I am concerned with the manner in which you have presented my work in"Artthrob September 97" and wish to open up a discussion with you around it.

Firstly, the lack of writing in the fisrt person and the absence of the critic's personal identity denies subjectivity and opinion, placing the test as definitive, objective.

Secondly, the comparison to Jane Alexander contains suggestions of the "old narrow category" of the original, the genius. Would it not be more valuable to suggest a discourse of inter-developing language, of lineage, of fluidity and movement?

In fact, the plaster figure has a lengthy history, one in which Alexander has verbally situated herself. Such a genre of sculpture goes as far back to the works of Michelangelo and Rodin. To name a number of artisits who have used a "pained" plaster or wax figure (both recently and in the past 40 years): Reg Butler; Ron Mueck; Kiki Smith; Beth B; Juan Muonez; Mark Prent; Abigail Lane; Vivan Sundaram; Edward Kienholtz; George Segal; Paul Stopforth ...
I am fully aware of the material connection between mine and Alexanders work however I fear that the comparison is often obvious and simplistic, overriding the subtle content within the work and not allowing differences in both texture, form and content to breathe.

Moving beyond my work, I am concerned with the lack of attention paid to areas such as KwaZulu Natal, Northern Province, etc. on the Artthrob site. Such criticism was provided with regards to your book "Contemporary Art in South Africa". Despite the continued marginalisation, there actually are alot of exciting artists/events happening within such areas: I'm sure that many would appreciate your attention to this on the Net.

I look forward to a response from you.
Aliza Levi

Dear Aliza Levi

To deal with your points one by one: I agree that in writing criticism the writer should be identified, and to this end I will in future make a note to that effect at the base of the Contents page.

Secondly, I am of course aware that plaster is a material which has been used extensively by figurative artists for centuries, and each artist on your list has handled it differently. I am sorry if you found the comparison to Jane Alexander annoying - each of us responds to work in his or her own way.

Finally, regarding the lack of coverage in Kwazulu Natal and Northern Province - I have tried to find out from Durbanet and other sources what is happening in the contemporary art field there without much success and hereby give notice that I would appreciate advance information and visual material on any forthcoming events, or news of artists, although I cannot promise that all material will be used.

Sue Williamson