supporting them.


One of her earlier works in pastel, made when I was still a toddler


A portrait of my cousin Jared


One of her many recent township scenes in black and white

As a side note, it is interesting that my mom’s love for art started by taking my gran’s art tools, because that’s exactly how it started for me. If anyone is interested, here are some things that I drew. Perhaps someone will interview me too someday. Wink, wink.


Now That’s Just Showing Off

In the baby years of Facebook and while i was developing my online ‘persona’, I figured out that I could make zits disappear at the click of a button and no one would be the wiser. I had overlooked the minor issue of now being significantly less attractive in person, but I was ecstatic nonetheless. At the age of fourteen, I thought I was a photo retouch genius. Turns out I was greatly mistaken.

Retouch photography is technique whereby the photographer manipulates their image in order to change or perfect elements, as well as bringing different images together creatively. Contrary to what one might think, this is not a technique that only came about in the age of digital photography; pictures have been manipulated by hand for centuries. The digitisation of photography, and editing software such as Photoshop have simply broadened the horizons for perfection and imagination in photography. Retouching and manipulation are used in almost all sectors of professional photography, with the most obvious being beauty and fashion. And trust me; they can do a hell of a lot more than cover up a few pimples.

South African photographer and retoucher, Graham Bartholomew, is one of these mysterious people I refer to. He can make the average beautiful, and the beautiful flawless if he so chooses. I bet tweenage me would have killed for those skills of manipulation. However, he also uses retouching in other, more artistic ways. It is a skill that is being exploited brilliantly overseas especially, both for advertising and private work.


Graham Bartholomew – Back in Black

Leo Caillard is a French retouch photographer of considerable repute. He uses his well-honed skills primarily in the world of advertising, to take the limitations of original photographs to the next level. Many transnational corporations have hired him for advertising campaigns, and when looking at his work it is easy to understand why.


Leo Caillard – Amusement Bureau

There is, however, a certain man who holds a very dear place in my heart. I have found myself coming back to his work again and again, and quite ironically decorating my Facebook wall with its sheer epicness. Erik Johansson is a retouch artist and photographer from Sweden. I have very little to say about him except that his art is magnificent and unbelievable. Erik says that “I don’t capture moments, I capture ideas. To me photography is just a way to collect material to realize the ideas in my mind”. It is hard to believe that every aspect of his images came from actual photographs that have been immaculately fused together. If you’d like to understand the amount of work that goes into creating art like this, check out his blog post on Set Them Free. It is hard to fathom for those of us whose photographic patience don’t extend much further than well-angled selfies. But if that doesn’t impress you, at least take a look at his spectacular body of work to understand why I’m totally obsessed.


Erik Johansson – The Cover Up


Erik Johansson – Set Them Free


If you’re anything like me, travelling the world is rated very highly on your mental to-do list. I am endlessly amazed by the variety and beauty to be found in the landscape, culture and artworks of places I didn’t even know existed. The desire to see these things with my own eyes is immense. The term for this sensation is ‘wanderlust’ and it pretty accurately sums up what it represents. I’d like to share just a few people, places and phenomenon that have contributed to my personal sense of wonder at the beauty out there.

I have been lucky enough to travel a fair share in my young life. Just before my last trip, which was to London and Northern Europe in August of 2012, I was given a new camera by my wonderful parents: a Nikon P510. It’s no Canon 5D, but it afforded me hours of photographic fun while travelling around Scandinavia. My photos are by no means professional, but I would like to share the things I saw that interested me in my wanderings.


Nyhavn, the historical channel in the centre of Copenhagen, Denmark


A statue in the gardens of the great Winter Palace in St. Petersburg, Russia


Streetside artist in Tallinn, Estonia

I wasn’t able to travel far enough north to see the Northern Lights, which is something that I really regretted about my trip. In non-scientific terms, the Northern Lights, or Aurora Borealis are caused by gas particles from the earth and electrically charged particles from the sun colliding in the earth’s atmosphere. The colour of the lights is determined by what gaseous particles are involved and how far from the earth’s surface the collision occurs.

Yeah, I’m not a science buff either, but it is interesting to know the reason behind the mysterious and beautiful phenomenon. I would have loved the opportunity to see and capture it for myself, but for the mean time at least, the spectacular photographs of Tommy Eliassen will have to do.

Tommy is a landscape and astro-photographer from Mo i Rana, Norway. He has the privilege of living and working on the doorstep of the Northern Lights. The majority of his photographs involve long-exposure, which means keeping the shutter of the camera open for an extended period of time, thus allowing light in that may not even be visible to the naked eye. The results are extraordinary. This technique is often used to capture constellations in the night sky, and in conjunction with the Aurora Borealis, the photographs that one can take really are breathtaking.


