Compiled by Janet Watts
With contributions from Reneilwe Mathibe, Nomphumelelo Ngoma, Shannin Antonopoulo, Nathi
Simelane, Lydia Zungu, Thembelihle Dlodlo, Frans Dlamini, Jeanne-Mare Du Bois, Sara-Aimee Verity
and Sikhumbuzo Ndlovu
Design and Layout by Nathi Simelane
Front images by Artist Proof Studio staff and students
www.artistproofstudio.co.za
1
About
Artist Proof Studio (APS) is an innovative and engaged community printmaking centre of excellence.
The organisation focuses on all aspects of professional printmaking: creation, sales, training, and
community engagement. The studio is divided into four business units, which encompass its
professional printmaking operations:




Professional Print Studio
Gallery
Education
Special Projects
Through its many activities, APS facilitates the transformation of passion into possibility, as well as
the active commitment of talented individuals to shape a better future for themselves.
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CONTENTS
STRATEGIC FOCUS
04
INTRODUCTION
05
ARTIST PROOF STUDIO’S HIGHLIGHT STORIES OF CHANGE,
GROWTH AND OPPORTUNITY
06
1.
2.
3.
4.
5.
06
15
20
23
34
EDUCATION
PROFESSIONAL PRINT SHOP
GALLERY
SPECIAL PROJECTS
ADMINISTRATION
SUPPORTERS AND COLLABORATORS
35
FINANCIAL REPORT
36
A STRATEGY FOR THE FUTURE
39
CONCLUSION
41
3
STRATEGIC FOCUS
Mission and Vision
The mission of Artist Proof Studio (APS) is
to provide an environment to develop
citizens with a common set of values,
expressed in the notion of ubuntu, that
have talent and passion to achieve artistic
excellence. APS focuses on printmaking
and its allied outreach programmes to
build capacity of people to reach selfactualisation and make a difference in
society.
The vision for Artist Proof Studio is
founded on a sense of shared humanity
whereby people of talent and passion can
reach for excellence in art making to
achieve self-sustainability.
Organisational Values
1. Ubuntu
Especially important in post-apartheid
South African culture, Ubuntu is a
philosophy that embodies the spirit of
humaneness and togetherness. For APS,
Ubuntu is about creating a safe and
supportive space for self-expression: a
space that is respectful, empathetic, and
nourishing for the well-being of the
community.
2. Innovation
APS has embraced innovation from its
inception when it pushed past cultural
barriers to create an innovative
community arts centre. By promoting
“Excellence through possibility,” APS
provides a platform for innovation and
collaboration. APS aims to encourage
artists to constantly push the boundaries
of their discipline, to find their vision, and
their
inspiration.
By
incentivising
innovation in all units and throughout all
aspects of the studio, APS positions this
value as a key component to its
development and identity.
3. Self-Awareness
APS strives to promote a sense of selfawareness within the organisation. By
providing the appropriate space, APS
encourages its artists, professionals, and
students to challenge themselves, make
informed decisions independently, and
deal with change effectively.
4. Engagement
APS believes that engagement is key to
the studio’s work and success. APS strives
to promote engagement of its students,
professional artists, and all staff, as well as
foster the relationship between the work
of the studio and the broader community.
5. Excellence
Beyond the values of engagement, selfawareness, and innovation, APS believes
its artists, students, and staff should excel
and operate as true professionals, using
their skills and abilities to be active
citizens.
This
includes
welcoming
challenges and striving for the best in
every situation as well as being open to
external opportunities and support from
others when needed.
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INTRODUCTION
During the last 22 years, APS has grown from a small, rudimentarily equipped printmaking
studio to one of the largest and most vibrant community and professional printmaking
facilities in Southern Africa, accommodating up to 60 students per year and also hosting,
publishing, and providing print edition facilities and collaborative project opportunities for
many artists each year.
Throughout its history, APS has evolved to a centre focused on redress to one focused on
innovation and excellence.
Governance
As a Non-Profit Public Benefit Organization registered with both the Department of Social
Development and South African Revenue Service, APS is held to high standards of
governance and accountability. APS is governed by a Strategic Board made up of seven
directors and an Advisory Council that are responsible for planning the strategic growth and
development of the Studio.
The Business Units
Under its administrative operations, Artist Proof Studio has four distinct business units,
which form its comprehensive printmaking centre. These units include the Pro-Print Studio,
Gallery, Education, and Special Projects.
APS employs a business model that is focused on all aspects of professional printmaking:
creation, sales, training, and community engagement. This is a unique model as many
printmaking organisations focus on only one aspect of this process. By understanding this
organisational identity, APS can better position itself in the market.
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ARTIST PROOF STUDIO’S
STORIES OF CHANGE, GROWTH AND
OPPORTUNITY
1. EDUCATION
The Education Unit offers a three-year, professional printmaking training programme to
talented students from South Africa as well as other African countries. The programme
trains students in a full range of printmaking skills, drawing, visual literacy, and business
practice.
Acceptance into the learning programme at APS is based on individual talent and potential
for professional achievement. Students from financially disadvantaged backgrounds are
eligible to receive subsidies or bursary funding. At APS, the capacity of the students is built
through the development of positive habits and the life skills necessary for becoming wellrounded artists-as-citizens: professional practitioners, community leaders, and empowered
and self-sustaining individuals. Additionally, students are given the opportunity to consult
with experienced guest artists regarding both their own work and the artist’s perspective on
visual arts in general.
Currently, there are 80 students in the education programme at APS. Approximately 40
prospective students apply each year, out of which 25 are accepted.
The Education unit is managed by Shannin Antonopoulo who supervises 4 teachers and two
interns, along with Lucas Nkgweng who oversees the student workspace. The education
staff develops curriculum and lesson plans, teaches classes, provides critical feedback for
students, and offers support to students. The education unit also has internship
opportunities for students with exceptional artistic talent and promising teaching capacity.
The education unit is supported through modest tuition fees for the students, as well as
patron and donor support. Any shortfall in education unit expenses is covered by the
income generated by the other business units.
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First and Second Year Education Report 2013
Compiled by Mpumi Ngoma & Rene Mathibe
This year has been one of change. We have re-strategised a way forward for the Education
Unit including relooking at our curriculum plan, and trying to introduce new ways of
teaching. All weekday students now attend formal class three days a week instead of two,
and specialist teachers are called in to workshop specific techniques and methodologies
with our Saturday class. All this change has been made possible through the support of
Dimension Data. We have integrated the ISEE (Innovate, Self-aware, Engage and Excel)
Habits of Mind into our assessment processes for Graduate Students and have begun the
process of instilling this ethos into everything that we do at the APS (please see Appendix 1).
We have also introduced Visual Literacy and History of Art classes, mainly for enrichment
purposes. The classes also assist students in developing skills and knowledge to critically
analyse visual information. This report details projects and highlights experienced by the
students and facilitators at the Artist Proof Studio to date.
Term 1
During the first term, the first and second year students were working together with Frieda
Groffy, a poet and a writer who works collaboratively with artists to generate poems and
illustrations. These poems are usually compiled in books as a collective of stories by the
artists.
Frieda Groffy (Left) with the students discussing and sketching ideas of what UBUNTU is
The theme of UBUNTU was interpreted by students. The students engaged in an intense
process of developing concepts around the theme and later produced drawings, and poems.
