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The book features a selection of artworks from the collection, this includes works by both Modern and Contemporary South African artists. The selection of works from the collection showcase the development of Modern Art in South Africa ranging from subtle and delicate to colour evocative works exploring materiality and sociopolitical commentary; we see works filled with experimental techniques, that years later became the trademarks of the now internationally acclaimed artists.

In the third rotation, t he selection of works from the collection showcase the development of Modern Art in South Africa ranging from subtle and delicate to colour-evocative works exploring materiality and sociopolitical commentary; we see works filled with experimental and expressive printmaking techniques by the likes of a monumental 7-panel reductive colour woodcut by Philippa Hobbs b and a combination of photo and aqua etching by John Clarke The importance of travel, journey and discovery is further marked by painters part of the Grahamstown Group — Josua Nell and Noel Hodnett b that place emphasis on nature and the animals within.

This route of discovery, wonder and mystery is echoed in the works by Annette Pretorius b ; open landscape-like scenes with stranded ships, fragmented objects, all for the viewer to place and attach meaning. The animals are quirky, displaced, or shrine upon as trophies, the figures blinded by a state of dreaming. These works were all once part of the Cape Town Triennials and years later the experimental approaches became the trademarks of the now internationally acclaimed artists.

In the second wing Gallery 3 , not all artists in this last rotation are South African-born but have spent most of their careers adding to the rich history of art in the country. The viewer is first confronted by a powerful crucifixion scene by Judith Mason iconically known for her dark and eerie palette, layered assemblages with suggestive wonder, symbolic and metaphorical meaning.

As you view Crucifixion from far and up-close, exploring the metaphorical and literal use of materials attached to the surface, award-winning playwright and novelist Athol Fugard gazes and interrogates with his stark expression Marianne Podlashuc depicted on him.

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All three mentioned were active and their works loaded with commentary on the apartheid regime. The bold and colourful landscape of the Swartland by Erik Laubscher , compliments the pieces in its surrounds, and depicts the dominance of abstraction during the s in South African art. Two other landscapes by Pranas Domsaitis and Clement Serneels depict the same vast, open and endless emptiness of the Bushveld and Karoo, each with its own dramatic highlights.

The limited palette range seen in the selection of Alfred Krenz , Peter Clarke and Marjorie Wallace all places a view on the scapes we find ourselves in. Krenz, with a background in architecture uses line, individual colour range and thick application to depict an already congested Cape Town in the mids. The artists featured travelled and exhibited vividly both locally and abroad.