Constructure: 100 years of the JAG building and its evolution of space and meaning by DESIGN>

1915-2015

CONSTRUCTURE

100 years of the JAG building and its evolution of space and meaning Editor: Tracy Murinik

iii

vii

viii

CONSTRUCTURE

100 years of the JAG building and its evolution of space and meaning Editor: Tracy Murinik

a world class African city

Published by the Johannesburg Art Gallery.

Usha Seejarim, Christopher Till, Philippa van

First published in 2015 on the occasion of the

Straaten and Koulla Xinisteris.

celebration of the centenary of the Johannesburg Art Gallery Lutyens building.

PO Box 30951, Braamfontein, 2017, Johannesburg, Republic of South Africa

Image researcher: Tara Weber

T: +27 (0)11 725 3130

Research assistant: Karin Tan

www.joburg.org.za

Interpretive graphic maps: Karin Tan

Sponsors: Friends of the Johannesburg Art Gallery.

Photography: David Ceruti, with additional

may be reproduced or transmitted in any form or

With special thanks to Jack Ginsberg, Navin Mudaly,

images by John Hodgkiss, and archival material.

by any means, electronic or mechanical, including photocopy, recording or any other information

Marianne Fassler and Eben Keun. Sincere thanks also John Hodgkiss (1966-2012) is fondly remembered

storage and retrieval system, without prior

and acknowledged on this occasion for his valuable

permission in writing by the publisher and

Project director: Antoinette Murdoch

contribution towards the documentation of the

Editor: Tracy Murinik

Gallery, its collections and exhibitions, which he

Project team: Jacques Lange, Karuna Pillay

so beautifully photographed over many years.

to Nigel Carman, and to David Krut Publishing.

Works of art reproduced in this publication have either been shown at, or are from the collection of the

Contributing authors: David Andrew, Jo Burger,

Sincere thanks to Wits Historical Papers and

Johannesburg Art Gallery. All efforts were made to

Jillian Carman, Julia Charlton, Reshma Chhiba,

MuseumAfrica for use of additional archival

gain permission from the artists or copyright owners.

Natasha Christopher, Lorraine Deift, Bongi Dhlomo-

images, resources and scanning.

Mautloa, Nel Erasmus, John Fleetwood, Raimi Gbadamosi, Louis Grundlingh, Stephen Hobbs, Rochelle Keene, Clive Kellner, David Koloane, Dorothee Kreutzfeldt, Donna Kukama, Terry Kurgan, Same Mdluli, Antoinette Murdoch, Musha Neluheni, Nontobeko Ntombela, Jo Ractliffe,

ISBN 978-0-620-68116-2 Design: Bluprint Design

CONTENTS

i-viii INTERPRETIVE GRAPHIC MAPS

SELECTED EXHIBITIONS

H istorical List of JAG Exhibitions: 1910-2015

9 ACKNOWLEDGEMENTS

The Neglected Tradition

Same Mdluli

Outside Inside

Julia Charlton

Karin Tan

Antoinette Murdoch

11 INTRODUCTION

Tracy Murinik 96 T he Grammar of the Exhibition, Biography of a Building and a Phone Call

HISTORICAL OVERVIEW

Clive Kellner

Lutyens in Joubert Park

106

Johannesburg Circa Now

Jillian Carman

Terry Kurgan & Jo Ractliffe

Materialising Identity, Class and

110

O ff the Beaten Path: Violence, Women and Art

'Respectability': Joubert Park, Johannesburg as a Leisure Space, c 1890s-1930

Louis Grundlingh

Overview of JAG's History

Antoinette Murdoch

114

Urban Life

John Fleetwood

118

Snagging at the Joints

Stephen Hobbs

128 NEW ENGAGEMENTS/SHIFTING BOUNDARIES

164 CHANGING VISIONS 166

130

C uratorial as Education: A Few Notes on

Timeline of JAG Directors and Chief Curators Over the Past Century

the Role of Education within the Context of a Museum

168

Nel Erasmus

170

Lady Phillips and Lutyens' Mistress

Christopher Till

Nontobeko Ntombela

J AG's Traditional Collection: Constructing 144 Meaning

Philippa van Straaten

174

Rochelle Keene

148

Joubert Park Project 2000-2001

176

Clive Kellner

Dorothee Kreutzfeldt & Jo Ractliffe 178

Antoinette Murdoch

154

The Green Fence

Usha Seejarim

C hanging Visions 180

Bongi Dhlomo-Mautloa

156

New Engagements - Old Strategies

Musha Neluheni

182

David Koloane

158

Shifting Spaces, Publics and Audiences

186

C ollective Vision: Closed Session

Reshma Chhiba

160

` Lapeng Creche

Lorraine Deift

162

JAG Library and Archives

Jo Burger

Discussion, 23 July 2015

194 INDEX

TOP LEFT: Portrait of Sir Edwin Lutyens by Lawrence Josset (1935). TOP RIGHT: Lutyens’ Drawing No. 3, showing the south elevation of JAG, 1911. SECOND ROW RIGHT: Lutyens’ Drawing No. 6, showing the south elevation, 1911. ABOVE: The Lutyens building was declared a national monument in 1993. ©David Ceruti. THIRD ROW LEFT: Lutyens’ Drawing No. 1, showing the ground plan of JAG, 1911. THIRD ROW RIGHT: Lutyens’ proposed layout of Joubert Park and Union Ground spanning over the railway cutting. BOTTOM ROW LEFT AND RIGHT: Meyer Pienaar and Partners’ plans for the 1980s extensions, May 1983.

TOP ROW LEFT: Plaque in honour of Lady Phillips, unveiled in 1931. ©David Ceruti. TOP RIGHT: JAG façade floodlit for the celebration of Johannesburg’s Golden Jubilee, 1936. SECOND ROW LEFT: JAG building prior to 1939. SECOND ROW CENTRE: JAG building after 1939. SECOND ROW RIGHT: Construction view of the Meyer Pienaar extensions. THIRD ROW LEFT: Flower clock to the north side of JAG. THIRD ROW CENTRE: Meyer Pienaar architectural model. BOTTOM LEFT: ©David Ceruti’s panoramic façade matched proportionately to Lutyens’ original 1911 plans (2015).

TOP ROW LEFT: School group visiting the Gallery, 1971. TOP ROW CENTRE: Van Riebeeck Festival Exhibition, 1952. TOP ROW RIGHT: Holiday theatre workshop at the Gallery, 1978. SECOND ROW LEFT: School group in front of Anton van Wouw sculpture, date unknown. SECOND ROW CENTRE: Theatre workshop, 1978. Children posing as the painting Cuckoo! by John Everett Millais. SECOND ROW RIGHT: Holiday children’s workshop at the Gallery, with children imitating statues in the sculpture garden. THIRD ROW LEFT: Delton fashion campaign, ‘The art of dressing’ with models posing in front of Picasso’s Tête d’Arlequin. BOTTOM ROW LEFT: Walter Battiss in front of a Henry Moore sculpture. BOTTOM ROW CENTRE: Bongi Dhlomo-Mautloa, member of the Art Gallery Committee.

JAG would not be the vibrant institution it is today without its dedicated staff (photographed 2015). Image ÂŠDavid Ceruti.

ACKNOWLEDGEMENTS Antoinette Murdoch, Chief Curator and Head: Johannesburg Art Gallery

During the last six-and-a-half years I have had the oppor-

of their works on show as acquired by the many astute JAG

Stephen Hobbs deserves a special mention, despite not

tunity to manage not one, but two centenary celebrations at

curators over the years.

being officially attached to JAG. While also being a sympa-

the Johannesburg Art Gallery. The first was the centenary of

thetic ally for me, he designed and staged an exhibition,

the Gallery’s Foundation Collection, celebrated on 29 Novem-

A celebration of this nature must also acknowledge some

JAG/SNAG, which drew the attention of the Section 79

ber 2010. In what was perhaps an indication of the City’s

of the people who have been influential for me in a per-

Committee to some of the staff vacancies at the Gallery

(and the country’s) priorities of the time – namely South

sonal and professional capacity.

that urgently needed to be filled.

pened then to be clean, neat and green, with working foun-

I would like to thank Jo Burger, my JAG mother, and one of

Thanks are also due to Alba Letts, then Deputy Director of

tains and some of its former glory restored. At JAG itself, an

the country’s most brilliant librarians. She is my friend and

Arts and Culture, for her institutional support, which is

influx of international visitors could be gauged through entries

my support. I have been able to cry on her shoulder and

detailed in my Vision Statement (pp 178-9).

in our visitors’ books, and all was swathed in excitement and

share ideas for the last six-and-a-half years; but she has

optimism. The book we released to coincide with the cele-

also helped many more people – artists, researchers, writers

There are other groups and people in the wider JAG family

brations documented the event and collection handsomely.

– for a lot longer than that, in her capacity as custodian of

who have made important contributions over the years.

the JAG Archives.

These include the JAG Art Gallery Committee, as well as the

Africa’s staging of the FIFA World Cup – Joubert Park hap-

restructured Friends of JAG organisation, often spear-

This year marks the second centenary in my time at JAG, that of the magnificent Lutyens building, on 20 November

During the compilation of information for this book, Jo has

headed by the wonderful Marianne Fassler, for their wonder-

2015. This edifice was built especially to house the Founda-

been suffering from a severe hip problem. Yet, it is typical

ful work done to raise money and awareness for the Gallery.

tion Collection, put together by Sir Hugh Lane. The events

of her qualities as a person that she stayed on her feet and

In recent times Eben Keun has added marketing and social

that have been organised around this auspicious occasion

went out of her way to help all the researchers.

media expertise to our efforts to keep the Old Lady afloat.

grammes, and this commemorative investigation of the

To the rest of my staff, especially Musha Neluheni, Tara Weber

A vital part of the Centenary celebrations for the Gallery is

history and role of JAG over the last hundred years.

and Philippa van Straaten, who all have their hearts in it,

this book itself. Constructure was, from the beginning,

with a great passion for JAG and their work here, I would

meant as both an historical overview of the Lutyens building

The six exhibitions cover a wide range of historical periods,

like to thank them for going the extra mile. Tara’s contri-

and the development of the extended Gallery space, as well

through various media, and showcase the incredible work

bution in sourcing images and captions for the book has

as a critical and theoretical investigation of the institution

contained in the Gallery’s holdings. A feature of this power-

been invaluable.

of the Gallery, its rationale for existing and its curatorial

include a total of six exhibitions, a variety of ancillary pro-

ful and impressive programme is the breadth of artists it

approaches over the years. The book engages freely with all

represents, as well as the historical and aesthetic importance

of the very current debates around institutional memorials

and monuments in South Africa, and engages also with the idea of a colonial history, which I have certainly attempted, in my time at JAG, to engage with critically, and to call into question through staging oppositional art and discourses within the institution itself. There are thus sections in the book that deal with an historical overview of the institution, a section on critically engaging with the physical context of the Gallery’s surroundings and the changing social nature of the space; an overview of key exhibitions; and a closing section looking to the future and the ongoing space that JAG will continue to fill in the city’s identity. I‘d like to thank Tracy Murinik for her efforts in pulling together the book as editor, to Jacques Lange for his thoughtful and beautiful design, and all the contributors for their thinking and engagement. Lastly, on a personal note, being head of JAG is onerous, not least because it is a key space for contestation about the nature of cultural history and identity in Johannesburg and, symbolically, in South Africa too. I could not have made it, or even lived and breathed, were it not for my two daughters, Zoey and Mia.

Antoinette Murdoch Antoinette Murdoch is the Chief Curator and Head of the Johannesburg Art Gallery (since 2009), and an artist. She hold a Masters in Fine Art degree from the University of the Witwatersrand. Formerly the CEO of the Joburg Art Bank, she also serves on the South African Museums Association (SAMA) North Committee. In December 2013, she was named one of the top 50 Movers & Shakers of the South African Art World by Art Times magazine.

INTRODUCTION Tracy Murinik, Editor

Constructure: 100 years of

So setting out to tell the story of a building that has stood

misconstrued perception of a built space being a simply

the JAG Building and its

for a hundred years is a complex undertaking, as ultimately

benign vessel for whatever happens to take place inside it;

that narrative does not exist in the singular. There are many

to acknowledge that every aspect of a built space is a multi-

stories, and not all of them may be told here. This book

dimensional construct, and where the construction of

sets out to tell some of those stories – selectively, of course,

that space may be read beyond the fact of the building and

as is inevitable; since the act of conceptualising, compiling,

its legacy to include a history of its surrounding context,

editing and designing to bring about a publication is simi-

its patrons and its audiences. A space is always in the pro-

larly invested with the intentions and expressions of those

cess of being made meaningful, through whoever inhabits

who work on it, and the choices they make. In this instance,

it and directs its functions or informs its meanings at a

there has been a very considered process that has been

particular time.

Evolution of Space and Meaning Before a building exists as a structure, it exists as a series of ideas – a confluence of needs, desires, imaginings, beliefs and intentions expressed by those who commission the project, combined with those of the architect/s and contractors that develop the project into something that physically exists. Embedded in these expressions, from both sides – and through the evolution of concept to material form – are distinguishing traces of who all those individuals are – the ethos of their time period, their identities and identifications – aesthetic, ideological. As much as buildings are physical demarcations of space, defining their edges, again aesthetically, conceptually, often socio-politically; they are also containers and passages – for those (and those objects) who live, work, or exist there; and for those (and those objects) that visit or make their way through them. Each of these moments – of everything that ever happens in and around a building; of anyone that ever enters or exits it

followed to reach these final selections, from an initial directive and brief, to a process of interpretation, consultation

The early history of, and just predating, JAG is fascinatingly

and an accumulation of ideas and positions that seek to

described in the first section of this volume by Louis

represent a complex range of narratives that in their own

Grundlingh (pp 34-43), who explores the context of Johan-

particular moments represent aspects of the myriad nar-

nesburg at that point in time, and specifically of how Joubert

ratives that exist; and that together, and in relation to one

Park became a key leisure site in the young city and was a

another, provide a broad and complex context both of

“significant spatial marker” of changes to Johannesburg’s

Johannesburg, and of the Johannesburg Art Gallery’s

developing sense of identity, especially after the South

century-long existence. As selected moments, they never-

African War when governance shifted from the ZAR to a

theless provide eloquent voice to a number of positions that

British governmental system. Grundlingh traces the aes-

are part of the narratives that represent a long history of

thetic and aspirational impact that this had on the City

investment in what the Gallery is, means, and sets out

Council, and the steps they took to “create and give material

to be and do.

form to Victorian and Edwardian concepts of identity, class

– becomes part of that building’s history, and of its accumulated meaning.

and ‘respectability’”, decisions that ultimately shaped the The neologism: ‘constructure’, presented itself as a means

“civic and cultural life of [the already] class- and racially

to stress this complexity; to draw attention to the often

divided city”.

Jillian Carman, in detailing the architectural history and

The second section of Constructure provides a vast overview

many ways unrealised potential of the relationship between

development of JAG’s original Lutyens building in Joubert

of all of the exhibitions ever hosted at JAG over a hundred

JAG and Joubert Park and its surrounds. Also critically con-

Park (pp 16-33), which opened in November 1915, similarly

years – an intriguing narrative in its own right of the shifting

sidered here is the question of JAG’s role as a space of

provides clues of the underlying desires and ‘internationalist’

focus, representation and activities of JAG over a century.

education, which Nontobeko Ntombela (pp 130-143) inci-

aspirations that enabled Florence Phillips, her Randlord

This section also features more detailed texts and infor-

sively poses. Ntombela considers the need for education to

husband, Lionel Phillips, Anglo-Irish curator, Hugh Lane,

mation on selected seminal exhibitions, especially over the

be “an active tool towards addressing issues of past imbal-

together with other Johannesburg Randlords, and the City’s

past 30 years, that critically consider and demonstrate

ances through the museum’s collecting and display strate-

mayor, to drive the construction of the art gallery, and to

shifts in JAG’s exhibitions and collecting policies over these

gies”, and for education to be a central facet of curatorial

make the selection of Edwin Lutyens as its architect, despite

years, and additionally speak to shifts in concepts of

production within the museum context. Pointing out that

huge local opposition to his appointment. Carman impor-

curatorial roles over this period, towards exhibition-making

an institution like JAG “remains a paradox in a place that is

tantly describes Lutyens’ personal motivations for finally

as a self-consciously authorial act – of exhibition ‘as text’,

fast rejecting its relevance and reasons for existing (whether

taking on the project, which included his eagerness to inter-

as Kellner describes in his essay (pp 96-100); or entering into

politically, financially or ideologically”, she asks the question,

vene in such a young city (Johannesburg then not yet

areas of political redress and revision, such as Same Mdluli

“how can art collections help us pose questions of new

30 years in the making), not only in terms of designing a

(pp 90-93) explores in her essay on The Neglected Tradition:

histories and new modalities of display towards better serv-

museum, but with a view to substantially envisioning plans

Towards a New History of South African Art (1930-1988),

ing its increasingly complex society?” and proposes that

for its surrounding areas as well – thereby extending his

where she argues the significance of that groundbreaking

“given the shift in artistic and curatorial practices, the role

reach into the city’s spatial planning – including Joubert

exhibition as being not only about “reparation of an im-

of education within art collections has equally needed to

Park, and then traversing the railway line further south into

balanced historical account”, but critically “as ‘a catalyst’

change in order to challenge complexities, contradictions

the city. Carman mentions the concept of the ‘City Beautiful’

for further investigation on some of the artists it featured”.

and burdens of cultural, political and social histories carried by these institutions”.

– an international movement of that time – which Lutyens keenly followed, and which shaped his visions for the devel-

The third section, ‘New Engagements’, takes its cue from

opment of that part of the city, again through looking to

observations such as Mdluli’s, in that it looks to JAG’s con-

Constructure’s last section speaks to the changing insti-

emulate classical features of Europe into this developing

temporary strategies and responsibilities of making itself

tutional vision for JAG over the years. To begin with, it in-

“New Country”. The implications of these desires and aspi-

relevant – both in terms of its collections and exhibitions

cludes commentaries by five of the six JAG directors/chief

rations inform the beginnings of JAG’s story, contextualis-

policies, and critically in terms of engaging its physical posi-

curators who have steered JAG since the 1960s, as well as

ing its establishment as a part of a colonial project and

tion in the inner city – in relation to Joubert Park, the area’s

texts by current and previous members of the Johannes-

vision, as well as fulfilling the desires and personal motiva-

daily residents, its audiences (existing, once-existing, and

burg Art Gallery Committee. It then continues into an edited

tions of the various people involved. These positions also

still desired) and its self-definition as a museum and cultural

transcript of a frank conversation (pp 186-193) held amongst

inform the starting point of the city’s inhabitants’ engage-

educational institution in post-apartheid South Africa. ‘New

several members of the Johannesburg arts community who

ment with this building. These histories remain relevant to

Engagements’ considers several key projects over the past

are, or have been, somehow involved with or invested in

the reading of JAG as an institution, still.

fifteen or so years that, both from within JAG, as well as

the practices of JAG over the years. The conversation was

externally through members of the arts community, have

held in acknowledgement of the fact that JAG in many ways

worked to consider ways of shifting the awkward and in

is, and always has been a contradictory space – built and

having evolved in an ideologically contradictory and violent

of Joubert Park, onto which the Gallery and other surrounding

into a space that is open, self-sustained, and of value to con-

city and country, to mean contradictory things to various

locations are marked, but which include quite searing

tinue learning from and experiencing, with relevance to

inhabitants of the city over the past century – despite many

moments of context, such as JAG’s proximity to the Drill

broad-ranging audiences – then JAG will have every reason

engaged and successful moments in the Gallery, especially

Hall, for example, where the Treason Trial took place just

and relevance to continue its life in this city, with a wealth

over the past two to three decades, that have purposefully

up the road in 1956, while JAG continued to function as

of potential to teach us our history, to creatively engage

challenged those contradictions. The conversation was

it always had; and the inclusion of the prettily plotted

our present, and – as one of those who believes in what

intended to propose solutions to JAG’s challenges, and

reference to Artists Under the Sun on the Park lawns – that

such creative realms can offer – to transform our city’s

revolved around developing a type of collective vision going

David Koloane refers to in his essay (pp 182-184) – which

future, or at least some of the ways in which it is able to

forward for the Gallery; and of how to consider possibilities

was an ingenious play of activism and professional ingenuity

reflect back upon itself and the world it exists in.

that transform this space into something that finds meaning

by some black artists, beginning in the 1960s, who showed

with a greater constituency of the city on a sustained basis;

and sold their work in the Park, directly in front of the munici-

to rethink what the model of a museum might be in South

pal gallery that mostly ignored their existence.

Tracy Murinik

Kukama offered in this discussion. Also acknowledged

Amongst the interpretive maps at the front of this book

Tracy Murinik is an independent art writer, curator, editor

in this session was that in spite of standing for a hundred

are also two whimsical takes (see pg v) on JAG’s existen-

and occasional filmmaker based in Johannesburg. She has

years, JAG’s sustained existence has never, in fact, been a

tial irony that reference several of the suggestions over

written, published and edited extensively on contemporary

given (since its very early years there have been repeated

the years for JAG to move elsewhere – one has the Lutyens

art from South Africa and the continent.

plans to sell, move or close the Gallery), and nor is it now.

building develop an assortment of animal legs, as it begins

As has been the case recently of questioning the implications

to make its way towards the zoo; while the other, haunted

of some historical (especially colonial) structures, and their

by lurking giant construction cranes overhead, appears

sustained ideologically imprinted connotations, through

to get the message and starts to makes its way on human

calls and activist movements such as #rhodesmustfall, there

legs towards Newtown, where the Turbine Hall was once

have been similar intimations around the possible fate of

a potential relocation site for the Gallery.

Africa – that is structurally and functionally relevant, as Donna

institutions like JAG. To date, however, JAG is a space that, although contested, has not been allowed to die for a

The rather bizarre joke of this solid historical monument

hundred years.

never, in fact, being particularly secure – structurally, geographically, financially, or ideologically – is ironically, I

Included in the front of this book are wonderful interpre-

feel, perhaps one of its most promising features as we look

tive architectural plan overlays by Karin Tan, who visually

beyond this centenary. For, if JAG is able to commit to on-

and graphically plots the structural and contextual shifts

going flexibility, at all levels, then with every positive thing

historically to the JAG building and its surrounding areas.

that it already has going for it – its extraordinary art col-

On pages vi-vii is a seemingly light and quirky interpretive

lections, beautiful spaces, and the desire by so many arts

intervention onto one of the earliest surviving plan drawings

interested citizens still for it to continue its transformation

HISTORICAL OVERVIEW

Construction of the Art Gallery, 1913.

“Middle class reﬁnement at the turn of the century included admiration for music, nature, art, a library, a museum and facilities for horticultural displays. Citizenship and respectability were, after all, intimately entwined with cultural beliefs … Joubert Park … was meant to be more than a ‘beautiful garden’ ... The Park shared – in an integrated way – its landscape with the bandstand, conservatory, and the Art Gallery, and even included plans for a memorial site and an amphitheatre. The city fathers believed that these structures would become the showcase for the city, more or less similar to what the Smithsonian Institute is for Washington DC, as the USA’s capital.” Louis Grundlingh (p 38) “The founding of the Johannesburg Art Gallery can be linked to the ambitions … to assert the superiority of British culture, to consolidate the cultural infrastructure of an emerging civil society and to demonstrate the commitment of the typical British tradition of philanthropy.” Louis Grundlingh (p 39)

LUTYENS IN JOUBERT PARK Jillian Carman

When Edwin Lutyens received a telegram from Hugh Lane

his close circle of acquaintances and was unchallenged at

and more are inextricably bound with it, and are explored in

12 October 1910 (NL 5073) asking him to come to Johan-

the time. The result was an extraordinary collection within

other parts of the book. In this chapter, I focus on the Lutyens

nesburg to design an art gallery, he declined, although it

a unique building, Lutyens’ only museum in a long and

building and the stages of its construction, with a brief men-

“gave me a most exciting turn”. Undeterred, Lane sent a

illustrious career. But it nearly didn’t happen. In a cliff-hanger

tion of the Meyer Pienaar and Partners 1986 extensions.

second telegram a couple of weeks later to Rome, where

way typical of JAG’s founding, the publicly unpopular choice

Lutyens was planning the British Pavilion for Rome’s Inter-

of Lutyens as architect would not have been approved at

The story of a home for the collection is long, complicated

national Exhibition of 1911. This time Lord Curzon and the

a “lively” council meeting of 26 April 1911 were it not for

and without a neat ending. The first home was temporary:

British Ambassador, Sir Rennell Rodd, persuaded him to

the mayor’s casting vote (Rand Daily Mail, 27 April 1911).

the South African School of Mines and Technology, where

accept. He immediately booked a cabin on the Saxon, depart-

Dublin, whose gallery of modern art had also been founded

the collection opened on 29 November 1910. (Fig 1) It

ing 19 November, “& here I am [back in London] tearing

by Lane (1908), was less fortunate. Lane’s choice of Lutyens

remained here until it was moved into “the portion of the

about & working all night to get clear & away” (2 November

as architect was refused by the Dublin Corporation in April

[Lutyens] building that has been erected” (council minutes,

1910, NL 5073).

1913 (Dawson 1993:24-27).

21 Sept 1915), opening without ceremony in November 1915 (McTeague 1984:143). The building was incomplete

This seizing of opportunity and impulsive decision-making is

The decision to found a gallery of modern art in Johannes-

and remained so, even when two Lutyens-designed wings,

typical of how the Johannesburg Art Gallery (JAG) came

burg was made spontaneously by Florence and Lane when

extending to the east and west along the southern railway

about, both in the creation of its collection (1909-10) and

they met in April 1909 and bought the first three paintings

side, opened in 1940. It was still unfinished until 1986 when

of the building which came to house it (1915). Florence

for the collection. Florence, in fact, was in England to source

the Meyer Pienaar extensions opened, a metaphorical com-

Phillips,1 wife of Randlord Lionel Phillips, was the principal

items for an arts and crafts exhibition proposed by the

pletion of Lutyens’ original intentions in the way their design

driver of the project. Hugh Lane, an Anglo-Irish art dealer,

Johannesburg branch of the South African National Union

closed the inner courtyard with a north wing, and balanced

became her willing conspirator. Chance encounters and

(SANU). A permanent collection of educational items was

the 1940 extensions with wings to the west and east along

quick, possibly rash, but ultimately brilliant decisions hap-

a hoped-for outcome, not a gallery of modern art, which

the northern park side. Unfortunately, after nearly 30 years,

pened in a unique space in time that was unencumbered

was certainly not part of the SANU project. The background

the Meyer Pienaar extensions have developed into a troubled

by obligations to committees, wider consultation and due

story is given in Gutsche (1966), Carman (2006) and One

and incomplete space. But despite the grave structural prob-

process. These obligatory restraints may have emerged pretty

Hundred Years of Collecting (2010), JAG’s book to celebrate

lems, this can be considered an advantage, lending possibili-

quickly, especially with regard to the collection’s building

the opening of the collection in temporary premises on

ties for experimentation, which a finite building would

and the official appointment of Lutyens, but in the mean-

29 November 1910. Constructure celebrates the centenary

have curtailed. Exciting projects associated with the space

time Lane, enabled by Florence, and using funds from mine-

of the opening of JAG’s permanent Lutyens home in Joubert

are discussed elsewhere in this book.

owners, operated as a fairly free agent-curator, whose

Park in November 1915. Though the building is the focus,

decision to approach Lutyens as architect was endorsed by

collections, exhibitions, activities, civic life, historic contexts

The Randlords were initially reluctant to commit funds to a museum which did not yet have a home. The mine-owner Otto Beit, for example, a major early supporter of the project, emphasised the importance of prior accommodation. Lane, lamenting the lack of forthcoming funds, wrote to Florence in November 1909: “Mr Beit I think is determined not to spend anything till the conditions he made are complied with” (JAG, Hunt Collection). But this did not stop the two from disingenuously announcing in The African World, 9 October 1909, and elsewhere, that Jan Smuts (Transvaal minister of education and colonial secretary) and Louis Botha (Transvaal premier) had agreed to find accommodation for the collection during their visit to England, July to August 1909 (Carman 2006:147-150). This seems to have been no more than a ploy to get reluctant Randlords, specifically Otto Beit, to commit funds to the proposed gallery. Finding accommodation, or at least the promise of a municipally funded building in a public space, was crucial, and Lionel took the lead on his return to Johannesburg from England in late 1909. He had his own agenda in desperately wanting the JAG project to succeed. He was so far the

FIG 1: The opening of the Johannesburg Art Gallery collection in the South African School of Mines and Technology, 29 November 1910. The Duke of Connaught is in the carriage, Florence Phillips is standing in the centre of the group on the steps and Hugh Lane is to the right of the group. ©MuseumAfrica.

only Randlord who had committed money to what probably seemed a dodgy plan, and he could not afford to carry it

died in the South African War of 1899-1902. Like the JAG

council agreed to match a donation from the government

alone. He was far less wealthy than his mining colleagues,

project, the RRM Committee was seeking a site. Unlike JAG,

for the purpose of building an art gallery. Shortly afterwards

and was considered by management to be over-lavish and

it had start-up funds for a building. Lionel and the chair

a management committee in charge of the gallery project

careless with his personal finances, not helped by his im-

of the RRM Committee, proposed at a council meeting,

was put in place, comprising Florence, Howard Pim, Harry

pulsive wife (who admitted she had no idea about money),

30 December 1909, that the already-advanced project for

Hofmeyr (as representative of the Johannesburg town

nor by her collaboration with an art dealer who was prob-

the RRM, and the more recent project of an art gallery,

council) and FV Englenburg (asked by Smuts to represent

ably on the make.

should be combined and that the memorial, while retain-

the government).2 Unfortunately, no records of their delib-

ing its commemorative nature outside, should accommo-

erations have survived.

Lionel proposed a bizarre solution to a seemingly intractable

date an art gallery inside. Fortunately this did not come to

problem: combining two projects with which he was en-

fruition, and negotiations for accommodation continued.

After voting money towards a building, the council there-

gaged, JAG and the Rand Regiments Memorial (RRM). The

Finally, a commitment was made. At a council meeting of

after showed an almost paralytic indifference, apart from

latter, coordinated by the RRM Committee, aimed to build

1 June 1910, temporary accommodation at the South

agreeing to a site on the southern side of Joubert Park and

a memorial to the Anglo-regiments on the Rand who had

African School of Mines and Technology was offered, and

deciding not to pursue a plan to cover the railway cutting

to the south (council minutes, 15 August 1910). If there was

puerile humour, and his insensitive pontifications on local

discussed the Gallery plans, although they are most likely

a public debate about the appointment of an architect at

architecture (Ridley 2003:199). He asked Howard Pim, a

to have done so (Gutsche 1966:164).

this time, or the holding of an architectural competition (as

supporter of the gallery project, if he had any ‘Pimples’, and

some authors have claimed), there is no official record.

must have infuriated local architects with an interview in

In Johannesburg, Lutyens closely examined the sites for the

which he gave his “impressions of our work, his advice about

two buildings: Joubert Park for JAG, and “a piece of ground

The Association of Transvaal Architects apparently sent a

the directions of its development, and his criticisms of our

north of the Zoo as a site for the Rand Regiments Memorial”

letter in August 1910 to the council with reference to the

aims and aspirations”, implying that South Africa is doing

(council minutes, 5 March 1912, referring to an earlier reso-

proposed erection of an art gallery. This was referred to the

rather well, but could do far better, and “should give birth

lution of 25 October 1910). In his daily diary-like letters to

Art Gallery Management Committee and there is no further

to a school of architects in the future to equal any that has

his wife during December, Lutyens frequently mentions

information about it. When the draft deed of trust was

been built in the past” (Rand Daily Mail, 21 December 1910).

going to Joubert Park, the RRM Eckstein Park site “where

tabled at council on 25 October 1910, the minutes noted

Trouble was already brewing, and came to a head in early

the Duke of “Cannot” [Connaught] laid a foundation stone

that council was “about to erect and provide a building to

1911. The municipal council’s general inactivity in response

[30 November 1910] in an impossible place”, discussions

be used and employed as an Art Gallery and Museum of

to the Association of Transvaal Architects’ complaints hardly

with an archdeacon about a church and its “new site [which

Industrial Art ... and for other purposes” and that the tem-

helped. A protest meeting in February 1911, acrimonious

is] far better & works in with my picture gallery etc. so as

porary accommodation was due to be vacated in early 1911.

exchanges of letters in the press, council meetings – all at-

to make a bit a [of?] town planning on a big scale”. He de-

There are no further details.

test to the opposition to the appointment of a foreign archi-

scribes having a chance at a dinner party “of giving my real

tect, the fact that there was no competition, and the decep-

views on town planning & the real opportunity ... here with

At a meeting in November, by which time Lutyens was

tion of the donors who now claimed that a condition of their

a 26 yr. old city” and comments “I must get the designs

already aboard the Saxon en route to South Africa, with the

gift was the appointment of an architect of their choice

made [?] before I go for the following its extensions, the

lure of the art gallery and a number of other commissions,

(Carman 2006:243-252). As mentioned at the beginning,

laying out of Joubert Park & a wide bridge across the Rail-

the town engineer suggested that his department draw up

Lutyens was officially appointed only because the mayor

way & connect the ... ground with it” (12-18 December

plans for the art gallery building for submission to Lane. This

used his casting vote to support the decision – and because

1910, RIBA Lutyens letters). His interest in town planning

was not agreed to. The motion that designs for the art gallery

it had been agreed that a local architect, Robert Howden,

is evident, as noted in an interview in the Rand Daily Mail,

should be invited from architects other than Lutyens was

would supervise the building plans, with Herbert Baker as

21 December 1910, headlined “Making a city – How to

defeated at a council meeting of 12 December 1910, at-

honorary advisor (McTeague 1984:143).

beautify Johannesburg ...”, where there is brief mention of his town planning work in England, such as at Hampstead

tended by Lane and Florence, but not by Lutyens, by now

Garden Suburb.

in Johannesburg, who wrote to his wife “there seems to be

Lutyens had in effect already got the job in December 1910

a good deal of opposition on the Municipal Council to any-

from his circle of supporters when he was in Johannesburg.

thing being done by anybody but a Johannesburg Architect”

While there, he worked on preliminary designs for JAG and

Lutyens attended to the plans for the RRM more promptly

(12 Dec 1910, RIBA, Lutyens papers). It was resolved at this

the RRM, sharing his ideas with Herbert Baker. His proposals

than he did JAG’s plans, and the memorial was com-

meeting that a sub-committee be appointed to confer with

were adopted by both the Gallery and Memorial Commit-

pleted towards the end of 1913. Its position on a raised

Lutyens around the design for the art gallery building and

tees (Hussey 1989:208-210). He probably worked further

promontory complemented Lutyens’ design of five long

layout, with power to act.

on his designs during the nearly three weeks voyage back

vistas radiating out from the RRM, a dramatic feature which

to England. Intriguingly, Hugh Lane returned to England on

has been preserved until today (Keene 1986:84). Despite

Lutyens seems to have irritated a number of people during

the same ship, which departed from Cape Town on 28 De-

the different purpose of the memorial, and that it was not

his three weeks in Johannesburg with his irreverent, often

cember 1910, but there is no surviving evidence that they

an enclosed space (once the idea of housing an art gallery

inside it had been discarded), there are some structural similarities between it and JAG. (Fig 2) For example, the smaller side arches on the RRM are remarkably similar to the arches on the square sides of the JAG portico, with a keystone at the apex and an architrave connecting the base of the arches on either side of the square piers. But a key similarity is the lay-out – the town planning – of which the buildings are a part. Unfortunately, apart from the RRM vistas, Lutyens’ plan for the RRM of balustrades, plinths with sculpture, and steps leading to the main archways, was discarded in the final realisation. JAG was also to have a defined context with the building as the focal point of a large and elaborate park, extending over the railway cutting and into the old Union Grounds to the south (see pgs vi-vii). But the design was not implemented, the plan to bridge over the railway cutting was never realised, and the cutting remains uncovered to this day. The surviving design, however, is of great importance in that it documents

FIG 2 (LEFT): Rand Regiments Memorial. Photograph Ditsong Museums of South Africa, National Museum of Military History, Johannesburg. FIG 3 (TOP RIGHT): Foundation stone, 11 October 1911. FIG 4 (BOTTOM RIGHT): Foundation stone, 2015. ©David Ceruti.

a growing movement of which Lutyens was a participant – the concept of the ‘City Beautiful’. Mervyn Miller (2002)

1906 he became involved in one of the leading garden city

After he was officially appointed, Lutyens’ designs for JAG

describes the Joubert Park design in terms of the City Beauti-

projects of the time, Hampstead Garden Suburb, for which

seem to have languished, to the concern of those back in

ful international movement of that time. He cites as a land-

he produced plans for the central square and designed St

Johannesburg. He finally supplied foundation plans (see

mark in British civic design the Royal Institute of British Archi-

Jude’s Church and the Free Church, shortly before and dur-

pg 5) just in time for the laying of the foundation stone

tects’ International Town Planning Conference of 10-15

ing his involvement with JAG (Miller 2006:117-137) .

on 11 October 1911 by the mayor, HJ Hofmeyr. Today the stone is at the north entrance of JAG, moved here during

October 1910, which Lutyens attended and where Baker displayed his Union Buildings plan. He believes the City

Miller (2002:165-66) analyses in detail Lutyens’ designs

the Meyer Pienaar extensions of 1986. Its weathered sand-

Beautiful displays, particularly Daniel Burnham’s plans for

for Joubert Park and the Union Ground beyond the bridge

stone inscription and vandalism have rendered it virtually

Washington and Chicago, “opened Lutyens’s eyes to the

over the cutting. Lutyens planned the resiting and redesign-

illegible. (Figs 3, 4)

power of the Grand Plan” and that this surely created, in

ing of St Mary’s Cathedral as part of the Union Grounds,

Lutyens’ mind at least, “a broad agenda for his forthcoming

hence the many meetings with the archdeacon described

The working drawings, which Joseph [JM] Solomon evidently

work in Johannesburg.” (Miller 2002:164).

in his letters to his wife. Despite intense lobbying, he did not

helped to complete when he joined Lutyens’s office, only

get the commission. For years the sketches for the church

arrived two months later. During 1912 the drawings were

Lutyens had been working in this idiom for some time,

(Miller 2002:Fig 7) were not identified with Lutyens’

adjusted with a view to tendering for certain sections that

though mainly on a domestic scale in collaboration with the

Johannesburg park designs, until Miller made the discovery

could be completed sequentially. Council, at its meeting of

garden designer Gertrude Jekyll, with the house being inte-

some years back.

