40 Years of Collecting Standard Bank African Art Collection

40 YEARS OF COLLECTING

A Celebration of the Standard Bank African Art Collection (Wits Arts Museum) Curated by Dr Same Mdluli Standard Bank Gallery, Johannesburg 13 May - 6 July 2019

was established in 2012. The agreement was formalised in 1979 when the senior executives of both institutions (Mr Ian Mc Kenzie and Professor Karl Tober respectively) signed an agreement based on the common goal of collecting, preserving and conserving African cultural material.

Above: Zulu, South Africa, Induku, (Stick/staff) late 19th century, 106.50 inches. Right: Songye, DRC, Kifwebe (Mask) 33 inches.

An exhibition marking the forty-year anniversary of the partnership between Standard Bank and The University of Witwatersrand of the jointly owned Standard Bank African Art Collection.

The 40 Years of Collecting: A Celebration of the Standard Bank African Art Collection (Wits Arts Museum) marks a remarkable partnership between the Standard Bank and the University of the Witwatersrand in building one of the largest classical African art collections in the southern hemisphere, known as the Standard Bank African Art Collection. Then known as the Standard Bank Foundation of African Art, the collection was initially housed at the University of the Witwatersrand Art Galleries and currently at Wits Art Museum (WAM) which

‘It was agreed that a certain sum of money would be made available on an annual basis for the purchase of African Art and this growing collection would be jointly owned by both the Standard Bank and Wits University. From the Bank’s side it was a genuine concern in preserving a fast disappearing cultural heritage of enormous diversity and creativity; disappearing not only because of the urbanization of the Black populations and the resultant relinquishing of traditional skills, but also because of the accelerating interest of foreign dealers and collectors who have been removing the works from their country of origin. It is also possibly the first major financial institution to give tangible proof to a belief in the creative culture of the largest population group in this country. Professing belief is one thing, committing oneself is entirely different’ (Crump, 1989: 1).

It is in this sentiment of commitment that the exhibition takes as a reflection of the past four decades of collecting. The exhibition is a kind of trajectory of the collection and focuses on the moments that have shaped and defined an understanding of its many objects, artefacts, artworks and material culture that make up the many groups living in South Africa and Africa today. These defining moments are laid out in the exhibition to map the subtle socio-political nuances of how culture has to a large extent remained the same but is also constantly evolving. From the University’s side the collection as noted by Professor

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Above: Possibly made by Nominwe Dladla, Zulu, South Africa, Isigqiki, (Headrest) 12 inches. Left: Artist - See, Chokwe Angola Staff, 49 inches.

Alan Crump ‘would serve several far-reaching purposes in the struggle for a new and more representative educational system in South Africa. It would facilitate a “hands on” teaching apparatus for History of Art and Fine Arts department’. The exhibition thus also seeks to highlight how the collection has been used as a teaching tool and how this has informed the kind of scholarship engagement around the collection and its significance in shaping an understanding of creative critical thought around notions of representation, identity and heritage. Such engagements have strengthened the relationship between the two institutions in ensuring the conservation and preservation of the collection throughout the past four decades.

A substantial part of the exhibition traces the first 10 years of collecting (1979 -1989), an era that in South Africa marked by a challenging time of political tension and socio-economic

difficulties for many. During this period the collection was primarily shaped through the research undertakings of art historians and art scholars of the recently established History of Art department at Wits University. It is important to note that this was also a period when many of the artefacts and objects in this collection and in this realm were gradually moving from ethnographic and anthropological studies to being considered with a different kind of contemplation after moving into the museum and gallery environment. This shift has influenced the kind of research and curatorial responses to the collection which the exhibition illustrates as part of a larger canon of critical engagement with such objects, artefacts and material culture as part of historical documents that present a complex yet hybrid account of South African material culture. While the curatorial approach to the exhibition is cognisant of the debates around the distinction made between this type

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Above: Makonde, Mozambique Lipiko (Helmet mask) 21 inches Left: Igbo, Nigeria, Mmwo (Maiden Spirit Mask) 47 inches

Zulu, South Africa, Umkhambathi, (Beaded apron/shawl) - (Shembe - Nazareth Church), 39inches

Yoruba, Nigeria Crown (Coronet as barrister’s wig) 16 inches

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Ndebele, South Africa Liphotho (Married woman’s apron) 55 inches

of expressive mode and what is considered contemporary African art in that many of the objects, artefacts and artworks represented in this collection are considered as utilitarian – i.e. objects that are part of ‘a lived experience’- it also considers their appreciation for their aesthetic value and appeal but more so for their important function as part of the daily lives of many African societies.

Over the years the collection has grown and evolved to reflect the impact of industrialisation and technology in fostering change in materials, style and traditional methodologies and practices. Celebrating this collection through this exhibition is thus also a celebration of the multi-cultural and multi-faceted expressions of South African communities over the centuries. It is also part of a celebration of the past 25 years of democracy that embraces both the

similarities and differences we share artistically as well as culturally. As Standard Bank we are proud of the remarkable contribution we have made in preserving such as important aspect of our rich heritage.

The Standard Bank Gallery – located on the corner of Simmonds and Frederick Streets in central Johannesburg – offers free, safe undercover parking on the corner of Harrison and Frederick Streets. Gallery hours: Mondays to Fridays from 08:00 to 16:20 and Saturdays from 09:00 to 13:00. Entrance to the exhibition is free.

Online links: Facebook: Standard Bank Arts Twitter: Standard Bank Art #SBGallery Instagram: Standard Bank Arts

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