At the end of term the students collaborated in an exhibition of the works they had
produced. The exhibition was a success as the students carried out live performances for the
audiences to as part of the exhibition.
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At the exhibition, students performing poetry and dramatic acts
The UBUNTU exhibition was merged with the Graduation Celebration of the 2011 and 2012
graduates. Students who excelled were given prizes:
Weekday Students: Sizwe Khoza, Dzunisani Maluleke Lebogang Maluleke, Isaac Zavale,
Thamsanqa Mkhabela, Minenkulu Ngoyi and Zwelethu Machepha were awarded a residency
in Kimberly at the Sguzu Whag Gallery and funds towards an exhibition.
Saturday students: Thokozani Madosela, Neo Mahlasela, Mishaac Dlamini and Cassius
Khumalo were awarded with funds towards an exhibition.
Kim Berman handing awards and certificates to students
The second year students collaborated with a Master’s student studying Fashion Design at
the University of Johannesburg. The students were challenged to design a logo for the
Tshulu trust as well as motifs for fabric from the Venda Region. Through this project they
learned the process of screen printing. Skills and knowledge learned in this term included,
working to client specifications, collaboration, working to a production plan, research skills
and working with a client brief.
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Claudia Hartwig, the screenprint facilitator helping students with screen printing
In Visual Literacy the students learnt different line work used in drawing. These lines
included contour, cross-contour, hatch, cross-hatched and the expressive line. They were
given objects to draw and to apply the different lines they have learnt and using tone to
differentiate the light and dark on the objects. In addition to learning about the basic
elements of art and design, they learned how to how to make good compositional decisions.
In Drawing, students were challenged to demonstrate their ability to define different
surfaces by applying the appropriate texture to depict a three dimensional surface area on a
two dimensional surface. They were given a glossy surfaced ceramic doll and a matt
textured skull. The students had to best describe the actual texture in order for the drawing
to be convincing.
Term 2
In the second term the students explored issues around the theme of ‘Body Politics’. In
Visual Literacy images by contemporary artists who have used the body to make their work
were shown and discussed. All the students were shown a DVD of the Body Worlds before
attending the Body Worlds Exhibition at Sci-Bono Science Museum.
The concept of ‘body as machine’ became a subject which they engaged in subsequent to
the Body Worlds Exhibition and DVD. The students were encouraged to create hybrids using
the organic and machine. They found organic objects such as plants and mechanic objects
that they fused together to form a visually interesting hybrid. The students started off by
making drawings of body parts and studied the bone structure in order to reach a
convincing drawing. These drawings communicated the buildup process of transforming
both the objects into one hybrid object. This was later carried on to fusing the body parts
with the mechanical found objects. This was the stimulus for their figure drawing which they
were to engage in during the third term. The hybrid drawings were transferred into colour
etchings which were intensively aimed at achieving the description of different surfaces,
which in this case was the skin and mechanical object.
Term 3
We started term 3 by and reviewing the Habits of Mind with the students in order for them
to apply them to the process of making artwork. The students were introduced to the
Linocut technique. This was a collaborative project between the first and second year
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students. For term 3, students were grouped together and were introduced to various
research methodologies. The processes of brainstorming and think tanks were done
collectively and we hope that this skill will be applied further when working on developing
ideas for artworks in the future. We showed them examples of a mind maps and discussed
all the questions they need to ask themselves in order to come up with a conceptually and
visually convincing artwork. For this project the students were encouraged to conduct their
own research and identify people who made a difference in their communities. These could
be famous or unclaimed people who resonated with them. Particular emphasis was placed
on the APS Habits of Mind. Each student had to identify and explain how their chosen
person demonstrated our four habits of mind which are Innovation, Self-Awareness,
Engagement and Excellence.
In Visual Literacy students were introduced to important terms such as ‘collaboration’,
‘series’, ‘exchange’ and ‘portfolio’. This was done in preparation for the BAA (Boston Arts
Academy) team visit for an educational exchange programme. Two teachers and three
students from the BAA came to the studio as a continuation of the exchange which began in
2012 with a 6 day workshop at APS facilitated by Linda Nathan, headmaster of BAA and two
of her teachers. Both the first and second year students, together with the BAA students
were introduced to the relief carving printing technique. When the drawings reached a
finished stage, the students transferred their drawings onto the plates and started carving
the images. The BAA students and facilitators also had an opportunity to share what they do
at their academy in Boston with our students and staff.
Aaron Clayton (left) Perla Ledesma (center) and Tavi Francis (right)
participating with APS students while an introduction to lino cut was presented.
Two of our students hosted the three BAA learners at their home. This had a huge impact on
both our students and the BAA kids and a second visit and stay over was arranged during
the visit. It was a successful collaboration as the students really benefited from having the
Boston students around and also shared ideas and aspirations about the future. At the end
of the project, the lino plate carvings from all the students were assembled and reprinted
into five large prints of Thami Mnyele’s silhouette. The five prints were entered into Thami
Mnyele Fine Arts completion, which consequently received The Art on Paper Merit award.
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Two of the prints which won the merit award
The BAA Facilitators held a workshop with all students in planning, execution and delivery of
an art project from conceptualisation to finished product. This workshop was based on BAA
Senior Student Community Project. For our Mandela Day the whole studio participated in
Paper Prayers and the BAA team was wrapping up their visit at the studio.
In Drawing, First and Second Year students engaged in intense life drawings of the female
and male model. The focus was on proportion as the main emphasis to get to a resolved
figure drawing in a limited time period. This was achieved through intense measuring and
observation of the figure. All the elements of drawing learned in previous lessons were
applied in theses drawings.
Student drawing the model
The students engaged in other drawing techniques such as gridding as this helped them
produce accurate drawings from references such as photographs. In their intense studies of
the figure drawings, they also looked at the silhouette and learning how to define the edge
through measuring to ensure correct proportions of the figure.
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First year students presenting their live model drawings to the rest of their class
For the first year woodcut project in printmaking, the students engaged in yet another
collaborative process where they were separated into two groups and had to put together
their figure drawings, and brainstorm life size compositions to take into wood blocks. Each
student received two to three wood blocks and had to carve their piece, when these were
done and printed, all the puzzle pieces were put together to form two final pieces for both
the groups.
As part of a project funded by the South African Development Fund, the first and second
year students worked with the Unity Design Team to develop visual campaigns that could be
transferred into murals in December 2013. Issues around media messaging and culture were
explored as well as identity in a contemporary South African context. The images are in the
process of being finalized and will be presented to the Wits Reproductive Health Institute
(WRHI) who run a series of teenage workshops in December. We will be working with the
teens painting murals around the inner city that deal with issues pertinent to urban youth.
Term 4
First year students are currently learning the print techniques of colour monotype, charcoal
and pastel monotype, collograph printing and paper litho. They are using various images
drawn in class of figures and city-scapes. Apart from these printing techniques, students are
expected to develop challenging compositions and write about their artwork in an artist
statement. Techniques for writing the artist statement are taught in Visual Literacy. It is
planned that the first and second year students will complete their portfolios in the third
week of November to allow the presses to be available for the Third years that are
completing their printing editions.
Second years are involved in an exchange with University of Johannesburg (UJ) Second Year
printmaking students. They have attended two sessions at UJ and shared ideas and practical
knowledge about printing around the theme of Social Justice. Both groups of students have
to employ combination printing. APS students have created prints in response to those
made by UJ students. An edition of five prints will be made and portfolios will be exchanged
in mid-November.