17 July 1912, approved proceeding with the erection of

gral with its garden surrounds (Miller 2006:117-119). In

only a portion of the Gallery, and asked for tenders. At

its meeting of 18 February 1913, council approved the tender

upgrade the post of curator from a temporary part-time one,

of A Gill for erecting the building in in Elands River stone,

to a permanent one with adequate salary and a suitable

and a contract was finally signed on 20 February 1913 to

man in the position. It had refused to delay the opening until

build part of Lutyens’s original plan: the large south gallery,

a large number of items, at present stored at the Tate in Lon-

with wings extending northwards on the east and west

don, had arrived. The Museum of Industrial Art had not been

sides (Carman 2006:251). (Fig 5-7)

realised. The art school had survived thus far through private generosity. And, against the architect’s wishes, the new

FIG 5 (TOP LEFT): Construction site, 1913. FIG 6 (TOP CENTRE): Completed south façade, 1915. FIG 7 (TOP RIGHT): Drawing by W Brigham of south façade and north extending wings. ©Collection MuseumAfrica, Johannesburg. FIG 8 (BOTTOM LEFT): St Paul’s Church, Covent Garden (1631-8) by Inigo Jones. ©Steve Cadman, Wikimedia Commons. FIG 9 (BOTTOM CENTRE): South façade entrance, 2015. ©David Ceruti. FIG 10 (BOTTOM RIGHT): Portal roof showing parapet termination at left.

After various delays the collaborating architect, Robert

building had been constructed in expensive stone instead

Howden, reported to council on 21 September 1915 that

of plaster and cement, with the result that there were no

arch is a prototype for the later war memorials in New Delhi

the contractor had completed “the portion of the building

funds to finish it and “many of the objects for which it was

and northern France (Hopkins & Stamp 2002). And JAG,

that has been erected” at a total cost of £48,682.13s. The

designed will not be fulfilled” (Carman 2006:251).

apart from being the only museum Lutyens ever built, was intricately bound to Lutyens’ first major institutional project:

artworks were moved from the South African School of Mines and Technology to the new building during October

Lutyens’ South African venture is often seen as a light in-

the British School in Rome. JAG was bracketed between the

1915, and shortly thereafter opened to the public. Florence

terlude, almost an amusement, during a major career that

two stages of the British School development: the temporary

declined the mayor’s invitation of 13 October 1915 to open

spanned New Delhi, Britain, Europe and Washington. The

British Pavilion for the 1911 International Exhibition in Rome,

the collection, setting out her reasons in a letter that she

two Johannesburg projects were small-scaled compared to

and the subsequent permanent building on the pavilion site,

forwarded to the press for publication. The council, she

Lutyens’ other magnificent public buildings and memorials,

which was donated by the Syndic of Rome. The person who

alleged, had not fulfilled its obligations, despite repeated

and the impulsive South African visit suggests an air of levity.

motivated for the permanent building in April 1911 was the

requests from the Art Gallery Committee. It had refused to

But both structures are seminal in Lutyens’ career. The RRM

British Ambassador Sir Rennell Rodd, who had persuaded

Lutyens in early November 1910 to go to South Africa

portico was used by Inigo Jones (1573-1652), England’s

(Hopkins 2002:69-70). Amongst the preliminary sketches

first classical architect, at St Paul’s church in Covent Garden,

(1910) for the pavilion are smaller-scale drawings, which

London. (Fig 8) Lutyens knew Jones’ church and it is likely

show remarkable similarities to the JAG design, suggesting

that he references it in JAG’s portico.

a close association in Lutyens’ mind of the two projects. He was convinced that pure classical architecture was essential

JAG’s unusually deep portico dominates the south façade,

for a New Country which did not, as yet, have examples to

with a huge projecting rusticated base, elaborate side niches,

emulate (Hussey 1989:208-209). Linking the JAG project with

and architrave lines emanating from the niches, balancing

one based in the heart of ancient Rome would not have

the weight of the portico (Butler 1989:45). (Fig 9) The

been surprising.

large flight of stairs adds to the grandeur of the entrance. Two curious triangular abutments appear halfway back on

Lutyens was apparently instructed by the Board of Trade,

the portico, the termination of the parapet that extends

which was responsible for organising the temporary British

across the façade on either side of the portal. They are not

Pavilion at the Rome International Exhibition, to use Chris-

easily visible from ground level, so do not intrude on the

topher Wren’s (1632-1723) St Paul’s Cathedral as the tem-

classical entrance with its columns and piers. (Figs 7, 10)

plate (which, he told Herbert Baker, he adapted into some-

Butler (1989:45) draws attention to “the perfect taper and

thing more original, without the Board even noticing) (Hussey

the entasis5 given to the two columns and the square corner

1989:208-209). The portico at the British School gives a

piers”, giving the rather austere portico a vital look. The

nod to the upper floor of St Paul’s grand double-floor en-

treatment of the inside of the portico, however, is far from

trance, in a more simple way. It too has six paired Corinthian

austere. The curved and coffered (recessed square panels)

columns and a triangular pediment with mutules (small flat

ceiling may be restrained (Fig 11), but the door and flank-

blocks) on the underside of the pediment slopes and the

ing windows have florid Wren-like swags above them,

cornice, which extends back from the pediment and along

the side windows also having a triangular feature with a

the side walls. The pediment at the British school, however,

cherub’s head as the keystone of each window. (Figs 12,

is empty of Wren’s elaborate decorations. JAG’s portal is

13) The square openings beneath the windows were not

deeper in proportion to the rest of its façade, much more

part of the original plan, but were probably made for security

simple and on a smaller-scale. Like the British School it has

reasons, so that people in the interior offices could easily

an empty pediment and a cornice with mutules, which re-

see outside.6 The decorative features, which incorporate

cedes back to and along the flanking walls, turning the

proteas, were likely to have been made in the workshop of

corners for a short space. The mutule cornice is resumed

Anton Van Wouw, who worked closely with Herbert Baker

shortly before the north ends of the two 1915 east and west

and his colleagues at this time. Van Wouw apparently made

wings, as can be seen in this photograph of excavations for

the clay models, which were then carved by stonemasons.7

the 1986 extensions. The principle difference between the

The consoles that support the cornice below the decorative

British School portico and JAG’s is the use at JAG of two

swag were probably a standard part of a stonemasons’

columns with simple Ionic capitals and bases, situated be-

repertoire. (Fig 14)

tween two square corner piers, a type known as distyle in antis. The piers each have large arches on the side. A similar

FIG 11 (TOP): Portal ceiling. FIG 12 (CENTRE): Swag above central door. FIG 13 (BOTTOM): Swag with cherub head keystone, window to left of door. All images by ©David Ceruti.

The elaborate niches on either side of JAG’s portico and on

and light shadows make them strong, impactful features,

the north ends of the wings are particularly fine adaptations

which balance the dominance of the portico.

of a more austere classical style. (Figs 9, 15) The jutting cornice with mutules at the bottom of the main portal’s

The adaptations on the north ends of the wings are less

pediment, extends along the flanking walls, with a parapet

elaborate and more highly set on the façade, integrated

above. The niches punctuating each side of the portico re-

with the cornice and mutules above. (Figs 16, 17) A large

peat this feature on a much smaller scale. (see pg i

plain arch surrounds the inner pedimented feature. Its key-

south elevation plan) There are other details in these

stone connects with the thin base under the cornice and

south niches of great subtlety and beauty, consisting of a

mutules, centred between two of them, with angular radiat-

series of recessive portal-like structures within an outer

ing stonework linking the hemispherical top of the arch with

rectangular recess. From two large Ionic columns, barely

the horizontal cornice and stonework courses below. As

attached to the wall, each is topped by a flat abacus (the

with the south façade, a distinct narrow projection extends

small slab between the capital of the column and the archi-

from the abacus beneath the architrave and pediment along

trave) to two square pilasters with an architrave and pedi-

the adjacent walls. But unlike the south feature, the pedi-

ment above, to an empty niche with subtly recessed sides,

ment rests on fully rounded Ionic columns (and not square

and a rounded top with a radiating stonework feature. Subtle

pilasters) with a suggestion of square pilasters behind them.

masonry lines connect some features across the entire

The columns rest on a stepped base that echoes that of the

façade. (see pg i south elevation plan and Fig 6)

south façade, with the vent replaced by a square indenta-

These elaborate recessive niches and the interplay of dark

tion. These northern ends of the wings can be viewed today

FIG 14 (TOP LEFT): Console, central door. FIG 15 (CENTRE): Niche to east side of the portal. FIG 16 (BOTTOM): Niche at north end of east wing, view from Meyer Pienaar extensions. FIG 16 (BOTTOM): Niche at north end of west wing, view from Meyer Pienaar extensions. All images by ©David Ceruti.

from below through large glass bay windows in the Meyer Pienaar and Partners 1986 extensions, an inspired link between the old and the new. From the exterior we now move to the interior. The main door under the portico leads into a small lobby with offices on either side. The scrolls on the flanking doors in the lobby and its curved coffered ceiling suggest the grandeur of the great gallery into which it leads, known since 1986 as the Phillips Gallery. (Fig 18) Along the south wall of the entrance into the Gallery are two recesses flanking the door (probably meant for display cabinets), all three with superimposed arches, facing three large windows on the north wall, the equivalent in height of the opposite arched door and recesses.8 (Figs 19, 20) The delicately decorated barrelvaulted ceiling interacts with the three features on either side. (Figs 21, 22) A circle at the middle intersects a curving recessed panel, which springs from the tops of the window and door-arch on opposite sides. Two elongated panels between the door and the two recesses curve across the ceiling to the spaces between the central and outer windows, terminating with a recessed circle and a floral swag that includes proteas. (Figs 23) Both ends of the long barrel vault ceiling terminate with two recessed panels springing from a recess-arch and a window-arch. The east and west ends of the grand galleryâ&#x20AC;&#x2122;s ceiling are terminated with a flat arch. All the doors, both here and in the other galleries, feature consoles (more simple than those at the portico) supporting cornices, which form a continuous band around each room. (Fig 24) The four elaborate swags in the Phillips Gallery, and the consoles throughout, would have been cast in plaster from a model, a technique described in detail by Jack Rich (1947).9 Another feature throughout JAG is that all the woodwork is teak. A small sculpture lobby, or apse, leads out from both ends of the Phillips Gallery. (Figs 25, 26) A curved wall with

FIG 18 (TOP LEFT): The Phillips Gallery, 2015. FIG 19 (TOP RIGHT): The Phillips Gallery, 1957. FIG 20: (CENTRE LEFT): The Phillips Gallery north wall, closed window. FIG 21 (CRENTRE RIGHT): The Phillips Gallery ceiling. FIG 22 (BOTTOM): The Phillips Gallery ceiling. All images except top right by ÂŠDavid Ceruti.

delicate receding cornices faces an opposite door, which leads into what is now the central courtyard. A patterned skylight corresponds to a charming hexagonal glass structure on the roof, like a small summer-house. (Fig 27) The next room is the first of the top-lit picture galleries, a square shape with the two south corners truncated (Fig 28), echoing the curve of the apse, while directing the visitor to the opposite entrance into a long picture gallery with top lighting. (Fig 29) At the end of this gallery is another squareshaped room with top-lighting. A side door opened from this room into the gallery gardens and the park, visible on the far right of the Meyer Pienaar excavation site. (Fig 30) The raised glass structures on the roof correspond in square and rectangular shapes to the rooms below. (Fig 31) Like the hexagonal structure, they are hidden from view by the south façade’s parapet, although they could be seen from the park side until the Meyer Pienaar extensions concealed this view. This flat u-shape of rooms is what constituted the Gallery until the south pavilions to the east and west were constructed (1938-1940) . After the unfinished building opened, JAG was generally neglected by the council until about 1930. John Maud, who was commissioned by the council in 1935 to write a history of the local government of Johannesburg, comments on the lack of interest shown to JAG and the meagre municipal revenue allocation.10 But things started looking up when council voted £200 pounds for Lutyens to do preliminary sketches showing proposed extensions to JAG, with particular reference to the method of lighting (meeting of 25 February 1930). The cost of extensions was agreed at a meeting of 3 April 1936, Lutyens and Howden were appointed at a meeting of 23 June 1936, and the plan for the extensions was approved at a meeting of 23 February 1937. It was reported on 27 July 1937 that working drawings (Fig 32)

FIG 23 (TOP LEFT): The Phillips Gallery swag. FIG 24 (TOP RIGHT): The Phillips Gallery console. FIG 25: (CENTRE LEFT): Sculpture lobby, apse. FIG 26 (BOTTOM RIGHT): Sculpture lobby, skylight detail. FIG 27 (BOTTOM LEFT): Hexagonal skylight structure on the roof. All images by ©David Ceruti.

and specifications had now been received from Sir Edwin Lutyens, and tenders were called for. Although the costs exceeded the estimates – the revised new pavilions, for example, were 25% larger than those in the original plan – a loan was sanctioned and work began in 1938. The building was overseen by the first professional director of JAG, Anton Hendricks (later Hendriks), whose appointment was recommended on 27 April 1937 by the Art Gallery Committee. In the meantime, the Art Gallery Committee’s request to turn the basement into an exhibition space had been granted (26 March 1935) and part of the Howard Pim 1934 bequest of over 500 original prints was exhibited here in late 1936. About 40 years later, a similar basement space was excavated and enlarged to display contemporary South African art. The two new pavilions, after delays during 1940 due to wet weather and a change from Elands River Stone to Flatpan, amongst other reasons, appear to have opened without ceremony in mid-1941. (A Lutyens déjà vu.) Council reported on 27 May 1941 that the architects’ final statement showed a saving on the contract, and proposed to use this for alterations in the basement, the south wall of the east pavilion, show cases, benches and seats etc, and sundries. This was one of the few times when JAG was flush with money. The four pavilions in the original 1911 plan appear almost homely (see pg i south elevation plan), each with a chimney and rooms for different purposes: administration, a library, a re-creation of a Cape Dutch home, and a temporary exhibitions space (McTeague 1984:146). The two new pavilions present something more simple and modern,

FIG 28 (TOP LEFT): Square gallery with truncated corners. FIG 29 (TOP RIGHT): Long picture gallery with top lighting. FIG 30 (CENTRE LEFT): Side door from north square gallery, visible to right of construction site. FIG 31 (ABOVE LEFT): Rectangular skylight structure on the roof. FIG 32 (ABOVE RIGHT): Lutyens’ proposal for the art gallery extensions, 1937. FIG 33 (BOTTOM LEFT): East and west pavilions built 1937-1941.

with two top-lit long galleries. (Figs 10, 33) They are described and illustrated in detail by Butler (1989:45-46, plates XC-XCII, Figs 219-228), who evidently worked closely with the development of Lutyens’ plans. For example, he

FIG 34 (TOP LEFT): Curved wall connecting the old building to the new pavilion. ©David Ceruti. FIG 35 (TOP CENTRE): North room of east pavilion. ©David Ceruti. FIG 36 (TOP RIGHT): View across the central axis. FIG 37 (CENTRE): View from the Phillips Gallery through to the east pavilion. FIG 38 (BOTTOM LEFT): Aerial view of skylight indentation in south east pavilion roof. FIG 39 (BOTTOM CENTRE): Lobby at top of steps leading to new pavilion. ©David Ceruti. FIG 40 (BOTTOM RIGHT): Lobby viewed from bottom of steps. ©David Ceruti.

states that Lutyens’ original intention for the south walls

and the galleries on either side of it, then down through the

of the pavilions was to have them quite plain between the

north room (Fig 35) of the pavilions, presenting dramatic

two niches, which are far simpler than the complex niches

perspectives. (Figs 36, 37) The sky-lighting for the two

flanking the portico. The walls were not meant to have

pavilion exhibition areas is completely hidden from view,

windows, but these were required, as the rooms were to

except in aerial photographs, such as that of the combined

be used for administrative purposes. The loggias at each end

Lutyens and Meyer Pienaar building, where an oblong

are also new compared to the earlier plan, their inclusion

indentation is visible in the centre of each pavilion roof.

perhaps being a small compensation for the many loggias

(Fig 38) Butler (1989:Fig 224) illustrates this extraordinary

in both the old and new plans, which never materialised.

feature: a central space with perpendicular windows that

A more likely reason, however, is that they extend the length

filter light into the galleries on either side. Access to this

of each pavilion and offer accommodation for the outer

roof feature is via a narrow corridor that separates the two

arched niche beyond the fenestrated gallery which, logically,

galleries. This is not the only intriguing feature of these

one would think should be behind it. The inner niche, simi-

new extensions.

larly, has no connection to the gallery behind it. (see plan, Fig 32) In fact it backs onto a staff toilet, a detail which

There is an extraordinary series of interlinked spaces

Lutyens could well have done intentionally, displaying

which, for me, epitomise the genius and humour of Lutyens.

his almost playful subterfuges of placing features in areas

I shall explore the feature in the east wing. This begins with

unrelated to what one would expect from the outside. In

a stone lobby leading off the south east square gallery with

creating a longer façade to the south east and south west

truncated corners. (Fig 39) (The two areas are on the same

galleries, Lutyens had more space to punctuate the walls

level: the view given in this reproduction is taken from above.)

with deceptively simple oblong windows, and to create an

The exquisitely crafted teak door, surmounted by a pedi-

intricate, almost humorous, interplay of classical elements.

ment, leads to a mundane toilet, which in turn looks out

He deeply recesses the windows, so the effect is of a façade

onto a hidden clear space open to the elements, and a wall

with four squared piers on a linked base, each with an iden-

on the outside of which is one of the pavilion niches. One

tical abacus. The windows each have a subtle disc above,

then descends the adjacent stairs into the pavilion exhibition

and the air vents further above are idiosyncratically ar-

galleries, the steps starting with a slight curve and ending

ranged. The niches with their shell-like concave tops seem

with a straight step at the bottom. (Fig 40) Just before

to close the ends of each pavilion with a flourish, accen-

entering the pavilion galleries, one notices a teak door to

tuated by the decorative jars atop the corners.

the right, which is usually closed to the public. Hidden behind this is a small circular vestibule with finely crafted

The pavilions are connected to the central building by a

features, one of the most beautiful rooms in the Gallery.

curved wall, which joins at the level of the continuous thin

It leads down to the metal-rung access to the roof. The

architrave that runs across the central façade. (Fig 34)

first steps are bordered by a block with chamfered corners.

They are at a lower level than the main building, and their

(Fig 41) The stairs then turn right, beginning with a straight

curved connecting wall projects them dramatically forward,

step and angling as the wall turns until one reaches an-

balancing the projecting central portico. Within the main

other teak door. (Fig 42) Around the wall are architec-

building, the central access runs through the Phillips Gallery

tural features which serve no purpose other than being

FIG 41 (TOP): Block with chamfered corners in vestibule. FIG 42 (CENTRE): Steps in vestibule. FIG 43 (BOTTOM): Architectural feature in vestibule. All images by ©David Ceruti.

FIG 44 (TOP LEFT): Hexagonal skylight in vestibule. ©David Ceruti. FIG 45 (TOP CENTRE): Spiral staircase to the roof. ©David Ceruti. FIG 46 (TOP RIGHT): Early view of JAG from Joubert Park. FIG 47 (ABOVE): Early view of Joubert Park from JAG. FIG 48 (BOTTOM LEFT): Early view of Joubert Park from JAG. FIG 49 (CENTRE): Establishing the sculpture garden. FIG 50 (BOTTOM CENTRE): Opening of the sculpture garden, 26 May 1971.

beautifully decorative. (Fig 43) And above is a perfect

odious brick extension, totally in conflict with Lutyens’ design

dome with a hexagonal skylight (Fig 44), exactly like the

and in fact disfiguring it.”13 The battle for extensions con-

small hexagonal glass house on the roof above (Fig 27),

tinued until finally the city council provided a budget in

which one can reach via the spiral metal staircase on the

the 1984/85 financial estimates, and building operations

other side of the teak door. (Fig 45) I confess to being

began in October 1983. The extensions opened in October

completely puzzled trying to match the two skylights,

1986, to coincide with the centenary of Johannesburg.

then realised I was experiencing one of Lutyens’ architectural conceits. This little room is meant to puzzle and please,

The architects appointed for the project were Meyer Pienaar

occupying a ‘left-over’ space, which is irrelevant to the

and Partners Inc, who said from the outset that they wished

edifice or rooms outside.

to honour the Lutyens building by creating something in the footsteps of Lutyens, a completion in a modern idiom of his

The Lutyens building remained incomplete for the next 45

original plan.14 A granite plaque at the new north entrance

years. It had a period of prosperity under Anton Hendriks in

of JAG proclaims the intertwining of the parts of the build-

the 1950s, but became increasingly inadequate space-wise

ing. (Fig 52) In all the building works, the integrity of

and increasingly ignored as a national asset. In the 1960s

the original Lutyens building was respected, with later alien

there were plans to move the collection to new and larger

accretions, like the outside library and storeroom, being de-

premises in Parktown, and the Lutyens building was put

molished. The central courtyard is perhaps the most beautiful

up for sale in late 1960. Various proposals for the re-use of

of this meeting between the old and the new, with the large

the building were discussed in the press of the time: a rail-

windows in the Meyer Pienaar extension reflecting the

way museum, a bus terminus, a crèche, a music school and

Lutyens windows opposite, and the doors leading into the

an eye research institute. “The Johannesburg Art Gallery

courtyard on either side of the two walkways complement-

is static, it lacks vitality, it is nothing but a richly embellished

ing each other. (Figs 53-55) The rough brick walls on parts

The main entrance to JAG was turned around in the Meyer

mausoleum” announced The Star, 30 April 1965, saying that

of the original 1915 wings in the courtyard are now clad

Pienaar design so that it faced out towards the park, a con-

its press files were full of criticisms of the art gallery. The

in stone, slightly distinct from the original Lutyens stone-

scious decision to engage neighbouring communities. (Figs

Gallery had completely inadequate space to fulfil the role

work in a step design. (Fig 56) There are also smaller details

58-60) The new entrance façade emulates the three large

it should have been able to play.

which emulate Lutyens in a modern idiom, such as the tall

Lutyens windows and looks out over the copper barrel vaults

wooden doors leading out of the north-east and north-west

that reflect light into the vast new exhibition spaces under-

JAG continued to struggle and increasingly became cut off

exhibition areas to the education and conservation quarters

ground, accessed via steps and ramps from the main hall.

from Joubert Park, with which it had been closely connected

on one side, and the administrative and library quarters on

(Figs 61-63) An attractive feature downstairs is the amphi-

(Figs 46-48), and a security fence was required to protect

the other. The circular lobby outside the staff quarters is a

theatre facing through glass doors onto a semi-circular

the open north side. In 1971 this area was turned into a

particularly Lutyens-like gem with a window in the apex of

water feature. (Fig 64) A corresponding lecture theatre was

sculpture garden, an appropriate setting for items that were

the dome. The wing that closes the courtyard at the north is

created in the basement under the Lutyens building that

difficult to display within the premises. (Figs 49-51) In the

largely glazed on the south side, providing a sense of space

used to house the contemporary South African collection.

early 1970s a basement area was excavated to create a

and light. (Fig 57) There has already been mention of the

space dedicated to contemporary South African art. To en-

successful way in which the visitor can see the ends of the

The Meyer Pienaar extensions have unfortunately suffered

large the available space, the city council constructed a

two Lutyens wings through large curved glass windows.

from structural defects since it opened. This, and the chang-

library and storeroom attached to the Gallery in 1974, “an

FIG 51 (TOP): View of the sculpture garden towards the park. FIG 52 (BOTTOM): Plaque of the Lutyens and Meyer Pienaar buildings intertwined. ©David Ceruti.

ing nature of Joubert Park, which has been fenced off from

FIG 53 (TOP): Central courtyard, Lutyens façade to the left, Meyer Pienaar façade to the right. FIG 54 (BOTTOM LEFT): Entrance to Lutyens building from courtyard. FIG 55 (BOTTOM CENTRE): Entrance to Meyer Pienaar building from courtyard. FIG 56 (BOTTOM RIGHT): East wall of courtyard with stepped stonework. All images by ©David Ceruti.

JAG for some time, have unfortunately impacted on the new extensions. But despite the grave conservation state of the Meyer Pienaar extensions, the shifting nature of the structure has led to exciting interventions from contemporary artists and new opportunities. It is ironic that the building that turns 100 this year is in better shape than the newer one attached to it. But it has taken a long time for the full worth of Lutyens’ contribution to local and international architecture to be appreciated. It was declared a national monument in January 1993, a badge of honour that ensures its place in the future of this city and country.

FIG 57 (TOP LEFT): View from Meyer Pienaar wing to the courtyard. FIG 58 (TOP RIGHT): Meyer Pienaar façade looking to the park. FIG 59 (ABOVE): Meyer Pienaar façade with barrel vault roofs. FIG 60 (BOTTOM RIGHT): Meyer Pienaar entrance. All images by ©David Ceruti.

Endnotes 1 For the sake of clarity, Florence Phillips and Lionel Phillips are referred to as Florence and Lionel in subsequent mentions. Also, honorifics are not used, as knighthoods for most of the main characters had not yet been bestowed when the Gallery project started. 2 The members of the board are listed in a letter from Engelenburg to Middelberg, 25 July 1910, JAG archives. 3 Personal communication. Hussey, for example, discussed these sketches “without realizing their full significance” (Miller 2002:226 note 21). 4 International trade exhibitions were a frequent occurrence in Europe and North America at this time. Magnificent pavilions, representing different countries, were constructed from temporary material designed to be dismantled at the close of the exhibition. Sketches for the pavilion and subsequent British School feature in various chapters in Hopkins & Stamp (2002). 5 The entasis is a slight swelling along the outline of a column designed to counteract the optical illusion of curving inwards.

6 McTeague (1984) draws attention to this feature. 7 I am grateful to Jonathan Stone and Alexander Duffey for their insights on these details. 8 The north wall with three large windows is reminiscent of Lutyens’ orangerie at Hestercombe, Somerset, 1904 (Miller 2002:162). 9 I am grateful to Jonathan Stone for drawing my attention to this book and the techniques of plaster casting. 10 Maud (1938:147, Appendix I). Maud was appointed to write the book at a council meeting of 26 March 1935. 11 A site in the Pieter Roos Park, Parktown, was designated, although sites near the War Museum in Saxonwold

Sources Archives Council meetings: minutes books, Local Government Library, Johannesburg. JAG: archives of the Johannesburg Art Gallery. JAG Hunt Collection: photocopies at JAG of a private collection in the UK. NL: Manuscripts Department, National Library of Ireland, Dublin. RIBA, Lutyens letters: British Architectural Library, Royal Institute of British Architects, London. Lutyens family papers, Edwin Lutyens and Herbert Baker correspondence. Publications Butler, ASG. 1989. The Lutyens Memorial. The Architecture of Sir Edwin

and the proposed civic centre in Braamfontein were

Lutyens. Volume 2. With the collaboration of George Stewart & Christopher

also considered. Rand Daily Mail, 28, 29 November,

Hussey. Reprint of 1950 Country Life Edition. Woodbridge: Antique Col-

1, 2, 7, 8, 12, 22, 24 December, 1960; The Star, 27 January 1962. 12 For this background see Carman (2003).

lectors’ Club. Carman, J. 2003. Johannesburg Art Gallery and the Urban Future, in Tomlinson, R, Beauregard, R, Bremner, L and Mangcu, X (eds). Emerging Johan-

nesburg. Perspectives on the Postapartheid City. New York: Routledge.

13 Thelma Gutsche, letter to The Star, 11 July 1974. 14 Information on the Meyer Pienaar Inc extensions comes from material in the JAG archive such as press releases, media packs, annual reports, news cuttings, articles, pamphlets.

Carman, J. 2006. Uplifting the Colonial Philistine: Florence Phillips and the

Making of the Johannesburg Art Gallery. Johannesburg: Wits University Press. Carman, J (ed). 2010. One Hundred Years of Collecting: The Johannesburg

Art Gallery. Johannesburg: Johannesburg Art Gallery.

Dawson, B. 1993. Hugh Lane and the Origins of the Collection, in Images

Rich, JC. 1947. The Materials and Methods of Sculpture. New York: Oxford

and Insights. Dublin: Hugh Lane Municipal Gallery of Modern Art.

University Press.

Gutsche, T. 1966. No Ordinary Woman. The Life and Times of Florence Phillips.

Ridley, J. 2003. Edwin Lutyens: His Life, His Wife, His Work. London: Pimlico.

Cape Town: Howard Timmins.

FIG 61 (FAR LEFT): Entrance to downstairs exhibition space. FIG 62 (SECOND LEFT): Exhibition space, late 1980s. FIG 63 (ABOVE LEFT): Exhibition space, 2015. ©David Ceruti. FIG 64 (ABOVE RIGHT): The amphitheatre looking towards the water feature, 2015. ©David Ceruti.

Hopkins, A. 2002. Lutyens’s Plans for the British School at Rome, in Hopkins & Stamp 2002.

Jillian Carman

Hopkins, A & Stamp, G. (eds). 2002. Lutyens Abroad: The Work of Sir Edwin

Lutyens Outside the British Isles. London: The British School at Rome.

Dr Jillian Carman is a Visiting Research Associate in the Wits

Hussey, C. 1989. The Life of Sir Edwin Lutyens. Reprint of 1950 Country

School of Arts, University of the Witwatersrand and was a

Life Edition. Woodbridge: Antique Collectors’ Club.

curator at the Johannesburg Art Gallery for a number

Keene, JL. 1986. The Rand Regiments Memorial. Museum Review, 1 (3):

of years. She is the author of Uplifting the Colonial Philistine:

78-89.

Florence Phillips and the Making of the Johannesburg Art

Maud, JPR. 1938. City Government: The Johannesburg Experiment. Oxford

Gallery (2006), and editor of One Hundred Years of Collecting:

at the Clarendon Press.

the Johannesburg Art Gallery (2010). She serves on the

McTeague, M. 1984. The Johannesburg Art Gallery: Lutyens, Lane and Lady

Johannesburg Art Gallery Committee and the Wits Art Museum

Phillips. The International Journal of Museum Management and Curator-

Board, and is a trustee of the Rand Regiments Memorial and

ship, 3 (2): 139-152.

honorary patron of the Michaelis Collection, Cape Town.

Miller, M. 2002. City Beautiful on the Rand: Lutyens and the Planning of Johannesburg, in Hopkins & Stamp 2002. Miller, M. 2006. Hampstead Garden Suburb: Arts and Crafts Utopia? Chichester: Phillimore.

MATERIALISING IDENTITY, CLASS AND 'RESPECTABILITY': JOUBERT PARK, JOHANNESBURG AS A LEISURE SPACE, c 1890s-1930 Louis Grundlingh

The early growth of Johannesburg presents the context

The Transvaal Government, overseeing the spatial develop-

They could become places of betterment for the ‘lower

and the opportunity to explore the nature, purpose, function,

ment of Johannesburg, was determined that the grid-line

levels’ of society and symbols of civic pride, providing open

characteristics, meaning and design of Johannesburg’s erst-

plan should be implemented in the layout of the town. Thus

spaces to enjoy their leisure time.

while premier municipal public park, Joubert Park, and its

the vision of Johannesburg’s first land surveyor, Josias E de

adjoining structures, including the Johannesburg Art Gallery.

Villiers, to plan large property blocks and generous open

Whilst these functions were supported, to establish a park

spaces, was foiled. In terms of open spaces, the result was

needed the financial backing from civil society. Fortunately

Joubert Park became an important leisure site for the citizens

that Johannesburg was left with only a large market square

the height of the parks movement in Britain coincided with

of Johannesburg since its founding in 1892 and turned out

(Neame undated:102), two more squares and a cemetery

a fashion for generous philanthropic gestures. The gift of

to be a significant spatial marker of crucial changes occur-

(Shorten 1970:645-46). So by May 1887 there were only

a park from a wealthy citizen became common. The enthusi-

ring in a fast-growing Johannesburg. Perhaps the most

a modest number of public spaces scattered throughout

astic Mining Commissioner, Jan Eloff, was a fine example

important of these transitions was from Johannesburg

the town.

of where the gift of philanthropic entrepreneurs blended

with an eye for profits from rising land values.

being under the governance of the Zuid-Afrikaanse Republic (ZAR) (1886-1902) to a British governmental system after

However, when the rest of the farm Randjieslaagte was

the South African War. The latter significantly influenced

surveyed, an open area remained – far from the centre of

Shortly after the proclamation of the diggings, he almost

its layout, design and features. Areas for promenading, a

the town. In 1888, the Diggers’ Committee was successful

immediately decided that the inhabitants of the fast grow-

bandstand, conservatory and art gallery combined to create

in persuading the ZAR government to set aside two portions

ing mine camp should enjoy a “public park or garden to be

and give material form to Victorian and Edwardian concepts

of this land to be developed as parks – Kruger Park and

planted with trees” (Bruwer 2006:102). For this purpose,

of identity, class and ‘respectability’ as interpreted and re-

Joubert Park. Prior to the development of Joubert Park,

and while frankly admitting ulterior motives, namely that

flected by Johannesburg’s town fathers. By the 1900s the

the site was well frequented for picnics along the spruit,

he intended to build his house on adjoining ground, he

Park was an integral part of the civic and cultural life of a

which bisected the park.

recommended to the ZAR government a site for a park to

the north of the present railway lines. Joubert Park was thus

class- and racially divided city, in many ways an exemplar of a British park.

By the second half of the nineteenth century, civic leader-

laid out as an upmarket recreation area.3 The Minister

ship and park promoters in Britain regarded parks as some-

of Mines, CJ Joubert, supported the proposal. On 15 Novem-

thing essential for the wellbeing of an urban community.

ber 1887, the ZAR government granted Johannesburg

Postcard views of Joubert Parkâ&#x20AC;&#x2122;s eye-catching features such as the manicured gardens, promenades, bandstand, kiosk pavilion, conservatory and decorative fountains. All images courtesy MuseumAfrica.

sixteen acres (6,5 hectares) of marshy ground (Shorten

After the South African War (1899-1902), Lord Alfred Milner,

1970:647 and Van Rensburg c1987:177). However, not

High Commissioner for the Transvaal and Free State, de-

much happened with the grounds for the next four years.

cided to make his headquarters in Johannesburg instead

of Pretoria. This changed the political and cultural fabric Despite this grant and the growth of Johannesburg beyond

of local government in Johannesburg and had a major

its mining camp origins, the ZAR government was still un-

impact on the further development of Joubert Park.

willing to give it a sense of permanence. Consequently,

TOP ROW: Three panoramic views illustrating how the city and Joubert Park rapidly developed in its early years. BOTTOM LEFT: A view of Joubert Park towards the old kiosk, c 1930s. BOTTOM RIGHT: Plan of Joubert Park as it was between 1899 and 1903 drawn from memory and not necessarily to scale, 1957. Name of author illegible. Images courtesy MuseumAfrica.

it did not invest in the educational and cultural needs of

Johannesburg now had a sympathetic and powerful admin-

Johannesburg’s inhabitants. There were no state-funded

istration investing in its prosperity. This was reflected in the

From early on then, Joubert Park, by the very nature of its

museums, theatres, concert halls, libraries or a town hall.

wish to change the negative image of a lack of culture and

position, formed an essential part of this pattern (Beavon

All of this sent out a clear statement that the centre of

education in Johannesburg. The further development of

2004:79) and a central pillar of the ‘Imperial project’. The

Transvaal authority and culture was in Pretoria. This void

Joubert Park, in the interim between the South African War

Park henceforth reflected the values and culture of middle

was filled by wealthy and influential private citizens, i.e.

and the establishment of the Union of South Africa (1910),

and upper class Johannesburgers, through for example,

those who controlled the mines who would invest in and

was thus an important kingpin in Milner’s Imperial project.

the appreciation of nature, music and the arts in a park

shape the white culture of Johannesburg society.

environment.

Design and layout

Features

The layout of and features in the park were intentional.