Laksejford – Tommy Eliassen (taken in Lebesby, Norway)


Hogtuva – Tommy Eliassen (taken in Melfjellet, Norway)

Aspiring travellers of the world come in all shapes and sizes, as has recently been proven by photographer, Andrew Whyte, and his Legographer. He has completed a 365-day project, in which he travelled the world and took images with a Lego photographer in the foreground. It sounds arbitrary, but the end product is unique and quirky, framing predictable tourist shots in a fresh light. Follow my lead and check out every shot the duo took on their travels here:


Day of Rest – Andrew Whyte


Splash! – Andrew Whyte

It can quite easily be noticed that my conception of wanderlust is almost exclusively linked with landscape and the natural world. South Africa has some of the most varied natural life on the planet, but as a South African, the idea of my country being as mysterious and exciting to others as, say, Japan is to me sometimes escapes me as being a reality. However, if Hougaard Malan’s photographs are anything to go by, it isn’t hard to understand why South Africa – and the Western Cape in particular – is such a desirable spot to visit. Cape Town was recently chosen as being the top tourist destination in Africa and top ten in the world. Perhaps this fun (and frankly, just awesome) music video shot in the beautiful Mother City will shed light on why:

If you’re more interested in the man-made or manipulated side of artistic photography, look out for my post next week. It’s going to be epic.

The Eco-Evolution

With the growing spotlight on global climate change, depleting resources and the need for renewable energy, many sectors of industry and society have had to shift their focus and rethink their approach to the radically changing standards of our planet. While many disregard global warming as a money-making scheme or myth, (and after the record low temperatures in Europe and North America earlier this year, who can blame them?) it cannot be ignored that finite energy and non-biodegradable matter are becoming a massive problem.

The words ‘reuse’, ‘reduce’ and ‘recycle’ are familiar to the majority of the westernised world in 2014. The importance of these issues has led to the institutionalisation of recycling even on a domestic scale, with there being heavy fines on the incorrect disposal of waste in many countries. There is no doubt that people have change the way they live and companies have to revolutionise the way they run. We have all begun to see Earth in a new light, and are understanding its need for protecting. In a creative twist to the growing global crisis, artists worldwide have come up with innovative and undeniably beautiful ways of recycling and renewing.

Sayaka Ganz, a sculptor from Yokohama, Japan, has responded to the eco-evolution in art by creating stunning, fluid sculptures of animals with used plastic waste. Ganz’s inspiration for these artworks stem from the Japanese Shinto philosophy that all things have a spirit, as well as sympathy for discarded objects. She aims to create living artwork with value because, as she explains, “if we value our resources, we will waste less”. Among other installations, she recently created an exhibit about marine animals and the fragile ecosystems that exist in the ocean. Take a look at her other work here

Sayaka Ganz - Uta

Sayaka Ganz – Uta

Speaking of the world below the depths, an interesting project spurring from the desire to protect the open water is underway by English artist, Jason DeCaires Taylor. Overfishing, oil spills and harmful waste in the ocean threaten the stability and sustainability of its wildlife and delicate ecosystems. Taylor is especially concerned with over-visited and destroyed coral reefs. In response, he began creating artificial reefs out of pH-suitable and stable materials that actually attract micro-organisms and ocean life. His reefs are comprised of hundreds of sculptures of human beings that, over time, become layered with coral and marine foliage. Taylor’s artificial reefs are both beautiful and an ingenious response to the ocean’s need for safe shelter and breeding-grounds. Click here to see how he is saving our fish.

Jason DeCaires Taylor - The Dream Collector

Jason DeCaires Taylor – The Dream Collector

Jason DeCaires Taylor - TamCC

Jason DeCaires Taylor – TamCC

This response to our struggling planet isn’t just happening abroad, however. South African artist, Mbongeni Buthelezi has created a name for himself both locally and internationally with his work. His reply to the waste crisis is what has been called, “painting with plastic”. He makes stunning, colourful “paintings” of predominantly township scenes, using non-biodegradable plastic as his medium. It is inspirational to see a South African taking initiative to make a change through his work, and perhaps we should all be doing the same.

Mbongeni Buthelezi - 30km/h Speed Humps

Mbongeni Buthelezi – 30km/h Speed Humps

Here’s a nifty way of getting started:

If you are an artist and interested in how you can help save the planet with your work, check out this article by Diana Moses Botkin. It explains twelve useful and easy tips on how to reduce your footprint and reuse materials in your eco-friendly masterpieces.