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Third Year
Compiled by Shannin Antonopoulo
Third year offers students an opportunity to explore their own themes through research and
develop personal narrative through a body of work in printmaking. Students are invited to
Third Year if they have completed and passed all the projects in First and Second Year. They
are expected to apply combinations of printing methodologies and skills to create a series of
prints that have a common conceptual thread. In addition to a portfolio of ten artworks
(with a minimum edition of 6), third year student artists are required to write an artist’s
statement, submit an inventory of the portfolio contents, plan and hang a curated
exhibition. The APS staff and Education team offer support conceptual and technical
support throughout the year however, the challenge is whether students can manage their
time efficiently and hone their skills to develop a portfolio of artwork independently.
Term 1
We started developing ideas and concepts for artwork in 2012 to give students a ‘head start’
for third year. During this process they developed drawings and did research pertaining to
their themes. In the first term of 2013, students learned the process of intaglio printing. As
this process is technically advanced, we dedicated the whole term to it. Many of our Third
Year students have since chosen this as their preferred area of specialization in printmaking
this year.
Term 2
We started this term with a group practical assessment of the etching/intaglio project to see
where the students were in their concept development and assess their proficiency with the
technique. We tried to apply the Habits Rubric which had been developed in January
following the BAA visit in December 2012. It proved to be a tedious and impractical
document.
Students focused on developing images further and attended formal classes every Tuesday
morning where challenges and ideas were discussed with regards to the space, availability
of the resources and ideas. Sketches, brainstorms and proofs of plates were displayed at the
end of the term and staff members were invited to attend and give input to students.
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Three etching proof prints by Mario Soares (third year student)
Term 3
Students commenced the term with a practical assessment and discussion of their work
with the BAA visitors. All staff and students were invited to offer suggestions and input to
ideas and print processes. Special emphasis was placed on the development and
communication of ideas in writing. Apart from two, the students were progressing toward
their final exhibitions well. A practical assessment of student work took place at the end of
term three with all the staff and students. We were assessing the number of works and
establishing what each student would need in terms of resources and materials to
successfully complete their projects.
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Third year student presenting her body of work in progress to the APS staff and students
Term 4
All third year students are currently completing their plates and have begun the process of
editioning their prints. The exhibition is set for the 30th November 2013. Each student will
submit a portfolio on the 15th November for assessment. Patrons of students and
stakeholders will receive the final reports on the 5th December 2013.
The students in the 2013 Saturday Class have also produced work of a very high quality, and
an exhibition of their work is planned for early 2014. The Education Unit has grown
considerably during the last year, and is poised to become one of the leading printmaking
educational facilities in the world if this excellent progress continues.
2. PROFESSIONAL PRINT SHOP
The Professional Print Studio (Pro-Print Studio) facilitates print edition collaborations
between professional artists and an APS team of trained print technicians through its
offering of exceptional printmaking services, equipment, and materials. The Pro-Print Studio
specialises in all fine art printing mediums such as intaglio, etching, relief printing, screenprinting, and lithography. The studio provides state-of-the-art equipment and materials for
printmaking collaborations. This includes one of the largest and finest Takach etching
presses in the country, which offers large-scale print capabilities.
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Collaboration with professional artists are accepted or solicited based on relationships with
artists, interest, and facility capacity. The Pro-Print Studio has worked with many important
South African artists such as Wim Botha, Diane Victor, William Kentridge, Willem Boshoff,
and many others. The studio currently editions work for approximately 20 artists each year.
The Pro-Print Studio is led by Sara-Aimee Verity, who manages a team of five print
technicians and master printers. These printers work closely with artists to make editions of
their work. In addition to regular staff, the Pro-Print Studio also hosts two interns who have
the opportunity to observe, assist, and collaborate with staff and visiting artists. Income for
the unit is generated through facility rental, printmaking services, commissions on printed
editions, material sales, and workshops. The Proshop has seen many excellent and
innovative changes in 2013. A new Unit Manager, Sara-Aimee Verity, was appointed on 18
June 2013 and these were facilitated through her skilled and experienced management of a
professional printing space.
The Pro-Shop team working in the studio
Proshop Report
compiled by Sara-Aimee Verity
The Proshop team has made some really proactive and innovative changes during the last
six months. All these will enable the team to function much more effectively in the studio.
The unit has made a hotplate/inking station that serves as an excellent area to ink and wipe
both small and large plates as well as serving the purpose of placing grounds on the plates.
This surface is beneficial to the studio and doubles as another large area for printers to work
on/at.
We have replaced the use of turpentine with white spirits - lower grade solvent which works
just as well and is a substitute. Methylated spirits is also used far less as we are slowly
cleaning plates, surfaces and tools etc with cooking oil first, followed by dishwashing liquid.
16
These practices are not only less toxic for the printers and environment but are better for
the materials i.e tools, brayers etc benefit from the oil and soap by not drying out and
cracking and/or becoming brittle. This applies to printers’ hands too. This move to working
with ‘friendlier’ chemicals has also influenced the habits in the Education department at
APS.
We have opened up a once blocked and covered sink which has become an area to clean
large plates and made a wood grid/slats that fits into this basin and serves as a perfect
surface upon which plates can sit whilst being washed. We also now have a baume
hydrometer meter which is an essential implement so as to measure the weight/strength of
the corrosive salt, ferric chloride which we use to etch copper and brass plates.
On my recommendation, we have started to work in brass instead of copper as it is much
cheaper than copper but more importantly it is a harder metal it has a longer lifespan in
terms of editioning and, if it has not been etched too deeply it can be used on both sides.
We have started to shellac the back of plates rather than spray paint them. Shellac is
cheaper than spray paint, and does not chip off when inking and wiping, etching plates.
Shellac also acts as an excellent stop-out.
The Proshop has moved an extensive amount of work down to the gallery and freed up two
large surfaces that were previously stacked to the brim with prints that are co-published.
These can now generate further income for APS by means of sales. Paper stock for in the
week and Saturday students as well as the Friday group will soon be moved downstairs to
the shop. This will limit the interruption in the Proshop of people in and out buying paper.
Although this move of stock has not yet happened it was a unanimous decision that it
should be the new way of dealing with this matter.
Proshop staff has taken over the space at the top of the stairs – this space is well-lit and
large enough for tearing down paper, preparation, collating work etc and provides a
valuable addition to their workspace. The washing machine was serviced and is in working
order so they now wash the towels weekly and are able to wash the press blankets. The
smaller etching press has been serviced by Lucas as the bottom drum and its axis were
wearing down. The press works well and all printers are making use of it. This has increased
productivity and means that both etching presses are being used on an almost daily basis.
The team has planning meetings on Tuesdays and Fridays and have implemented a shift
system which is updated weekly by all in the Proshop. This roster is worked out on Friday
afternoons to establish the timetables, schedules and deadlines for each individual printer
so as to stay clear of any overlaps in terms of using the press. As the space is limited at times
by the fact that we are five in the space each working with our artists and many times with
large projects, the roster has become a vital aspect in keeping everyone efficient and
productive.
We all work tirelessly on cleanliness and tidying of the space – a portion of Fridays is
dedicated to a clean-up although this is still becoming a habit. Nevertheless, drawers are
starting to empty as work is being moved to the gallery. All have made strides in completing
editions which were open and this has proved significant in terms of closing off previous
projects and opening schedules to invite artists, think of new projects and, clear space in the
Proshop.