The designs of nineteenth century English parks were

In October 1892 Joubert Park was ploughed and the next

trolled by the creation of paths, terraces and steps, as well

strongly influenced by either scientific or educational needs

year shelter beds for trees were put in and lawns were laid

as by the placement of features to which visitors might

(Clark 2006:38). The parks often focused on monumental

out. The basic design and layout of Joubert Park mirrored

be drawn or had to circumvent, such as the bandstand,

architectural and eye-catching features, usually a bandstand,

the philosophy of British garden design in accordance with

fountains or rockeries.

pavilion and fountains. There would be some form of horti-

the most basic ‘natural’ geometric patterns.

Movement and behaviour of visitors was carefully con-

Joubert Park’s overtly designed landscapes acted as a form

cultural display, be it a patch of bedding, a rose garden, or an ‘old English garden’ planted with hardy herbaceous

More specifically, the layout of Joubert Park contained “a

of civic display demonstrating the ability of the political and

perennials and flowering shrubs (Jordan 1994:90-91). The

mixture of grand scale and intimate elements, related to

business establishment to make the world an ordered and

aim with the layout was to design a place for relaxation and

major, minor and converging axes” (Bruwer 2006:108).

predictable place, both in spatial and social terms. Even the

a varied landscape, whilst accommodating demands for

Most formal were the broad forecourt in the north, treated

more ‘functional’ park furniture, such as drinking fountains,

sufficient amenities for visitors. In this way public parks

as a cour d’honneur, consisting of a geometrically curved

lamp standards, seats and benches were highly decorative

generated an idealised, chaste, simple, nostalgic, and con-

wrought-iron screen. This formed the central gateway

and visually striking objects. These features symbolised

servative vision of the natural world – a moral counterpoint

that opened into a deep-lined park with formal lawns,

upper class values (Malchow 1985:122-123). Moreover,

to the perceived dangers, dirt and disorder of city life.

edged with profiled stone curbs. At the southern end a

they created an almost theatrical setting in which presen-

Rosenzweig and Blackmar (1992:107–108) aptly wrote:

semi-circular long curved outdoor bench was placed, framed

tations of sociability could be performed (Brück 2013:

and lined with trees. The cour d’honneur terminated in

196-197) and models of good behaviour and citizenship

a wrought-iron screen with two small square gate lodges

observed and imitated. Nurse Adelaide was clearly very

fronting Noord Street (Bruwer 2006:108).

pleased when she wrote with obvious pride and delight:

These landscapes conformed to middle and upper class notions of what was visually pleasing: the contemplation of beauty and tranquility harmoniously expressed by the hand of God in nature would, it was hoped, inspire spiritual and moral improvement.5

The British garden design was confirmed by the predominant role played by water. In 1895 a large, centrally placed

The park really looks a marvel of beauty now, the flowers and shrubs are smelling so sweetly and the chairs are in plenty. Nothing more is needed … Johan-

Such a designed landscape was a form of civic display,

cast iron ornamental fountain (a MacFarlane product) (Van

demonstrating the ability of the political establishment to

der Waal 1987:83) with a pond was erected, whilst a

make the world an ordered place in spatial terms (Brück

rockery was given its final shape (Shorten 1970:647;

2013:203).

Buff undated:4; Bruwer 2006:105).6 The water feature was

after a day’s hard work in offices, workrooms and

redesigned and remodelled with natural boulders from

shops … where we could breathe the fresh pure air

A most striking feature of English parks was that they were

the local kopjes. Six islets (with goldfish) were planted with

of heaven.8

regarded as being something rather precious. As a result,

bamboo, the centre island with native caladiums, and the

they were separated from their environment by fences, hedges

miniature lake a selection of water lilies, whilst the outside

The foremost activity for which parks were designed was,

or avenues of trees. Access was gained by only a few gates.

was planted with forget-me-nots.7 The natural and soothing

of course, for leisurely walking, an eminently ‘respectable’

According to Van der Waal (1987:83), “In the midst of the

elements of plants and water could therefore be enjoyed.

activity. As a result the promenade became a key feature

untended streets, small houses, the dirt from the mines

Due to the richness of the soil shrubs and flowers were

of the park layout. Here decorum could be displayed in dress,

… the parks were conceived as units with a specific form ...

well settled within two years.

behaviour and knowledge of proper etiquette, which signi-

nesburg is very blessed with wealth and the good things of life, so we feel we are not asking too much of it – only a place to sit and rest in of an evening

Circles, crucifers and meanders abounded in the walk-

fied wealth, taste, and refinement (Scobey 1992:203-227;

ways of the parks …”.

Brück 2013:209) – in short, middle class respectability.

Joubert Park became a pleasure to many of Johannesburg’s

Restored to its original splendour by 1904, “Parkite” ex-

Despite the fact that there was no proper bandstand at

white citizens. “A friend of a Garden” was convinced that

pressed what must have been the general satisfaction of

first, Joubert Park nevertheless became a popular site for

“in time it will be equal to any other park in South Africa

the Johannesburgers with the design of the Park:

weekly band performances since 1898 (Shorten 1970:

… giving the impression of a proper country park”,

648).17 However, by 1905, the City Council budgeted to

albeit in the city. In an article in The Leader (1913) the author praised Joubert Park for having “a stillness which appeals to those glad to get away for a short spell from the bustle of the town”. The park was even described as a 10

“pleasure resort”.11

“Now, as originally designed, we have precisely what the hot and dusty Johannesburg needs, viz., the beauty of a flower garden on the one hand and the freedom of a shady park on the other, a combination which … shows the sound judgement and perfect climate knowledge of the original designers …”.15

erect a bandstand, which almost inevitably followed similar British designs,18 and accommodated 50 players (Buff undated:3). It became practice to have band performances on Wednesday and Sunday afternoons (Buff undated:12,14).19 Al-

Joubert Park thus provided an escape from the crowded city life for some of its citizens. The design and layout accom-

though concerts also took place in Hermann-Eckstein

Cultural structures

modated all the signifiers of respectability: a promenade,

Park, Joubert Park was still recognised as the ‘in-town’ resort on Sunday afternoons.20 These park concerts were

well-lit park, with a conservatory, art gallery, organised

Middle class refinement at the turn of the century included

extremely popular with up to 4 000 people attending per

entertainment, clean seats and flowerbeds. This well-

admiration for music, nature, art, a library, a museum and

Sunday by 1923.21 Electric lights were installed in 1914,

ordered space encouraged the presence of neat, ‘well-

facilities for horticultural displays. Citizenship and respect-

which expanded the popularity of the Sunday evening

behaved’ men, women and children and contrasted sharply

ability were, after all, intimately entwined with cultural

concerts, which, in addition to the afternoon band perfor-

with the urban environment of the lower classes not too far

beliefs (Hoskins 2003:8). In many ways Joubert Park

mances, were now possible.22 As a city space, Joubert

removed (Beavon 2004:62-63).12 One can imagine an elite

reflected these requirements. It was meant to be more than

Park thus turned out to be a visual and aural delight.

evening in Joubert Park when reading Sidney S Graumann’s

a “beautiful garden” (Cremin 1999:332). The Park shared

(1930) letter to the editor of The Star: “Of the many

– in an integrated way – its landscape with the bandstand,

The building of a conservatory in the Park was another

thousand people attending each evening concert large

conservatory, and the Art Gallery, and even included plans

important symbol of middle class respectability. Already

numbers enjoy promenading during the performance.”

for a memorial site and an amphitheatre. The city fathers

in 1898 the City Council had purchased the south-west

believed that these structures would become the showcase

region of the Park from the nearby Wanderers sports club.

This idyllic world was interrupted by the South African War.

for the city, more or less similar to what the Smithsonian

However, it was only at the end of 1905 that the City

The Park was in a terrible state. The water was silted up

Institute is for Washington DC, as the USA’s capital.

Council asked for tenders for a conservatory.23 The con-

and the borders and walks were overgrown. Nevertheless,

servatory was built during 190624 and opened on 30

restoration to its former splendour started shortly afterwards.

Joubert Park became a significant cultural and recrea-

There was no shortage of seeds and plants, as many dona-

tional up-market space (Van der Waal 1987:83). Within

tions were received from all over the country. This included

an area of 700 x 400 m all (mostly white) middle class

Inside the large glass hothouse were particularly fine

hundreds of roses from Natal and even from the Royal

needs were met. It could boast a park (with all the middle

collections of indigenous plants and flowers (Van der Waal

Botanical Gardens in Kew (Van Rensburg c1986:177).

class accoutrements), sporting grounds in Kruger Park, a

1987:83; Norwich 1986:75). The following description

Mostly, however, indigenous plants, giving it a natural

library, a hospital and a railway station. It even accom-

(Bruwer 2006:106) tells the story of a splendid place:

flavour (Buff undated:4), thousands of shrubs and even

modated the official residence of the mining commissioner,

fruit trees, all with labels, were planted. The swift restora-

Jan Eloff on the corner of Bok and Wanderers Streets (Van

tion is a clear signifier of how important Joubert Park was

der Waal 1987:29).

considered for the city.

January 1907.25

Former dry bare patches are now respondent with green and variegated flowers, and the tall white pampas grass crown the view with a halo … There can

LEFT: Clearing the ground for the Art Gallery, c 1910. RIGHT: Laying of JAG’s foundation stone by then Mayor of Johannesburg, HJ Hofmeyr. Images from the JAG archive.

be no pleasanter spot in which to stroll after the heat

The driving force behind this project was Florence Phillips,

In 1906, members of the English-speaking community

of the day … The new greenhouse is the largest in

wife of the mining magnate Sir Lionel Phillips. Both were

suggested that another trapping of Empire – a memorial

the country … it is fringed all around by rockery …

leading cultural figures in Johannesburg’s upper circles and

honouring British soldiers only, who fell during the South

were determined “to create an urban environment in which

African War, should be erected in the Park.30 This was in

The aim of the new conservatory was to be instructive and

their social and cultural comforts could be accommodated,

line with similar actions taking place in Britain.31 Subse-

educational, apropos current philanthropic thinking. Hence

to provide ‘the amenities of life in Europe, which are almost

quently, in 1906, the north-west corner of Joubert Park

enamel labels were attached to all the diverse varieties of

entirely missing here’” (Carman 2006:55).

was recommended as a site for the proposed ‘Rand

plants, bearing their botanical and common names, and detailing the various countries to which the varieties belong.26

Regiment Memorial’. However, it was turned down.32 The Lady Florence persuaded the mining magnates to financially

upshot was that the memorial was not built in Joubert

support the proposed establishment of an art gallery. On

Park.33 Chipkin (1993:41) aptly described it as “a typically

Joubert Park provided the setting for another essential

11 October 1911 the Mayor of Johannesburg, HJ Hofmeyer,

deadpan Johannesburg response to attempts to achieve

requirement to achieve British notions of ‘respectability’

laid the foundation stone. Four years later the classically

civic grandeur”.

– that being an art gallery. The founding of the Johannes-

styled, stone-built gallery, designed by the distinguished

burg Art Gallery can be linked to the ambitions of the Milner

British architect, Sir Edwin Lutyens, despite being incomplete,

A further attempt to add to Joubert Park’s list of essential

government to assert the superiority of British culture, to

opened its doors to the public (Clarke 1981:52).28

buildings proceeded afoot late in 1927 and 1928 with an

consolidate the cultural infrastructure of an emerging

elaborate proposal to build an amphitheatre, as there were

civil society and to demonstrate the commitment of the

The selected site – the southern border of the park – was

“only a few facilities for the music loving public”.34 Once

typical British tradition of philanthropy (Carman 2006:55).

an unfortunate choice, however, as the Gallery faced onto

this was in place, it was imagined that “open-air opera per-

A cultural institution like an art gallery fitted in with the view

the railway line. Not only were the soot and noise generated

formances and concerts, amid surroundings similar to those

that “the ‘haves’, the mining elite, must be seen to be of-

by the trains extremely unpleasant, but the Gallery also faced

in the great cities of Europe and America”35 would become

fering something to the ‘have-nots’” (Carman 2006:56).

away from the Park, disassociating itself, as it were, from

possible. Clearly it was assumed that an amphitheatre

visitors to the Park (Van Der Waal 1987:115).

in Joubert Park could place Johannesburg on a par with

TOP ROW: Joubert Park greenhouse and views of the pond, c 1950. BOTTOM LEFT TO RIGHT: Women pushing their bikes through the Park, 1920s. Park and other leisure activities, c 1920s. Images courtesy MuseumAfrica.

world cities. The suggestion was, however, stillborn and

The use of iron was significant as it represented the very

the founders of Joubert Park, that the park should be for

this project too was eventually turned down.

heart of Western ideals of progress (Cossons & Trinder

the entire community, was effectively annulled.

1979). Iron symbolised Britain’s industrial might and its Although these two attempts did not come to fruition,

use in municipal parks was another way of legitimating

they are a keen indication of the City’s drive to further

an industrialised empire (Brück 2013:206).

Popularity

park and, given the upbeat prosperity of the time, even

Moreover, the entranceways functioned as symbols of

Until the 1930s, Joubert Park continued to be Johannes-

comparing itself with world-renowned cities.

civic authority and control. They provided ample restrictions,

burg’s main park38 and a very popular venue for the city’s

making the park inaccessible at particular times, thus guar-

white inhabitants (Bruwer 2006:105). By 1907 the con-

Other striking features of Joubert Park were its expensive,

anteeing the exclusion of all ‘improper characters’ and

servatory, together with the band performances, regu-

highly decorative, eye-catching and elaborate railings, iron

reminded those who entered that they should behave

larly attracted thousands of visitors (Buff undated:6,10).

fences, and ornamental cast-iron gate – the latter being

appropriately and respectably. Given the demography of

On hot summer evenings it was often difficult to find an

the Park’s only point of entrance, which ensured that the

Johannesburg, the city was divided along racial and class

unoccupied bench.39

Park was thus insulated from the city environment.37 Physi-

lines. This specifically played out in the occupancy of spaces,

cally and mentally they enforced the transition from the

defined by whites as ‘their’ spaces. Thus, concerns over

One citizen, praising the advantages of Johannesburg’s

busy streets to a space of calm and order.

access and the consequent control over the behaviour

weather, called for the opening of Joubert Park at night as

of the ‘lower classes’ and other races manifested in Joubert

well. On Sunday nights they could go to the Wanderer’s

Park’s enclosures. Consequently, the original purpose of

Club but “on ordinary evenings there is nothing but the

add to Joubert Park’s status as Johannesburg’s premier

theatres and music halls, and an occasional concert or

Furthermore, through their economic and political power,

lecture, neither of which are properly appreciated”. The

the elite of Johannesburg – especially the anglophile Rand-

(1974:146). Other areas that were set aside for rec-

writer stated that he did not want to go to the theatre

lords – Joubert Park became a symbol of British power,

reation were End Park and Union Grounds. Soccer

every night and that entertainment “is expensive in these

civilisation and prestige. It demonstrated clearly – in a

and cricket games were played on these grounds

days when one counts every sovereign”. His suggestion

powerful visual way – that Johannesburg was part of

(Bruwer 2006:106).

was supported with enthusiasm by various (other white)

the British Empire.

was also to be used as a playground for children

4 In 1906, Joubert Park expanded with 8 morgen, 253 sq

correspondents. “Long felt want” reminiscing about and

roods, 18 sq ft when the Government donated Joubert

comparing to Britian wrote: “In the great cities at Home the

Park to the Johannesburg Municipality in terms of

parks are not closed at dusk , and why should they be

Endnotes

Crown Grant No. 268/1906. Municipal Offices, (hereafter MO), Johannesburg, Law Library (hereafter JLL),

here?” The correspondent pointed out that in a large town in the “Old Country” a band, paid for by the municipality,

1 Whilst space was set aside for squares in the town

Minutes of Town Council (hereafter Minutes), 22

played during the summer months from 7.30pm to 10pm

centre, land was made available for parks in the sub-

February 1904, 192 and MO, JLL, Minutes of a Special

and “thousands avail themselves of the privilege”.41

urbs after 1890. Squares, it was decided, belonged

Meeting, 9 July, 1906, 785). Also see Bruwer (2006:

in the business district and parks in the suburbs, where

107). From a site plan showing the proposed original

It was not only the summer weather that enticed people

they would be used for recreation (Van der Waal 1987:

layout and extent of the Park, the synergetic relation-

to visit the Park in the evenings. In 1938 there was a

82). The Transvaal government in 1903 made some

ship between the historic development of both the

request to extend the closing hours of “the paradise”

amends for the omission by presenting, as a free gift,

Wanderers Club and Joubert Park on the one hand,

during the winter months to 8pm, as it was “a rendezvous

the large open space which was subsequently named

and the railway authorities’ ever-increasing demand

Milner Park.

for additional land on the other hand, is obvious. The

continually patronised by large numbers after the evening meal, where one can roam without fear … after the toll

2 The former was a piece of vacant land specifically do-

Park was not extended to the south bordering the

of the day. In its first 30 years Joubert Park succeeded

nated by the government as a public park to the resi-

railway line (Bruwer 2006:102). This is another example

in providing white citizens with plenty opportunities for

dents of Johannesburg in 1888 (Van der Waal 1987:31;

of how Johannesburg had to forfeit an open space

outdoor recreation (Maud 1938:150).43

Leyds 1974:146). However, it never really materialised

for commercial activities.

Conclusion

due to the railway station that was established and

5 Also see Schuyler (1986:65–66); Taylor (1995:201-

developed on a part of the site. The remaining extent

221); Tarlow (2000:224) and Brück (2013:201-202).

of Kruger Park, however, was developed as a sports

See discussion below on the plants and the fountain.

ground and became the first site for the Wanderers

6 When one takes into account that it is only in the last

Joubert Park served as a distinctive civic and cultural space

Club (Buff undated:2) and Beavon (2004:50).

few years that the major part of that fountain had to

and a specific marker in the fast changing city landscape.

3 A similar example was the Union Ground, granted

be abandoned it does seem that these extensive repairs

As a physical symbol it reflected the confidence and political

to the Town Council by the Chief Government Land Sur-

were effective and the original fountain was indeed

and financial power of the city’s (white) elite, keen to display

veyor, Johan Rissik, on condition that it: “should remain

well constructed. MO, Minutes, 9 May 1906: 473.

their cultural power. In addition, it echoed the social and

dedicated for the purpose of … the recreation and

7 Wits, WCL, HP, AF 1913, JPLPC, File 502, Report, Leader,

cultural values and tastes of the British middle class as

amusement of the inhabitants of the municipality of

21 August 1906. The City Council even issued tender

manifest in its features, design and amenities. Moreover,

Johannesburg and shall at all times be held availa-

applications for the erection of a windmill and water

the history of Joubert Park provides insight into how the

ble for the use of any volunteer corps for drill, parade

storage tanks in 1903 (Buff undated:2).

city viewed itself and how it wanted to represent itself to

or any such other military uses or purposes as the

8 Wits, WCL, HP, AF 1913, JPLPC, File 502, “Nurse

outsiders. In this way the Park provides an effective cultural

Commandant of Volunteers for the time being may

Adelaide” to Editor, The Star, 31 December 1906.

mirror of some of the city’s citizens of that time.

sanction” (Neame undated:103). Leyds added that it

Joubert Park was still a splendid place fulfilling its

function [for a limited citizenship] in the 1930s. An article in the Rand Daily Mail described it thus: “Trim lawns, carpet beds, choice taste in flower colour schemes, tall and shade offering trees, tropical growths

17 Sunday afternoon promenade concerts were also given at the Wanderers Club. 18 Buff (undated:3) and MO, JLL, Minutes, 9 May 1906: 474.

around the Gallery (Bruwer 2006:107). 30 Research on the history and meaning of monuments and memorials in the British Empire is vast. See for

and wide, clean paths make the Park a haven in a city

19 Band performances were by 1909 also given in Joubert

example, Moriaty (1997:125-142), Sokołowska-Paryz

of money-makers” (Wits, WCL, HP, AF 1913, JPLPC, File

Park, Jeppe Park, Rotunda Park, Market Square, Fords-

(2012) and Lambert (2014: 677-698). In 2002, the

452, Article, Rand Daily Mail, 18 January 1930). Also

burg Market Square, Milner Park, Belgravia Park, Vrede-

Rand Regiments Memorial was rededicated, recog-

see Wits, WCL, HP, AF 1913, JPLPC, File 502, “Rand

dorp Government Ground and the swimming baths.

nising the men, women and children of all races and

Pioneer” to Editor, The Star, 23 January 1932; Wits,

20 Wits, WCL, HP, AF 1913, JPLPC, File 502, article Leader,

nations that lost their lives in the South African War.

WCL, HP, AF 1913, JPLPC, File 294, “RG” to Editor, The

Star, 22 April 1933 and Wits, WCL, HP, AF 1913, JPLPC, File 294, “Flower Lover” to Editor, The Star, 25 September 1934. 9 Wits, WCL, HP, AF 1913, JPLPC, File 502, “A friend of a Garden” to Editor, Leader, 5 November 1903. Also see Wits, WCL, HP, AF 1913, JPLPC, File 502, “Horticulturist” to Editor, Rand Daily Mail, 29 August 1906. 10 Wits, WCL, HP, AF 1913, JPLPC, File 502, Report,

Leader, 21/8/1906. SET 12. Also see Wits, WCL, HP, AF 1913, JPLPC, File 502, “Arboriculturalist” to the Editor, Rand Daily Mail, 29 August 1906 and Wits, WCL, HP, AF 1913, JPLPC, File 502, Report, Leader, 21/8/1906. 11 Wits, WCL, HP, AF 1913, JPLPC, File 502, No name to the Editor, Leader, 10/10/1906. 12 Whilst Johannesburg’s elite settled in Parktown and Parktown Ridge between 1891 and 1895, the marginalised barely made a living in the north-west corner of the city. 13 Wits, WCL, HP, AF 1913, JPLPC, File 404, Sidney S

8 January 1907.

32 Wits, WCL, HP, AF 1913, JPLPC, File 502, Report, Rand

to the Editor, The Star, 9 October, 1923. In 1922 the

Daily Mail, 1 February 1906 and Wits, WCL, HP, AF

City Council spent £500 on performances in Joubert

1913, JPLPC, File 502, Report, Leader, 13 January 1906.

Park. This was only a loan from the Finance Committee

33 The memorial, designed by Sir Edwin Lutyens, was

as these concerts always paid for themselves (Wits,

eventually erected in Hermann Eckstein Park. A com-

WCL, HP, AF 1913, JPLPC, File 429, Article, Rand Daily

memorative stone was laid by the Duke of Connaught

Mail, 29 September, 1922).

on 30 November 1910.

22 MO, JLL, Minutes, 9 May, 1906, 474; MO, JLL, Minutes,

34 Wits, WCL, HP, AF 1913, JPLPC, File 320, Article, The

10 March 1914; MO, JLL, Minutes, 24 September 1914:

Star, 18 November 1927 and Wits, WCL, HP, AF 1913,

515; MO, JLL, Minutes, 24 November 1914: 590 and

JPLPC, File 320, Article, Rand Daily Mail, 19 November

MO, JLL, Minutes, 30 March 1915: 150 and 151. The

1927. This was, of course, not true. By that time there

average revenue for each concert was £40 while the

were numerous concert venues.

average expenditure £45. A charge of 3 pence per seat being made for visitors to the Park. (Buff undated:16, 20) and MO, JLL, Minutes, 20 September 1921: 619).

16 Cremin described the multiple use of Grant Park.

36 Wits, WCL, HP, AF 1913, JPLPC, File 320, Article, Rand

24 MO, JLL, Minutes, 28 February 1906: 228; MO, JLL,

JPLPC, File 320, Article, Rand Daily Mail, 11 October

Minutes, 2 August 1906: 868 and MO, JLL, Minutes,

1928. £50 was earlier voted for the preparation of

24 October 1906: 1099.

working drawings and estimates of the total cost drawn

26 Wits, WCL, HP, AF 1913, JPLPC, File 447, “Ratepayer”

Editor, Leader, 21 December 1904.

Star, 18 November 1927. Daily Mail, 19 May 1928 and Wits, WCL, HP, AF 1913,

see Hoskins (2003:17).

15 Wits, WCL, HP, AF 1913, JPLPC, File 502, “Parkite” to

35 Wits, WCL, HP, AF 1913, JPLPC, File 320, Article, The

23 MO, JLL, Minutes, 22 November 1905: 1298.

25 MO, JLL, Minutes, 30 January 1907: 15.

17 July 1902.

31 MO, JLL, Minutes, 17 January 1906: 62-63, 75-76.

21 Wits, WCL, HP, AF 1913, JPLPC, File 429, CH Brooks

Graumann to the editor, The Star, 6 March 1930. Also 14 Wits, WCL, HP, AF 1913, JPLPC, File 502, article Leader,

to Editor, The Star, 26 November 1918. 27 MO, JLL, Minutes, 3 August 1910: 1376. 28 The Gallery was not expanded until 1986. 29 Andrew Hopkins and Gavin Stamp, however, have shown that Lutyens intended to cover the railway line to link up the twenty acre Joubert Park with Union

Ground so that a formal garden could be laid out

up. These amounted to £7 500. 37 Bruwer (2006:107) and MO, JLL, Minutes, 17 January 1906: 20-22. 38 Wits, WCL, HP, AF 1913, JPLPC, File 502, “Observer” to the Editor, Leader, 27 December 1904. 39 Wits, WCL, HP, AF 1913, JPLPC, File 302, PA Bankes to Editor, Rand Daily Mail, 11 October 1928.

40 Wits, WCL, HP, AF 1913, JPLPC, File 502, No name to Editor, Leader, 10 October 1906. “EXE WYE” concurred: “Johannesburg is badly in need of places of entertainment and recreation other than the theatres in the evenings ... and there is the matter of expense, which, except in the case of those favourably circumstanced, effectually debars frequent visits ... the theatre as a means of entertainment enters into the lives of but few of our townspeople, the majority either do not care for it or cannot spare the money...” Wits, WCL,

Clarke, J (ed). 1981. Braamfontein Spruit Trail. Johannesburg: COCCOS

O’Reilly, C. 2009. Aristocratic Fortunes and Civic Aspiration: Issues in the

Publisher.

Passage of Aristocratic Land to Municipal Ownership in Later Nineteenth

Conway, H. 1991. People’s Parks: The Design and Development of Victorian

Parks in Britain. Cambridge: Cambridge University Press. Cossons, N and Trinde, B. 1979. The Iron Bridge: Symbol of the Industrial

Revolution. Bradford-on-Avon: Phillimore. Cranz, G. 1982. Politics of Park Design: A History of Urban Parks in America.

Cambridge, Mass: MIT Press. Cremin, DH. 1999. Building Chicago’s Front Yard: Grant Park 1836 to

1936. Unpublished PhD Thesis, Loyola University. Gaskell, SM. 1980. Gardens for the Working Class: Victorian Practical Pleasure,

HP, AF 1913, JPLPC, File 502, “EXE WYE” to Editor,

Victorian Studies 23(4 (July): 479-501.

Leader, 15 October 1906.

Hoskins, I. 2003. ‘The Core of the City’: Public Parks, Respectability and

41 Wits, WCL, HP, AF 1913, JPLPC, File 502, “LONG FELT WANT” to Editor, Leader, 11 October 1906. 42 Wits, WCL, HP, AF 1913, JPLPC, File 452, “Op maak AUB” to Editor, The Star, 29 April 1938.

Civic Regulation in Sydney, National Identities 5(1): 7-24. Jordan, H. 1994. Public Parks, 1885-1914, Garden History 22(1 March): 85-113. Lambert, J. 2006. ‘The thinking is done in London’: South Africa’s English Language Press and Imperialism, in Kaul, C (ed). Media and the British

Empire. Basingstoke: Palgrave Macmillan.

Sources Beavon, K. 2004. Johannesburg: The Making and Shaping of the City. Pretoria: Unisa Press. Bluestone, DM. 1987. From Promenade to Park: The Gregarious Origins of Brooklyn’s Park Movement, American Quarterly 39 (4, July): 529-550. Brill, M. 2001. Mistaking Community Life for Public Life, Places 14 (2): 48-55. Brück, J. 2013. Landscapes of Desire: Parks, Colonialism, and Identity in Victorian and Edwardian Ireland, International Journal of Historical Archae-

ology 17(1, March): 196-223. Bruwer, J. 2006. Report on the Historical Layered Development of the

Johannesburg Park Station Complex and Joubert Park Precinct for Osmond Lange Architects and Planners. Unpublished: 98-121. Buff, A. Undated. Cityparks. Unpublished manuscript. Carman, J. 2006. Uplifting the Colonial Philistine. Florence Phillips and the

Making of the Johannesburg Art Gallery. Johannesburg: Wits University Press. Chipkin, CM. 1993. Johannesburg Style:Architecture & Society, 1880’s-1960’s. Cape Town: David Phillip Publishers. Clark, P. 2006. The European City and Green Space: London, Stockholm,

Helsinki, and St Petersburg, 1850-2000. London: Ashgate Publishing.

Lambert, J. 2009. Maintaining a British Way of Life: English-speaking South Africa’s Patriotic, Cultural and Charitable Associations, Historia 54(2): 55-76. Lambert, J. 2012. ‘Tell England, Ye Who Pass this Monument’: Englishspeaking South Africans, Memory and War Remembrance until the Eve of the Second World War, South African Historical Journal, 66(4): 677-698. Leyds, GA. 1964. A History of Johannesburg: The Early Years. Cape Town: Nasionale Boekhandel. Malchow, HL. 1985. Public Gardens and Social Action in Late Victorian London, Victorian Studies 29(1 October): 97-124. Moriaty, C. 1997. Private Grief and Public Remembrance: British First World

and Early Twentieth Century Manchester with Particular Reference to the Sale of Heaton Park. Unpublished PhD thesis, Manchester Metropolitan University. O’Reilly, C. Undated. From ‘the People’ to ‘the Citizen’: The Emergence of

the Edwardian Municipal Park in Manchester 1902-1912. Unpublished paper. Orum, AM and Neal, ZP (eds). 2010. Common Ground? Readings and

Reflections on Public Space. New York: Routledge. Rosenzweig, R. & Blackmar, E. 1992. The Park and the People: A History

of Central Park. Ithaca: Cornell University Press. Schuyler, D. 1986. The New Urban Landscape: The Redefinition of City Form

in Nineteenth-Century America. Baltimore: Johns Hopkins University Press. Scobey, D. 1992. Anatomy of the Promenade: The Politics of Bourgeois Sociability in Nineteenth-Century New York, Social History 17(2): 203-227. Shorten, JR. 1970. Die Verhaal van Johannesburg. Johannesburg, Voortrekker Uitgewers Beperk. Sokołowska-Paryz, M. 2012. Reimagining the War Memorial, Reinterpreting

the Great War: The Formats of British Commemorative Fiction. Cambridge: Cambridge Scholars Publishing. Tarlow, S. 2000. Landscapes of Memory: The Nineteenth-Century Garden Cemetery, European Journal of Archaeology, 3(2): 217-239. Taylor, HA. 1995. Urban Public Parks, 1840-1900: Design and Meaning,

Garden History 23(2 December): 201-221. Van der Waal, G-M. 1987. From Mining Camp to Metropolis: The Building

of Johannesburg, 1886-1940. Johannesburg: Chris van Rensburg Publications. Van Onselen, C. 2001. New Babylon, New Nineveh: Everyday Life on the

Witwatersrand, 1886-1914. Johannesburg: Jonathan Ball Publishers.

War Memorials, War and Memory in the Twentieth Century, 9(1): 125-142. Maud, PR. 1983. City Government, The Johannesburg Experiment. Oxford: Clarendon.

Louis Grundlingh

Marais, IE. 2013. Public Space/Public Sphere: An Ethnography of Joubert

Park, Johannesburg. Unpublished PhD thesis, University of Johannesburg. Neame, LE. (Undated). City Built on Gold. (No place of publication and no publisher). No author. 1986. Johannesburg 100 Jaar. Melville: Chris van Rensburg Publikasies.

Louis Grundlingh is a Professor in the Department of Historical Studies at the University of Johannesburg. He currently specialises in and teaches leisure and urban history focusing on Johannesburg.

Norwich, OI. c1986. A Johannesburg Album: Historical Postcards. Craighall Park, Johannesburg: AD Donker Publisher.

OVERVIEW OF JAG'S HISTORY 1886 Johannesburg is founded.

1887 Joubert Park, the oldest park in Johannesburg planned; it is proclaimed in 1906.

1904 Florence Phillips (born 1863, Dorothea Sarah Florence Alexandra Ortlepp) rallies her husband, Lionel Phillips, and other mining magnates, to give art to Johannesburg.

1909 Florence Phillips meets Hugh Lane and asks him to assemble JAG’S art collection. Hugh Lane is the first overseas curator of the collection. Florence Phillips buys the first 3 paintings for JAG from Goupil Galleries in London: Phillip Wilson Steer’s Corfe Castle, Lime-kiln and A Chelsea Window.

1910 Johannesburg Randlords donate money for the purchases of artworks for JAG – they include Lionel Phillips, Max Michaelis, Julius Wernher and others, and especially Otto Beit, Hermann Eckstein, Sigismund Neumann, Abe Bailey. Johannesburg Town Council vote to allocate money for the building of JAG. The nucleus of the JAG Collection exhibited for the first time in London, May-June with the Whitechapel Art Gallery’s Twenty Years of British Art (1809-1910) and in July, Country in Town. October: Hugh Lane and A Edmund Gyngell start to unpack and install the collection of approximately 127 to 130 works. A Edmund Gyngell appointed as the first part-time curator of JAG.

The nucleus of the lace, textiles and fans collections donated by Florence Phillips.

1911 Sir Edwin Lutyens appointed as architect of JAG and Robert Howden as local collaborating, supervising architect. October 11: JAG’s foundation stone laid in Joubert Park. Sir Hugh Lane resigns as London-based director and Robert Ross succeeds him until 1917.

1912

1928

Lady Phillips dies 23 August at Vergelegen.

A Edmund Gyngell retires. Austin Winter Moore appointed as part-time temporary curator of JAG.

Gerard Sekoto’s Yellow Houses: A Street in Sophiatown is bought by Anton Hendriks – the first work by a black artist to enter the JAG collection.

1929

1945

Austin Winter Moore resigns.

End of World War II.

AA Eisenhofer appointed curator of JAG.

1946

1931

The Johannesburg Council agrees that the director should buy works overseas every 3 to 4 years.

Bronze plaque unveiled in honour of Lady Phillips at the south entrance.

17th century Dutch collection begins, with donation of 17 paintings by Eduard Houthakker over the next few years.

1934

Sir Lionel Phillips receives the accolade of baronetcy.

1936

Ralph Rowland is London-based director, until May 1913.

Johannesburg Golden Jubilee celebrated and JAG façade floodlit for the occasion.

1948

Sir Lionel Phillips dies 2 July at Vergelegen.

£5 000 is the budget for Anton Hendriks to buy art overseas.

1913 Official Deed of Donatio of the collection accepted by the Johannesburg Town Council. Building of JAG begins under supervision of South African architect, Robert Howden. JAG referred to as Municipal Art Gallery and described as an Art Gallery and Museum of Industrial Art.

1915 7 May: Sir Hugh Lane dies with others on board the RMS Lusitania on the when this passenger liner is torpedoed. October: JAG opens its doors to the public without a ceremony. The building is incomplete.

1916

Print cabinet established with Howard Pim’s bequest of 551 prints.

Budget from City for buying of art is £5 000 per year. The South African Room is opened.

Empire Exhibition from 15 September-16 January 1937 at Milner Park (this was formerly the Rand Easter Show grounds, and now part of Wits University).

JAG now called by its current name, Johannesburg Art Gallery.

1937

Eve Fairfax presents to JAG the letters written to her by Rodin between 1902-1909.

A A Eisenhofer resigns. Anton Hendriks appointed as first full-time, professional, Johannesburg-based curator to JAG (his title later changed to director), and works without other professional staff for most of the next ten years. Allocation of the first acquisitions budget. 56 434 visitors for 1937-1938.

1951

Mrs Eleanor Lorimer assists Anton Hendriks.

1952 The first professional assistant, Eleanor Lorimer, is permanently appointed. The Red Ledger, the first documentation of the collection ever, apart from the 1910 catalogue, is initiated by Lorimer.

Robert Gwelo Goodman’s Konakontes, South West Africa is the first South African painting to be acquired by the collection, presented by Sir Lionel Phillips.

1938

1918

The Ukiyo-e collection started as the first twelve prints bought.

1953

South African artists’ works acquired.

The South African collection consists of 90 works.

1939

1954

Building of the two side pavilions under the supervising architect Robert Howden.

29 November: Opening of the collection in temporary premises in the SA School of Mines and Technology, Eloff Street – forerunner of the University of the Witwatersrand. Opened by the Duke of Connaught.

Arrival in August of first books, donated by Max Michaelis to JAG, but housed at the Michaelis Art Library in the Johannesburg Public Library, now known as the Michaelis Art Collection in the Johannesburg City Library.

JAG was founded as The Municipal Gallery of Modern Art.

Robert Ross, JAG’s London-based curator, dies.

Beginning of World War II.

1924

1940

First South African sculpture in the collection acquired: President Kruger in Europe by Anton van Wouw.

Some Reminiscences by Lionel Phillips published.

1947

Sir Sigismund Neumann donates Pre-Raphaelite art and furniture to JAG, which is stored at the Tate Gallery, London.

The two side pavilions completed in partial fulfilment of Lutyens’ original plan.

Anton Hendriks travels to Europe to buy works of art to the value of £10 000.

Anton Hendriks acquires the Ming roof tiles.

Significant collection of east Asian pieces, mainly Chinese, acquired. The annual budget for buying of art is £10 000 per year.

1955 The Japanese prints collection is extended.

Dr J van den Graaff of Utrecht is selected to be new director of JAG, but leaves after seeing the work involved and the salary!

Anton Hendriks manages to buy St Thomas by El Greco on a buying trip to Europe.

Anton Hendriks asks to stay on as director of JAG.

1956

39 912 visitors recorded for the 1963/1964 financial year.

Plans to build a new art gallery at the zoo, and for JAG to become a railway or mechanical museum.

1957

The annual budget for the buying of art has increased to R30 000 per year and an acquisitions trip to Europe.

1968 Permission given to build the new Gallery on the Parktown site on St Andrews/Hillside/Empire Road and Victoria Ave/Joubert Street extension (Pieter Roos Park). Suggestion of JAG’s building becoming an Art Library for the city. Exhibitions are constantly turned down because of lack of space.

Nel Erasmus employed at JAG.

1964

1958

Anton Hendriks retires as director of JAG after 27 years, but continues to assist as a consultant for the next 3 years.

Nel Erasmus and Mr Buchanan-Smith, architect, embark on a study tour to 11 countries and 33 museums for the planning of the new museum, until 1969.

Nel Erasmus appointed as Senior Professional Officer and as acting head of JAG.

The collection stands at 2 700 works of art.

66 461 visitors for the period 1957-1958.

1959 Joubert Park is the first park in South Africa to be illuminated for a week. Johannesburg Council agrees in principle to build the new Gallery at the new proposed Civic Centre. Anton Hendriks leaves for Europe with a budget of £20 000 to buy art. Demonstration held at JAG to object to the Transvaal Academy comprising only two competition selectors, who, out of 300 works considered for selection, ultimately only choose 14 paintings and one sculpture.

1960 JAG goes up for sale for the bargain price of £100 000 and plans proceed to build a new Gallery at the zoo or in Parktown. Proposals to transform JAG into a conservatoire, railway museum, bus terminus or eye research centre. First open air exhibition of Edoardo Villa in Joubert Park. Ducktails with revolvers try to steal exhibits. Artists Under the Sun, initiated by John Koenakeefe Mohl to showcase and sell the work of black artists not represented by JAG, begins to take place monthly in Joubert Park.

1961 Anton Hendriks sent on his last trip overseas to buy art for R20 000 before his retirement.

1962 Anton Hendriks postpones his retirement after 25 years at JAG, as a suitable candidate to take over his position is not yet identified. A 27-acre park between Queens, Jubilee and Winifred Roads on Parktown Ridge is proposed as new site for JAG.

1963 Further proposals for Parktown Ridge site as relocation for JAG, as well as a site near the zoo.

Proposed Parktown Ridge site, over looking the zoo, is bought for R90 000 for the new Gallery.

70 000 visitors to the Gallery are recorded.

JAG still seeks a new director.

Twist Street entrances to Joubert Park are closed for a new bus way – no thoroughfare from King George to Twist Street. Entrance to Joubert Park is in Wolmarans or King George Street, and marked with an illuminated sign.

Council votes for a R30 000 budget for Gallery.

1969

65 000-70 000 visitors recorded for the year.

SA Railways agrees to deck the sunken railway lines in front of JAG.

University of Witwatersrand confers an honorary degree, Doctor of Philosophy, on Anton Hendriks.

The planning of the new Gallery proceeds.

Between 60 000-70 000 visitors recorded for the year.

1965

The building makes no provision for toilets for visitors.

1966 Nel Erasmus is the first woman to be appointed as Curator in charge of JAG, after 5 years of looking for a director. Her title changes to Director at a later stage.

No Ordinary Woman: The Life and Times of Florence Phillips, written by Dr Thelma Gutsche is published by H Timmins. The book wins the CNA book prize. Through her research, important portraits by Mancini of Florence Phillips and her daughter Edith, are recovered in South African National Gallery’s basement and acquired by JAG. New plans emerge to build the new Gallery on a park site off Empire Road, and not on the site bought for the Gallery.

1974 Annual acquisitions budget increased to R50 000. JAG’s library at this time has a total of 5 000 volumes. A documentary on JAG, directed by R Hancock, wins first prize at the Chicago Film Festival. Suzanne Goldstein from Boston is the first appointed Professional Assistant: Educational Programming and Press Liaison. 84 035 visitors to JAG recorded for the year.

1975 Training begins for voluntary guides to JAG, to conduct tours for children. Anton Hendriks dies in Paris at the age of 75. Clement Greenberg, celebrated art critic, presents a series of art lectures at JAG. Acquisitions budget is R50 000 per year. Estimated cost to build the new Gallery is R10 million. 60th anniversary of JAG’s building is celebrated with an exhibition in the foyer of the Johannesburg Public Library.

Nel Erasmus goes on a buying trip overseas with R60 000 budget.

71 506 visitors to JAG recorded for the year.

1971

1976

JAG’s diamond jubilee, 1970-1971, is celebrated. The JAG Diamond Jubilee Fund is formed to raise funds, and so that the public may also contribute. The mayor, Alf Widman, expresses his desire to see a Friends of the Art Gallery formed. Widman constitutes a Jubilee Celebrations Committee of 19 women, with Esmé Berman as head, to raise money for JAG, and to hold activities during its jubilee year. Later in the year, after Nel Erasmus lunches with Thelma Gutsche, this committee becomes the Friends of JAG. Second artwork by a black artist acquired by JAG: Winston Saoli’s Two People Standing.

1967

Miss Fairfax turns 100 years on 10 October.

Expropriation of three stands in Parktown as site for the new Gallery. Site adjoining Hillside and Empire Roads considered most favourable. Although new suggestions emerge to install the new Gallery at the Fort.

JAG is now open in the evenings from 19h00-21h00 every Wednesday, Sunday and public holiday, except for Good Friday.

First coloured postcards printed of some of JAG’s artworks.

52 657 visitors to JAG recorded for the year.

1970

Johannesburg 80th anniversary celebrations.

Gallery staff consists of Nel Erasmus and 20 workers. Annual acquisitions budget is R30 000.

This painting causes the biggest controversy of all works ever bought but JAG up to that point. See pg 170.

1973 Nel Erasmus travels to Europe to buy art, and acquires Picasso’s Tête d’Arlequin for R28 000. The Friends of JAG contribute R18 000 and the Council R10 000.

Lorraine Deift and Bea Katz begin training as voluntary guides. Bea Katz retires in 2014. Lorraine Deift still guides with great enthusiasm (see pg 160). The voluntary guides extend their service to conduct tours for adults. Their regular monthly guided tours are a huge success. 7th May, a plaque commemorating Sir Hugh Lane on the 61st anniversary of his death is unveiled on the right side of the south entrance. New exhibition space (previously a storeroom) for Contemporary South African art is opened, as an extension of the South African Collection. A new storeroom is built on the eastern wing. Celebration of Johannesburg 90th birthday. Friends of JAG donate Jules Olitski’s Empress Love 5 (1975). An Art Christmas festival is also held at JAG to celebrate. The budget for R50 000 to buy art is scrapped by the council. Plans for the new art gallery are vetoed due to a shortage of funds. 76 161 visitors to JAG recorded for the year.

1977 Pat Senior appointed as the first Assistant Director at JAG. An exhibition, Smuts, the Founder, 1910 is hosted at the Johannesburg City Library of General Smuts to commemorate his contribution to the founding of the JAG building and the site in Joubert Park. Nel Erasmus retires as director of JAG after 21 years of service, 13 of which are spent at the helm. First South African ceramic sculptures are acquired. Pat Senior appoint ed director of JAG.

JAG at this point owns well over 2 000 prints. Tours for the blind are introduced. 1980/81 Andy Warhol’s Joseph Beuys screenprint is purchased.

1981 Director travels to London to interview prospective candidates for the post of Restorer/Conservator. Miss J Pringle is appointed. Meyer PIenaar Architects appointed for proposed JAG extensions.

1986 Johannesburg 100 years old. JAG closes to the public from 1 January to 22 October due to building operations. The exhibition space is doubled and provides an administration wing, conservation studio, workshop, library and archives, education studio, coffee shop, print exhibition room, sculpture gardens. Provisions for disabled visitors include ramps, lifts and toilet facilities. Ample parking is available. Joubert Park is renovated to give a complementary setting to the extended JAG. The final cost of the refurbished and extended JAG is R 8 890 000.

Ms J Colbourne joins the JAG staff as Paper Restorer, and provides specialist tours.

1991 Christopher Till resigns as director of JAG. Rochelle Keene appointed as new director. 24 March, First Gerard Sekoto Open Day for Children held. Gerard Sekoto was the recipient of the 1991 Vita Art Award and generously donated his prize money to JAG on condition it would be used towards hosting a special day where young people could take part in activities around art.

The newly refurbished and extended JAG is opened on the 22 October by the Mayor of Johannesburg.

A newly converted and refurbished lecture theatre, able to seat 125 people, completed in June. Diane Levy is appointed as JAG’s first Curator of African Art.

First JAG Restorer/Conservator, Miss J Pringle, commences her duties.

JAG receives a grand piano in memory of the late former director, Pat Senior, from her family, friends and the Friends of JAG, as she had promoted JAG as a concert venue.

To meet continual requests from the public, tea and coffee are now served at JAG.

1982/83 Francis Bacon’s Study of a Portrait of a Man is purchased.

Father Andrew Borello donates 25 British studio ceramics to JAG.

Pat Senior goes on an overseas buying trip and acquires 31 works of art to the value of R 65 000 out of the year’s budget of R77 000.

1983

1987

Further controversy involving Councillor JF Oberholzer over modern art bought by JAG, labelled as “trash”, including Frank Stella’s Eskimo Curlew and Victor Pasmore’s Projected Linear Relief. (See pg 173)

Pat Senior dies tragically in an accident on the 17th March.

Guest Artist Project launched for the first time, with Jo Smail as the first artist.

Thelma Gutsche resigns from the Friends of JAG.

Annual acquisitions budget is R20 000.

1982

80 000 visitors to JAG recorded for the year.

1978

JAG now only open in the evenings during December and January.

Bequest of Harold John Gallagher presented to JAG.

The Conservation studio is fully operational and operates from a ward at the Old Fever Hospital.

Christopher Till is appointed director of JAG. Till supervises the completion of the new extensions that had begun under Pat Senior.

Miss Fairfax dies aged 106 years.

October, JAG is handed over to the builders, with an estimated building cost of R7 190 000 to the Council, and completion expected by December 1985.

JAG celebrates its 70th birthday with a piano recital, and an auction held by the Friends of JAG.

1984

The first photographs, by Eric Saretzky, are acquired for JAG’s collection.

Maud Sumner donates five of her paintings to JAG. PACT presents an autumn season of lunch-hour concerts at JAG every Tuesday from May to June.

Acquisitions budget is R20 000. 500-year-old Gothic sculptures are discovered to be infested with woodborer, and are treated.

1979 The first full-time Professional Officer (Librarian) post is filled by Mimi Badenhorst (later Greyling).

1980 Friends of JAG present two major sculptures in further celebration of JAG’s 70th anniversary: Anthony Caro’s CCCVlll (1976-77) and Alexander Calder’s Black Small Disc with Polygons (1960). The City Council of Johannesburg contributes R10 000 towards the acquisitions.

6 November, Gavin Relly announces the donation of R6 million to JAG by the Anglo American Corporation for the centenary year, which becomes the Anglo American Johannesburg Centenary Trust (see pg 170-72). R4 million is allocated towards an endowment fund for the Gallery, R1,7 million to complete the current extensions and restoration of JAG, and the balance towards commissioning sculptures for the Sculpture Garden. Dr Thelma Gutsche dies 5 November.

1985 Centenary Sculpture Competition launched for the JAG Sculpture Gardens, sponsored by Anglo American.

JAG’s southern African Traditional Collection is inaugurated with the purchase of the Jaques Collection of 114 headrests, which is declared a national treasure by the National Museums Council. Brenthurst Collection of the late Harry Oppenheimer is given on long-term loan to JAG and includes 862 objects (previously the Lowen Collection). X-radiographic facilities installed in the Conservation Studio.

1988 JAG has a record 37 trained voluntary guides. Award of Merit presented by Transvaal Provincial Institute of Architects to Meyer & Pienaar Architects Inc for the new JAG extensions. Art classes are held for children on Saturdays in the education studio. Various donations towards the Masters of Modern Furniture Collection. Harry Oppenheimer bust installed in the sculpture garden.

1989 Imbali Teacher Training Project workshops initiated at JAG, sponsored by Women for Peace. 127 065 visitors to JAG – the highest ever recorded visitors figure in a calendar year.

Bongi Dhlomo-Mautloa elected to the Art Gallery Committee. The Library’s excellent exchange programme of publications is maintained by Joy Cheesman.

1992 The Horstmann collection, a significant collection of southern African art, is donated to JAG by Udo Horstmann. The Art Gallery Committee holds a record 10 meetings for the year 1992-1993. E Kruger Marx appointed as JAG’s first Registrar. ‘Performance in the Park’ is initiated to establish performance art culture. The Friends of JAG, in association with Stephan Welz and Co, and artists, host a Mayoral ball – Le bal des tables artistiques. JAG adds to its mission statement: To contribute meaningfully to the appreciation of a visual culture in a multicultural society. Tim Couzens’ collection of works by black South African artists is acquired.

1993 January, JAG is declared a national monument. An important collection of traditional African objects, assembled by Stephen Long, is purchased. The installation, Altar of God, by Jackson Hlungwane, is acquired and installed. The Green House Project in Joubert Park is initiated.

1990

1994

Johannesburg Art Gallery Sculpture Competition for the West Sculpture Garden is launched.

New collecting policy for JAG is published.

Randse Afrikaanse Universiteit (RAU) donates 27 000 slides on Art History to the JAG Library.

June to October the new extensions are closed for repairs to the building.

FUBA Academy Archives compiled by Dr Elza Miles are donated to JAG Library by the Netherlands Embassy.

JAG participates in ‘Shuttle 99’ – a two year long arts exchange programme between South Africa and the Nordic countries, initiated by the Nordic Council of Ministers and Joubert Park Neighbourhood Centre.

JAG Youth Club is launched on 18 June to provide art classes for young people in the immediate environment. 594 southern African traditional objects are bought from the collection of M Brodie.

1999/2000 Henson Manikwe and Wilson Baloyi each mark 30 years of service to JAG, and Peter Jackson, 21 years.

Fiona Graham joins the Friends of JAG as Executive Officer and their office moves to JAG.

2000

1995

90 years of JAG’s collection celebrated in November.

Joubert Park Public Art Project is launched.

2006

2012

Jillian Carman’s Uplifting the Colonial Philistine: Florence Phillips and the Making of the Johannesburg Art Gallery is published.

Fiona Graham, Executive Chair of Friends of JAG retires.

William Kentridge creates a mural for JAG.

Blocked drains and leaking roof problems force the closure of the basement space.

Project Room is initiated to support emerging artists.

The courtyard is decked and contributes to hosting exhibition openings.

Joubert Park Anti-Crime and Grime Campaign launched.

Security is upgraded.

New northern entrance opened in December 2006; officially launched in 2007.

2013

2007

Explosion occurs in the Archives due to a faulty head in the Gaseous Fire Suppression system.

20 September launch of Artistic Fence around JAG to illuminate the surroundings, which was completed by the JDA in 2006.

2014

City of Johannesburg spends R1,8 million to fix the roof and water-penetration problems in the Gallery.

Listings of JAG’S entire art collection is captured on computer.

2001

2008

2015

The Museum Ambassador Programme, coordinated by Dammon Rice, begins with training, and is later awarded the prestigious AAM International Partnerships Among Museums Award.

2002

Five of the exhibitions of the 1st Johannesburg Biennale are held at JAG.

‘Paper prayers’ campaign is initiated by NGO Bantwana with young artists from Artist Proof Studio, training students, peer group facilitators and teachers to use art as a positive way to provide information about HIV and AIDS and allows children to communicate sensitive personal experiences about the disease.

1996

JAG assumes management of Sandton Civic Centre Art Gallery.

Joubert Park Greenhouse Centre established.

Jillian Carman’s doctoral thesis, Modern Art for South Africa: The Founding of Johannesburg Art Gallery is published.

A Children’s Corner is created at the entrance with books and art materials.

Michael Stevenson’s Art and Aspirations: The Randlords of South Africa and their Collections is published.

Art Educators Association moves from Joubert Park to the education studio at JAG.

2003

1997

Plans by the City Council to relocate JAG to Newtown. March 15, VANSA Gauteng launches at JAG. Rochelle Keene resigns as director of JAG after 25 years of service.

2004 Clive Kellner appointed director of JAG.

Western Joubert Park Precinct Pilot Project launched to upgrade water reticulation systems in buildings in the western Joubert Park precinct.

Continued plans to relocate JAG to Newtown. Other proposals to mothball the collection and develop JAG as a ‘White House’ for the Gauteng Premier.

Lapeng Day Care Centre in Joubert Park opens. (See pg 160)

2005

1998 Their Majesties King Harald and Queen Sonja of Norway visit JAG.

1999

JAG participates in the first Joburg Art Fair. Marlene Dumas’ Young Boy (blue body) is donated by artist.

Part of JAG’s sculpture, Tightroping, by David Brown, that was stolen in 1996, is discovered in a scrapyard in Cape Town by Willie Bester, and returned to JAG.

Robert Rauschenberg, and Felissimo, donate Tribute 21 (1994) to JAG.

Confirmed that JAG will not move to Newtown.

Entrance to JAG revamped by inner city renewal projects.

Salvador Dalí’s White Aphrodisiac Telephone (1936) and Marcel Duchamp’s Bôite (1968) are acquired.

Her Majesty Queen Beatrix of the Netherlands, her son, and Royal Party visit the exhibition, Pictures from a Golden Age: 17th Century Dutch Paintings.

Clive Kellner resigns as director of JAG.

JAG plans to move to the Turbine Hall at a cost of R120 million. First full digital interactive asset audit of all the works in the collection conducted.

2009 Antoinette Murdoch appointed as Chief Curator and Head of JAG.

A new exhibition of JAG’s history is compiled in the display cabinets.

Masterpieces of the Johannesburg Art Gallery: From Degas to Picasso, featuring more than 60 works from JAG’s collection, is installed at Scuderie del Castello Visconteo di Pavia, Italy from 21 March to 19 July. JAG participates in the Five Hundred-Year Archive project through the Archive and Public Culture Research Initiative at UCT, which aims to develop and promote understandings of the archival possibilities of materials located both within and outside of formal archives and to facilitate their engagement, to stimulate interest, research and enquiries into the southern African past.

Lapeng creative arts workshop.

12 May, JAG site handover of the the Lutyens building for renovations.

A visit from 35, mostly architects and historians, of the Lutyens Trust of London.

The City commits a further R50 million for renovations to the JAG building in 2017.

Peter Jackson retires after 32 years of service to JAG as building manager.

20 November, restored JAG buildings open to the public in celebration of the Lutyens building centenary. This book, Constructure: 100 years of the JAG Building and its Evolution of Space and Meaning is launched.

2010 ‘Adopt Art’ is launched as an opportunity for all to contribute to protecting and restoring works in JAG’s collection. 1 September, National treasures exhibition at Hollard’s Villa Arcadia celebrates the centenary of Lionel and Florence Phillips’ former home. Centenary function held on 28 November to celebrate 100 years of JAG’s collection. Jackson Hlungwane’s Altar of God is restored.

2011 Johannesburg’s 1st Conference on Public Art held at JAG, 11-13 November.

CSIR looks into the structural problems of the JAG building.

SELECTED EXHIBITIONS 48

“It is in the object relations of exhibitions that the power of objects becomes explicit, staging a series of dialogues between the audience and the museum building.” Clive Kellner (p 96) “I have come to understand exhibitions as ontologically unstable, not as ‘things’ or ‘objects in a room’, but as ‘events’ that are informed by history and that shape society.” Clive Kellner (p 99) “While the institution has … made great strides in encouraging greater inclusivity, not only in its collection and acquisition policies, the Gallery nevertheless continues to occupy a precarious place in the lives of the majority of communities it aims to serve. The participation of these communities in the narrative of the history contained by the Gallery is thus as implicit to its legacy as the exhibitions it has staged.” Same Mdluli (pp 92-93)

HISTORICAL LIST OF EXHIBITIONS: 1910-2015 This list was compiled using material from the JAG

Catalogue: Engravings, Etchings, Woodcuts and Mezzotints Lent by Howard Pim, Esq, CBE on Exhibition at the Art Gallery, Joubert Park, 1932.

1948

1951 03 April Contemporary French Art

online sources. We have attempted to ensure the

accuracy of all details listed as far as possible.

1937

02 July Contemporary British Paintings and Drawings Works for the exhibition were selected by John Rothenstein, William Coldstream and Allan Gwynne Jones. The exhibition toured South Africa from December 1947 to October 1948. Catalogue: Coldstream, W. 1948. Exhibition of Contem-

1910

The Howard Pim Bequest Exhibition of 509 (of the 551) original prints bequeathed by Howard Pim. Catalogue: The Howard Pim Bequest. 1937. Johannesburg Municipal Art Gallery.

porary British Paintings and Drawings, 1947-1948. London: British Council. 08 October South African Academy 29th annual exhibition.

1938

1949

08 February South African Academy 9th annual exhibition.

05 March New Acquisitions Exhibition of works acquired during 1948, including works by Édouard Vuillard, Vincent Van Gogh, Pierre Bonnard Catalogue of New Acquisitions, 1948. Johannesburg Art Gallery. Johannesburg: I Joffe & Co. 07 October South African Academy 30th annual exhibition. 24 December Christmas Exhibition: 16th Century Art

Library A-Books, newspapers, postcards, newsletters, annual reports, catalogues, invitations, and

09 May-13 June and 09-23 July The Foundation Collection The Gallery’s core collection was shown twice at the Whitechapel Art Gallery in London. Curated by Hugh Lane. 29 November The Foundation Collection First exhibition of JAG collection in Johannesburg, opened by the Duke of Connaught at the South African School of Mines and Technology on Eloff street, formerly called Transvaal University College, which eventually became the University of the Witwatersrand. Catalogue: The Municipal Gallery of Modern Art 1910: The Johannesburg Art Gallery.

1933-1936 No information available.

1939 17 February Paintings and Sculptures by British Masters Borrowed from the National and Tate Galleries in London.

1940-1941

1911-1915

1942

No information available.

1916 November Neumann Gift Small collection of Pre-Raphaelite and other works. Stored at the Tate Gallery, London, before being sent to Johannesburg. Displayed at JAG soon after its arrival in November 1916. Curated by Henry Tonks with the assistance of Robert Ross. Catalogue: CH Collins Baker. Neumann Gift to the Municipal Gallery of Modern Art, Johannesburg. London: Philip Lee Warner. Includes ten plates, and an Introduction: The PreRaphaelite Movement.

1917-1929

No information available.

1930 JAG collection Record of all works in the JAG collection, although not all displayed. Catalogue: Municipal Gallery of Modern Art Johannesburg. 1930. With biographical notes. 3rd revised edition 1932. Various supplements until c 1936.

1931

No information available.

1932 September Engravings, Etchings, Woodcuts And Mezzotints Loan exhibition from Howard Pim’s collection.

No information available.

05 January War Art

1945 12 October South African Academy 26th annual exhibition.

1946 11 October South African Academy 27th annual exhibition. Hague Collection The name of a small collection of paintings by Cézanne, Daumier, Pissarro, Renoir and Van Gogh owned by the Cassirer family. It was smuggled out of Berlin in 1935 and kept at the Gemeentemuseum, The Hague, until 1939. Reinhold Cassirer, who had moved to Johannesburg, arranged with the director of JAG, Anton Hendriks, to bring the collection from The Hague to JAG, where it was on loan from 1939 to 1961.

1947 26 June Modern Dutch Art 10 October South African Academy 28th annual exhibition.

1950 18 April Exhibition of Contemporary South African Paintings, Drawings and Sculpture Organised by the South African Association of Arts, the exhibition opened at the Tate Gallery in London on 20 September 1948 and subsequently toured to Holland, Belgium, France, Canada and the USA (1948-50). The exhibition included Gerard Sekoto. Catalogue: Exhibition of Contemporary South African Paintings, Drawings and Sculpture. 1948. Cape Town: Cape Town Branch South African Association of Arts; Tate Gallery. A catalogue of an exhibition held at the Tate Gallery. With reproductions, and a prelude of historical paintings. Organised by the South African Association of Arts for the Union Government, 1948-9. 29 September Collection of 17th Century Dutch Paintings The collection was presented to the Gallery by Eduard Houthakker. Catalogue: Carman, J. 1988. Dutch Painting of the Seventeenth Century. Nederlandse Skilderkuns van die 17de Eeu. Johannesburg: Johannesburg Art Gallery. Carman, J. 1994. Seventeenth-Century Dutch and Flemish Paintings in South Africa. A Checklist of Paintings in Public Collections. Johannesburg: Johannesburg Art Gallery. 13 October South African Academy 31st annual exhibition.

1952 12 April 17th Century Dutch Paintings and African Art An exhibition for the Van Riebeeck Festival. 2 700 visitors attend in a single day. 02 December Newly Acquired Pictures and Sculptures

1953 21 April Contemporary Belgian Painting 26 May German Graphic Art: 15th and 16th Century

1954 04 May Edvard Munch An exhibition of woodcuts, etchings and lithographs.

1955 11 October Modern German Graphic Art

1956 12 March Swedish Graphic Art 24 September Paintings of the Netherlands Impressionist School The exhibition formed part of the Johannesburg Festival. 12 November 1st Quadrennial Exhibition of South African Art December Japanese Colour Prints

1957 04 March Rembrandt Etchings 11 April Israeli Paintings 28 August Graphic Art 11 November South West African Artists An exhibition of drawings and graphic art from five South West African artists: Adolph Jentsch, Frits Krampe, Heinz Pulon, Otto Schröder, Jochen Voigts.

1958 09 January Henry Moore An exhibition of sculptures and drawings. 07 July Austrian Drawings and Graphic Art

27 October Transvaal Academy Exhibition

1959 01 January Graphic Art An exhibition of prints from the Renaissance to then present day. 05 October Transvaal Academy 07 December French Tapestries: 16th-20th Century The opening of the exhibition was postponed from 30 November due to the death of the Governor-General who was to open the exhibition.

1960 July New Acquisitions September 2nd Quadrennial Exhibition of South African Art October Transvaal Academy

1961 Jacaranda Festival September Prints from the Print Collection Featured artists: Paul Cézanne, Marc Chagall, Marcel Gromaire, Maurice de Vlaminck, Braque, Picasso, Jacques Villon, Édouard Vuillard, Pierre Bonnard, Auguste Renoir. December Print Exhibition: 15th-17th Century

1962 July Exhibition of Coloured Prints: 20 Century 08 October Transvaal Academy 9th annual exhibition. 06 September Exhibition of Competitors’ Drawing for the New Civic Center th

1963 10 June Contemporary French Painting August New Acquisitions Japanese and European prints, oil paintings, drawings, sculpture and French posters. 04 November Rock Art in Southern Africa Tracings of original rock art drawings from across South Africa. Catalogue: Rock Art in Southern Africa/Rotskuns in Suidelike Afrika. 1963. Johannesburg. Johannesburg Art Gallery. 03 December Transvaal Academy 10th annual exhibition. December Selection of Japanese Prints

1964 June Daumier

An exhibition of 64 lithographs and woodcuts by Honoré Daumier. 14 September Contemporary Belgian Painting October 60 Prints from the Howard Pim Collection 02 November Transvaal Academy 11th annual exhibition.

1965 01 April Pierneef: Watercolours and Drawings 22 May Third Quadrennial Exhibition of South African Art 01 July Picasso and His Contemporaries Featured artists: Georges Braque, André Derain, Kees van Dongen, Raoul Dufy, Marcel Gromaire, Henri Matisse, Max Pechstein, Pablo Picasso, Georges Rouault, Maurice de Vlaminck, Jacques Villon, Jan Wiegers. 07 October Lautrec, Renoir and Contemporaries Featured artists: Pierre Bonnard, Georges Bottini, Paul Cézanne, Marc Chagall, Henri Cross, Maurice Denis, Raoul Dufy, Henri-Gabriel Ibels, Alexandre Lunois, Pierre-Auguste Renoir, Ker-Xavier Roussel, Paul Signac, Théophile Steinlen, Henri de Toulouse-Lautrec, Jacques Villon, Édouard Vuillard, Wagner. 08 November Transvaal Academy 12th annual exhibition.

1966 10 January Constant Permeke An exhibition of paintings, sculptures and drawings. 17 February The Bible in Graphic Art Featured artists: Albrecht Altdorfer, Hans Sebald Beham, Bolsert, Ludolph Büsinck, Jacques Callot, Ugo da Carpi, Bartolomeo Coriolano, Hans Albrecht Von Derschau, Christian Wilhelm Ernst Dietrich, Anthony van Dyck, Albrecht Dürer, Hendrick Goltzius, Hendrick Goudt, Wenceslaus Hollar, Lucas van Leyden, Jan Lievens, Odilon Redon, Rembrandt, Vespasiano Strada, Eustache le Sueur, Guiseppe Nicolo da Vincenza, Hendrick Corneliszoon van Vliet, José Vela Zanetti. May The Republic Festival’s Art Exhibition May Fifty Japanese Prints Featured artists: Harunobu, Hiroshige, Hokkei, Hokusai, Hyakki, Kiyohiro, Kiyomasu, Kiyonaga, Koriusai, Koryusai, Kunimasa, Kunisada, Kuniyoshi, Okumura School, Shigenaga, Sorin, Toyokuni, Toyonobu, Torii School, Utamaro, Yasunobu, Yeishi, Yeizan. July 100 Years of French Graphic Art 28 September Adolph Jentsch On the occasion of Johannesburg’s 80th Anniversary. 23 November The Landscape in French, Dutch and English Art

1967 24 February 20th Century Graphic Art June 16th to 18th Century Graphic Portraits 25 September Le Corbusier 23 October Transvaal Academy 14th annual exhibition. 20 November Contemporary French Tapestries 15 December Fritz Krampe Memorial exhibition. Wenning Commemorative exhibition. Catalogue: Werth, A. 1967. Pieter Wenning 1873-1921 Commemorative Exhibition/Herdenkingstoonstelling, exhibition catalogue. Pretoria: Pretoria Art Museum.

1968 February Cliché-Verre Featured artists: Jean-Baptiste-Camille Corot, CharlesFrançois Daubigny, Eugène Delacroix, Jean-François Millet, Théodore Rousseau. 16 May Les Nabis Featured artists: Pierre Bonnard, Maurice Denis, Paul Gauguin, Henri-Gabriel Ibels, Aristide Maillol, Ker-Xavier Roussel, Félix Edouard Vallotton, Édouard Vuillard. 25 July Masters of the Black and White Print Featured artists: André Derain, Antoon Derkzen van Angeren, Raoul Dufy, André Dunoyer de Segonzac, Marcel Gromaire, Johan-Berthold Jongkind, Édouard Manet, Henri Matisse, Pablo Picasso, Georges Rouault, Jacques Villon, Maurice de Vlaminck. 16 August Ruth Prowse Memorial exhibition. November Portraits of the 19th and 20th Century

1969 March Japanese Woodcuts Featured Artists: Hiroshige, Hokusai, Kuniyoshi, Kunimasa, Koriusai, Otsu-E Shigenaga, Shunshō, Torii School, Toyokuni, Toyonobu, Utamaro, Yasunobu, Yeishi. 28 May Contemporary British Painting July Posters from the JAG Print Collection Featured artists: Pierre Bonnard, Jules Chéret, FernandLouis Gottlob, Eugène Grasset, Jules-Alexandre Grün, Henri-Gabriel Ibels, Armand Rassenfosse, Théophile Steilen, Jan Toorop, Henri de Toulouse-Lautrec, Jacques Villon. 27 October Maggie Laubser Retrospective Exhibition Catalogue: Van Rooyen, J. 1974. Maggie Laubser. Cape Town and Johannesburg: C Struik Publishers.

December Hugo Naudé Retrospective exhibition. 03 December Rembrandt Tercentenary Exhibition An exhibition of Rembrandt etchings from the Howard Pim Collection.

1970 25 March Ernst Barlach and Käthe Kollwitz Catalogue: Barlach/Kollwitz. 1970. Johannesburg: Rembrandt van Rijn Art Foundation. 15 April Sculptures for the Blind Catalogue: 1970. Supported by Rembrandt van Rijn Art Foundation. Contains Braille pages, by Braille Drukkery, Skool vir die Blindes, Worcester. July British Watercolours and Drawings An exhibition of British watercolours and drawings (17001875). Catalogue: An Exhibition of British Water-colours and Drawings (1700-1875) Lent by Kind Permission of a Recent British Settler. 1970. Johannesburg: Johannesburg Art Gallery 22 September Sculpture Competition for the Terminal at Johannesburg Airport A display of the maquettes of the competition’s finalists. 13 October Jean Welz Retrospective exhibition. Johannesburg Artists: Johannesburg Art Gallery Diamond Jubilee Exhibition Catalogue: Johannesburg Art Gallery & Jubilee Celebrations Committee. 1971. Souvenir of Exhibition of Johannesburg Artists, Organised in Celebration of the Diamond Jubilee of the Johannesburg Art Gallery. Johannesburg: Johannesburg Art Gallery. Quintennial Exhibition of South African Art

1971 March New Acquisitions – 1st Exhibition of Contemporary European Graphic Art 26 May Opening of the New Sculpture Garden June New Acquisitions – 2nd Exhibition of Contemporary European Graphic Art 04 October Sam Butler An exhibition of drawings, watercolours and oils. 19 October Oskar Kokoschka An exhibition of graphic works. 05 November 14 Johannesburg Artists 07 December Pierre Bonnard (1867-1947) The exhibition of paintings by Pierre Bonnard, a highlight of the Jubilee celebrations, was the most expensive exhibition to ever have been presented in South Africa at that time. Curated by Daniel Wildenstein.

Catalogue: Wildenstein, D. 1971. Pierre Bonnard, 18671947: Exhibition Johannesburg Art Gallery, 6 December 1971-9 January 1972: Johannesburgse Kunsmuseum 6 Desember 1971-9 Januarie 1972. London: Wildenstein and Company.

1972 March The Heyday of the Lithographic Poster Featured artists: Georges de Feure, Eugene Grasset, Privat Livent, Alphonse Mucha, Jan Toorop, Leopoldo Metlicovitz, Jules Cheret, Henri de Toulouse-Lautrec, Pierre Bonnard, Alexandre T Steinlen. April New Acquisitions of Paintings and Prints of Buffe May Pierneef Watercolours and Drawings July Emilio Greco An exhibition of etchings and watercolours. August Repeat: Graphic Art of Bonnard and the Nabis 30 August Contemporary Tapestries An exhibition of contemporary South African tapestries. 11 October Republic of South Africa Exhibition 1972 14 November British Printmakers An exhibition of British prints from 1968-1970. 12 December Christmas Exhibition of South African Art

1973 09 February Henry Moore – Elephant Skull An exhibition to celebrate the purchase of two sculptures by Henry Moore, based on an elephant skull, as well as 28 etchings. In 1969/70, Moore was given an elephant skull, which he explored through his etchings and sculptures in the show. The department of zoology at the University of the Witwatersrand loaned the elephant skull to the Gallery for the duration of the exhibition. 11 June The Sanlam Collection An exhibition of paintings from The Sanlam Collection of South African Art. July French Abstract Art Works on display by French Abstract Artists. Featured artists: Pierre Soulages, Victor Vasarely, Hans Hartung, Karel Appel, Jesús Rafael Soto, Yaacov Agam. 16 July Aspects de l’Art Contemporain en France 09 September Homage to Pieter Wenning An exhibition to coincide with the artist’s birthday. 22 October Vollard 14 November British Printmakers 1968-1970 December Christmas Exhibition

An exhibition of Gothic sculpture and religious prints.

1974

29 May Printing Techniques

22 January Picasso A display of the newly acquired work by Picasso, Tête D’Arlequin. The acquisition of the work garnered much dispute amongst the public concerning its cost (but marks a notable increase of visitors to the Gallery!). (see pg 173) 18 March 3 Centuries of French Art : François I to Napoleon I Featured artists: Claude Lorrain, Jean-Antoine Watteau, Théodore Gericault, Jacques-Louis David. 02 May South African Collection 06 May Modern Dutch Art 06 June Japanese Prints An exhibition of 44 Ukiyo-E woodblock prints, depicting pictures of everyday life, particularly those of women and actors. Featured artists: Sorin Hyakki, Utamaro, Uninosuke, Moronobu, Hiroshige, Harunobu, Hokusai, Hiroshige, Utamaro, Yeishi, Utamaro, Kuniyoshi, Kunisada, Utagawa Toyokuni, Shunsho, Shunyei, Torii Kiyomasu, Toyokuni I, Isada Koriusai, Shunshō. Yeizan, Rekisentei, Kunimasai, Otsu-E, Kishosai Yasunobu, Katsushika Taito. 30 July New Acquisitions Recently acquired works by Paul Wunderlich were exhibited along with prints by Achilles Droungas, Claude van Lingen and Giuseppe Catteneo. September Emillio Greco An exhibition of prints. 16 September Francisco Goya An exhibition of etchings by the Spanish artist. 21 October Maurits Escher An exhibition of graphic works. 05 November SA Watercolours An exhibition of 33 works by 9 South African artists: Adolph Jentsch, JH Pierneef, Enslin du Plessis, Maud Sumner, Edith LM King, Robert Gwelo Goodman, Erich Meyer, Annamarie Oppenheim, Florence Zerffi. December Picasso Slide Exhibition A slide exhibition in companion to Picasso’s Tête D’Arlequin, acquired in 1973, featuring images of Picasso’s earlier paintings. Curated by Philip Feitelberg and John Rushmer. 09 December Moses Kottler A retrospective exhibition of sculptural work. Catalogue: Werth, A. 1974. Moses Kottler: Retrospective Exhibition/Oorsigtentoonstelling. Pretoria: Pretoria Art Museum. Afrikaans and English. Catalogue of the retrospective exhibition shown at the Pretoria Art Museum, Johannesburg Art Gallery and South African National Gallery, Cape Town, 1974-1975.