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Large projects have taken place including two William Kentridge projects, a project with
Johan Thom which involved Diane Victor, David Koloane, Willem Boshoff and Bevan de Wet.
Also, a great deal of work has been editioned for (amongst many others) Jan Tshikhuthula,
Mongezi Ncaphayi and Themba Khumalo – all of which are growing remarkably as artists
and they have just completed a litho catalogue (front and back pages) which was a first for
the Proshop.
The silkscreen unit has also made huge strides technically speaking as the two interns,
Thami Mbenekazi and Zweli Machepha have taken on a very demanding and complex 9
layer silkscreen, a large edition which, with proofs comprises of 70 prints for street artist
Faith 47. This is a new market and bodes well for reaching a different audience.
They successfully supplied the gallery with works for Turbine Art Fair, FNB Art Fair,
Multiplied Christies and Cape Town Art Fair. The fairs ran in a quick succession and the fact
that this was achieved is testimony to the Proshop’s capabilities. Additionally to supplying
the APS gallery with work for these fairs, they also had to complete a portfolio of work
which the Bag Factory had contracted them to produce on their behalf for the FNB Art Fair.
Finally, they also had to complete work for APS artists who are exhibiting on a continuous
basis around Johannesburg.
Proshop printers have worked with the following artists in 2013
Pontsho Sikhosana;
Sara-Aimee Verity;
Chloe Rachel Reid
Chris Diedericks
Phillemon Hlungwane
Paul Edmonds
Marco Cianfanelli
Richard Forbes
Sizwe Khoza
Bambo Sibiye
Mongezi Ncaphayi
Philip Mabote
Pat Mautloa
Ross Passmoor
Faith 47
William Kentridge
Ziyanda Majozi
Mongezi Ncaphayi
Nicola Taylor
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Motsamai Thabane;
Bevan de Wet;
Colbert Mashile
William Kentridge
Pat Mautloa
David Koloane
Phillemon Hlungwane
Nelson Makamo
Themba Khumalo
Kim Berman
Johan Thom
Diana Hyslop
Diane Victor
David Koloane
Willem Boshoff
Gerhard Marx
Mongezi Ncaphayi
Nicola Taylor
Bronwyn Lace
Charles Thabiso Kholobeng;
Jan Tshikhuthula
Phillemon Hlungwane
Richard Forbes
Nicci Olivier
Dzunisani Maluleke
Motsamai Thabane
Richman Buthelezi
Elaine Hirshowitz
Charles Nkosi
Mongezi Ncaphayi
Thami Mbhenekazi
William Kentridge
Lehlohonolo Mashaba
Abe Mathabe
Chloe Rachel Reid
Thabiso Mokoetla
Dominic Shabangu
Bevan de Wet
Ezekiel Budeli
Mahlomola Nkosi
Marco Cianfanelli
Bambo Sibiya
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3. GALLERY
The APS Gallery showcases the work of students and graduates, as well as other APSaffiliated printmakers, by exhibiting and promoting prints and offering opportunities for
emerging artists to market their work.
The gallery unit holds regular exhibitions at APS and other sites such as the Johannesburg
Art Fair, Arts on Main, and Turbine Hall. These may feature solo or group exhibitions of
students, graduates, staff, and affiliated artists. The unit staff offers tours of the studio and
the gallery, enabling visitors to experience the vibrancy and energy of APS as well as to
engage with a range of artists, teachers, and printmakers. An annual third-year student
exhibition is held each November to showcase the exceptional portfolios of graduating APS
students. This offers an opportunity for students to learn the details of developing artwork
for gallery showings and for the public to view and purchase prints. An investment in
emerging young artists today is both financially and socially rewarding for clients: collecting
students' prints helps promote their careers in South Africa, and also offers opportunities
for collectors to obtain their work while it is still affordable, before the artists gain
international recognition.
The Gallery business unit was managed by Robyn Nesbitt, who left the studio in June 2013
to participate in two residencies in Switzerland and Norway. We were very sad to lose her,
but were fortunate to be able to employ Jeanne-Maré Du Bois, who now heads up the
Gallery unit and manages two staff. These are Sikhumbuzo Ndlovu, who oversees the
finances, and our current intern, Happy Mashigo. The unit manages inventory, curates
exhibits, and arranges events. Additionally, the Gallery offers internships to students
interested in learning how to curate prints, organise exhibitions, and promote sales. The
main source of income for the Gallery is print sales. This is generated from sales at APS,
from exhibitions and art fairs, and consignments. The Gallery generates income for both the
studio and the exhibiting artists.
Highlights of the Year:
Turbine Art Fair
27th-29th July 2013
Turbine Art Fair was marketed as the affordable art fair where all works on display had to be
less that R20 000. It was the first year that the fair was held and was a great success. The
space that we had was sponsored by Rand Merchant Bank and it measured 5mx 1.8m x
1.8m. We mainly exhibited works by students and alumni’s.
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Ogilvy and Mather Art Appreciation evening
4 September 2013
Ogilvy invited 10 of their top clients, including the CEO’s of Mondelez, CCSA, KFC,
SuperSport, GSK, Multichoice and Nestle’ to an Art Appreciation evening and asked the
studio to exhibit work and demonstrate printmaking techniques. Ruarc Peffers from Strauss
& Co. made a beautiful speech about investing in art and Kim Berman spoke about investing
in people. Bambo Sibiya, who was the featured artist of the evening, created a gift print that
was given to each guest.
Fasken Martineau
12 September 2013
Fasken Martineau, formerly Bell Dewar, generously hosted a cocktail evening and exhibition
of Artist Proof Studio artwork. The show not only focused on current students but also
showcased APS alumni and other APS artists such as Chonat Getz, Richard Penn, Richard
Forbes and Helen Sebidi. Four of our alumni, Mongezi Ncaphayi, Themba Khumalo, Phillip
Mabote and Jan Tshikhutula were in attendance and demonstrated various printamking
techniques in the space for the guests. The night was a great success and generated an
income of R73 100.
FNB Art Fair 2013
26th -29th September 2013
Artist Proof Studio was sponsored by the Gauteng Department of Sport, Art, Culture and
Recreation to host a stand amongst international and top SA galleries. Artist Proof Studio
received further funding to run a student mentoring program alongside the Art Fair. The
stand was manned by 4-7 Artist Proof Studio members during the fair, working in shifts that
were overlapping at the busiest times of the day. All APS members were also wearing Artist
Proof Studio branded T-shirts. The stand measured 5mx4mx5m. We sold a total of 91 works
during the fair (excluding all enquiries and sales that came to the studio as a direct result).
We presented a selection of works by students, alumini’s and professional artists, e.g
William Kentridge, Chris Diedericks, Kim Berman, Diana Hyslop, Richard Penn and Richard
Forbes. Sizwe Khoza, one of our 2012 graduates, was extremely popular and many of his
works were sold.
21
London Multiplied Art Fair
18th -21 Oct 2013
The London Multiplied art fair is organized by the print department of Christie’s, London,
Auction house. It is a very prestigious event to attend in the Art world and runs at the same
time as the Frieze and Frieze Masters in London. Artist Proof Studio was represented on two
levels. One was the Art in Action project, which was the basis for the show and included
representations of all our outreach projects, with particular focus on Paper Prayers, and the
other was our commercial stand.