1975 21 January Contemporary South African Art An exhibition of 74 works by 45 South African artists from the JAG reserve collection. Featured artists: Lionel Abrams, Amando Baldinelli, Walter Battiss, Noel Bisseker, Wim Blom, Norman Catherine, Christo Coetzee, Nerine Desmond, Pranas Domsaitis, Eleanor Esmond-White, Bertha Everard, Ruth Everard Haden, Katrine Harries, Willem Hendrik Gravett, Claude van Lingen, Judith Mason, Leonard Matsoso, Hans Potgieter, Starkey, Merlyn Evans, P Anton Hendriks, Karen Jaroszyska, Cecil Higgs, May Hillhouse, Edith LM King, Maggie Laubser, Louis Maqubela, Dirk Meerkotter, Hugo Naudé, Patrick O’Connor, Frans Oerder, Douglas Portway, Cecily Sash, Otto Schroeder, Cyprian Shilakoe, Cecil Skotnes, George Smithard, Nita Spilhaus, Anthony Starkey, Maud Sumner, Anna Vorster, Jean Weltz, Pieter Wenning, Matthew Whippman, Florence Zerffi. 18 March 20th Century Graphic Work Featured artists: Mario Avati, André Beaudin, Hans Bellmer, Salvador Dalí, Jim Dine, Achilles Droungas, Richard Hamilton, David Hockney, Gerd Winner, Paul Wunderlich, Joan Miró, Robert Rauschenberg, Bridget Riley, James Rosenquist, Victor Vasarely, Antonio Tapies, Janvier Vilato, Mark Tobey, Gene Davis, Robert Jennison, Asger Jorn, André Masson, Terence Millington, Richard Smith. 19 May French Tapestries An exhibition of approximately 20 French tapestries. 26 August The Technique of Engraving and Etching from Dürer to Dine The first in a three-part series of print exhibitions. This display focused on graphic work that uses the engraving and etching techniques. 14 November 50 Prints from the Howard Pim Collection 08 December Emile Antoine Bourdelle (1861-1929) An exhibition of paintings and sculptures. A Comprehensive Exhibition of Contemporary South African Art of the Reserve Collection Exhibition in honour of Sir Hugh Lane’s 100th birthday

1976 30 January 500 Years of the Woodcut The second in a three-part series of print exhibitions. This display focused on graphic work using relief printing. 07 May The Extension to the South African Collection The official opening of the new basement exhibition space for the South African Collection, in conjunction with the unveiling of a plaque commemorating Sir Hugh Lane, who formed the initial collection. JAG previously had not had space to exhibit its Contemporary South African Collection. Artists represented: Lionel Abrams, Armando Baldinelli, Walter Battiss, Noel Bisseker, Wim Blom, Norman Catherine,

Christo Coetzee, Patrick O’Connor, Karin Jaroszynska, Claude van Lingen, Judith Mason, Louis Maqhubela, Douglas Portway, Geoffrey Armstrong and Hans Potgieter. 16 June The Rise of Lithography The third in a three-part series of print exhibitions. This display focused on graphic work using lithography. 12 October Helen Frankenthaler With Hans Hartung and Pierre Soulages. 06 December Christmas Festival A lunch-time launching of a Christmas Festival in celebration of the 90th anniversary of Johannesburg. Included an exhibition of prints from the print cabinet and an exhibition of the newly acquired Helen Frankenthaler painting, with graphic works by European abstract painters Hans Hartung and Pierre Soulages.

1977 12 January Wolf Kibel: Prestige Retrospective Exhibition A retrospective exhibition. Catalogue: Van Niekerk, RH. 1976. Wolf Kibel: Retrospective Exhibition 1976/Oorsig Tentoonstelling. Cape Town: SA National Gallery. 07 February 20th Century Lithographs An exhibition of lithographic prints ranging from Cubism to Pop Art. 10 March Moses Kottler A tribute. 13 May French Works An exhibition of French works from the Gallery’s storeroom. 20 June How We Got Our Art Gallery 21 June Rubens and the Reproductive Engraving 1977 marked the 400th anniversary of the artist’s birth, and was declared the international Rubens Year. 20 September The Ascent of Man: Films of Lectures by Jacob Bronowski A series of screened lectures by Bronowski. Films featured: Lower than the Angels; The Harvest of the Seasons; The Grain in the Stone; The Hidden Structure; Music of the Spheres; The Starry Messenger; The Majestic Clockwork; The Drive for Power; The Ladder of Creation; World Within; Knowledge or Certainty?; Generation upon Generation; The Long Childhood. 03 October Graphic Art in Germany Today An exhibition of works by 54 artists, mainly from the 1950s and ’60s. 06 December JAG Guest Artist Project 1: Jo Smail Residency programme of local guest artists at JAG.

1978 10 January JAG Guest Artist Project 2: Bernice Michelow

07 February Museums In Education An informative exhibition on education in the museum. 07 March The Camden Town Group An exhibition of works by artists from the Camden Town Group, from the Gallery’s British collection. Featured artists: Augustus John, Spencer Gore, Walter Bayes, Harold Gilman, James Innes, Lucien Pissarro, Walter Sickert. 29 March William Blake (1757-1827) An exhibition of hand-coloured facsimiles of Blake’s watercolours designed for poems by Thomas Gray. Gray, T & Blake, W. 1971. Poems By Mr Gray, Drawings By William Blake. London: Trianon Press. 08 May The Animal in Art An exhibition organised by the Rembrandt van Rijn Art Foundation in commemoration of the 10th Anniversary of the South African Nature Foundation. Catalogue: The Animal in Art/Die Dier en die Kuns. 1978. Presented by the Rembrandt van Rijn Art Foundation. 20 June Isaac Witkin: Sculptor A small display of early sculptures and photographs. 04 July JAG’s Guest Artist Project 3: Claude van Lingen 01 August JAGs Guest Artist Project 4: Malcolm Payne 01 September Daubigny, Corot and the Cliché-Verre An exhibition to commemorate the centenary of the death of Charles-François Daubigny. Additional works by JeanBaptiste-Camille Corot – one of Daubigny’s closest friends – were exhibited, representing the other end of the Barbizon School; as well as works by Jean-François Millet and Théodore Rousseau. Catalogue: Daubigny, Corot, and the Cliché-verre: Exhibition 1 September-1 October, 1978. 1978. Johannesburg: Johannesburg Art Gallery. 09 October German Expressionist Prints An exhibition of prints by German Expressionist artists, featuring Käthe Kollwitz, Emile Nolde, Max Pechstein, Karl Schmidt-Rottluff. 07 November JAGs Guest Artist Project 5: Judith Mason and Marguerite Weavind An exhibition of mohair tapestries by Weavind displayed alongside their original designs by Mason. 21 November JMW Turner (1775-1851) The film, Rebel Angel – a commemorative film to Turner – was screened in conjunction with an exhibition of prints. 11 December Art of The Space Age At that point, the longest-running non-permanent exhibition to run at JAG – for a period of 9 months – presented by the Peter Stuyvesant Foundation. The exhibition featured 48 artists. Catalogue: Alexander, FL et al. 1970. Art of the Space Age: A Collection Loaned by the Peter Stuyvesant Art Foundation. Auckland: Auckland City Art Gallery.

1979 06 February JAG’s Guest Artist Project 6: Noel Bisseker

06 March The Ascent of Man: Films of Lectures by Jacob Bronowski Re-screening of films. 13 March Constance Stuart Larrabee The first photographic exhibition at JAG featuring photographs by Constance Stuart Larrabee, South Africa’s first woman war correspondent during WWII. Larrabee was present at the opening. 25 March Vincent van Gogh: The Lark and the Crow A play performed at JAG about the life of van Gogh, developed from his letters and photographs of his work. Over 75 images of his work were shown in this dramatic context where critical events of his life were explored. Curated by Phil Feitelberg; written by Christopher Consani and directed by Norman Coombes. 18 April Modern British Bookbinding An exhibition of 23 hand-bound books by artist bookbinders. Featured books included Euripides’ The Bacchae, James Joyce’s Finnegans Wake, Treatises on Goldsmithing and Sculpture by Benvenuto Cellini, and Lord of the Rings by JRR Tolkien. 05 June Katrine Harries (1914-1978) An exhibition of oil paintings, prints and drawings, and studies for book illustrations. Catalogue: Fransen, H. 1978. Katrine Harries: 1914-1978. Cape Town: South African National Gallery. 19 June Ways of Seeing: Film Screening Screening of John Berger’s four-part series. 13 July JAGs Guest Artist Project 7: Nel Erasmus Erasmus used the space to show creative work as a process of possibilities, constant change and choice. August Additions to the English Collection 11 August Honoré Daumier (1808-1879) An exhibition commemorating the centenary of Daumier’s death. Works on display included lithographs, woodcut prints and JAG’s two sculptures. September The South African Collection – A New Look A re-arrangement of the South African Gallery, displaying some South African works from the Gallery’s reserve for the first time. Featured artists: Geoffrey Armstrong, Lee Brews, Trevor Coleman, Nel Erasmus, Ezrom Legae, Ruth Levy, Claude van Lingen, Berenice Michelow, Nico van Rensburg, Jo Smail, Elizabeth Vels, Peter Webber, Sydney Kumalo, Willem de Sanderes Hendrikz, Edoardo Villa, Spies Venter, Suzette Eglington, Thelma Marcuson, Rita Tasker. 04 September Cutlery Through the Ages An exhibition of over 200 pieces of eating implements (forks, knives, spoons) and cutting implements (scribes’ knives, razors, scissors, fleams, snuffers), from Stone Age flints, medieval excavation knives, to current day implements. Catalogue: Carman, J. 1979. Cutlery Through the Ages. Johannesburg: Johannesburg Art Gallery.

19 November Walter Battiss An exhibition of 130 print works, books, ceramics, wooden sculptures, photographs and Fook Island objects. Catalogue: Werth, A. 1979. Walter Battiss: Comprehensive (Travelling) Exhibition. Pretoria: Pretoria Art Museum. 28 December Eduardo Paolozzi An exhibition of sculptures, drawings, prints, photographs from 1947-1968 by Paolozzi – considered one of the founders of Pop Art. 27 December British Engravings in Wood Fashion designers for the first time reveal the latest in haute couture at JAG

1980 01 February Paul Nash (1899-1946) Exhibition of photographic works. 04 March Exhibition of New Acquisitions Featured works included Donald Judd’s ‘Untitled’ Progression (1967/76), Edvard Munch’s Drawing of Two Figures (c 1890), and Georg Grosz’ Dancing (1925). Other artists featured included Kevin Atkinson, Judith Mason, Elizabeth Vels, Suzette Eglington, Willem de Sanderes Hendrikz, Sydney Kumalo, Thelma Marcuson, Rita Tasker, Spies Venter, Edoardo Villa, Peter Webber, WH Coetzer, Nel Erasmus, Ezrom Legae, Nico van Rensburg, Harold Rubin, William Blake, Gaston de Latenay. 11 March JAG’s Guest Artist Project 8: Paul Stopforth 14 April South African and International Tapestries and Wall Hangings An exhibition of mostly contemporary tapestries from 20 different countries. 19 April From Realism to Performance A series of lectures by members of the History of Art and Fine Art departments at the University of the Witwatersrand, including William Holloway, Elizabeth Rankin, Brenda Danilowitz, Terry King and Alan Crump. 19 May Pierneef/Van Wouw An exhibition of 20 sculptures by Anton van Wouw (18621945) and 31 oil paintings and 9 casein works by Jacob Hendrik Pierneef (1886-1957). Catalogue: Pierneef, JH & Van Wouw, A. 1980. Pierneef, Van Wouw: Skilderye en Beeldhouwerke deur Twee SuidAfrikaanse Meesters/ Paintings and Sculptures by Two South African Masters: Catalogue of the Exhibition. Johannesburg: Kunsstigting Rembrandt van Rijn. 20 May Pierneef Watercolours and Drawings 16 June Hommage à Jean Lurçat An exhibition of 20 tapestries from 1941-1965. Catalogue: Lurcat, J & Rothmans of Pall Mall Canada. 1967. Hommage à Jean Lurcat: A Collection of Contemporary French Tapestries by the Late Jean Lurcat. Toronto: Rothmans of Pall Mall Canada. 30 July Surrealist Works

05 August South African Professional Photographs Photographers from the fields of fashion, photojournalism and advertising were invited to submit photographs to the South African National Gallery, and were re-exhibited at JAG. They included: Cloete Breytenbach, Robert Brooks, Mervyn Clark, Ian Difford, Michael Donnelly, Costa Econmides, Stanley Eppel, Philip Fischer, Mike Fitzpatrick, Gavin Furlonger, Martin Gent, Steve Gordon, Glynn Griffiths, Neil Hermann, Noel Hodnett, Rob James, Anthony Johnson, Horst Klemm, Fiona Macpherson, Tony Meintjies, John Minty, John Paisley, Al Pereira, André Pienaar, Ian Reeves, Dan Roberts, Struan Robertson, Aurora Roland, Andrzej Sawa, Graham Stebbings, Susan Tatham, Marc Tiganis, Lambro Tsiliyannis, Jac de Villiers, Wendy Vogt, Barry White. 13 August British Drawings and Watercolours 08 September Five Sculptors: An Exhibition of Metal Sculpture An exhibition of the Afrox Metalart guest artists: including Edoardo Villa, Johan van Heerden, Neels Coetzee, Gavin Younge, Ian Redelinghuys. 13 October The Cinzano Glass Collection An exhibition of ± 135 pieces of drinking vessels through the ages from all over the world. Curated by Peter Lazarus. Catalogue: Lazarus, P. 1978. The Cinzano Glass Collection. Published by Cinzano. 03 November WH Coetzer 09 November 1980 was Willem Hermanus Coetzer’s 80th birthday. In celebration, the Gallery displayed its works by the artist in support of a comprehensive exhibition that was held at the Africana Museum at the same time. 24 November South African Paintings and Drawings from the Collection of the Friends of the Johannesburg Art Gallery An exhibition of ±70 works from 45 artists, for the 70th anniversary of the Gallery’s Collection. Curated by Jillian Carman.

1981 12 January Contemporary German Prints: Constructivists/ Realists An exhibition of 99 works (dated between 1945-1981) by 33 artists. Featured artists included: Josef Albers, Günther Uecker, Horst Antes, Paul Wunderlich, Reiner Schwars. Catalogue: Grochowiak, T. 1980. Contemporary German Prints, Constructivists, Realists: 33 Artists of the Federal Republic of Germany. Stuttgart: Institute for Foreign Cultural Relations. 10 February Virtues and Vanities: Women Depicted by Printmakers in France in the 19th Century An exhibition of 55 prints and posters. 16 March British Artists’ Prints: 1972-1977 An exhibition of 56 prints and series of prints. Featured artists: Richard Allen, Anthony Benjamin, Robyn Denny, Richard Hamilton, Allen Jones, Victor Pasmore, Bridget Riley. 11 April Oro Del Peru

A selection of exhibits from the pre-Inca and Inca gold collection of the Oro Del Peru Museum in Monterico, Lima. Catalogue: Gallo, MM, Rey, AR, Quesada, AM. 1981. Oro Del Peru: An Illustrated Catalogue. Lima: Monterrico. 06 May Architectural Models An exhibition of models, plans and drawings submitted by architects around the country. 09 June JAG’s Guest Artist Projects 9: Thijs Nel 07 July The Roberts Bushman Art Collections An exhibition of life-size copies of Bushman rock paintings – copied by Harald Pager between 1967-1969 – spanning a hundred years, from the Ndedema Gorge in the Drakensburg Mountains of [Kwa-Zulu-]Natal. Catalogue: The Roberts Bushman Art Collection. 1981. Murray & Roberts. 04 August Ukiyo-E: Pictures from The Floating World An exhibition of Japanese prints. Featured artists: Hishikawa Moronobu, Ishikawa Toyonobu, Torii Kiyohiro, Nishikawa Sukenobu, Torii Kiyomasu, Suzuki Harunobu, Nishimura Shigenaga, Isoda Koryūsai, Kubo Shunman, Kitao Masayoshi, katsukawa Shunsho, Torii Kiyonaga, Kitao Shigemasa, Kitagawa Utamaro, Katsukawa Shun-Ei, Chōbunsai Eishi, Rekinsentei Sorin, Utagawa Toyokuni, Katsushika Hokusai, Utagawa Hiroshige, Yanagawa Shigenobu, Utagawa Kunisada, Utagawa Kuniyoshi. An Usucha service (tea ceremony) was held on the 14th August and Ikebana flower arrangements were made for the occasion. 08 September JAG’s Guest Artist Project 10: Willem Boshoff 06 October Picasso’s Printmakers An exhibition of prints, dating from 1905-1966, to commemorate the centenary of Picasso’s birth. 17 November Richard Hamilton: Interiors 1964-1979 An exhibition of paintings, drawings, watercolours and graphic work by the British Pop artist, as well as other artists from the Gallery’s Print Cabinet. 15 December Inuit Art: Art of the Canadian Eskimo An exhibition of 79 sculptures and graphic work from the National Museum of Man, Ottawa, Canada and The Rothermans Permanent Collection of Inuit Sculpture, Canada. Small displays in 1981: 10 February British Drawings and Watercolours 28 April Post-Impressionism to Cubism (Donkey display) 23 June Dutch 17th Century Landscapes (Dutch room) 03 July Wood Engravings (Donkey display) 14 July 17th Century Dutch Prints (Dutch room) 03 September Whistler Prints (Donkey display) 08 October Dürer Prints (Dutch room)

04 December Surrealist Prints (Donkey display) Lace Display

1982 02 February JAG’s Guest Artist Project 11: Johann Moolman Moolman exhibited various plaster figures integrated with wood and steel constructions, and a series of paper relief collages. 02 March Harry Hammond: Pop People An exhibition of over 100 photographs from 1948-1963 reflecting on the lives and legends of celebrities involved in shaping British popular music. 01 April Equus – The Image of the Horse An exhibition of over 100 items depicting horses, from all over the world. Curated by Reinhold Cassirer and Jillian Carman. Catalogue: Equus: The image of the Horse. Sponsored by The Premier Group Limited, Johannesburg. 08 June JAG’s Guest Artist Project 12: Giuseppe Cattaneo The works exhibited were paper architectural sculptures developed from photographs the artist took at the Thames in London. 06 July Henry Moore – Elephant Skull An exhibition to celebrate the purchase of two sculptures by Henry Moore, based on an elephant skull, as well as 28 etchings. In 1969/70, Moore was given an elephant skull, which he explored through his etchings and sculptures in the show. The department of zoology at the University of the Witwatersrand loaned the elephant skull to the Gallery for the duration of the exhibition. Fans An exhibition of Italian, English, French and German fans from the 18th and 19th centuries. 17 August JAG’s Guest Artist Project 13: Hans Potgieter 14 September South Africa: Photo Statements An exhibition of photographs by 16 contemporary South African photographers, including Omar Badsha, Rodney Barnett, Jan Erasmus, David Goldblatt, Henion Han, Michael Barry, Jenny Altschuler, Susan Giloi, Ben Maclennan, Ian Joseph, Martin Wells, Glynn Griffiths, Paul Konings, Michael Wyeth, Joan Hughes, Beverley Moss. 19 October Roy Carruthers An exhibition of oil paintings, drawings and lithographs depicting massive bodies, many-fingered hands, extended necks, elongated heads and distorted furniture and objects of Carruthers’ still-lives. 16 November JAG’s Guest Artist Project 14: Willem Strydom The artist’s concerns with the urban and industrial landscape were illustrated through constructions of steel, cast iron, wood and stone. The World of Gilbert and George Exhibition of the recently acquired The Morning After (1981). 21 December John Piper and English Neo-Romanticism

An exhibition of 70 works that exemplified English NeoRomanticism from the early 19th century to the early 1940s, presented by the 1080 Foundation in association with The National Museum of Wales and the South African National Gallery. Small displays in 1982: March Sculpture Techniques (Donkey display) May Jim Dine and Rosenquist Prints (Donkey display) September Sculpture Techniques October Walter Battiss (Gallery works)

1983 01 February Cape Town Triennial 1982 An exhibition of the final 69 works from the national competition of contemporary South African art. Finalists included Karel Nel, Annette Pretorius, John Clarke, Davydd Myburgh, John Nowers, Ada van de Vijver. 29 March Landscape from the Print Collection An exhibition of over 100 prints from the Dutch 17th century, French and English 19th and early 20th centuries. The show attempted to illustrate the conceptual development of landscape in art. 17 May Ian Redelinghuys: Sculpture Exhibition An exhibition of 9 new major works, cast or welded in brass, bronze, stainless and mild steel. The sculptures were installed in such a way as to emphasise a built environment or objects in a playground, forcing viewers to interact with them as such. 04 July 23 American Artists An exhibition of prints, photographs and other works on paper. The exhibition was compiled to provide a brief overview of American art in the 1970s. Featured artists: Cy Twombly, Alexander Calder, Robert Rauschenberg, Ron B Kitaj, Sol Lewitt, George Segal, Richard Tuttle, Bill Beckley, Christo, Roger Cutforth, John E Dowell, Helen Frankenthaler, Edward Giobbi, Stephen Greene, Alexander Lieberman, Brice Marden, Brenda Miller, Robert Motherwell, Stephanie Oursler, Beverly Pepper, Man Ray, William Wegman, Roger Welch. 08 August JAG’s Guest Artist Project 15: Karel Nel 15 August 40 Years of British Sculpture The exhibition provided an introduction to the development of British sculpture over the previous decade. Sculptures by 11 British artists were complimented by drawings, prints and sketches, supporting the sculptural projects. Featured artists: Henry Moore, Barbara Hepworth, Lyn Chadwick, Robert Adams, Anthony Caro. Catalogue: British Council. 1982. 40 Years of British Sculpture. Great Britain: The British Council. 05 September David Goldblatt: Thirty-Five Years of Photographs An exhibition of photographs covering 1948-1982. Catalogue: David Goldblatt: Thirty-five Years of Photographs, April 1983 to January 1984/Vyf-en-dertig Jaar se Foto’s,

April 1983 tot Januarie 1984. Cape Town: South African National Gallery. 1983. 11 October Swiss Photographers from 1840 until Today An exhibition of over 300 photographs by 114 photographers, displaying the camera’s potential as an artistic medium and its technical evolution over the previous 140 years in Switzerland. Featured artists: Fred Boissonnas, Paul Senn, Gottard Schuh, Werner Bischof, Hans Finsler. 14 November My Environment The 21st Santam Child Art exhibition aimed at all schoolgoing children to promote awareness and involvement in society and the environment. 13 December École de Paris: De Renoir À Kisling An exhibition of 63 works, mainly of oil paintings, representing artists from the École de Paris (The Nabis, Fauvism, Cubism, Surrealism) covering the period of 1880 to 1930.

1984 30 January Ezra Stoller: Photographs of Architecture 19391980 An exhibition of photographs depicting architectural designs by architects such as Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Walter Gropius. 31 January The New Johannesburg Art Gallery A display of Sir Edwin Lutyens’ original plans of the Gallery (1911), as well as the plans for the new extension and scale models. 13 March 75th Anniversary of Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns: Exhibition of Medal-Holders 1935-1983 An exhibition of works by 26 of the 28 artists who had been awarded the Akademie’s Medal of Honour for Painting, Graphic Art or Sculpture, since 1935. Featured artists included Maggie Laubser, Alexis Preller, Adolph Jentsch, Moses Kottler, Irma Stern, Maud Sumner, Christo Coetzee. 17 April The Changing Face of Art: Conservation in Progress An exhibition intended to illustrate the processing involved in conservation, restoration and preservation of the Gallery’s collection. Demonstrations were given on painting techniques, x-radiography, cleaning, repairing, etc. JAG’s Restorer/Conservator, Miss J Pringle, gave special tours of the exhibition. 28 May Impressions ‘84 The first exhibition, of 75 works, from the national student (tertiary level) competition hosted by the Rolfes Foundation of Student Art. 25 June Images of Man An exhibition of 62 sculptural studies of the human head by 51 artists, including Antoine Bourdelle, Jacob Epstein, Aristide Maillol, Amedeo Modigliani, Auguste Rodin, Sydney Kumalo, Elza Dziomba, Moses Kottler, Lippy Lipshitz, Lucas Sithole. 31 July French Theatrical Prints and Posters

A selection of 19th century French theatrical prints from the Gallery’s collection. Catalogue: Jules Cheret 1836-1932. 1984. Johannesburg: Johannesburg Art Gallery. Introduction by Margaret Vorster. 28 August Clément Sénèque A retrospective exhibition of 82 works (1897-1930). 25 September Jim Dine: Nancy Outside in July An exhibition of 25 etchings by the American artist. The prints were made between 1978 and 1981 and were of the artist’s wife, Nancy. 30 October Peter Schütz An exhibition of sculptures by the winner of the 1984 Standard Bank Young Artist Award for Fine Art. 27 November Collage Principle An exhibition of 52 original collages by 23 contemporary artists, including Joseph Beuys, Wolfgang Ehehalt, Peter Sorge, Jochen Gerz. The exhibition was supplemented by documentation outlining the history of collage as a medium, beginning in 1912 with the Cubists, and a survey of contemporary example of collage, photomontage and décollage.

1985 14 January Marguerite Stephens An exhibition of 27 tapestries, beginning with her interpretation of a Cecil Skotnes design (1960) to a 1984 interpretation of the same work. 19 February Additions to the South African Collection 1981-1984 An exhibition of new additions (purchases and gifts) to the Gallery’s South African collection, received between 1981 and 1984, dating from 1898-1984. Featured artists included Neels Coetzee, Paul Emsley, Robert Hodgins, Malcolm Payne, Paul Stopforth, Pieter Wenning, Frans Oerder. Catalogue: Additions to the South African Gallery: 1981 – 1984. Johannesburg: Johannesburg Art Gallery. Tribute to Maud Sumner (1902-1985) The exhibition paid tribute to the artist who died on 14 January 1985. There were oil paintings, watercolours and drawings from the Gallery’s collection on display. 25 March Théophile-Alexandre Steinlen An exhibition of 68 paintings, drawings, prints and posters documenting contemporary life [in Europe] at the end of the 19th century to the 20th century, focusing on the poorer classes during the First World War. 23 April JAG’s Guest Artist Project 16: Elizabeth Vels 20 May Rolfes National Student Art Exhibition: Impressions ‘85 The second exhibition of the national student (tertiary level) competition hosted by the Rolfes Foundation of Student Art. 25 June Recent South African Ceramics An exhibition of ceramics by 31 contemporary South African ceramists, including Susan Annandale, Claudia Cooper, Maggie Mikula, Suzette Munnik, Hilton Nel, John Nowers, Clementina van der Walt.

30 July Encounters ‘85 The exhibition consisted of a series of oil paintings, drawings, watercolours and pastels titled Encounters by Marion Arnold, winner of the 1985 Standard Bank Young Artist Award in Fine Arts. Catalogue. 17 September Video Art An exhibition of video art, including Eurasian Staff-Action (1968) by Joseph Beuys; Berlin – Exercises in Nine Pieces (1974-75) by Rebecca Horn; X-Projection (1972) by Wolf Knoebel; Cologne Cathedral as Medium (1980) by Nam June Paik/Ingo Günther; The New Symbolic Body Language of Sex According to Laws of Anatomy, Geometry, and Kinetics (1972) by Friederike Pezold; Reflections on The Birth of Venus (1976-78) by Ulrike Rosenbach. 12 November Centenary Sculpture Competition An exhibition of maquettes by the 8 finalists of the Johannesburg Art Gallery Centenary Sculpture Competition. Finalists were Bruce Arnott, David James Brown, Gaby Cheminais, Guy du Toit, Claire Gavronsky, Willem Strydom, Edoardo Villa, Gavin Younge. Centenary Print Portfolio An exhibition of original designs for the Johannesburg Art Gallery’s print portfolio and works of various media. Portfolio.

1986 01 January JAG is closed for renovations 23 October Johannesburg Art and Artists: Selections from a Century A major exhibition tracing the development of art and artists in Johannesburg over 100 years. The show was chronologically divided into four sections. The first part of the exhibition focused on the artists that established an art life in Johannesburg between 1886-1939; the second section displayed the work of the artists Anton van Wouw (18621945) and Hermanus Coetzer (1900-1983), who substantially contributed to the art scene in Johannesburg; the third section emphasised the artistic achievements of the 1950s and 1960s, especially from the Johannesburgbased groups: The WITS Group, the Amadlozi Group and the Polly Street Art Centre; the fourth section was a retrospective of the Gallery’s Guest Artist Projects, which ran from 1977, which reflected trends in contemporary art making. Catalogue. Jacob Hendrick Pierneef (1886-1957) Printmaker An exhibition displaying a selection of landscape prints. 24 November Cape Town Triennial 1985 An exhibition of 96 selected works from the national competition, that travelled around South Africa. Catalogue. 01 December Dulux Awards for The Creative Use of Colour in Design 1986 An exhibition of the results of the national competition encouraging the use of colour on interior and exterior surfaces of residential, industrial and commercial buildings.

1987 Centenary Sculpture Competition Installation of the winning works. 20 January The South African Collection Revisited An exhibition of JAG’s Permanent South African Art Collection, which had just moved to the new extensions of the Gallery. Portfolios: A Selection of Contemporary Prints and Photographs An exhibition of contemporary prints and photographs collected by the Gallery as portfolios and/or as group works, from Britain and South Africa. 10 February The Modern International Collection A display demonstrating the development of art since the Cubist period (1912) to then present day (1987). The exhibition was divided into two sections – the first focused on earlier works from France, while the second showed the later influence of North America. 17 March Rembrandt Harmensz van Rijn (1606-1669) An exhibition of prints by the 17th century Dutch master. 24 March Robert Hodgins: Images (1953-1986) A retrospective exhibition of work by the 1986 Standard Bank Guest Artist. Catalogue. 31 March New Acquisition: Sunset, Return of the FishingFleet by Hendrik Willem Mesdag (1831-1915) 28 April Vita Art Now The AA Mutual Life Vita Art Awards’ first exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg during 1986. Annual award winner: Karel Nel; Quarterly award winners and runnersup: David Brown and Robert Hodgins; Quarterly award winners: Guy du Toit and Karin Jaroszynska. Catalogue. 01 May Ilford Photo Press Awards 1986 The first annual Ilford exhibition of photographs. The competition was formerly known as the South African Press Photographer of the Year. The prize-winning works, and a selection of other entries, were on display. 26 May Honoré Daumier (1808-1879) A selection of lithographs. 09 June JAG’s Guest Artist Project 17: Edoardo Villa 07 July Relief Prints Featured artists: Jean Welz, Gregoire Boonzaier, Alfred Krenz, Walter Battiss, Cecil Skotnes, Maurice van Essche, Cecil Higgs, Eleanor Esmond-White, Maggie Laubser, P Anton Hendriks, JH Pierneef, Bartholomeo Coriolano, Ludolph Businck, Paul Gauguin, JG Platt, Maurits Escher, Garrick Palmer, Jan Wiegers, Hans Albrecht Von Derschau, Albrecht Dürer, Felix Vallaton, Charles William Taylor, Auguste Louis Lepère, Antonio Zanetti, Lucas Cranach, Maurice de Vlaminck, Gwendolen Raverat, Eric Daglish, Garrick Palmer, Allen William Seaby, Wassily Kandinsky, Albertus Sok, Raoul Dufy, Adja

Yunkers, Otto Nebel, Michael Rothenstein, Herman Max Pechstein, Azaria Mbatha, Utagawa Kuniyoshi. 29 July Reginald Turvey (1882-1968) Retrospective of works by the ‘spiritual father’ of the Bahá’í of South Africa. Catalogue: Johnson, L (ed). 1986. Reginald Turvey: Life and Art. Abingdon: George Ronald. July Flying the Kite and Boys by Dame Laura Knight (1877-1970) Two of Dame Laura Knight’s most important early works were shown together for the first time since their exhibition at the Royal Academy in 1910 – Flying the Kite (SANG collection) and Boys (JAG collection). 18 August Druckgraphik Aus Frankfurt An exhibition of 38 print works. 25 August Children’s Linocuts 09 September Jacob Hendrik Pierneef (1886-1957): The Johannesburg Station Panels The panels on display were loaned to the Gallery by The South African Transport Services. Brochure by Jillian Carman. Related book: NJ Coetzee, NJ. 1992. Pierneef Land and Landscape: the Johannesburg station panels in context / Pierneef, Land en Landskap: Die Johannesburg Stasiepanele in Konteks. Fourways: CBM Publishers. 22 September New Prints: Recent Acquisitions Featured artists included Francesco Clement, Enzo Cucchi, John N Muafangejo, Irma Stern, William Kentridge, Pippa Skotnes. 06 October Unmasking The Puppet 03 November The Standard Bank National Drawing Competition An exhibition of the submissions by the finalists of the competition. 24 November Christian Iconography in Printmaking Featured artists included Jacques Callot, Maurice Denis, Hans Albrecht Von Derschau, Gwen M Raverat, John N Muafangejo, Hendrick Goltzius, Albrecht Altdorfer, J Goudt, Azaria Mbatha, Albrecht Dürer, Ugo da Carpi, Jan Lievens, Vespasiano Strada, Ferdinand Bol, Eugène Gaujean, William Wynne Ryland, Rembrandt, Lucas van Leyden, Hans Sebald Beham, Christian Wilhelm Ernst Dietrich, GN Vicenza, Frank Brangwyn, Anthony van Dyck, Émile Bernard, Georges Rouault, Schelte Adamsz à Bolswert, Cornelis Ploos van Amstel. 30 November Dulux Awards for the Creative Use of Colour in Design 1987 An exhibition of the results of the national competition encouraging the use of colour on interior and exterior surfaces of residential, industrial and commercial buildings. 03 December Focus on Bloomsbury An exhibition presented in light of the renewed interest at the time in the paintings of the Bloomsbury Group.

Catalogue: Arnold, M. 2003. Focus on Bloomsbury/Kollig op Bloomsbury.