The goal of the studio was to establish further networks and bring in new revenue. The total
sales totalled about R40 000, so from a revenue perspective it was not a great success, but
the value of the networks established and connections made still remain be realised. Our
gallery staff learned a lot from participating in this show, not least of all that we need to
branch out much more in order to learn how international galleries are addressing the
issues that we are facing.
Cape Town Art Fair
25th – 27th October 2013
It was the first Cape Town Art Fair and we were quite conservative in our approach, only
sending one staff member down to man the stand. Held at the beautiful Lookout venue at
the Cape Town Waterfront, this was also marketed as an affordable art fair and was well
attended. Sales were excellent and primarily as a result of small William Kentridge prints.
We will have the opportunity to return to a Cape Town Fair in February 2014.
22
Sales from January 2013- Oct 2013
Month
Total
Jan
Feb
March
April
May
June
July
Aug
Sept
Oct
Nov
Dec
R 8 700
R 58 715
R 235 100
R 278 000
R 239 440
R 60 574
R 241 325
R 134 945
R 490 740
R 723 820
Total Sales
R 2 471 359
Normally the studio retains 40% of the sales as studio
commission, and the artists get 60% of the sales. In
some instances, where the studio co-publishes prints,
for example with William Kentridge, the studio retains
50% of all sales from the full edition. The sales from
studio owned prints raised R714 000 plus an
additional R702 943 from commissions and gallery
sales.
EXHIBITIONS:
Derek Zietsman
Mongezi Ncaphayi and Themba Khumalo
Sizwe Khoza, Dzunisani Maluleke and Lebohang Sithole
Ogilvy and Mather
David Brown Exhibition
Fasken Martineau
FNB Art Fair 2013
Arts on Main
Multiplied Art Fair- London
Cape Town Art Fair
IDC- Industrial Development Corporation
R 13 000
R 63 000
R 9 000
R 21 100
R 19 200
R 73 100
R 328 000
R 7 600
R 40 200
R 437 600
R 18 000
4. SPECIAL PROJECTS
The Special Projects unit provides community outreach and awareness programmes,
particularly focusing on the enormous impact that the creative industries can have in
addressing issues surrounding HIV/AIDS, especially in raising awareness of the disease and
facilitating a culture of healing and positive living through the processes of art and craft.
23
The unit has many outreach programmes, including Paper Prayers, Artists in Schools, At-Risk
Children and Orphans with NOAH's arks, the Ikageng Project, public art commissions and
murals, refugee projects, as well as partnerships and commissions. Additionally, the Special
Projects unit has developed a holistic approach to promoting social change through art and
craft by making innovative connections with the education unit. Engagement with various
social issues provides an opportunity for the students to give back to their communities
while gaining significant life and work experience. This approach aims at growing
committed, skilled, and professional artists who make meaningful contributions in society
through outreach.
The Special Projects unit is managed by Nathi Simelane, who manages approximately 6
contracted staff. He oversees the solicitation, contracting, and project management of the
outreach projects, as well as donor reporting and other fundraising activities. Income for the
Special Projects unit comes primarily from commission and donations, as well as sales.
APS & Artevita Youth Day/Social Cohesion Exhibition and
Interactive Mural Painting
Compiled by Nathi Simelane
In celebration of South Africa’s Youth Day, four young APS interns were presented by our
long-time partner, Board Director and business mentor Gianni Mariano and Artevita (a new
company affiliated to Mastrantonio) with a once in a life-time opportunity to fly to Rome to
take part in an interactive mural painting activity at I’isola del Cinema festival. Gianni
established a relationship with APS and the South African Ambassador in Rome,
Nomathemba Tambo, who graciously hosted the four artists in her home. Ambassador
Tambo further created an opportunity whereby the artists had an exhibition at Gallery Luigi
di Sarro and attended the Venice Biennale. In addition this visit received support from
Maurizio Mariano from BBM Law and the Italian Consul in Johannesburg, Dr Gabriele Di
Muzio.
The selected APS interns conceptualised an image which portrayed ‘South African Youth
Celebrating Social Cohesion Through Freedom’, art being their choice of medium to express
their freedom. The team of artists created a memorable experience by having the local
Italian crowd at the event participate in painting the mural. The young artists also had an
exhibition at Gallery Luigi di Sarro. They exhibited their own works along with others prints
by APS alumni and current students selected from the studio’s collection. The selected
artworks portrayed the theme of Social Cohesion, along with showing the diversity of
cultures that are proudly represented and celebrated in our beloved country.
24
About the Mural Artwork
When we began to conceptualise the image, we envisaged a flag flowing through images
that constitute the mural. The flag is a symbol of pride and the way it flies in the wind
signifies freedom. In the image, the flag is extended and may also be interpreted as a
pathway or road linking various parts of the narrative from the left to the right. This
pathway that links images of people from diverse cultures is significant as this is what social
cohesion is. For us, ‘celebrating freedom’ means paying homage to what our elders fought
for and ensuring that their legacy is taught to future generations. Without their will and
perseverance - we wouldn’t be where we are today.
The start of our narrative begins with the image of an Ndebele woman who looks backwards
to the Cape Mountains. The Cape is significant as this is where many of South African
Freedom Fighters originate from. The Ndebele woman is turned away from the viewer to
show off the patterned garment that drapes onto the ground – this is where the pathway
begins. The pathway moves through a triangle of mothers dressed respectively in the
traditional Xhosa, Ndebele and Zulu attire. The patterned path that cuts between them
illustrates the passing down of tradition and cultural values from generation to generation
which starts with our mothers. The traditional mud hut also reinforces the importance of
our traditional culture.
This mural also talks about social cohesion between different cultures, and the celebration
thereof through creativity. The ethos of Artist Proof Studio has been, since its inception, to
bring people of different cultures and races together into a space to celebrate their rights of
creative expression through printmaking. In the process of painting this mural in Rome, we
had an opportunity to share our experiences as South Africans and share our hopes for the
future with the Italian community. In so doing we have shared this aspect of Artist Proof
Studio. The idea of social cohesion for us does not end in the Artist Proof Studio; as the
chosen artists we have taken our experience and brought it to life in other parts of the
world by interacting with the Italian community through the process of painting the mural.
The mural brings together different age groups from the elderly (rural) to the youth (urban).
This has been a continuous existing relationship in the Artist Proof Studio, and the notion of
Ubuntu (which means, I am because we are), has been a driving force that has enabled us to
work together in the same space. We try to extend the notion of Ubuntu in our
communities through various art initiatives. For instance, we run an arts initiative called
Paper Prayers with various adult groups and schools which aims at reducing fear and stigma
around HIV. The concept of Paper Prayers is based on the Japanese custom of painting strips
of paper for people who are suffering or ill. We have travelled to Swaziland, Uganda and
25
Zimbabwe training teachers to use paper prayers as a tool to encourage discussion around
HIV/Aids. Three school children holding paper prayers can be seen in the foreground.
Access to education and knowledge is the key to transformation in South Africa and this is
clearly represented throughout the image. The mine-shaft represents the ‘rise’ of the
economy of South Africa, ‘hope’ represented by the guy holding the lamp. A favourite
section of the mural is where the pattern transforms or changes into words (Freedom
Charter) that forms a human figure like image representing the strength and rights of all
citizens to the importance of education. The last section youth holding the flag is
celebrating independence, diversity and freedom. Education and knowledge of the past will
equip the youth for the future and ensure that we protect our heritage.