1988 26 January Mary Stainbank A retrospective exhibition. Catalogue: Botha, A. 1988. Mary Stainbank Retrospective Exhibition. Foreword by Melanie Hillebrand. 02 February Satirical Prints and Drawings 02 March Contemporary German Drawings 15 March Sir Frank Brangwyn, RA (1867-1956) An exhibition of prints from the Gallery’s collection. 30 March Modern South African and International Artworks from the Johannesburg Art Gallery’s Collection 03 May Alphonse Legros and His Circle Featured artists: Alphonse Legros, William Strang, Charles Jacque Auguste Lepère, Félix Bracquemond, James AM Whistler, Henri Fantin-Latour, Francis Seymour Haden, Walter Sickert. 10 May Vita Art Now 1987 The AA Mutual Life Vita Art Awards’ second exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg in 1987. Annual award winner: Robert Hodgins; Quarterly award and merit award winners: Penny Siopis and David Goldblatt; Quarterly award winners: William Kentridge, David Goldblatt, John N Muafangejo, Edoardo Villa. Catalogue. 17 May Transvaal Provincial Institute of Architects: Awards of Merit 1986/87 14 June Barbizon Prints: Natural and Pastoral Themes Featured artists: Jean-François Millet, Jean-Baptiste-Camille Corot, Charles-François Daubigny, Paul Huet, Charles Emile Jacque, Théodore Rousseau. Catalogue: Thyssen, E. 1985. Natural and Pastoral Themes

by Barbizon Printmakers. New Haven, Connecticut: Yale University Art Gallery. 22 June Paris and South African Artists (1850-1965) Catalogue: Alexander, L. Paris and South African artists, 1850-1965. Cape Town: South African National Gallery. 26 July John Muafangejo An exhibition of work by the Standard Bank Guest Artist for 1988. Catalogue: Muafangejo, J. 1998. John Ndevasia Muafangejo (1943-1987): Second Guest Artist Award 1998, Standard Bank National Arts Festival 1988. Broederstroom: Broederstroom Press. Text by Olga Levinson; introduction by Alan Crump. A project of the 1820 Foundation. 09 August Impressionist Prints 16 August Children’s “Impressionist” Paintings

24 August New Group (1938-1954) Exhibition commemorating the fiftieth anniversary of the New Group. Artists included Walter Battiss, Maggie Laubser, Jean Welz, Maud Sumner, Alexis Preller, Cecil Higgs, Gregoire Boonzaier. Catalogue: Schoonraad, M. 1988. New Group 1938-1954

– Battiss, Laubser, Welz, Sumner. Cape Town: South African National Gallery. 27 September Intaglio Prints: An Historical Review 18 October Masters of Modern Furniture 22 November The Neglected Tradition: Towards a New History of South African Art (1930-1988) An exhibition that resulted from the Gallery’s re-evaluation and reflection on the history of South African art. The exhibition attempted to trace the development of artistic practice and the influence of black artists in South Africa. Curator: Steven Sack. (see pp 90-93) Featured Artists: William Stewart Ainslie, Ben Wa Mokoena Arnold, Vincent Baloyi, Daniel Thomas Banda, Gerard Bhengu, Arthur Buthelezi, Peter Clarke, Lionel Davis, Bongiwe Dhlomo, Dumile Feni, Garth Erasmus, Fikile Magadledla, Bernard Gcwensa, John Hlatywayo, Austin Hleza, Jackson Hlungwane, Franz Hodi, Wopko Jensma, Duke Ketye, Thomas Kgope, David Koloane, Sydney Alex Khumalo, Ezrom Legae, Noria Mabasa, Dumisani Abraham Mabaso, Richard Mzamane Mabaso, Benjamin Mzimkulu Macala, Judus Mahlangu, Avhashoni Mainganye, Philda Majozi, Samuel Makoanyane, Ernest Methuen Mancoba, Buyisile Patient Mandindi, Bhekisani Manyoni, Louis Khela Maqhubela, Dikobe Wa Mogale, Thomas Selema Masekela, Mizream Maseko, Johannes Maswanganyi, Rexon Mathebula, Leonard Tshehla Mohapi Matsoso, Kagiso Patrick Mautloa, Azaria Mbatha, Elizabeth Mbatha, Mzwakhe Mbatha, Gladys Mgudlandlu, Justice Sfiso Mkame, Fanlo Mkize, Simon Mnguni, Thamsanqwa Mnyele, David Phaswane Mogano, John Koenakeefe Mohl, Dinah Molefe, Doe Molefe, Simon Moshapo, Julian Motau, David Moteane, Titus Moteyane, Andrew Tshidiso Motjuoadi, Thomas ‘Tommy’ Trevor Motswai, George Msimang, John Ndevasia Muafangejo, Nelson Mukhuba, Bheki Myeni, Khumalo Ndebele, Ephraim Mojalefa Ngatane, Mandla Nkosi, Sokhaya Charles Nkosi, Stanley Bongani Nkosi, Anthony Nkotsi, Hezekiel Ntuli, Jabulani Albert Ntuli, Caiphas Nxumalo, Derrick Vusimusi Nxumalo, Esther Nxumalo, George Pemba, Douglas Portway, Tivenyanga Qwabe, Daniel Sefudi Rakgoathe, Winston Churchill Masakeng Saoli, Lucas Seage, Mmakgoba Helen Sebidi, Gerard Sekoto, Phuthuma Seoka, Cyprian Mpho Shilakoe, Paul Michael Sibisi, Lucky SIbiya, Durant Sihlali, Lucas Sithole, Cecil Skotnes, Paul Tavhana, Edoardo Villa, Ruben Xulu, Ephraim Ziqubu, Michael Zondi. Catalogue: Sack, S. 1988. The Neglected Tradition: Towards a New History of South African Art (1930-1988). Johannesburg: Johannesburg Art Gallery. 06 December Dulux Awards for the Creative Use of Colour in Design 1988 Myth and Fantasy in Printmaking Featured artists: Andrew Verster, Justus Sadeler, Odilon Redon, Walter Battiss, Marc Chagall, Salvador Dalí, EdouardJoseph Goerg, Hendrick Goudt, Hieronymous Hopfer,

Jean-Francois Janinet, André Masson, Roberto Antonio Sebastian Matta, Lucien Coutaud, Anthonie Waterloo, Joan Miró.

1989 24 January South African Collection 07 February South African Print Portfolios Portfolios included Helmut Starke’s Haystacks and Cape Town in Words and Images portfolios; Kevin Atkinson’s Cape Town in Words and Images; Peter Webber’s Cape Town in Words and Images; Gerrit Hilhorst’s On Black and White; Hogarth in Johannesburg by Deborah Bell, Robert Hodgins and William Kentridge; Happy Birthday

Andrew Portfolio by Bronwen Findlay, Robert Hodgins, Peter Schütz, Penny Siopis, Clive van den Berg, Andrew Verster. 07 March Cape Town Triennial 1988 A display of selected works from the national competition, that travelled around South Africa. Catalogue. 11 April Northern Renaissance Prints An exhibition of prints in conjunction with the launch of Jillian Carman’s publication, Dutch Paintings of the 17th Century. Catalogue: Carman, J. 1988. Dutch Painting of the 17th Century: Johannesburg Art Gallery/Nederlandse Skilderkuns van die 17de Eeu: Johannesburgse Kunsmuseum. Johannesburg: Johannesburg Art Gallery. 03 May Vita Art Now 1988 The AA Mutual Life Vita Art Awards’ third exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg in 1988. Annual award winner: David Brown; Merit award winner: Philippa Hobbs; 1st Quarterly award winner: Thomas Motswai; 3rd Quarterly award winner: Joachim Schönfeldt. 13 June Architecture in Printmaking 27 June Images of Wood: Aspects of the History of Sculpture in 20th Century South Africa Featured Artists: Bonita Kim Alice, Geoffrey Lawrence Vinal Armstrong, Bruce Murray Arnott, GH Atkins, Valerie BesterKiester, Zoltan Borbereki-Kovaks, Willem Boshoff, Andries Johannes Botha, David Brown, Norman Catherine, Albert Chauke, Zondi Chipa, Roger Henry Daller Davies, Jacobus Johannes Den Houting, Solly Disner, Guy du Toit, Elza Dziomba, Michael Edwards, Ângela Ferreira, Bernard Muntuwenkosi Gcwensa, Louis Michael Godberg, GS Gumede, Zamokwakhe Gumede, Hannes Harrs, Jackson Hlungwane, Job Kekana, Alison Kellerher, Duke Ellington Sipho Ketye, Moses Kottler, Maureen Langley, Phillipa Ruth Delisle Lea, Thomas Molatodi Lehupela, Israel Isaac ‘Lippy’ Lipshitz, Noria Mabasa, Richard Mzamane Mabaso, Ernest Mancoba, Richard Mangoma, Bhekisani Manyoni, Johannes Maswanganyi, Louis Maurice, Wiseman Ndabezinhle Mbambo, Mzwakhe Mbatha, Dianne Miller, Ivan Graham MitfordBarberton, Mishack Mkhabela, Saint Mokoena, Mji Edmund Mseleku, Nelson Mukhuba, Albert Munyai, Selby Mvusi,

Ronald Mylchereest, Hendrik Tshivhangwaho Nekhofe, Josua Anfries Nell, Eric Ngcoco, Isaac Nkoana, Joel Noosi, Uwe Pfaff, Frederick Johannes Potgieter, Nico Prins, Maureen Vivian Quin, Tivenyanga Qwabe, George Ramagaga, Stephen Risi, Philemon Velangetshe Sangweni, Joachim Schönfeldt, Peter Schütz, Russell Scott, Lucas Seage, Solomon K Sedibane, Mashego Segogela, Doctor Phuthuma Seoka, Cyprian Mpho Shilakoe, Lucky Madlo Sibiya, Mario Constant Sickle, Durant Basi Sihlali, Lucas Sithole, Cecil Skotnes, Mary Stainbank, Coert Steynberg, Willem Strydom, Gert Swart, Tshikudo Tavhana, Madimetsa Teffo, Jacob Tladi, Johan van Heerden, Ruben Sezi Xulu, Mandlenkosi Zondi, Michael Zondi, Vuminkosi Zulu. Curated by Elizabeth Rankin. Catalogue: Rankin, E. Images of Wood: Aspects of the History of Sculpture in 20th Century South Africa. Johannesburg: Johannesburg Art Gallery. 08 August Indian Miniatures Exhibition of works on loan from Sue Ollemans. 22 August JAG’s Guest Artist Project 18: Neels Coetzee An exhibition of drawings and sculptures. 24 August Francisco Jose de Goya y Lucientes An exhibition of etchings and aquatints. Brochure. 17 October German Expressionist Prints 31 October Gerard Sekoto: Unsevered Ties Retrospective exhibition. Catalogue: Spiro, L. 1989. Gerard Sekoto: Unsevered Ties. Johannesburg: Johannesburg Art Gallery. 19 December Pop Prints in the 1970s

1990 13 March Maidens, Mothers and Madams An exhibition of images, featuring women, from the print and drawing collection of the Johannesburg Art Gallery. 24 April Vita Art Now 1989 The AA Mutual Life Vita Art Awards’ fourth exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg in 1989. Catalogue. May The Modern International Collection October Contemporary British Ceramics A display of the collection of British studio ceramics donated to the Gallery by Father Andrew Borello. 28 October Jo’burg City – Whose City? An oral history research project and photographic exhibition. Catalogue: Hölscher, M & Emmett, M (eds). 1990. Jo’burg City – Whose City? An Oral History Research Project and Photographic Exhibition. Completed November The Rehanging of the Lutyens Building Rehanging of Contemporary South African and Modern International Collections

04 December Frederick I’ons (1802-1887) A retrospective exhibition.

Christopher Till, Es’kia Mphahlele, Patricia Davison, Johan van Schalkwyk, Anitra Nettleton, Rayda Becker, Sandra Klopper, Diane Levy, Ann Wanless, Agnes Havran.

1991

1992

29 January Ukiyo-E: Japanese Wood-Block Prints Exhibition of JAG’s collecton of 180 prints. Catalogue: Paton, B. 1991. Ukiyo-e: Japanese wood-block prints. Johannesburg: Johannesburg Art Gallery. Catalogue sponsored by The Friends of the Johannesburg Art Gallery. History of Papermaking Vita Art Prize Gerard Sekoto was the recipient of the 1991 Vita Art Award. He generously donated his prize money to JAG on condition it would be used towards hosting a special day where young people could take part in activities around art. Since then the 16th of December has become JAG’s Gerard Sekoto

22 April Cape Town Triennial 1991 A display of selected works from the national competition, which travelled around South Africa. Catalogue: Kaapstadse Triennale 1991/Cape Town Triennial. 1991. Rembrandt Van Rijn Art Foundation. 12 May 1990/1991 Awards of Merit, Transvaal Institute of Architects 26 May Meyer Pienaar Smith 01 July Vita Art Now 1991 The AA Mutual Life Vita Art Awards’ sixth exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg in 1991. Annual award winner: Andries Botha; Annual merit award winners: Deborah Bell, Kendell Geers; Quarterly award winner: David Brown; Joint Quarterly award winner: Norman Catherine.

Day for the Youth and the Gallery has continued to secure sponsorship for this event. 07 May Vita Art Now 1990 The AA Mutual Life Vita Art Awards’ fifth exhibition, where a panel of judges chose a selection of South African artist who had shown in Johannesburg in 1990. Annual award winner: Karel Nel; Annual merit award winners: Paul Shelly, Penny Siopis; Quarterly award winners: Robert Hodgins, Braam Kruger, Russell Scott. Catalogue: Danby, N & Pells, L. 1991. Vita Art Now 1990. Johannesburg Art Gallery. Johannesburg: Johannesburg Art Gallery. 28 May Diversity and Themes: Romantic Prints Curated by Sheree Lissoos. Catalogue: Lissoos, S. 1991. Diversity and Themes: Romantic Prints. Johannesburg: Johannesburg Art Gallery. 25 September I Am a Culture Vulture Artists’ Market: Young Artist Winners. An exhibition of the winning entries submitted to the competition. 02 October BMW Art Car Collection The BMW Art Car #12 in 1991 was painted by Esther Mahlangu. Catalogue: Tobu Museum of Art (ed). 1998. Africa Africa Vibrant New Art from a Dynamic Continent. Tokyo: The Tobu Museum of Art. 04 December Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art The first major exhibition of ‘traditional’ southern African art at JAG. Formerly known as the Lowen Collection, the Brenthurst Collection was acquired by Harry Oppenheimer, repatriated to South Africa, and given to JAG on long-term loan. Chair of the Catalogue and Exhibition Project Group was Christopher Till; Project co-ordinator was Rochelle Keene. Authors and selection advisers were Patricia Davison, Johan van Schalkwyk, Anitra Nettleton, Rayda Becker, Sandra Klopper, Diane Levy, Ann Wanless, Agnes Havran. Exhibition design and concept was by Karel Nel. (see pg 144-145) Catalogue: Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art. 1991. Johannesburg: Johannesburg Art Gallery. Contributing writers:

Catalogue. 09 September Last Paintings by Bill Ainslie (1934-1989) Catalogue: Ainslie, B, Williams, P & Wolsford College, Oxford. 1990. Last Paintings by Bill Ainslie 1934-1989. 24 November Bloomsbury Artists at Charleston An exhibition of paintings from the Reader’s Digest corporate collection. Catalogue: Casteras, SP. 1992. Bloomsbury Artists at Charleston: Paintings from the Reader’s Digest Corporate Collection. Cape Town: The Reader’s Digest Association South Africa. 03 December The Horstmann Collection of Southern African Art Exhibition of Udo Horstmann and his wife, the Horstmann’s collection acquired over thirty years, including sculptures, figures, masks, household objects and weapons from Guinea-Bissau, Mali, Burkina Faso, Côte d’Ivoire, Ghana, Togo, Nigeria, Cameroon, Gabon, Congo, Angola, Zambia, Zimbabwe, South Africa, Swaziland, Mozambique, Kenya and Sudan. Curated by Diane Levy. Catalogue: The Horstmann Collection of Southern African Art. 1992. Johannesburg: Johannesburg Art Gallery. 1990 Sculpture Competition The winning works by Andries Botha and Peter Schütz installed in the sculpture gardens.

1993 24 March A Tribute to Gerard Sekoto Catalogue: Marais, E. 1993. Tribute to Gerard Sekoto. Mmabatho: University of Bophuthatswana, Institute of African Studies. 25 March Alfred Eisenstaedt An exhibition of photographic works by Eisenstaedt – considered to be the ‘father’ of photojournalism. The exhibition featured roughly 60 of his photographs, including his

famous image, V-J Day, depicting a sailor kissing a girl in 1945. Eisenstaedt was present at the opening. 01 April Knots and Nets: Spiritual Connections An exhibition of American fibre art. 38 works by 24 contemporary American artists utilising knots and/or nets as symbolic elements imbued with spiritual and philosophical meaning. 23 May IGI Life Vita Art Now 1992 An exhibition showing a selection of South African artist who had shown in Johannesburg in 1992 were chosen by a panel of judges. Annual award winner: William Kentridge; Annual merit award winners: Alan Alborough, Marc Edwards, Günther Herbst, Simon Stone. Quarterly award winner: Robert Hodgins. Catalogue: IGI Life, Vita Art Now. 1992. Johannesburg: Vita Promotions cc & Johannesburg Art Gallery. 11 June Entomological Art First of two exhibitions organised by the Entomological Society of Southern Africa, featuring etomological art to coincide with their 9th Biennial Congress. 19 June Lace Collection Major installation of JAG’s lace collection, donated by Florence Phillips, with the assistance of members of the Witwatersrand Lace Guild who catalogued, cleaned and repaired the items. Catalogue: Griffiths, A. 1993. The Lace Collection of the Johannesburg Art Gallery. 1993. Johannesburg: Johannesburg Art Gallery. 23 June Insect Art Second of two exhibitions organised by the Entomological Society of Southern Africa, featuring etomological art to coincide with their 9th Biennial Congress. 03 August New Acquisitions 05 September ASAFO! Fante Flags From Ghana 17 October Pressing Issues: How Prints are Made An exhibition of prints and print techniques. 14 November Vita Craft Now 1993 The first national crafts exhibition. Catalogue. Jackson Hlungwani Installation of sculpture by Jackson Hlungwane in a dedicated area of JAG. (see pg 65) Book: Spiro Cohen, L. 1993. Jackson Hlungwani. A Resource Book. Johannesburg: Johannesburg Art Gallery.

1994 22 February An Overview of Contemporary South African Art from the Permanent Collection April Ballot and Ballad Boxes 10 May FNB Vita Art Now 1993 Annual award winner: Guy du Toit; Annual merit award winners: Belinda Blignaut, Allina Ndebele; Annual special

award winner: Niel Goedhals; Third quarter winners: Cyril Coetzee, Belinda Blignaut; Second quarter winners: Steven Cohen, Wilma Cruise. Catalogue. 09 August People, Politics and Power An exhibition of Khoisan rock art in conjunction with the Rock Art Research Unit, University of the Witwatersrand. Catalogue: People, Politics And Power: The Politics of Representing the Bushmen People of Southern Africa. 1994. Johannesburg: University of the Witwatersrand and Johannesburg Art Gallery. 30 October Hand In Hand A retrospective exhibition of works by Ernest Mancoba and Sonja Ferlov Mancoba. Curated by Elza Miles. Mancoba was present at the opening. Catalogue: Miles, E. 1994. Lifeline Out of Africa: The Art

of Ernest Mancoba. Johannesburg: Human & Rousseau. A resource book was additionally made available, written by Elza Miles. 23 November The Foundation and Dutch Collections A new installation of the Foundation and Dutch collections, to mark the launch of two books relating to JAG collection. Catalogues: Hare, MJ. 1994. Rodin’s Bust of Eve Fairfax: The Sculptor and his Sitter. Johannesburg: Johannesburg Art Gallery. Carman, J. 1988. Dutch Painting of the 17th Century: Johannesburg Art Gallery/Nederlandse Skilderkuns van die 17de Eeu: Johannesburgse Kunsmuseum. Johannesburg: Johannesburg Art Gallery. 26 November Presidents Award Student Exhibition

1995 07 February Mubvumela Tree: Project Exhibition An exhibition of wooden sculptures made during a workshop at the De Beers Venetia mine. 01 March Outside Inside: Africus, The 1st Johannesburg Biennale (See pp 94-5) An exhibition of 8 installations by South African artists that formed part of the first Johannesburg Biennale. Each artist was given a separate space in the Gallery within which to intervene. Curated by Julia Charlton. Featured artists and artworks: Jann Cheifitz: Foreign Exchange (1994-95); Kendell Geers: Title Withheld (Boycott) (198995); Leora Farber: Seeing is Believing and Other Modern Myths (1994-95); Karel Nel: Temenos: Lingam or Mayhem (1994-95); Joachim Schönfeldt: Untitled (‘The noble savage’) (1995); Steven Cohen: Let Them Eat Cock! (1989-95); Willem Boshoff: Blind Alphabet ABC (1991-1995); Durant Sihlali: From the Mural series (1994-1995). Catalogue: Bowyer, A (ed). 1995. Africus: The 1st Johannesburg Biennale. Johannesburg: TMC. 14 May FNB Vita Art Now 1994 Annual award winner: Sue Williamson; Annual merit award winner: Walter Meyer; Annual special award winner for Hand in Hand: Elza Miles; Annual special award winner: Ken Oosterbroek; Second quarter winner: David Koloane;

Third quarter winners: Penny Siopis and Walter Meyer; Fourth quarter winners: William Kentridge, Willie Bester. Catalogue: First National Bank 1994 Vita Art Now. Johannesburg: FNB Vita Art Awards and Johannesburg Art Gallery. 29 June Public Worlds/Private Worlds 13 August Hommage À Jean Lurcat A centenary celebration of the artist. Catalogue: Guillemin, H. 1973. Hommage à Jean Lurcat: A Collection of Contemporary French Tapestries. Sydney: Art Gallery of New South Wales. 11 September FashionArt A one-day fund-raising event and exhibition, featuring Marianne Fassler, Blue Zoo, Julian, Jacques van der Watt, Ineeleng, Rachel Brown, André Croucamp, Gavin Rajah, Tracy Moore, Robert Hodgins, Mmakgabo Helen Sebidi, André Naudé, Philippa Hobbs, Velaphi Mzimba, Sam Nhlengethwa, Louis van Heerden, Andrew Putter, Sarah Tabane. 17 September The Right To Hope 01 October City Life 12 November Positive Lives: Responses to HIV An exhibition of photographs curated by London-based Network group of photographers. The film Umuntu, Umuntu, Ngabantu was screened at the opening. 12 December Hidden Treasures An exhibition of artworks selected from the storerooms by JAG staff members.

1996 18 February Selby Mvusi: A Retrospective Exhibition Retrospective exhibition curated by Elza Miles. Catalogue: Miles, E. 1996. Current of Africa: The Art of Selby Mvusi. Johannesburg: Johannesburg Art Gallery. Publication produced to mark the opening of Selby Mvusi: A Retrospective Exhibition at the Johannesburg Art Gallery, 18 February-21 April 1996. 06 May FNB Vita Art Now 1995 Annual Award Winners: Jane Alexander, Kevin Brand. Catalogue: First National Bank 1995 Vita Art Now. Johannesburg: FNB Vita Art Awards and Johannesburg Art Gallery. May Corbet to Caldecott 23 June Talking Colours An exhibition of works by children resulting from a project facilitated by art therapists, educators and psychologists. 26 August Artists’ Books An exhibition of books by people who don’t write, from the Ginsberg Collection (and some South African books from other collections). Curated by Jack M Ginsberg and David M Paton. Featured artists included Russel Scott, Sheila Flynn, Sonya Strafella, Flip Hatting, Liz Vels, Giulio Tambellini, Phillipa Hobbs.

28 August Secular and Spiritual: Objects of Mediation Exhibition of objects from different genres of traditional art, including child figures, medicine containers, ceramics, carved figures and beadwork, with explanations of their significance and use, especially their functional and spiritual purpose. Leibhammer, N. 1996. Making Links: A Resource Book on the Traditional Southern African Collection at the Johannesburg Art Gallery. Johannesburg: Johannesburg Art Gallery. Views from Within Traditional and contemporary works by South African artists showing innovation, adaptation to new material and markets, and how some works made in the past have influenced or remain meaningful to artists today. Pictures from a Golden Age Exhibition of 17th century Dutch paintings in South Africa, including loans from other South African galleries, and the Rijksmuseum, Amsterdam. Funded by the Royal Netherlands Embassy, and opened by Her Majesty Queen Beatrix of the Netherlands as one of her functions celebrating her first official visit to South Africa and the resumption of cultural ties between the two countries. Pamphlet, educational resources, wall panels. 17 November Jürgen Schadeberg Retrospective exhibition of photographic work. 08 December George Milwa Mnyaluza Pemba Retrospective exhibition.

1997 25 March A Decade of Collecting An exhibition of work purchased for the Gallery’s collection through The Anglo American Johannesburg Centenary Trust (1986-1996). Catalogue: Shoolman, S (ed). 1997. A Decade of Collecting: The Anglo American Johannesburg Centenary Trust, 19861996. Johannesburg: Johannesburg Art Gallery. Includes texts by Jillian Carman, Julia Charlton, Nessa Leibhammer, Gavin Relly, Rochelle Keene. 08 April Tribute 21 An exhibition of 21 lithographs donated by Felissimo, a multi-national marketing company, and the artist Robert Rauschenberg, to celebrate 21 humanitarian themes for the 21st century. 13 May Maz’enethole! A display of a selection of works from the Nelson Mandela Collection, curated by Thembinkosi Mabaso. Catalogue: Shoolman, S (ed). 1997. Maz’enethole! A Selection from the Nelson Mandela Collection. Johannesburg: Johannesburg Art Gallery/ANC Archives. 03 June The Painted Sounds of Romare Bearden An exhibition of work by the African-American artist (19141988), who grew up in Harlem, New York, during the Harlem Renaissance and was active in the civil rights movements of the 1960s. International travelling exhibition, organised by the United States Information Service.

Catalogue: Gelburd, G & Long, RA. 1994. The Painted Sounds of Romare Bearden. New York: Council for Creative Projects. 29 July Collaborations 1986-1997 (FNB Vita Art Awards) During a residency period from 11-16 October, the artists William Kentridge, Robert Hodgins and Deborah Bell produced a selection of collaborative works, including the film, Hotel. 12 August Transferring the Charge An exhibition of prints illustrating a transforming South Africa. 09 October HJ Gallagher Bequest The exhibition featured a selection of artworks from HJ Gallagher’s collection, given to the Gallery in 1981, shown to coincide with the unveiling of a plaque of at Gallagher’s Corner, Orange Grove, Johannesburg. 11 October Important and Exportant. Part of the 2nd Johannesburg Biennale 1997: Trade Routes: History and Geography Curated by Gerardo Mosquera, the exhibition included work by Sophie Calle, Willem Boshoff, Hiroshi Sugimoto, Frédéric Bruly Bouabré, Ana Mendieta, Cildo Meireles, Filipino David Medalla and Adam Nankervis. Catalogue: Enwezor, O (ed). Trade Routes: History + Geography: 2nd Johannesburg Biennale 1997. Johannesburg: Greater Johannesburg Metropolitan Council/Amsterdam: Prince Claus Fund for Culture and Development. 02 December Land and Lives An exhibition of works by pioneer black artists born before 1930. Featured artists included Ferdinand Cloete, Micha Kagasi, Simon Lekgetho, Moses Tladi, Jackson Hlungwane, George Pemba, Ernest Mancoba. Curated by Elza Miles. Book: Miles, E. 1997. Land & Lives: A Story of Early Black Artists. Cape Town: Human & Rousseau. Educational brochure 07 December African Womenscapes: 1997 “It’s a question of power” An exhibition of paintings, prints, photographs, essays, creative writing, dance, music, fashion and styling by women. Featured artists: Nomsa Manaka, Sophie Mgcina, Nakedi Ribane, Jolah Mkame, Robin Chandler, Mmakgabo Helen Sebidi, Geraldine David, Ntsiki Zungu, Kedibone Tabane, Ruth Motau, African Maroon Jazz Band, Professor Phyllis Zungu, Vinara Naidoo, Nalini Moodley, Vusisizwe Mchunu. Curated by Linda Mvusi and Vusisizwe Mchunu.

1998

21 March A Changed World An exhibition of contemporary British sculpture from 19631996. Featured artists: Edward Allington, Bill Woodrow, Riichard Deacon, Michael Craig-Martin, Anthony Caro, Eduardo Paolozzi, Richard Long, Damien Hirst, Tim Lewis, Rachel Whiteread, Tony Craig. International touring exhibition by the British Council. Catalogue: 1997. Changed World: Sculpture from Britain. The British Council.

11 May Käthe Kollwitz (1867-1945) Exhibition of work by the German painter, printmaker, and sculptor whose work explored the human condition, and especially the horror of war during the first half of the 20th century. 27 July Evocations of the Child An exhibition of fertility figures of the Southern African Region. Curated by Elizabeth Dell, Nessa Leibhammer, Karel Nel, Marilee Wood. Catalogue: Dell, E & Becker, R. 1998. Evocations of the Child: Fertility Figures of the Southern African Region. Johannesburg: Johannesburg Art Gallery. 01 September Gauteng Heritage 13 November Georg Baselitz The exhibition represented 200 works, mainly on paper, from the Deutsche Bank’s collection. Catalogue: 1997. Georg Baselitz: Aus der Sammlung Deutsche Bank. Schmidt Publishers.

1999 15 February Azaria Mbatha Retrospective exhibition. Catalogue: Mbatha, A. 1999. Azaria Mbatha. Johannesburg: National Arts Council of South Africa. 13 May The Art of Baha’i Architecture A photographic exhibition of Baha’i temples. 27 July Banners of Twilight An exhibition of wall-hangings by South African street children. 10 September Shuttle ‘99 Ziyabuya Tactile Exhibition A tactile exhibition of work by blind and visually impaired children shown as part of Willem Boshoff’s exhibition Blind Alphabet. 26 September Structures An exhibition of photographic work by David Goldblatt. 21 November Democracy’s Images An exhibition of photography and visual art after the apartheid era. Featured artists included Jodi Bieber, Jean Brundrit, Kay Hassan, Senzeni Marasela, Santu Mofokeng, Ruth Motau, Zwelethu Mthethwa, Cedric Nunn, Tracey Rose, Joachim Schönfeldt, Penny Siopis, Minnette Vári. Curated by Rory Bester. Catalogue: Lundström, J-E & Pierre, K (eds). 1998. Democracy’s Images: Photography and Visual Art After Apartheid. Umeå: BildMuseet.

2000 23 January Hansruedi Büchi An exhibition of photographs of the Namib desert as seen through a Swiss lens by the photo essayist. 22 March Harry Trevor 1921-1970: The South African Years 1939-1946

Curated by Hayden Proud. Catalogue: Proud, H. 1998. Harry Trevor, 1922-1970: The South African Years, 1939-1946. Cape Town: SANG. 09 October King Korn Calendar Competition November Artists of the South November Traditional South African Collection An exhibition of a variety of works and objects from the contemporary and traditional Southern African collections, including new acquisition from 1996-2000. 16 November Dobsville College Students Exhibition 03 December The Joubert Park Project Presents an Open Day A day’s events presenting the outcome of diverse, long-term projects and workshops, involving artists, performers, the Joubert Park Freelance Photographers, and groups of youths that form the neighbouring communities. Participating artists included David Goldblatt, Mothlalefi Mahlabe, Usha Prajapat, Robin Rhode, Amanda Lane, Mark Dunlop, Stompie Selibe, The Trinity Session, Bongi Dhlomo-Mautloa, Clive van den Berg, Leon Mdiya. (see pp 148-153)

2001 07 March Globalliance (A Clever World Holds Hands) An exhibition of artworks by children from South Africa – from the Johannesburg Girls’ Preparatory School, and from Austria – from the Neues Gymnasium Leoben. 02 May George Gittoes: Lives in the Balance An artist’s eyewitness diary on the global and individual causes and consequences of post-war conflict. 17 June Expressions of Identity Curated by Mthunzi Ndimande and Nthabiseng Makhene. 13 July African Renaissance 17 July Max Ernst (1891-1976) Exhibition of graphic works. Supported by the Goethe Institute. 15 October King Korn Art Competition 2001 16 October DaimlerChrysler Award for South African Sculpture 2002 An exhibition of work by DaimlerChrysler Award 2002 winner, Jane Alexander. Catalogue: 2002. Jane Alexander. DaimlerChrysler Award for South African Sculpture. Stuttgart: Hatje Cantz Verlag. 29 October My World/Our World An international children’s photography project.

2002 27 January Jabulisa 2000 An exhibition of art from Kwazulu-Natal. Curated by Jill Addleson and Brendan Bell. Catalogue: Bell, B. 2000. Jabulisa 2000: The Art of KwaZuluNatal. Pietermaritzburg: Natal Arts Trust.

Surviving The Lens An exhibition of photographic studies of South East African people between 1870-1920. Curated by Michael Stevenson. Catalogue: Stevenson, M & Graham-Stewart, M. 2001. Surviving The Lens: Photographic Studies of South and East African People, 1870-1920. Vlaeberg: Fernwood Press. 05 May Peter Friedl The exhibition included the Friedl’s video collaboration, King Kong (2001), with American cult musician Daniel Johnston. 18 June Welcome to JAG Proposals for new entries to the Gallery by third year fine art students from the University of the Witwatersrand were on display. 29 June Amabal’Engwe An exhibition of traditional garments and jewellery of the southern African region, forming part of the cultural events celebrating the African Union Summit in Durban that year. The term “Amabal’Engwe” is derived from the IsiZulu proverb: “Ingwe idla nga mabala”, which roughly translates into English as, “A leopard eats by its colours”. Curated by Veliswa Gwintsa. 23 July The Martienssen Prize Exhibition 2002 The annual exhibition and prize for senior students from the University of the Witwatersrand. 29 August [Re]vision: Art from South Africa An open day series of exhibitions presented as part of the World Summit on Sustainable Development in Johannesburg. New Strategies Part of ‘[Re]vision: Art from South Africa’, this exhibition exhibition featured works from the Gallery’s Contemporary South African Collection acquired over the previous decade. (see pp 130-143) Featured artists included: Alan Alborough, Jane Alexander, Jodi Bieber, Willem Boshoff, Lisa Brice, Norman Catherine, Clifford Charles, Samson Mnisi, Marc Edwards, Dumile Feni, William Kentridge, Moshekwa Langa, Tracey Rose, Jo Ractliffe, Santu Mofokeng, Sandile Zulu, Penny Siopis, David Goldblatt, Kendell Geers, Clive van den Berg, Stephen Hobbs, Robert Hodgins, David Koloane, Frank Ledimo, Ezrom Legae, Louis Maqhubela, Rosemarie Marriott, Colbert Mashile, Zwelethu Mthethwa, Sam Nhlengethwa, Peter Schütz, Hentie van der Merwe, Sue Williamson. Catalogue: Maart, B (ed). 2002. New Strategies. Johannesburg: Johannesburg Art Gallery. Contributing writers to the publication included David Brodie, Brenton Maart, Tshidiso Makhetha, Stephen Hobbs. Safe Food II Part of “[Re]vision: Art from South Africa, and the second component of the Safe Food project, which exhibited an interactive installation by Kathryn Smith, Stephen Hobbs and Marcus Neustetter. Exchange Values: Images of Invisible Lives Part of ‘[Re]vision: Art from South Africa’, this was a sound and sculpture installation by Shelley Sacks in collaboration with banana farmers and producers of the Windward Islands. Catalogue: Sacks, S et al. 2002. Exchange Values: Images of Invisible Lives. Published by: Exhibition for the World Summit on Sustainable Development (2002). (CD of recordings included).

Miss World and Company Part of ‘[Re]vision: Art from South Africa’, this was an installation of giant rubber and latex sculptures, salt, and sound by Isolde Krams. The exhibition was accompanied by an opera during the opening, directed by Robert Colman. Boipelo Ka Setso: Treasures of the Southern African Region Part of ‘[Re]vision: Art from South Africa’, this was an exhibition of works from the Gallery’s traditional southern African collection, also featuring photographs by Peter Magubane contextualising the garments, jewellery and utility items. Curated by Veliswa Gwintsa. Beyond Barriers Part of ‘[Re]vision: Art from South Africa’, this was an exhibition of works expressing various forms of awareness and access to equal rights, and exploring issues facing people with disabilities. Featured artists included: Mandla Mabila, Dorothee Kreutzfeldt, Willem Boshoff, The Alexandra Disability Movement and the Disabled People of Vosloorus, Dan Rakgoathe, Tommy Motswai, Ben Nsusha, Selwyn Segal, Sibonile & Brauns School, Thembalethu & Mason Lincoln School. Curated by Usha Seejarim and Coral Bijoux. 01 September Art and Society Following the [Re]vision exhibitions, a discussion forum on social art was led by Stephen Hobbs and Shelly Sacks, followed by an opera performance of Miss World and

Company by Isolde Krams. 06 October Gladys Mgudlandlu Retrospective exhibition of work by the South African Expressionist painter, curated by Elza Miles. Book: Miles, E. 2002. Nomfanekiso, who Paints at Night: The Art Of Gladys Mgudlandlu. Simon’s Town: Fernwood Press.

2003 01 February White A collaborative exhibition and installation by Helen Bramley, Liza Christofides and Ann-Marie Tully, using the colour white as a linking thread and aesthetic preference to express feelings of mourning and representational violence. 02 March Mandla Mogale A solo exhibition of large scale paintings. 05 April Show Me Home A group exhibition exploring the ‘ambiguities of home’, featuring artists Veliswa Gwintsa, Dorothee Kreutzfeldt, Colbert Mashile, Usha Seejarim, Justice Jimmy Setumane Mokwena, Angela Buckland, Diane Victor, Jo Ractliffe, Deborah Poynton, Pitso Chinzima, Santu Mofokeng, Stephen Hobbs. Curated by Mads Damsbo. Catalogue: Damsbo, M et al. 2003. Show Me Home. Johannesburg: Johannesburg Art Gallery. 13 April Liminal States A solo exhibition of works by Churchill Madikida. Curated by Khwezi Gule. Opening speaker: Sandile Memela. 18 May Siyabonga An exhibition of then recent works by Keith Sondiyazi and Louis Chamane.

08 June Inqolobane: Homage to Nhlanhla Xaba A commemorative exhibition of paintings and prints. Opening speaker: Bonisiwe Makhene; guest speakers: Sydney Selepe, Alan Crump, Kim Berman, Steven Sack. 21 June Art As Usual City + Suburban Studio’s 24 Hour Residency Programme, which ran until 10 August, and featured 24 residencies for artists working in New Media, Traditional, Fashion, Audio, Conceptual, Lens-based and Public art. 09 August Suka Dzivha Fundudzi A solo exhibition of work by Samson Mudzunga, comprising coffin drums and sculptural objects. Curated by PItso Chinzima. Opening speaker: Anitra Nettleton. Catalogue: Mudzunga, S, Chinzima, P & Nettleton, A. 2003. Suka Dzivha Fundudzi. Johannesburg: Johannesburg Art Gallery. 30 August Art As Usual: Exhibition of Evidence The exhibition of 24.7 evidence of a 24-hour residency programme held over 7 weeks. Rub/ish Talk A mixed media exhibition by Jeff Nkainde and Vusi Mfuphi. Opening speaker: Sokhaya Charles Nkosi. 01 October Upfront and Personal An exhibition of 3 decades of political graphics from the UK and South Africa. Catalogue: McQuiston, L (curator). 2003. Upfront and Personal: Three Decades of Political Graphics from the United Kingdom, Plus Southern African Political Graphics. Cape Town: British Council South Africa. 05 October Hope Box An interactive travelling exhibition of artworks from four art projects initiated by Rienke Enghardt, in association with the Joubert Park Project. The art projects included were: Weather Report (1991-2004), Hommage a Tran Trung Tin (1993-2003), Cadavre Exquis (1995-2005) and Tigerpaws in the Fishglobe (2000-2006). 02 November The Ones on Top Won’t Make it Stop An exhibition of photographic works by Nontsikelelo ‘Lolo’ Veleko featured as part of the Urban Life project by Market Photo Workshop advanced students. Déjà Vu A solo exhibition of work by Simon Gush, coordinated by the Joubert Park Project. 06 December Lucky Charm An exhibition of work by the Bag Factory’s artists in residence, Bita Fayyazi and Hubert Dechant.