The fact that the mural was created on an island is particularly significant as the island is
often seen as the womb or incubator that nurtures creativity, hopes and dreams. The poet
John Donne wrote that “no man is an island” which was so true of the political life of Nelson
Mandela. Even though he spent 27 years of his life imprisoned on an island, he remained
uppermost in the minds of those who were fighting for change in South Africa. This flag with
its stories represents that unbroken link that allowed him to return to the mainland stronger
than ever before. During those years of isolation he nurtured dreams of hope and
reconciliation rather than revenge and hatred. From the first moment he set foot on the
mainland as a free man he set about making those dreams of hope and reconciliation a
reality, leading us all towards a country united through our diverse cultures. This was the
first step towards realising a social cohesion that will ultimately define us as the free people
this mural so beautifully represents.
Fund Raising/Farewell Dinner
The dinner took place at Piazza Grande on the 4th of June in honour of the artist who would
be making their way to Italy to represent the youth of South Africa. Guests and clients of
Mastrontonio attended the evening to share good food and have an opportunity to talk with
the artists. There was also support from the Italian Ambassador to South Africa Dr Vincenzo
Schioppa, as well as The Itallian Consul General in Johannesburg Dr Gabriele Di Muzio.
26
Exhibition at Gallery Luigi di Sarro
The artists had to set up the exhibition of their works and get ready for the opening the
same evening. The space was shared with local artists who had their opening the week
before our artists arrived in Rome. The space was therefore limited but they managed to
maximise every piece of available wall. Ms Jole di Sarro who manages the gallery was there
to assist the artists.
Interactive Mural at the I’isola del Cinema Festival
The artists were scheduled to work on the mural in the evenings.
The festival was open
from 6pm till 2am. Working in the evening was better for the artists as the heat of the
Italian Summer can be extremely unbearable at times. Painting in the evening meant that it
was much cooler and the artists were not painting in direct sunlight. The artists worked
tirelessly through the night, till 4am at times, enjoying the festive mood with everyone who
came to join.
A large poster was put up by the team from the Embassy of South Africa explaining where
the artists were from and the reason they were in Italy. Pamphlets promoting tourism in
South Africa along with marketing materials from Artist Proof Studio were placed close to
where the artists were working. People stopped to observe the artists in their element, as
well as read more about Artist Proof Studio and South Africa.
There was always so much interest in what the artists were doing from day one. The locals
were also encouraged to pick up a paint brush so they could also make their marks on the
wonderful artwork whether they could paint or not. People of all ages, nationalities and
professions came to join in the memorable experience. Showing the true power of art and
how it cut all barriers of language, background and different races. Creating a universal
language understood by everyone.
27
Thank you to everyone involved in making this possible; Gianni Mariano, Maurizio Mariano,
Susan de Nicola, William Kentridge, Paolo Scalla, Kim Berman, Sune Botha, Shannin
Antonopoulo, Janet Watts, Robyn Nesbitt, everyone from the South African Embassy in
Rome and Artevita Mastrantonio.
Paper Prayers Workshops
Compiles by Nathi Simelane
The Paper Prayers printing workshops are based on an ancient Japanese tradition of offering
painted strips of paper as prayers for healing the sick. APS offers these workshops to
teachers, facilitators and councilors from various organizations. The workshops comprise of
two components: a discussion and knowledge session that sets the mood of the workshop.
The second component is the printing workshop, in most cases utilising hand printing
methods from easily accessible low-cost materials.
The printing aspect of the workshop is designed to encourage individuals to deal with and
internalize the information given in the discussion part of the workshop. Participants are
encouraged to use metaphoric imagery to communicate their message. Colour also plays a
huge role in the creation of these prints which become powerful visual communication
tools.
During the past 2 years the workshops have evolved into more than just a means of sharing
learnings and information about living with the HI Virus. Paper Prayers workshops have
become a creative tool to open up all sorts of discussions and allow for inner reflections of
all participants.
28
Lefika La Phodisa – Child Protection Week
This year we were invited by Hayley Berman of Lefika la Phodisa to run a one day Paper
Prayers workshop during the Child Protection Awareness week. We ran the workshop with
over 70 children aged between 6 – 14years at Lefika in Parktown. Luke Lamprecht talked
with the children about their rights and various other issues around child protection as part
of the workshop. Afterwards, children were encouraged to make two prints using “feel
good” imagery and colours.
In Special Projects we try to include students wherever possible in our outreach programme.
The second year students were invited to assist with the workshop. This was their
opportunity to be involved in the Child Protection week doing what they know best. The
students cherished the opportunity as many of them are the oldest in their family and often
take care of their younger siblings. However, it is also our way of seeing how actively
involved students can get which will help us place them with appropriate projects for their
work placement programme.
Emzingo Group – SA Visit Reflections
Late in the year we hosted a group from Peru who came to South Africa to observe and
participate in various projects. The workshop began by having all the participants share a
memorable story or experience from what they observed during their involvement on the
projects that were selected for them. They felt that a lot of things stood out for them and
they shared very fascinating stories.
Because of their involvement with various projects around South Africa, the participants had
an opportunity to see and experience different aspects that Mzansi has to offer. When
sharing their stories and making their Paper Prayer prints a lot of them felt that SA
29
reminded them of home. They saw/experienced many similarities between Peru and South
Africa, geographically and socially, that caused them to be attached to certain individuals
and projects during their stay in South Africa.
Paper Prayers Income Generation: Ikageng
Compiled by Lydia Zungu
Background
Every Thursday, the APS houses a women’s income-generation initiative. Together with a
group of women from nearby townships, we have developed an exciting range of felt
handmade animals and toys. APS staff and consultants become involved in product
development and capacity building. The products are sold directly through the APS and are
available at selected retail stores, markets and shows.
Highlights from 2013
This project is now managed by Lydia Zungu, who has ensured that 2013 was a very
successful year. Throughout 2013 we have been applying for funding to help us showcase
our products. We have been getting a very positive response since 90% of our applications
were successful. We have a partnership with the Department of Arts and Culture who have
sponsored space to exhibit our products at major trade shows and craft markets. This great
opportunity will be available to Ikageng for the next two years.
The quality of our products is one of the finest in the hand-made category. At the Cape
Town Design Indaba we were awarded a certificate of Excellence for the felt animals we
exhibited on the show. Our products have been showcased on several other local arenas
such as Decorex, 59 Commonwealth Parliament Conference. We have also had the
opportunity to exhibit internationally in Frankfurt, Germany and soon in New Delhi, India.
Our goal has always been aimed at supplying retail stores in provinces beyond the Gauteng
region and to attend trade shows to exhibit our products. Through our hard work and
dedication we have managed to do that and more.
30
Exhibitions Attended






Frankfurt, GERMANY
Design Indaba, Cape Town
Decorex, Midrand
59 Commonwealth Parliament Conference
Soweto Festival
New Delhi, INDIA
 Parkview Christmas Market
 Annual Xmas Market in Pretoria
15 - 19 Feb 2013
27 Feb - 4 Mar 2013
7 – 11 Aug 2013
28 Aug – 6 Sept 2013
20 - 22 Sept 2013
14 – 27 Nov 2013
29 Nov – 1 Dec 2013
2 – 14 Dec 2013
Workshops




Agro Export Seminar
SMME
CATHSSETA Skills Programme
Mentorship Programme - Department of Arts and Culture (DAC)
Funders and Partners





Department of Trade and Industry
Department of Sport, Art Culture and Recreation
Small Enterprise Development (SEDA)
Culture Art Tourism Hospitality Sport Sector Education and Training Authority
Department of Arts and Culture
Accomplishments






Received full funding to showcase our products in Germany and India.