2004 10 February Leaves War A solo exhibition of works by Alazar Asgedom. Transformation from Imitation to Self-Expression A solo exhibition of work by Laine Blata Kiflezion. 25 February Pressured Proportions An outdoor sculpture installation by Emil Holmer.

05 and 06 March The Babysitting Series A performance by Robyn Orlin in collaboration with JAG guards, as part of the FNB Dance Umbrella 2004. 07 March African Jazz on Canvas An exhibition of mixed media paintings by Michael Buhlakani Nene. 16 March Thingerotomy An exhibition of work by Joanne Bloch. 04 April Urban Life A photographic exhibition of works by 13 artists from the Market Photo Workshop encouraging engagement around urban culture, diversity of cultural background and heritage. (see pp 114-117) 17 April Conrad Botes (Konradski) A solo exhibition of works featured as part of Comics Brew, the Festival of International Comic Art in Southern Africa. Catalogue: Botes, C. The Rat in Art: Conrad Botes, Pop and

the Postmodern. Catalogue with an essay by Ashraf Jamal. Cape Town: Erdmann Contemporary. 28 April Sted=Place A group exhibition featuring artists from Denmark and South Africa, including Doris Bloom, Willem Boshoff, Claus Carstensen, Torben Christensen, Marco Evaristti, Kendell Geers, Eva Koch, Karel Nel. Catalogue: Spliid, L. 2004. Sted=Place. Denmark: CenterTryk Holbaek. 06 June life in(to) sojourn An exhibition of work by Razak Awofeso. Out of Focus An exhibition of photographic works by Buyaphi Mdledle featured as part of the Urban Life project by Market Photo Workshop advanced students. 04 July Kliptown 6 A group exhibition featuring Pober da Gama, Louis Edwards, Kamogelo Mokhonki, Enoch Mohamed, Raymond Schoeman, Rhett Thomson, with an installation by the Kliptown Klipspruit West Eldorado Park Photo Assist (KKEPA). Kithi Kunje A solo exhibition of work by Mbuso Yende. 14 July Rorke’s Drift: Empowering Prints A retrospective exhibition of printmaking from Rorke’s Drift. Curated by Elizabeth Rankin and Phillippa Hobbs. Catalogue: Hobbs, P & Rankin, E. 2003. Rorke’s Drift: Empowering Prints. Cape Town: Juta and Company Ltd. 15 July Johannesburg Circa Now A project by Jo Ractliffe and Terry Kurgan, which involved a three-month long exhibition and an interactive public project, focusing on Johannesburg’s transforming inner-city. Additional artists included Zola Gule, Lwazi Hlope, Andile Komanisi, Lebo Mahiloane, Sabelo Mlangeni, Siphiwe Zwane, the Joubert Park Freelance Photographers Association, as well as works from JAG’s Foundation Collection. (see pp 106-109)

Catalogue: Kurgan, T and Ractliffe, J (eds). 2005. Johannesburg Circa Now: Photography and the City. Johannesburg: Terry Kurgan and Jo Ractliffe. 18 July Mother of Mine, Daughter of Spirits An exhibition of photographic works by Sipho Futshane as part of the Urban Life project by Market Photo Workshop advanced students. 01 August From Corot to Monet The exhibition was previously shown at the Palazzo Crepadona, Belluno, Italy, organised by Linea d’Ombra from October 11 2003-February 15 2004. Catalogue: Goldin, M & Keene, R. 2004. From Corot to Monet. Impressionists and Post-Impressionists from the Johannesburg Art Gallery. Treviso: Linea d’Ombra Libri. 07 August Negotiate: Intercession The first exhibition in a series of four, in honour of South Africa’s 10 years of democracy celebrations. 08 August Cancelled Without Prejudice An exhibition of works by Nirupa Sing. 29 August Visual Sexuality An exhibition of photographic works by Zanele Muholi featured as part of the Urban Life project by Market Photo Workshop advanced students. 04 September Negotiate: Intervention The second exhibition in a series of four, in honour of South Africa’s 10 years of democracy celebrations. 19 September Oupa Nkosi: Kliptown Nicole Thomas: Beyers Naudé Photographic exhibition as part of the Urban Life project by Market Photo Workshop advanced students. Land Act An exhibition of works by Kolodi Senong. 02 October Negotiate: Arbitration The third exhibition in a series of four, in honour of South Africa’s 10 years of democracy celebrations. 20 October Iqbal Tladi: Hybrid Pitt House Raymond Mokoena: Amphela (cockroaches) Photographic exhibition as part of the Urban Life project by Market Photo Workshop advanced students. 24 October Negotiated Identities: Black Bodies A group exhibition, including objects from the Gallery’s Traditional South African Collection, African Cinema and literary material. Artists featured included Peter Clarke, Ernest Cole, Ezrom Legae, Pat Mautloa, George Pemba, Winston Saoli, Nontsikelelo ‘Lolo’ Veleko. 30 October The Storytellers: Works from the Non-aggressive Narrative A solo exhibition of works by Nathaniel Stern. Assisted curation by Kathryn Smith and Pitso Chinzima. 03 November Making Waves An exhibition of works from the SABC art collection. Curated by Koulla Xinisteris.

Catalogue: Xinisteris, K & Neame, G. 2005. Making Waves: A Selection of Works from the SABC Art Collection. Johannesburg: Koulla Xinisteris. 06 November Negotiate: Conciliation The fourth exhibition in a series of four, in honour of South Africa’s 10 years of democracy celebrations. 10 November Saudade of Hope An exhibition of photographs by Mozambican artists, as part of the Indian Ocean Photography Project. 14 November The Child Within An exhibition of introspective oil paintings by Nadia Taljaard that direct the viewer to a place of remembering being a child. Scenes from a Car An exhibition of photographs by Cariña Booyens, featured as part of the Urban Life project by Market Photo Workshop advanced students. 05 December The Weeping Eye A multimedia exhibition by Justice Jimmy Setumane Mokwena.

2005 22 January A Place Called Home An exhibition of work by contemporary artists from the South Asian Diaspora, including Bani Abidi, Omar Badsha, Ansuman Biswas, Zen Marie, Prema Murthy, Chila Kumari Burman, Faiza Galdhari, Sunil Gupta, Roshini Kempadoo, Moti Roti, Usha Seejarim. Curated by Zayd Minty. Catalogue: Minty, Z. 2000. A Place Called Home. Cape Town: One. 30 January Dumile Feni Retrospective Curated by Prince Dube. Catalogue: Dube, PM (ed). 2006. Dumile Feni Retrospective. Johannesburg: Wits University Press. Brochure also available. 05 February The Portable Hawkers Museum Retrospective An exhibition of works by Alison Kearney. 01 May Marina Abramović and Paolo Canevari A live performance by Abramović, titled Spirit Cooking. Organised by Kendell Geers. (see p 99) 04 May Dutch Collection Dutch art from the Foundation Collection. Curated by Sheree Lissoos. Collections/Connections Recent acquisitions from the Contemporary Collection highlighting aspects of spirituality and love, language and transition, urban culture, politics and the body. Curated by Khwezi Gule. Present Continuous An exhibition of recent acquisitions from the Traditional Southern African Collection,working with the idea that cultural exchange occurs in all directions, across societies and over time. Curated by Nessa Leibhammer. 31 May Villa at 90 In celebration of Edoardo Villa’s 90th birthday, selected works were exhibited in conjunction with the book launch of Villa at 90.

Catalogue: Nel, K, Burroughs, E & Von Maltitz, A (eds). 2005. Villa at 90. His Life, Work and Influence. Cape Town: Jonathan Ball. 15 June Guy Tillim An exhibition by the 2004 winner of the DaimlerChrysler Award for South African Photography. 2004. Catalogue: Guy Tillim: DaimlerChrysler Award for South African Photography 2004. DaimlerChrysler South Africa. 03 July William Kentridge Retrospective A major retrospective survey of Kentridge’s work, curated by Carolyn Christov-Bakargiev, which opened at the Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, and toured through 2005 to venues in four countries, including K20/K21 Kunstsammlung Nordrhein-Westfalen, Dusseldorf; the Museum of Contemporary Art, Sydney; the Musée d’art contemporain de Montreal; and the Johannesburg Art Gallery. The exhibition presented drawings by the artist dating as far back as 1979, major early animated films, an important selection of projections onto objects and furniture, and a selection of recent works based on the artist’s interest in shadows, as well as in the techniques of early cinema. Catalogue: Christov-Bakargiev, C. 2004. William Kentridge. Milan: Skira. Italian/English. 17 August David Goldblatt: 51 Years A touring retrospective exhibition of the photographic work of Goldblatt spanning 51 years. The exhibition was curated by Corinne Diserens and Okwui Enwezor. (see p 66) Catalogie: Enwezor, O (ed). 2001. David Goldblatt: FiftyOne Years. Produced by the Museu d’Art Contemporani de Barcelona (MACBA) with the collaboration of AXA Gallery, New York. Includes contributions by JM Coetzee, Michael Godby, Nadine Gordimer, Chris Killip, Ivan Vladislavic, Okwui Enwezor, Corinne Diserens and David Goldblatt. 10 September Signs/Science of Life An exhibition of recent works by Johan Meyer and his collaborators. Curated by Khwezi Gule. 27 October Women by Women An exhibition of paintings by over 60 female Indian artists, celebrating women. Curated by Khwezi Gule. 08 November End of the World An exhibition of works by Abrie Fourie. ‘Vying Posie’ (Going Home) An exhibition of photographic works by Peter McKenzie. Curated by Khwezi Gule. Exhibitions from the JAG Collection Pioneers. Curated by Khwezi Gule. The Photographic Collection Permanent Educational Collection, featuring works from the Contemporary, Historical, Modern International and Traditional South African Collections. 32 Dimensional: Works from the Contemporary Collection. Curated by Pitso Chinzima.

2006 28 January Confluence An exhibition of work by students from the JAG Saturday School and the Tembisa Art Development School. Curated by Hanolet Uys.

29 January Now and Then A retrospective exhibition of work by Norman Catherine spanning 35 years. Catalogue: 2000. Norman Catherine. Johannesburg: Goodman Gallery Editions. Includes contributions by Ashraf Jamal and Hazel Friedman, with an anecdotal foreword by David Bowie, a long-time collector and admirer of Catherine’s work. 19 March Mari-Mira: Playing With Life The project called itself “an international, transportable and evolving artistic village made out of discarded and disregarded objects. An art of recycling.” Mari-mira, or ‘fancy shacks’, as they are called – taken from a Creole word meaning ‘enormously fancy’ or ‘eccentric’, were the result of collaborations by French and South African artists whose histories were chronicled along with the displays. The project was initiated by Guy-André Lagesse and writer, Jean-Paul Curnier. The JAG show was a retrospective of 10 years of MariMira. Collaborating artists included Guy-André Lagesse, Doung Anwar Jahangeer, Sibusiso Mbhele, Jabulani Mhlabini, Pat Khanye. 20 April Johan Thom The Project Room is an initiative by JAG to foreground the work of young artists and experimental works. Thom was the first artist to exhibit in the Project Room, and his exhibition featured a multi-channel video installation with performances by jazz musician, Christophe Fellay. 23 April Art and New Technologies: The MTN New Contemporaries Award and Exhibition An exhibition of works by the finalists of the competition, James Webb, Mlungisi Zondi, Sharlene Khan, Julia Rosa Clark, Nandipha Mntambo. The award was won by Mlungisi Zondi. Curated by Khwezi Gule. Catalogue: Hobbs, P (ed). 2006. MTN New Contemporaries Award 2006. Johannesburg: Johannesburg Art Gallery. 07 May Black Box/Chambre Noire Comprising a richly layered constellation of elements, including animated films, kinetic sculptural objects, drawings, and a miniature mechanised theatre, Kentridge initially conceived of Black Box/Chambre Noire, while preparing to direct his major theatrical production of Mozart’s opera, The Magic Flute, for which, at the time, he was creating large-scale set designs and exploring staging and projections using a miniature stage maquette. The work was conceived as part of the Deutsche Bank and Solomon R Guggenheim Foundation’s commissioning programme for the Deutsche Guggenheim. Reflecting on the history of the German colonial presence in Africa, in particular the 1904 German massacre of the Hereros in South-West Africa (now Namibia), Kentridge explores how history and meaning are constructed, and by whom, and examines psychic processes of grief, guilt, culpability, and atonement in the aftermath of crimes committed. Kentridge refers to the term ‘black box’ in three senses: as a ‘black box’ theatre, a ‘chambre noire’ as it relates to photography, and the ‘black box’ flight data recorder used to record information in an airline disaster. Music for the piece was composed by Philip Miller. The exhibition was curated by Marian-Christina Villaseñor. (see pp 99, 105) Kentridge, W & Villaseñor, M-C. 2006. William Kentridge: Black Box/Chambre Noire. New York: Guggenheim Museum.

P ublished on the occasion of the exhibition held at Deutsche Guggenheim, Berlin, 29 Oct. 29, 2005-Jan. 15, 2006. 29 May The Dawn D-10 Educators art exhibition. 11 June Kinshasa: The Imaginary City Curated by Filip de Boeck and Koen van Synghel Photography and films by Marie-Françoise Plissart. A multi-layered exhibition and programme comprising installations, video and panel discussions, curators Filip De Boeck and Koen van Synghel sought to stimulate what is an ongoing debate on the nature of contemporary central African urbanscapes, and invited their audiences to question and rethink classic urban paradigms and the role they play in constructing urban identities. The exhibition was included at the 9th International Architecture Biennale of Venice in 2004, where the Belgian pavilion received the Golden Lion for the best pavilion. (see p 67) Book: De Boeck, F & Plissart, M-F. 2005. Kinshasa. Tales of the Invisible City. Antwerp: Ludion. 15 July Rembrandt (1606-1669): 400 Years In celebration of 400 years since Rembrandt’s birth, JAG’s entire Rembrandt holdings of copper-plate etchings and some work by his predecessors were exhibited. Curated by Sheree Lissoos. Catalogue: Lissoos, S. 2006. Rembrandt (1606-1669): 400 Years. Johannesburg: Johannesburg Art Gallery. 23 July New Painting A group exhibition of recent South African paintings curated by Storm Janse van Rensburg. Artists represented included Ryan Arenson, Conrad Botes, Dorothee Kreutzfeldt, Tracy Payne,Tanya Poole. Catalogue: Janse van Rensburg, S (ed). 2006. New Painting: A Group Exhibition of Recent South African Art. Durban: KZNSA Gallery. 23 July Translation (In Memory of Durant Sihlali) Comprising a selection of works produced between 1993 and 2006, Johannes Phokela’s exhibition pays tribute to Durant Sihlali, his deceased mentor and teacher. Entering into deliberate ironic and satirical dialogue with historical European artistic production, especially the work of 17th century Dutch and Flemish painters, Phokela’s oil paintings re-work and re-present the Old Masters through critical socio-political subtexts and appropriation of European visual traditions. (see p 68) 13 August Churchill Madikida Madikida was the second artist to exhibiting in the Project Room. 02 November The Man: A Collaboration between Laurence Blogg, Thomas Dunn and Gregory Wright Blogg, Dunn and Wright were the third selection of artists to exhibit in the Project Room, with The Man being an installation of an experimental film produced in 2006, accompanied by related photographic material. 09 November Women: Photography and New Media Along the theme of imagining the self and body through portraiture, participating artists included Natasha Christopher, Frances Goodman, Terry Kurgan, Jo Ractliffe, Tracey Rose,

Usha Seejarim, Penny Siopis, Nontsikelelo ‘Lolo’ Veleko. Curated by Jeannine Howse and Amy Watson. 12 November Creative Explosion: Soweto Concealed Great Artists An exhibition of the works of two artists from Soweto, Alfred Maphumulo and Russia Maina. Maphumulo presented portraits in oil and pastel of “people who have made a difference in the country”. 19 November Approach This multi-dimensional retrospective programme of Berni Searle’s work showed in 3 venues – at Michael Stevenson in Cape Town, the University of South Florida Contemporary Art Museum, Tampa, and at the Johannesburg Art Gallery, and included performance works, photography, film and video installations addressing racial and gender inequities through the use of her body, personal histories and the construction of personal mythologies. The JAG show was curated by Clive Kellner. (see p 69) Catalogue: Perryer, S (ed). 2006. Berni Searle: Approach. Published by Michael Stevenson Contemporary/Institute for Research in Art, JAG. Contributing writers include Alexa Favata, Gabeba Baderoon, Laurie Ann Farrell, Clive Kellner.

2007 13 February Alt Pop: Jacques Coetzer The performance and conceptual artist was the fourth invited artist to exhibit in the Project Room. Catalogue: Coetzer, J et al. 2007. Alt Pop: Art Inspired by Doubt, Faith and Survival in the Middle Lane. Johannesburg: Jacques Coetzer/National Arts Council. Features texts by Willem Boshoff, Derek Hook, Ella Ziegler and Kathryn Smith, with notes by the artist. 08 March Roger Ballen: Mid-Career Exhibition A broad representation of work spanning much of Ballen’s prolific career, including photographs from the Platteland series, as well as more recent series and modes of exploration. (see p 70) Catalogue: Ballen, R & Pohlmann, U. 2011. Roger Ballen: Photographs 1969-2009. Berlin: Kerber PhotoArt. 20 March Celebrating 30 Years of Printmaking in Soweto Focusing on emerging artists, but also including works by deceased artists, notably Durant Sihlali and Nhlanhla Xaba. 07 April Confluence ‘07 A combined art development schools’ exhibition. 25 April Happy Dhlame T he fifth invited artist to exhibit in the Project Room. 13 May Dunga Manzi/Stirring Waters: Tsonga and Shangaan Art from Southern Africa Curated by Nessa Leibhammer, Billy Makhubele and Natalie Knight, Dunga Manzi/Stirring Waters was the first exhibition to comprehensively celebrate and showcase Tsonga and Shangaan art, bringing awareness to the extraordinary breadth of creativity and skill found in and around Limpopo Province. With the input of artist Billy Makhubele, who collected many of the treasured pieces on the exhibition

– particularly the sangoma items – this exhibition created a ‘living’ archive. It presented the Makhubele family, through their objects and artworks – a family whose story is one of resilience and survival through the political climate of the late 19th century and the apartheid era. (see pp 145-147) Catalogue: Leibhammer, N (ed). 2007. Dunga Manzi/ Stirring Waters: The Art and Culture of the Tsonga and Shangaan. Johannesburg: Wits University Press/Johannesburg Art Gallery. Contributing writers include Nessa Leibhammer, Billy Makhubele, Natalie Knight, Anitra Nettleton, Jean-Marie Dederen, Khwezi Gule, Karel Nel, Enos Sikhauli, Isak Niehaus. 24 June Africa Remix: Contemporary Art of a Continent The JAG showing of this mega-exhibition was its first on the continent, after having travelled to Museum Kunst Palast, Düsseldorf, the Hayward Gallery in London, Centre Pompidou in Paris, Mori Art Museum in Tokyo, and the Moderna Museet in Stockholm. Curated by Simon Njami. The exhibition was divided into three sections: City and Land; Identity and History; Body and Soul. (see pp 100-103) Catalogue: Njami, S (ed). Africa Remix: Contemporary Art

of a Continent. Johannesburg: Jacana/Johannesburg Art Gallery. 28 July Thando Mama The 6th artist exhibiting in the Project Room 06 September Sasol Wax Art Award 2007 As part of the Arts Alive Festival. Curated by Les Cohn. Finalists were Andrew Verster, Wayne Barker, Usha Seerjarim, Sue Williamson, Walter Oltmann. Catalogue: Sasol Wax Art Award 2007. 10 October Revisited An exhibition by Cyprian Mpho Shilakoe. Curated by Jill Addleson. Catalogue: Addleson, J (ed). 2006. Cyprian Mpho Shilakoe Revisited: An Exhibition of Paintings, Prints and Sculpture. Durban: Durban Art Gallery. 06 November A Solo Exhibition A solo exhibition by Benin artist, Meshac Gaba. 15 November Lerato Shadi The 7th invited artist to exhibit in the Project Room. 25 November A Legacy of Men A group exhibition in support of the 16 days of activism campaign, featuring artworks by Pierre Fouché, Robert Hamblin, Lawrence Lemaoana, Nicholas Hlobo, Mikhael Subotzky, Johan Thom, Kemang wa Lehulere. Curated by Jacki McInnes.

2008 10 February Dis-Location/Re-Location An exhibition by Leora Farber in collaboration with Strangelove exploring alienation and identity in South Africa. Catalogue: Law-Viljoen, B (ed). 2008. Dis-Location/ReLocation. Johannesburg: David Krut Publishing and The University of Johannesburg’s Research Centre for Visual Identities in Art & Design.

23 February Urban Concerns This project aimed to address human concerns and community dynamics in the public realm, connecting the city of Umeå, Sweden, and Johannesburg, and researching new avenues for experimentation through the mapping of multiple and simultaneous public spaces. (see p 71) 28 February There is Something in the Air in Prince Albert An exhibition by Cuny Janssen. 12 and 13 March 20th FNB Dance Umbrella: Moving in Shadows Remix Dance Company collaborated with Santu Mofokeng on Moving in Shadows, inspired by a series of Mofokeng’s photographs called Dancing with Shadows. The piece aimed to “find synergy between visual arts and dance”. 15 March Spier Contemporary 2007 The inaugural Spier Contemporary exhibition featured 100 artworks selected from over 2 000 submissions from across South Africa. Catalogue: Pather, J (ed). 2007. Spier Contemporary 2007. Cape Town: Africa Centre. Contributing writers: Clive van den Berg, Thembinkosi Goniwe, Virginia Mackenny, Zine Magubane, Deborah Posel, Bisi Silva, David Brodie, Roselee Goldberg. 20 April Homeland Security A photographic exhibition by Santu Mofokeng. 08 May Ars Moriendi (How to Die Well) The exhibition featured works engaging notions around death, mortality, salvation and transcendence, as well as contemporary deliberations on the memorialisation of memory through art, drawing from both the historical and contemporary JAG collections. Curated by Jeannine Howse and Clive Kellner. (see p 72) 29 June Urbanation: a Mid Career Exhibition A mid-career exhibition of installations by Kay Hassan. Catalogue: Asfour, F (ed). 2008. Kay Hassan: Urbanation. Johannesburg: Johannesburg Art Gallery/Gordonschachatocollection. Contributing writers: Clive Kellner, Khwezi Gule, Ivor Powell, Thembinkosi Goniwe, John Matshikiza, Lesego Rampolokeng. 05 July Confluence ‘08 A combined art development school exhibition. 24 July Love and Hate in Lesotho An exhibition by Zen Marie, and the launch of the Nando’s Project Room. 05 August Shrine Rituals An exhibition by Dinkies Sithole. August The Dematerialisation of the Art Object: 1917-2014 Curated by Clive Kellner. (see p 74) 24 September Fish Drum from Lake Fundudzi A once-off performance by drum maker Samson Mudzunga. 10 October Disturbance An exhibition of contemporary art from Scandinavia and South Africa. The artists involved examined the relationship that Nordic and South African artists have to notions of identity and place, by focusing on such elements as psychosis, consumption, beauty and hope. Curated by Clive Kellner and Maria Fidel Regueros. (see p 73)

13 November Rush Hour Series An exhibition by Themba Shibase. 30 November Thami Mnyele + Medu Art Ensemble A retrospective exhibition of Thami Mnyele and the Medu Art Ensemble. Curated by Clive Kellner, with Reshma Chhiba, Jeannine Howse, Khwezi Gule, Tshidiso Makheta and Maria Fidel Regueros. (see pp 96, 98, 104) Catalogue: Kellner, C & González, S-A (eds). 2008. Thami Mnyele + Medu Art Ensemble Retrospective. Johannesburg: Jacana. Contributing writers: Steven Sack, Clive Kellner, Diane Wylie, Thami Mnyele, Elza Miles, SergioAlbio González, Judy Seidman, Mongane Wally Serote.

2009 24 March For Tshepo: Ten Years Later Rangoato Hlasane in the Nando’s Project Room. 10 May Journey on a Tightrope Albert Adams retrospective exhibition. Catalogue: Martin, M & Dolby, J (eds). 2009. Albert Adams: Journey on a Tightrope. Cape Town: South African National Gallery. 30 June Musha Neluheni: Vantage 26 July Remastered An exhibition by Vik Muniz, from the West Collection. 26 July American Surfaces An exhibition by Stephen Shore. 20 September Us An exhibition of new work by local and international artists around the theme of group identity, whether nation, culture, class, gender, sexuality or race. Curated by Simon Njami and Bettina Malcomess. 01 November 1mile2: Johannesburg 1mile2 was a 3-year global arts programme that asked communities to map the biodiversity, cultural diversity and aesthetic diversity of their local neighbourhoods, working in collaboration with artists and ecologists. 1mile2 Johannesburg was a collaboration between Anthea Moys, Kyla Davis, Lee Griffiths and Sandra Hall. Their project explored the notion of ‘safe’ and ‘unsafe’ places, the crossing of thresholds and the urban environment. (see pp 156-57)

2010 07 February I Am Not Afraid In celebration of the 20th Anniversary of the Market Photo Workshop, featuring work by Bonile Bam, Jodi Bieber, Lerato Maduna, Sabelo Mlangeni, Zanele Muholi, Nontsikelelo Veleko. Curated by Christine Frisinghelli and Walter Seidi in association with Camera Austria. Catalogue: Frisinghelli, C (ed). 2007. I Am Not Afraid. Camera Austria 100/2007. Graz: Camera Austria. Includes texts by David Goldblatt, Rory Bester, John Fleetwood, Bonile Bam, Jodi Bieber. 21 February Gae Lebowa ‘Gae Lebowa’ translates as ‘Home North – an exhibition by George Mahashe, who travels north to seek the wisdom of his ancestry.

21 February Showmaster A Project Room exhibition by Claudia Shneider. 13 March An Evolving Consciousness: A Visual Journey Through Artworks Inspired by the Black Consciousness Movement An exhibition of works reflecting on how the Black Consciousness Movement inspired an atmosphere of creativity in the arts as a tool of resistance. Including works from the permanent art collections of JAG and UNISA. Estrella de Mar Taking as her example the starfish that re-grows any limb that is severed, Nuria Mora´s project created a multitude of works all stemming from the same nuclei: starting with a simple cube in the Gallery space, this was added to and then dismantled piece by piece. New street works, originating from the removable parts of the first work, were then created within the city. 18 April America Made in China The artist, ‘William Kentridge’, formerly known as Roelien Brink – who, like her renaming of self sets out to challenge value systems, which she considers groundless, in this exhibition explored aesthetic ideals from within a consumerist and media-saturated culture, and at how the media confers value on “mere symbols, such as artworks, through its idealisation of youth and beauty”. 02 May I Am Not Me, The Horse is Not Mine An exhibition by William Kentridge featuring 8 film projections, created in preparation for his production of the Shostakovich Opera, The Nose. (see p 75) Catalogue: Kentridge, W. 2008. I Am Not Me, The Horse is Not Mine. Johannesburg: Goodman Gallery. 23 May Without Masks An exhibition of contemporary Afro-Cuban art, coinciding with the City of Johannesburg’s Africa Day celebrations and the Soccer World Cup. Slavery, racism, identity politics, religious beliefs, and civil war were recurring themes in the exhibition. Featured artists: Ruperto Jay Matamoros, Belkis Ayón Manso, Pedro Álvarez, Manuel Mendive Hoyo, Julián González Olazábal, Ricardo Rodriguez Brey, René Peña, Moïse Finalé Aldecoa, José Bedia Valdés, Marta Maria Pérez Bravo, Rubén Rodriguez Martinez, Maria Magdal. Curated by Orlando Hernández. (see p 76-77) Catalogue: Hernández, O. 2010. Without Masks Contemporary Afro-Cuban Art. Johannesburg: Trace Group. 06 June Deep Play A multimedia, 12 channel, video installation with colour and sound (German with English subtitles), by Harun Farocki, first featured on Documenta 12, Deep Play is made of various perspectives on the final of the 2006 World Cup. In association with the Goethe-Institut South Africa. Coinciding with the Soccer World Cup 2010. 20 June Borders From the 8th Bamako Encounters, The African Photographic Biennale,in Association with Culturesfrance. Catalogue: Krifa, M & Serani, L. 2009. Borders. Encounters of Bamako 9: African Photography Biennial. Arles: Actes Sud. 19 September Ernest Cole Photographer An exhibition of approximately 150 of Cole’s photographic works from the Hasselblad Foundation’s collection. (see p 78) Catalogue: Knape, G. 2010. Ernest Cole, Photographer.

Göttingen: Hasselblad Foundation, Steidl. With essays by Struan Robertson and Ivor Powell. 03 October South African Photography: 1950-2010 13 October The MTN Art Classes Exhibition 24 October Reflex/Reflexión An exhibition presenting works from the project INFLUX/ REFLUX/REFLEX, featuring work by Marta Fernández Calvo, Dorothee Kreutzfeldt, Juan Linares, Erika Arzt, Churchill Madikida, Óscar Mora, James Webb. Curated by Nilo Casares and Bronwyn Lace. 28 November One Hundred Years of Collecting The Launch of the publication, One Hundred Years of Collecting: The Johannesburg Art Gallery, in conjunction with building projection and installation by Stephen Hobbs, and a vast display of works from JAG’s collection. Book: Carman, J (ed). 2010. One Hundred Years of Collecting: The Johannesburg Art Gallery. Johannesburg: Johannesburg Art Gallery. Matters of the Spirit An exhibition of works from the traditional southern African collection. Curated by Nessa Leibhammer. Transformations: Women’s Art from the Late 19th Century to 2010 Curated by Nessa Leibhammer, Reshma Chhiba and Musha Neluheni. (see p 79)

2011 12 February Looking as Learning An exhibition of works in the 2011 schools visual arts curriculum. Curated by Musha Neluheni and Nontobeko Ntombela. (see pp 130-143) Educational booklet: JAG-ed. 20 February Waiting For God A mid-career retrospective exhibition by Tracey Rose. Curated by Khwezi Gule, Renaud Proch and Linda Givon. (see p 81) 08 May A Fearless Vision A retrospective exhibition for the artist Alan Crump, curated by Federico Freschi. Installation by Stephen Hobbs in the Auditorium Entrance 13 May Antagonistic Harmonies in First Arrangement The first of three Project Room exhibitions of 2011. The artist Peter Mammes’ installation work, drawings, relief sculptures and paintings were on display. 15 May A.R.C. @ JAG A mid-career retrospective exhibition by Richard John Forbes. His A.R.C. (Acoustic Resonance Collector), Quiet Revolution and Ripple were on display. Catalogue: Forbes, RJ. 2011. A.R.C. @ JAG. Johannesburg: Johannesburg Art Gallery. 02 August Ugqozi Lwentambende … Spirit of the Long Rope from isiMangaliso An exhibition of selected works from the 3-year art programme in northern Kwazulu-Natal. Artists involved: Lucky Jambi, Nhlanhla Mabaso, Nokuthula Gumede, Muzi Nomandla, Neliswe Msweli, Samuel Mtshali, Thulani Mkhize, Memorial Biyela Mnguni, Steven Khoza.

04 September MaNyauza: Silent Messages to My Mother An exhibition by Mbongeni Buthelezi. (see p 80) 18 September Pinky Promise A photographic exhibition by Pierre Crocquet de Rosemond concerned with child sexual abuse. Catalogue: Law-Viljoen, B (ed). 2011. Pinky Promise. Johannesburg: Fourthwall Books in association with Hatje Cantz. 16 October Works on Paper Solo exhibition by Vasco Futcher of 20 drawings on paper using traditional techniques. Curated by Nontobeko Ntombela. 13 November Dutch/Flemish Exhibition Curated by Sheree Lissoos. An exhibition of paintings and prints made during the Dutch Golden Age, when the Dutch Republic was the most prosperous country in Europe. 21 November Michaelis Art Library Education Project 16 December Play, Ritual and Inspiration An exhibition of the Phansi Museum’s Collection of South African child figures. Opened by Frank Jolles. Catalogue: Jolle, F. 2011. African Dolls: The Dulger Collection. Stuttgart: Arnoldsche Verlagsanstalt.

2012 29 January A Fragile Archive An exhibition of works by the pioneering woman artists, Gladys Mgudlandlu and Valerie Desmore. The exhibition was centered around an installation that re-staged Mgudlandlu’s first exhibition in 1961, and which also included works of other women artists from public collections. Curated by Nontobeko Ntombela. (see p 82) 26 February Transference An exhibition exploring new artistic interpretations of cosmopolitan trade of the Johannesburg inner-city trolley pushers. Exhibited in the JAG Project Room. Featuring work by Vumelani Sibeko and Senzo Shabangu. Curated by Portia Malatjie. Fluctuations of Form A sculptural exhibition of works from the Gallery’s collection, curated by Musha Neluheni and Nessa Leibhammer. 06 May Coming of Age: 21 Years of Artist Proof Studio A retrospective exhibition celebrating 21 years of printmaking in Johannesburg. Curated by Pamela Allara. Opened by Sibongile Khumalo. 2 651 guests attend. Featured artists: Phillemon Hlungwani, Nelson Makamo, Lehlogonolo Mashaba, Lucas Nkgweng, Kim Berman, William Kentridge, Diane Victor, Wim Botha, Norman Catherine, Paul Edmunds, Gerhard Marx, Colbert Mashile, Chris Diedericks, Kudzanai Chiurai, Lauren Adelman, Birgit Blyth, Muzi Donga, Jane Goldman, Cathy Kernan, Ilana Manolson, Osiah Masekoameng, Mongezi Ncaphayi, Charles Nkosi, Judy Quinn, Rhoda Rosenberg, Peter Scott, Stompie Selibe, Nhlanhla Xaba. Catalogue: Allara, P & Berman, K. 2012. Coming of Age: 21 Years of Artist Proof Studio. 2012. Johannesburg: Johannesburg Art Gallery. 15 July MMXII A solo exhibition by James Webb, featuring 15 of Webb’s projects installed within the Gallery and among a selection of works from the Gallery’s archive. (see p 84)

05 August Oblique A solo exhibition by Abrie Fourie comprising a film installation and a narrated text by Ivan Vladislavić, counter-positioned to a small series of photographs. Curated by Storm Janse van Rensburg. 28 October French Connections An exhibition of works from the JAG collection. Curated by Sheree Lissoos and Antoinette Murdoch. (see p 83) Jaged: French Connections educational supplement.

2013 10 February Venus At Home A solo exhibition by Usha Seerjarim, concerned with the everyday, the mundane and the ordinary and how it shapes identity. 07 April Looking as Learning II An exhibition of works from the Gallery’s collection that explored a chronological layout of the South African and international trends based on the 2013 national secondary school visual art curriculum. Curated by Musha Neluheni. 08 September Off The Beaten Path An exhibition which deals with violence, women and art, curated by Randy Jayne Rosenberg. Featured artists: Jane Alexander, Louise Bourgeois, Lise Bjorne Linnert, Maria Campos-Pons, Marina Abramović, Wangechi Mutu, Miri Nishri, Patricia Evans, Maimuna Feroze-Nana, Mona Hatoum, Icelandic Love Corp, Yoko Inoue, Jung Jungyeob, Amal Kenawy, Hung Liu, Almagul Menlibayeva, Gabriela Morawtz, Yoko Ono, Cecilia Paredes, Susan Plum, Cima Rahmankhah, Jaune Quick-to-See Smith, Masami Teraoka, Hank Willis Thomas, Miwa Yanagi, AWARE/OWARE project. (see pp 110-113) 03 December Conversations (House Keeping) An exhibition of what might be considered non-traditional artworks from the Gallery’s collection. Curated by Antoinette Murdoch. Featured artists: Albert Adams, Marc Edwards, Albert Munyai, Anthony Caro, Beverly Price, Charles Rennie Macintosh, Charles-Edouard-Jeanneret le Corbuiser, Claudette Schreuders, Clive van der Berg, Elizabeth Margaret Vels, Fred Page, Gerrit Thomas Rietveld, Jacques Coetzer, Jan Schoeman (Outa Lappies), Jeremy Wafer, Johannes Frederik Potgieter, Johannes Phokela, Kieth Dietrich, Luan Nel, Moses Seleko, Nandipha Mntambo, Penny Siopis, Peter Bernd Schutz, Richard Hamilton, Robert Griffith Hodgins, Sam Nhlengethwa, Zwelethu Mthethwa, Sandile Zulu, Steven Cohen.