Through exhibiting at Design Indaba, we managed to get two retail stores to sell our
products in their shops.
We also received an order of two-hundred felt products from Ireland/ Davenport
after exhibiting at Design Indaba.
Certificate of Excellence for quality, marketing, engaging and sales – Design Indaba
A space at the studio has been dedicated to becoming a shop in which we sell felt
products and Phumani Paper merchandise.
New partnerships were formed with IRELAND/ DAVENPORT and Department of Arts
and Culture (DAC)
Conclusion
Ikageng has received great exposure from attending the various trade and craft shows. We
constantly receive a lot of interest and positive feedback from members of the public. This
year we have gained more knowledge on how to approach potential clients, funders, retail
31
shop-owners and exporters of craft goods. These actions will help us grow to become even
more successful in the coming years.
Artists in Arks
Compiled by Nathi Simelane
Background
The Special Projects Unit has retained the NOAH: Artists in Schools partnership for five years
with the support of the Johnson and Johnson and the Ackerman Foundation. During the last
three years we have run interventions in three sites in Soweto, placing the same facilitators
in the same Arks as 2010. We have been running two classes a week in all of the Arks.
The three sites included in the Artists in Arks Programme are as follows:
Ark
Mentor
Intern
Tsholofelo Ark
Golden Ark
Copessa Ark (Protea Glen)
Ramarutha Makoba
Christopher Molefe
Phillip Mabote
Lesego Mangologa
Dzunisani Maluleke
Clement Mafora
The Artists in Arks programme involves teaching art skills to 100 children on a weekly basis.
The children are aged between 6-16 years and attend the class for two hours twice a week.
The trainers have formed a good strong relationship with the Ark Managers and children
from each Ark.
Chris Molefe, Phillip Mabote and Ramaruta Makoba have all received training and are all
graduates of APS. They are the main trainers and mentors to our recent graduates Clement
Mafora, Dzunisani Maluleke and Lesego Mangologa. Collectively they all teach art at their
respective Arks, while incorporating role play, drama and activities that require the children
to work together as a group.
32
Tsholofelo Ark (Zondi)
Ramaruta Makoba started working with Tsholofelo Ark late 2009, with assistance from
Lesego Mangologa who strated in 2010. Together they teach 30 children aged between 6 –
16 years. The Ark managers have expressed that they are very happy with the progress they
have made with the children. The trainers also added on how the children have shown more
confidence in their creative abilities. Ramaruta and Lesego have been teaching various art
skills to the children. Artworks created by the children include acrylic painting, crayon
drawings and paper collage. Through those processes they are taught basic art principles
like complementary colours and shapes by making patterns.
33
5. ADMINISTRATION
COMPILED BY JANET WATTS AND THEMBE DLODLO
The Gallery, ProShop, Education and Special Projects Units are all overseen by Thembelihle
Dlodlo, head of Administration. She ensures that all their admin is in place and that it is filed
and accessible. This enables the units to work together more effectively when implementing
all the various projects that come up regularly through outside requests and events. The
Administration Unit also oversees all general studio admin, including Health and Safety
compliance.
Artist Proof Studio is a printmaking institution, and printmaking in its nature requires the
use various chemicals and solvents to get the desired effect in the artworks produced. The
way we store and handle these chemicals has been the main thing that the JDA has been
concerned with. The monthly audits have helped the Studio to promote a safer working
environment and awareness of the danger of the chemicals that we work with. Through the
guidelines /advice that we have received, we have managed to send one of our staff
members, Charles Kholobeng to do a basic first aid course.
Insurance and Storage of Assets
Comprehensive insurance policies have been taken out to ensure that all artwork is
adequately insured while in the studio. Much of the valuable artwork is now stored offsite
with Fine Art Logistics and this work has also been insured. All work in the studio is stored
safely in the gallery. Additional racks are being constructed to store the framed work from
the JAG exhibition. The all risks policy has not been taken on, as this is an expensive option
that is not often necessary as the prints that travel to external exhibitions are Publication
Proofs that cannot be sold and therefore have no value as such. Each consignment is
insured on leaving the premises according to how it is to be transported and used, and
depending on whether it is part of the edition or a publication proof.
Conclusion
Systems are working well in the studio. We regularly discuss operations at our monthly
management meetings, staff meetings and in the one on one meetings Janet holds with
staff members. Job descriptions and responsibilities are constantly reviewed and evaluated
to ensure that the right people are doing what they are supposed to be doing according to
their contract and job description.
34
SUPPORTERS AND COLLABORATORS
Acknowledgements
Artist Proof Studio would like to acknowledge and thank all the past and current supporters
of the studio and hereby recognises the following donors, sponsors, funders, patrons and
partners:
Ackerman
Foundation
Recreation and
Culture
Ampersand
Foundation
Dimension Data
Exclusive Hire
Mastrantonio
MTN Foundation
National Arts
Council
Arts and Culture
Trust
Fasken Martineau
Arup Engineering
Finwood Papers
National Lotteries
Distribution Trust
Fund
Artevita
Mastrantonio
Ford Foundation
Nirox Foundation
Nockers
Atlantic
Philanthropies
Friends of the Artist
Proof Studio,
Boston
BBM Law
Gransasso
Business and Arts
South Africa
Hudaco Industries
Limited
City of Joburg
Johannesburg Art
Gallery
Comp-O-Print
Defusion Design
Deloitte
Department of
Sports, Arts,
Johnson & Johnson
Liberty Foundation
Mary Slack and
Daughters
Foundation
Pinpoint one
Human Resources
Rand Merchant
Bank
SE Colour
South African
Development Fund
Tracker
The Mannequin
Works
The studio would also like to acknowledge all clients. The support of these companies and
individuals is ensuring a more sustainable and commercially professional future that enables
the studio to run effectively and successfully implement all its projects.
35
Current Board Members 2013
Che Lue (Chairman), Kim Berman, Gillian Crawford, Shayla Jivan, Ashen
Jugoo, Gianni Mariano, Finzi Saidi, Nozizwe Vundla
We are very honoured to have welcomed Shayla Jivan of Delloittes, Ashen Jugoo of Fasken
Martineau, Finzi Saidi Head of the Architecture Department of the University of
Johannesburg and Nozizwe Vundla, CEO of Epiphanae as new members of our board in
2012. We thank them for all their valuable support and service, and thank Che Lue for taking
on the position of chairman. We also thank Gillian Crawford and Gianni Mariano for their
longstanding and effective partnership with the studio. The Board of Directors contributes
substantially to the growth and development of Artist Proof Studio.
Lastly, the studio would like to acknowledge all the work done by Artist Proof Studio staff,
students and interns, past and present. It is through the dedication of all these people and
organisations mentioned here, that the valuable and professional work of the studio is
made possible.
FINANCIAL REPORT
COMPILED BY FRANS DLAMINI
An organization is defined by the people who work for it, and those people are the Board
members, executive leaders, staff, and volunteers must demonstrate their ongoing
commitment to the core values of integrity, honesty, fairness, openness, respect, and
responsibility. Our values must be supported by policies and procedures that staff and
board follow. In keeping with this philosophy, the annual financial statements have been
prepared in accordance with Standards of Generally Recognised Accounting Practice (GRAP)
including any interpretations, guidelines and directives issued by the Accounting Standards
Board. Artist Proof Studio has received unqualified audit report from the Auditor-General
for the sixth consecutive year.
36
Income Feb 2013
Grants and
donations
13%
Sales
36%
Interest
received
Bad debts
3%
Other income recovered
3%
3%
Project
income JAG
24%
Project income
and other
recoveries
4%
Commissions
received
12%
Patron Funds
2%
36% of Artist Proof Studio’s income comes from Sales as well as the injection from JAG Sales
(24%). Grants and donations were about 13% of our total income for Feb 2013.
Income and Expenditure
4500000
4000000
3500000
3000000
2500000
Income
2000000
Expenditure
1500000
1000000
500000
0
Jan-10
Jan-11
Jan-12
Jan-13
Artist Proof Studio had an increase in income by 88.10% from R1.6m (Year-end February
2012) to R3.19m (Year-end February 2013). Expenditure increased by 42.6% from R2.28m
(Year-end February 2012) to R3.25m (Year-end February 2013). Payment to artist form part
of our expenses and they have increase substantially over the past 2 years. An amount of
R791 908 was paid to artist in the past 2 years. Artist Proof Studio has invested in producing
and collecting artwork in the past 2 years. This investment was valued at R7 million at the
end of February 2013.
In 2011 R1.3 million was raised through fund applications. In 2012 the amount raised was
just less than R1 million. Our grant income for 2013 is currently R1.5 million. The reduction
in grant income in 2012, which was due to many factors, not least of which being the global
recession, was made up through gallery sales which increased from R1.8 million in 2011 to
R2.5 million in 2012. Sales to date in 2013 are R2.5 million and we still have our final Third
Year Exhibition at which good sales are always made before the close of year.
37
Total expenses increased by about 16% from 2011 and 2012 to 2013, with salaries being the
biggest contributor to this increase as there has been successful investment in human
resources. The gallery staff is managed by Jeanne-Mare Du Bois who now has a full time
assistant, Sikhumbuzo Ndlovu (finances), and is further assisted by Happy Mashigo (intern).
This investment has resulted in the growth of sales, which are continuing to improve.
Further growth of staff is recommended in this unit, as the admin load is extensive and
important to maintain the growth of sales. The increase in sales was also due to the large
amount of new projects completed by the Pro Shop which now employs a new manager,
Sara-Aimee Verity and five professional printers and two interns.
The position of Artist Proof Studio shows an average growth of 68.33% for the past two
years as illustrated in the diagram above.
ARTIST PROOF STUDIO FUNDING REPORT 2011 / 2012
Prepared by Thembe Dlodlo
FUNDING ORGANISATION
ACKERMAN FOUNDATION
CHARLOTTE SCHAER BURSARY
BENEFIT
DEFUSION DESIGNS
PERIOD OF GRANT
PROJECT
2013
R30 000.
Noah’s Ark _Artists in Schools Project
R245 000.
Education Programme
R14 000.
Patron Programme
R684 000.
Education Programme
R150 000.
Education Programme
R12 000.
2013/2014
2013
DIMENSION DATA
2013
GAUTENG DEPARTMENT OF SPORT,
ARTS, CULTURE AND RECREATION
HUDACO INDUSTRIES
2013
2012/2013
38
MARY SLACK AND DAUGHTERS
FOUNDATION
NATIONAL ARTS COUNCIL
2012/2013
NATIONAL LOTTERIES BOARD
2012/2013
2013/2014
NOCKERS
2013
PINPOINT ONE HUMAN RESOURCES
2013
RAND MERCHANT BANK
SOUTH AFRICAN DEVELOPMENT
FUND
THE MANNEQUIN WORKS
2013/2014
2013
2013/2014
TRACKER
2013
Patron Programme
R90 000.
Patron Programme
R100 000.
Education Programme
R556 513.
Business Development Training
Printing Skills Training
Experiential Work Placements
Equipment for units
R7 000.
Patron Programme
R14 000.
Patron Programme
R200 000.
Education Programme
R118 700.
Outreach Programme
R7 500.
Patron Programme
R112 000.
Patron Programme
IN KIND SPONSORSHIP 2013
ARTEVITA MASTRANTONIO
ART LOGIC
FASKEN MARTINEAU
DELOITTE
DEPARTMENT OF SPORT, RECREATION ARTS AND CULTURE
GRANSASSO HOLDINGS
MASTRANTONIO
OGILVY MATHER
STRATEGY FOR THE FUTURE
Artist Proof Studio was chosen by two fellows of the Emzingo NexGen Programme to be a
part of their MBA holiday fellowship programme. The NexGen Fellowship is a 6 to 8 week
immersion program that combines group learning, reflective practice and personal coaching
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with a hands-on social impact project in an emerging country. These projects help field
partners -made up of nonprofits and social enterprises - solve some of their most complex
problems, leveraging the technical experience of our participants. Two participants in the
Emzingo NexGen Programme, Krista Houser and Agnes Blanco Querida, worked in the studio
for 6 weeks in July- August 2013. Their contribution to planning our strategic action plan
was invaluable. They presented this to the board and to APS staff and left us with a
comprehensive document to guide us over the next few years.
STRATEGIC ACTION PLAN
ORGANISATION
Primary Goals and Objectives
Key goal for Strengthening Operations focus area:
•
Fix processes to move forward
Strategic objectives:
1. Address the gaps in the internal processes
2. Create policies, templates, best practices
3. Set clear common goals and look to align with other units
Key goal for Fostering Resources focus area:
• Agree on common goals and work together to achieve them
Strategic objectives:
1.
2.
3.
4.
Engage and empower employees, students, and other stakeholders
Improve communications
Promote training opportunities and teambuilding activities
Establish goal reviews and appraisal processes
Key goal for Fiscal Sustainability focus area:
•
Increase revenues while decreasing dependence on donations
Strategic objectives:
1.
2.
3.
4.
Update all pricing to market standards
Proactively seek new funders and partners
Maintain current relationships
Thoroughly analyse cost and revenue streams
Key goals for Brand & Recognition focus area:
•
Build, communicate, and promote the APS brand
Strategic objectives:
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1. Solidify APS mission statement, vision and ethos
2. Create a marketing plan
3. Create a corporate communication manual to align all external and internal
communication channels
4. Seek accreditation and partnerships
Key goals for Innovation focus area:
•
Focus on growth, expansion, and generating new ideas
Strategic objectives:
1.
2.
3.
4.
Plan for growth
Encourage new ideas
Promote social change
Seek a new space
CONCLUSION
Artist Proof Studio has a unique workforce comprised of highly skilled professionals, very
motivated future professionals and has constant input from young, talented and driven
young South Africans each new year. The staff is a dedicated and motivated group of strong
and creative individuals who work tirelessly to grow and improve every aspect of the studio
each month of the year. Innovation is the key to all that is decided and implemented, and
excellence is what is constantly sought. Each member of staff actively engages with the
world around them as they seek a personal awareness that will allow them to find their role
and fulfill it effectively. This places the organization in a perfect position to be a driving force
in the change needed if our country is to reach its true potential as a free, democratic
society in which all may reach their individual potentials and move effectively into a future
that will truly benefit us all.
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