2014 16 March JAG/SNAG: End of Exhibition After 3 years of research/discussion/responses to JAG’s physical and historical properties with the director of JAG, Antoinette Murdoch, Stephen Hobbs presented his final series of architectural responses to the Meyer Pienaar extension of JAG. Opened by Christopher Till. (see pp 118-127) 18 April Another Country An exhibition by Reiner in conjunction with the launch of a corresponding catalogue. Curated by Musha Neluheni. Book: Leist, R. Another Country: South Africa’s New Portraits. 2014. Johannesburg: Jacana. 25 May Over The Rainbow

An exhibition interrogating the Gallery’s collection post-1994. The exhibition dealt with race, identity, HIV/AIDS, poverty and wealth, amongst other concerns. Featured artists: Thando Mama, Zanele Muholi, Pieter Hugo, Penny Siopis, William Kentridge, Churchill Madikida, Diane Victor. Curated by Musha Neluheni. 27 July Blindfolded Line, Dancing Through Time An exhibition by Liza Grobler; curated by Antoinette Murdoch. Booklet: Blindfolded Line, Dancing Through Time. Liza Grobler and Friends. 14 September The Foundation Collection of the Johannesburg Art Gallery Installation of the Foundation Collection of the Johannesburg Art Gallery, curated by Hugh Lane (1873-1915) and the relaunch of the original 1910 catalogue. An edition of postcards of eight works from the collection was also printed for the occasion. (see pp 86-89) Launch of reprint of The Municipal Gallery of Modern Art, Johannesburg 1910. 2 October PG Bison Award Ceremony PG Bison Award Ceremony announcing the winners of the student competition to redesign the Meyer Pienaar extensions. 12 October Wish You Were Here, So Long Two by Two Art Studio presented a night at JAG, featuring performances, installations, graffiti, music and a film (shoot and) screening. Contributors: Thando Lobese, Kitso Lelliot, Kirsty Morrison, various graffiti artists, Chris Preyser and DJs Left & Right. 29 October Condition Report, Wits at JAG: The Encyclopaedic Basement. Curatorial terms and their accompanying displays of revisited and re-contextualised works from the Johannesburg Art Gallery Collection, by Wits postgraduate curatorial students. Catalogue: Alheit, C. et al (eds). Condition Report. Johannesburg: Johannesburg Art Gallery. (see pp 131-143) 09 November The Refusal of Time The Refusal of Time was first shown at Documenta 13 in 2012, and was made in a series of workshops over a period of two years. It started as a series of conversations between William Kentridge and Peter Galison, a scientist, looking at different theories of time, from Newton through to Einstein and black holes; in each case finding the metaphor for the science rather than trying to illustrate it. In the end the piece deals with the transformation of time into material objects, sound, images and mechanics. It comprises five video projections, a multi-dimensional soundscape created by Philip Miller, four megaphones and a large breathing machine. (see p 85) Catalogue: Kentridge, W. 2013. The Refusal of Time. Paris: Editions Xavier Barral. Includes an introduction by William Kentridge. Text by Peter Galison, William Kentridge, Catherine Meyburgh, Philip Miller. 09 December Cemetery A solo exhibition by Raimi Gbadamosi. Curated by Musha Neluheni.

24 May Construct to Deconstruct An exhibition of work by Happy Dhlame, with a performance at the opening by Herbie Tswaeli, Kgafela wa Magogodi, BCUC. Curated by Antoinette Murdoch and Musha Neluheni. (see pp184-185) July Common Threads An exhibition of tapestries from the Gallery’s collection, displayed with their corresponding paintings/prints/drawings. Curated by Antoinette Murdoch, Tara Weber, Philippa van Straaten. 09 August 1:1 A solo exhibition, including photographic prints, multimedia installation and video projections by Alinka Echeverría. Opening remarks by Achille Mbembe. A panel discussion featuring Raimi Gbadamosi, Sean O’Toole and Alinka Echeverría accompanied the exhibition. Curated by Medeine Tribinevicius, Thato Mogotsi and Musha Neluheni. 09 September LOS-JHB: A Sound Installation by Emeka Ogboh VANSA Art week Joburg 2015 in partnership with the Johannesburg Art Gallery. 10 September FNB Joburg Art Fair Featured artist Candice Breitz, in partnership with JAG and Goodman Gallery. Centenary Celebrations exhibitions: Nov 2015 South African Art From 1940-1975 Shown chronologically, the exhibition represented work associated with various South African art schools, including Rorke’s Drift and Polly Street, as well as other individual artists, including Albert Adams, Peter Clarke, Ernest Cole, Valerie Desmore, Nel Erasmus, Dumile Feni, Ruth Everard, Katrine Harries, Gavin Jantjes, Maggie Laubser, Ephraim Mojalefa and Fred Page. Curated by Antoinette Murdoch; co-curator, Tharien Strydom. Pre-Raphaelites and their Circle An exhibition of all Pre-Raphaelite work in JAG’s collection, with Dante Gabriel Rossetti’s Regina Cordium (Mrs Rossetti) as the centerpiece, as well as some of their contemporaries. Curated by Sheree Lissoos. Pastoral Pieces: Significant African Objects from JAG’s Historical Collections Significant pieces from within all of the sub-collections of the African Traditional Collection, including the most recently acquired Maritz Collection. Curated by Karel Nel and Philippa van Straaten. Moments in a Metropolis An exhibition highlighting, celebrating and interrogating JAG’s defining context – the city – through works on paper, including printmaking and photography. Curated by Tara Weber. Digital works from JAG’s Collection Curated by Musha Neluheni.

2015 12 April KafferSheet A solo exhibition of work by Turiya Magadlela. Curated by Jonathan Garnham and Antoinette Murdoch.

TOP LEFT: Display from the JAG Collection, c 1931. TOP RIGHT: Works from the Contemporary South African Collection, 1990s. CENTRE LEFT: The Hague Collection, Post Impressionist Room, c 1950. BOTTOM LEFT: Installation view of Images of Wood: Aspects of the History of Sculpture in 20th Century South Africa, 1989. BOTTOM RIGHT: Installation view of UKIYO-E, Japanese Wood-Block Prints, 1991.

Installation views of the permanent display of sculptures by Jackson Hlungwane (1923-2010). The dedicated Jackson Hlungwane Room at JAG was inaugurated in 1993.

Installation views of David Goldblatt: Fifty-One Years, A Retrospective, 2005.

Installation views of Kinshasa: The Imaginary City, 2006.

Installation views of Johannes Phokelaâ&#x20AC;&#x2122;s Translation: In Memory of Durant Sihlali, 2006. The exhibition featured a selection of works produced between 1993 and 2006.

Installation views of Berni Searleâ&#x20AC;&#x2122;s monographic exhibition titled Approach, 2006.

Installation views of the Roger Ballenâ&#x20AC;&#x2122;s mid-career exhibition, 2007.

The 2008 Urban Concerns exhibition brought together curators, artists, students and ordinary citizens from Johannesburg and the Swedish city of UmeĂĽ seeking solutions to the challenges of living in cities. The project approached art from an activistâ&#x20AC;&#x2122;s perspective, redefining the role of the artist as a social and political agent with the ability to facilitate change. Images courtesy of Anthea Moys.

Installation views of Ars Moriendi (How to Die Well), curated by Jeannine Howse and Clive Kellner, 2008.

Installation views of Disturbance â&#x20AC;&#x201C; Contemporary Art from Scandinavia and South Africa, curated by Clive Kellner and Maria Fidel Regueros, 2008.

Installation views of The Dematerialisation of the Art Object: 1917-2004, 2008.

William Kentridgeâ&#x20AC;&#x2122;s multi-channelled projection installation I Am Not Me, The Horse is Not Mine shown at JAG in 2010.

Installation views of Without Masks: Contemporary Afro-Cuban, curated by Orlando Hernandez. The exhibition opened on 25 May, Africa Day, and coincided with the 2010 FIFA World Cup, hosted by South Africa.

Installation views of Ernest Cole Photographer, an exhibition of around 150 works from the Hasselblad Foundationâ&#x20AC;&#x2122;s collection, 2010.

Installation views of Transformations: Womenâ&#x20AC;&#x2122;s Art from the Late 19th Century to 2010, curated by Nessa Leibhammer, Reshma Chhiba and Musha Neluheni, August 2010 to January 2011.

Installation views of Mbongeni Butheleziâ&#x20AC;&#x2122;s mid-career exhibition MaNyauza: Silent Messages to My Mother, 2011.

Installation views of Waiting for God, a mid-career retrospective by Tracey Rose, curated by Khwezi Gule, Renaud Proch and Linda Givon, 2011.

Installation views of A Fragile Archive, curated by Nontobeko Ntombela, 2012. The exhibition featured works by the pioneering woman artists, Gladys Mgudlandlu and Valerie Desmore, and also included works of other women artists from public collections.

Installation views of French Connections, an exhibition from the JAG collection curated by Sheree Lissoos and Antoinette Murdoch, which formed part of the France-South Africa Seasons 2012 & 2013.

Installation views of James Webbâ&#x20AC;&#x2122;s exhibition MMXII, 2012. Images courtesy of Anthea Pokroy, Paul Grose and Nic Dunmer.

The Refusal of Time, 2012, a multi-channel projection installation of William Kentridgeâ&#x20AC;&#x2122;s collaboration with composer Philip Miller, projection designer and editor Catherine Meyburgh, choreographer and dancer Dada Masilo, and scientist Peter Galison, shown at JAG in 2014. Images ÂŠ Patrick de Mervelec.

Installation views of JAGâ&#x20AC;&#x2122;s Foundation Collection, curated by Hugh Lane (1873-1915), was on show from September 2014 to May 2015 for the first time in many decades in its original setting. Image ÂŠDavid Ceruti.

JAG’s Foundation Collection, 2014/15. Image ©David Ceruti.

THE NEGLECTED TRADITION Same Mdluli

In 1988 the Johannesburg Art Gallery hosted an exhibition

of newspaper reviews, existing literature, as well as artists,

to weave and connect a particular narrative –“towards

titled The Neglected Tradition: Towards a New History of

educators and members of community-based organisations

a new history of South African art” (1989:7). While estab-

South African Art (1930-1988). It was the first exhibition

to establish the basic information required for the exhibition.

lishing this new history, the exhibition was also confronted

of its kind to be held in the Gallery in that it brought to-

As this occurred only a few months prior to the exhibition

with the challenges of re-writing history, accompanied by

gether the work of black artists (and some white artists) in

opening, Sack and his team were assisted by Matsemela

an already fragile archive, which, as the curator admits, was

South Africa, framed within a period covering half of the

Manaka, who had begun to carve out some of the ground-

not always accurate and at times inconsistent. This is illus-

past twentieth century. Generally The Neglected Tradition

work in the field of black art studies that would look at

trated by the unevenness of the biographies in the written

is viewed as a revisionist exhibition aimed at redress and

questions of redress in South African art. The exhibition

entries of the catalogue and the commentaries about the

reparation of an imbalanced historical account. However,

featured 100 black artists, among whom were several

various artists. For this reason the catalogue forms a critical

in revisiting the exhibition, I argue that although the exhibi-

‘rural’2 artists, but it also included three urban white artists,

aspect of the exhibition itself, not only as a remnant and

tion occupies a significant position in South Africa’s art

Bill Ainslie, Cecil Skotnes and Edoardo Villa. Although Till

reminder thereof, but also an important survey of the devel-

historical narrative, located at the brink of political con-

points out that the exhibition was aimed at “… reflecting

opment of black art covering a particular period. It has also,

version, this emphasis on the political tends to detract from

and re-evaluating South African art history by tracing the

however, become a useful tool to interrogate the role of the

its initial intention as ‘a catalyst’ for further investigation

development and influence of black South African artists”

exhibition itself in generating a particular kind of narrative

on some of the artists it featured. As a result it was not only

(1989:5), the inclusion of the three white artists was ex-

about black art through the biographies it produced about

read as an overtly political exhibition in that it sought to

plained by Sack as being “based on their integral relation-

certain black artists – both urban-based and those con-

change the exclusive narrative of South African art history,

ships with the historical development of black South African

sidered ‘rural’.

but also, in so doing, it highlighted the progression towards

art” (1989:7). The exhibition, however, did not adequately

transformation within institutions like JAG. JAG at the time

concede the complexities of this relationship, and for the

The Neglected Tradition exhibition was thus faced with

of the exhibition also had a strong desire to keep on par with

most part remains underpinned by questions of patronage,

some challenges from the onset. It first had to grapple with

international trends in curating and programmes aimed at

changing social conditions, as well as new educational

assembling a fragmented and displaced narrative of black

greater inclusivity.

influences, all of which were factors that played out dif-

creative expression and culture. In order to revisit the neglect-

ferently for different black artists.

ed history of ‘black art’, curator Steven Sack notes how he

In 1987 the director of JAG, Christopher Till, approached

was compelled to make crucial decisions (1989:7). This

Steven Sack, a lecturer in the Department of History of Art

In reassessing this history, Sack notes the importance of

included deciding whether “to write about black art as a

and Fine Art at the University of South Africa (UNISA), to

“acknowledging the complexity and variety, as well as

separate category or insert it into the mainstream” (1989:7).

curate an exhibition of art by black South Africans. In an

the degree of cultural interchange that has taken place

The challenges can thus be traced through exploring the

attempt to write a more integrated history of South African

within this history” (1989:5). As a result, the work selected

structure of the catalogue and the categories Sack used

art, Sack and a team of researchers consulted the archive

for inclusion was then grouped into categories that began

to frame the works exhibited in the show. This may not

necessarily have been the structure of the exhibition it-

While The Neglected Tradition sought to bridge a gap in,

self in terms of layout and display – a record of which does

if not transform the history of South African art, in many

not exist – but it provides an overview of the ideological

ways it nullified the significance of modernisms practiced

framework of the exhibition and may further explain the

by the black artists it highlighted. To some extent it attempt-

wider implications of how the category of ‘rural’ artists was

ed to address this, by following a fairly accurate chronology

inserted into the exhibition, and for the writing of them

used to categorise the artists it featured in the exhibition,

into history.

however it also took a political stance, both artistically and socially, in that in its function as a research project, one of

In the catalogue, the trajectory of art produced by black

the key objectives for Sack was “to re-examine the prevailing

artists is delineated through a timeline mapping when cer-

notions of the nature of ‘black art’ and indeed the definition

tain key art centres opened to offer formal training to these

of art” (1989:7), which he believed had “in many cases

artists in South Africa – the “Pioneers” consist primarily of

been adopted unquestioningly from Western art tradition”

artists who were trained through missionary schooling,

(1989:7). This, I suggest, impacted on the framing of the

followed by an overview of centres like Rorke’s Drift and

exhibition, in that it was held in an institution based on

Polly Street, which formalised art training for black artists

the same tradition. It therefore also invoked the politics

from the late 1950s onwards. The categories of “New Gen-

of display and representation, and how this played out

eration” and “New Generation Sculpture”, however, track

being held at an art institution like JAG.

a slightly different path in that they are conveniently situated within “the dialectic of town and countryside”, a theme that

JAG is a public, municipal institution governed by the City

runs through the catalogue in various ways. While the term

Council of Johannesburg, which meant that from its incep-

“New Generation” is centred on the role of art centres within

tion it functioned differently from a national museum. It has

urban areas, “New Generation Sculpture” refers to artists

always been governed and funded at a municipal level

from a particular locale, namely the northern part of the

and so its status as an institution of national importance

country, especially Gazankulu and Venda. The categori-

was attributed via a series of historical events, rather than

sation of both groups of artists are framed not only within

being officially recognised. But this is arguable, because

a particular timeframe – the 1980s – but were also accom-

at the time art museums in South Africa were exclusive to

modated by the art market in distinct ways. The ‘New

all but white middle-class artists and audiences. The im-

Generation’ is discussed in relation to the political changes

portance of JAG as an institution with a national reach was

that were taking place in the country, whilst the ‘New

thus signalled in the late 1980s by a changing political

Generation Sculpture’ discussion seemed concerned with

landscape and the appointment of a new director. Therefore,

the politics of the art market following the Tributaries

in discussing the exhibition itself, it is important to consider

exhibition of 1985 (1989:27). They both however allude

the formation of JAG, because the establishment and devel-

function in the formation of a national identity, as well as

to the politics of the time and this, as a result, makes them

opment of its collection, which later included some works

its institutional role to stimulate and encourage schol-

political terms themselves. Furthermore they explain why

from The Neglected Tradition exhibition, was peculiarly

arship in art making (2006:191). Yellow Houses, A Street

in the exhibition itself Sack intentionally evades the use of

shaped by its formation.

in Sophiatown (1940) by Gerard Sekoto was acquired in

terms such as ‘township’ and ‘transitional’, which were

The opening of The Neglected Tradition: Towards a New History of South African Art (1930-1988), 22 November 1988.

1940, and, while it was JAG’s first acquisition of a work

increasingly becoming debatable in academic spaces and

As pointed out by Jillian Carman (2006:191), this history

by a black artist, it set a possible precedent for a different

the public realm.

presents another dimension of the Gallery in relation to its

kind of narrative that subsequently became part of the

history of the painting, and the collection and the Gallery.4 The orthodox (colonial) narrative of the Gallery was in a way disrupted by this acquisition, although Sack argues that the inclusion of Sekoto’s canvas in the collection was partly because of the association of easel painting with Western tradition.5 It remained, however, the only acquisition of a work by a black artist for the next 31 years: no further works by black artists were acquired until The Neglected Tradition exhibition eventually opened in 1989. Since then, there has been further inquiry into some of the artists the exhibition featured, such as Dumile Feni, Ernest Mancoba and Ephraim Ngatane, all of whom had exhibitions and publications of their work produced subsequent to the exhibition. In this sense the exhibition did indeed achieve its objectives as a catalyst to encourage further research on the artists it featured. It highlighted the significance of these artists in South African art history, but did so through a particular lens, one that not only sought to delineate what constitutes ‘black art’, but in so doing also shaping how this art would be incorporated into the broader South African art historical narrative. This is also apparent in how the catalogue placed less emphasis on the activities of centres such as the Federated Union of Black Artists (FUBA) and Johannesburg Art Foundation, which were instrumental in shaping the development of art produced by black artists prior to the staging of the exhibition.

The Neglected Tradition exhibition therefore narrates a complex story about art, politics and nationalism in South Africa. This story is intrinsically linked to the historical narInstallation views of The Neglected Tradition: Towards a New History of South African Art (1930-1988), curated by Steven Sack, 1988.

rative of JAG, which shares a particular relationship with South Africa’s cultural landscape. While the institution has, since the exhibition, made great strides in encouraging greater inclusivity, not only in its collection and acquisition policies, the Gallery nevertheless continues to occupy a

1930 under a separate category of ‘Special Exhibit by Native Artists’, however when Sekoto showed at the Academy in 1939 there was no separate Native Exhibit category (Harmsen, 1989: 287).

Sources Carman, J. 2006. Uplifting the Colonial Philistine: Florence Phillips and the

Making of the Johannesburg Art Gallery. Johannesburg: Wits University Press. Goniwe, T. 2014. Welcome to the White Art Jungle: The Black Collectors’ Forum, Art South Africa, 13 (2): 89-90. Harmsen, F. 1989. The Neglected Tradition, South African Journal of Cultural

and Art History, 3(3), July 1989: 284-287. Sack, S. 1989. The Neglected Tradition: Towards a New History of South

African Art (1930-1988). Johannesburg: Johannesburg Art Gallery. Till, C. 1989. In Sack, S. The Neglected Tradition: Towards a New History of

precarious place in the lives of the majority of communities it

some rural, and a variety of educational, class and

aims to serve. The participation of these communities in the

religious backgrounds. It was unique owing to the

narrative of the history contained by the Gallery is thus

fact that, for the first time, black urban and ‘rural’ artists

as implicit to its legacy as the exhibitions it has staged.

exhibited their works alongside white urban artists on

South African Art (1930-1988). Johannesburg: Johannesburg Art Gallery: 5.

Same Mdluli

a public platform. See Burnett, R. 1985. Tributaries: A

Endnotes

View of Contemporary South African Art. Johannesburg:

Dr Same Mdluli is an artist, arts administrator and writer

BMW Kulturprogramm.

living in Johannesburg. She has a PhD in Art History and

4 In 2010 the Johannesburg Art Gallery celebrated 100

an MA in Arts and Culture Management, both from the

1 Matsamela Manaka was a writer, director, actor, poet

years of its collection. It was accompanied by a cata-

University of the Witwatersrand, and a B-Tech in Fine Arts

and cultural theorist living in Soweto. He was instru-

logue with illustrations as well as essays by some of

from the University of Johannesburg. In 2012/2013 she

mental in the establishment of the Funda Drama Centre

the employees of JAG, in which it is stated that Sekoto’s

was a Junior Research Scholar at the Getty Research Insti-

in Diepkloof, Soweto in 1978. He is also the author of

Yellow Houses: A Street in Sophiatown was the first

tute (LA), a participant at the Diversitas Summer School in

Echoes of African Art, A Century of Art in South Africa.

work by a black artist to enter JAGS’s collection. Carman,

Oldenburg, Germany, and is an invited guest researcher

2 The word ‘rural’ is placed in inverted commas from here-

J. & Lissoos, S. 2010. Becoming Historic, in Carman, J

at the Institut National d’histoire de l’art (INHA) in Paris.

on because it was later problematised along with terms

(ed). 2010. One Hundred Years of Collecting. Johannes-

such as ‘township’ and ‘transitional’.

burg: Johannesburg Art Gallery: 46.

3 Tributaries was an exhibition curated by Ricky Burnett

5 Sack, 1989: 12. At this point it is also worth noting the

at Newtown Galleries, Johannesburg in 1985. It featured

fact that work by black artists had previously been

111 works made by 111 artists from mainly urban, but

shown on the South African Academy exhibitions in

OUTSIDE INSIDE Julia Charlton

Outside Inside formed part of the ‘Africus 95 Johannes-

As a metropolitan-funded entity, JAG fell under the Johan-

such anxiety, other than the perceived loss of curatorial con-

burg Biennale’, the first mega international art exhibition

nesburg Transitional Metropolitan Council, the broader

trol that various authors have pointed out was diminished

organised in South Africa after the advent of democracy in

city structure responsible for the Biennale. The main action

by the careful selection of the artists. We decided to allocate

1994. Twenty years later, from the perspective of today’s

was taking place in Newtown at MuseumAfrica and the

all of the project’s R30 000 budget to the artists, so each had

global, vibrant and dense arts sector, it is hard to remember

Electric Workshop, also in the city’s Central Business District,

a contribution of R3 000 towards their production costs.

the excitement generated by the opportunity to participate

but some distance from JAG’s location in Joubert Park.

Even at the time, this honorarium was tiny, and several artists

in a project of this magnitude. After years of repressive legis-

A sense of being part of, but not central to, the Biennale

refused the invitation when they discovered the fee involved,

lation and stifling isolation, however, the local arts land-

pervaded JAG’s involvement. Uncertainty and instability

but most seized the opportunity. One who was expected

scape was insular and limited. The end of apartheid was a

characterised the entire project and, until the last, there was

to participate and is included in the official Biennale cata-

time of heady optimism, and though South African society

considerable doubt as to whether the whole project would,

logue, photographer Victor Matom, fell out, but I can no

was still in turmoil in many respects, there was a palpable

in fact, come off. Confirmation of the funding, necessary

longer remember for what reason.

sense of change, optimism and enthusiasm. South Africa

to contract the artists involved, was significantly delayed.

was poised on the cusp of the world’s attention, and in art

The artists responded in enormously different ways. Kendell

terms this translated to a moment of international interest

The curation of JAG’s contribution fell to me as Curator of

Geers required that a display from the permanent collection

and curiosity distilled in biennale form.

the Contemporary Collections, but many colleagues were

be dismantled and the resultant empty room be exhibited;

involved. A number of us had been captivated by descrip-

Durant Sihlali installed paper pulp works on the floor and

The Johannesburg Biennale was not universally met with

tions of Fred Wilson’s Mining the Museum at Maryland

the glass that separates the Gallery’s interior and exterior.

enthusiasm and endorsement, and both at the time, and

Historical Society in 1992 (I’m not sure that any of us had

As Colin Richards put it, “Geers sought to evacuate the insti-

in the decades since, many artists, academics and activists

actually seen the exhibition, I certainly hadn’t); his explo-

tutional space (Johannesburg Art Gallery) while Sihlali

have been highly critical of the allocation of considerable

ration of the politics of exclusion and eradication through

sought to occupy it” (Atlantica No 11 October 1995);

financial resources to this project when there is so much

site specific installations in the museum had resonated with

Willem Boshoff installed his Blind Alphabet ABC, a field

developmental need across South African cultural entities.

ideas we were grappling with in the South African context.

of carved wooden objects in mesh boxes that reversed the

In this respect perhaps not so much has changed; public arts

Assistant Director and Senior Curator of Collections Lesley

usual power relations between blind and sighted people;

organisations remain desperately underfunded and the

Cohen suggested the installation art form, and Paintings

Karel Nel created a contemplative ritual space by filling a

high-profile projects that receive the bulk of available

Conservator, Theresa Wimberley, contributed the title.

Lutyens gallery with his installation of stone objects, sand and light to explore ideas of art as sacred activity; Jann

government funding remain hugely contested. Today’s most topical example is perhaps the proposed R600 million

Selected artists were invited to ‘engage critically’ with JAG

Cheifitz suspended banners parodying banknotes above

National Heritage Monument, a cultural theme park in

in whatever way they saw fit – its collections, space, institu-

the public entrance, in a critique of exploitative global

Pretoria, set to house over 500 bronze sculptures of struggle

tional framework, history – and they chose where to insert

trade exchange; Joachim Schönfeldt situated his image of

heroes, while most existing museums languish in situations

their work. The invitation seemed a risky proposition, though

a scrap metal collector in all the exhibition’s communication

of financial constraint and neglect.

again with the benefit of hindsight, I wonder what generated

material, in recognition of the primary role that marketing

and publicity play in the circulation of art; Leora Farber undermined patriarchal systems of representation embodied in 17th century Dutch still life paintings by creating elaborate assemblages of excess to be viewed through an installation of optical devices; Steven Cohen’s Let Them Eat cock! transformed JAG’s Print Room into his studio space, demanding recognition of his queer identity and expressing his rage at the ongoing violence inflicted and endorsed by South African society. The energy and intensity of each of these spatial interventions was substantial and, in my opinion, noticeably altered the institutional environment of JAG with their quiet power.

Julia Charlton Julia Charlton has been the Senior Curator at Wits Art Museum (WAM) since 2005 and played a key role in the development, fundraising and establishment of this museum. She obtained her BA Fine Art from the University of the Witwatersrand, Johannesburg in 1983 and her Master’s degree in Fine Arts from the University of Cape Town in 1987. She has over 25 years of administration and curatorial experience within public art institutions including Unisa Art Gallery, Pretoria (1987-1990), Johannesburg Art Gallery (1991-1997) and Wits (since 1997).

LEFT, TOP TO BOTTOM: Durant Sihlali’s The Mural Series, Joachim Schönfeldt’s Untitled (The Noble Savage) and Karel Nel‘s Temenos Lingam or Mayhem. RIGHT, TOP TO BOTTOM: Jann Cheifitz’s Foreign Exchange, Kendell Geers’ Title Withheld (Boycott), Leora Farber’s Seeing is Believing and Other Modern Myths and Steven Cohen’s Let Them Eat Cock! Images © Wayne Oosthuizen.

THE GRAMMAR OF THE EXHIBITION, BIOGRAPHY OF A BUILDING AND A PHONE CALL

Clive Kellner

It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions. – Florence Derieux (O’Neil 2012:91)

The typology of the

(2009:57). This idea was central to my curatorship of

exhibition

JAG in two primary ways. First, in considering how to attract

Exhibitions in museums have their etymology in scholarship: a form of ‘show’ and ‘tell’ in which ‘to show’ is to display

Objects have the power to inspire, transform and to cause effect. This power may take variable forms, be it cultural, technological, economic or symbolic. The Johannesburg Art Gallery contains over 9 000 objects with this kind of ‘aura’. It is in the object relations of exhibitions that the 2

power of objects becomes explicit, staging a series of dialogues between the audience and the museum building. It is a vital one that is necessary to the construction of civil society and the principles of democratic values. As Pontus Hulten, the legendary curator and museum director stated, “a museum director’s first task is to create an audience – not just to do great shows, but to create an audience who trusts the institution” (Obrist 2008:37). With reference to Hulten’s comment, I will discuss several exhibitions that I presented between 2004-2009 as Head and Chief Curator of the Johannesburg Art Gallery.

and ‘to tell’ is to be an active agent in the production of knowledge. This idea is further elaborated in the distinction between the museum curator as caretaker (Latin curare, to care for), and that of the independent curator who has become synonymous with that of an ‘auteur’ or author of exhibitions. Jan Hoet, when curating the 1992 documenta, writes, “this exhibition is my text, every work that is contributed is a postulate and the discourse unfolds as one walks through the spaces” (O’Neil 2012:97). As such, there is an unfolding revelation of an artist and their work as the viewer moves through the various galleries of the building. Moreover, the authorial intention of the curator becomes apparent in the relation between art on display and the architecture of the building. Adam Szymczyk explains that the word ‘exhibition’ is from the Latin exhibere or ex-habere, which is “the act of holding something out and thus making it visible and present”

audiences to one of the densest transit hubs in Johannesburg, located between Park Station, Hillbrow and the city centre. And secondly, I envisaged large-scale exhibitions that would be informative, spectacular in their design and compelling to engage with as “poems in space”, to use Harald Szeeman’s term (Obrist 2008:238). In order to realise this, I envisaged a programme of diachronic exhibitions of South African and contemporary African artists in the form of monographs and retrospectives, including David Goldblatt (David Goldblatt: 51 Years, 2005), William Kentridge (William Kentridge Retrospective, 2005), Kay Hassan (Urbanation, 2008), Berni Searle (Approach, 2006) and Meshac Gaba (2007). In contrast, I envisaged a programme of collections and thematic exhibitions of a synchronic nature that addressed a particular theme or set of ideas at one point in time including, Impressionists from

Corot to Monet (2004), Negotiated Identities: Black Bodies (2004), Dunga Manzi: Stirring Waters (2007), Africa Remix (2007), Ars Moriendi (2008), The Dematerialisation of

the Art Object (2008) and Thami Mnyele + Medu Art Ensemble (2008).

As a curator or ‘exhibition maker’, I consider exhibitions

congestion and litter that beset the area. But perhaps more

Museum Kunst Palast, Mori Museum and the Hayward

as more than merely ‘objects in a space’. My proposition

significantly, the annual budget for exhibitions was R36 000,

Gallery, it was agreed that the exhibition would travel to

was therefore, how to enhance the performative aspects

and for education R23 000. The solution was, of course,

Johannesburg. However, the exhibitor’s fee of R500 000

of exhibition making where the choreography of the

a prodigious amount of fundraising.

had to be paid. In total, R5 million was raised for the exhi-

exhibition is something that is staged and performed

bition. Politically, it was important to host the exhibition on

for an audience. Moreover, exhibitions in museums tend

This idea of a ‘gap’ in the building implies a further gap in

the continent, in addition to presenting it in its full mani-

toward the pedagogic, imparting didactic knowledge by

funding, as well as in the audience to the Gallery. Each year

festation. This meant recreating complex installations such

“showing rather than writing” (Haxthausen 2002:XV).

the demographic of visitors to the Gallery changes during

as Bili Bidjocka’s The Room of Tears (2004). This required

Through the use of visual syntax, the exhibition becomes

the December holiday period. At this time of the year be-

a ‘false’ floor with sensors and touchstones immersed

a form of visual argument or essay. Curator and art historian,

tween 2 000 to 3 000 people visit JAG, consisting pre-

in water, with video monitors embedded in the walls in

Robert Storr, uses the analogy of the exhibition space in

dominantly of African immigrants from the neighbourhood.

an interactive environment.

relation to language, “Galleries are paragraphs, the walls

Therefore, as part of the cultural exchange project Urban

and formal subdivisions of the floors are sentences, clusters

Concerns (2006) between the Art Gallery and Bildmuseet

Hicham Benohoud’s image, Version Soft IV (2003) was

of works are clauses and individual works in varying degree

in Sweden, urban researcher Ismail Farouk mapped the

used for the cover of the Johannesburg version of the

operate as nouns, verbs, adjectives, adverbs” (Marincola

African immigrant communities surrounding JAG. For

catalogue. As a conceptual ‘portrait’ depicting a person’s

2006:23). Applying this analogy to the exhibition pro-

the Kinshasa: The Imaginary City exhibition (2006), we

face obscured by labels, the image represented a shift from

gramme radically transformed the Lutyens building. Berni

organised a Congolese Day of Celebration as a means of

the stereotypical portrayals of Africa as exotic, as depicted

Searle’s monographic exhibition became a temporal-spatial

engaging the Congolese community in Johannesburg. In this

on several of the other catalogue covers. Although Remix

theatre of video projections, infusing sound and image.

way, the Art Gallery extended its mandate in reaching

was very much about representation, materiality and in-

Meshac Gaba’s playful interactive installations offered a

new audiences but also in achieving social cohesion.

clusivity, the exhibition nevertheless contributed actively

parody of institutional systems of display; whereas Kay

toward generating discourse around contemporary African

Hassan’s displays suggested that of an urban ethnographer

artistic production and reception. The exhibition’s discursive

reflecting personal narratives of the city within the museum.

Curating Africa

attributes rendered fully the notion of the exhibition as dialogical – as an exchange between the artworks and

Africa Remix was the proverbial blockbuster exhibition.

audience, further elaborated through the para-curatorial

On the opening night the streets of Johannesburg leading

aspects of the exhibition. These included the catalogue

to the Art Gallery were blocked. Someone commented that

with newly commissioned essays and glossary, education

Prior to discussing some of the exhibitions in detail, it is

they were not sure if they should be upset or overjoyed!

resource booklet, CD Rom, guided tours and a series of

necessary for the reader to obtain an understanding of

It turned out to be the biggest opening in the history of

panel discussions.

the ‘backstage’ of JAG. This ‘backstage’ presents a con-

the Johannesburg Art Gallery. It began as a conversation

textual picture of the conditions and environment in which

held on the balcony of the coffee shop overlooking Joubert

the exhibitions took place. These included; floods, a de-

Park between myself and the curator Simon Njami, who

teriorating heritage sandstone building, failing sewerage

said in his typically nonchalant manner, “wouldn’t it be nice

pumps, insufficient storage space for the collections, up-

to bring Remix to Johannesburg?”3 At a meeting held at

William Kentridge’s Retrospective was a travelling exhibition.

grading of the security systems and a gap in the extensions

the Centre Georges Pompidou Art Museum in Paris, together

Curated by Carolyn Christov-Bakargiev, it was first ex-

to the building. Not to mention the taxi ranks, crime, traffic

with the other principal organisers of the exhibition, the

hibited at the Castello di Rivoli in Turin. It subsequently

Backstage

Retrospective exhibitions

toured to K20/K21 Düsseldorf; the Museum of Contem-

the contents being projected onto the mirror of the

Medu Art Ensemble, including the Graphic, Film, Photog-

porary Art, Sydney; the Musée d’Art Contemporain de

medicine cabinet. In both these instances, the grammar

raphy, Music, Theatre and Poetry units, and many of the

Montréal, and lastly to the Johannesburg Art Gallery (2005).

of the exhibition supported the idea of exhibition-as-

resistance posters produced by the Graphic unit. The

The exhibition was beautifully and sensitively curated and

landscape where the visual and architectural elements

exhibition culminated in a representation of the 1982

JAG was possibly the finest incarnation of all the touring

became one.

Culture and Resistance Symposium and Festival of the Arts.

spaces, largely due to the proportions and volumes of the Lutyens designed building. Historically, JAG was very ornately decorated. The remnants

Exhibitions as propagandist, ennobling and/or pedagogic

of this legacy are still prevalent in the visual architecture

The exhibition took three years of research, drawing from several archives and presenting original material in the form of video footage, music soundtracks, photographs, newsletters and theatre scripts. The ‘Raid Room’ was wallpapered

of the Lutyens building style, but is also found in the gal-

How do we historicise the events of the dehistoricised?

with newspaper cuttings of the Gaberone raid in which

leries, such as the dado rails and Galerierot or red textiles

This was a way of thinking about the gaps in the art histori-

Mnyele was killed, creating a backdrop to the objects, videos

(sacking or velvet) used to cover the walls. These architec-

cal record of JAG where significant, but under-exposed

and photographs of the raid. In one propaganda image,

tural elements are a leftover from the 18 and 19 century

artists could receive public visibility. In particular, artists

apartheid police spy, Craig Williamson, is seen holding two

aristocratic and upper middle-class interiors that were

who were previously marginalised due to the apartheid

grenades as evidence of ‘terrorist’ activities that Mnyele

absorbed into museum design and display. This aesthetic

regime’s racial policies. Art historian and scholar, Mary

was supposedly involved in. In a glass vitrine, a branch of

language was incorporated into the Kentridge exhibition,

Anne Staniszewski (1998:292) defines three kinds of

a thorn tree with Mnyele’s blood on it that Albio Gonzalez

featuring a blue room with drawings hung in salon style,

exhibitions: the propagandist, the ennobling and the

took from the site of the raid was displayed.

above the dado rail to the ceiling, ‘skied’ as if a visual field

pedagogic. These are not rigid categories, but rather sug-

of constellations.

gest paradigms in which exhibitions may overlap categories.

The exhibition was officially opened by the then Deputy

The first major retrospective exhibition of this nature that I

President of South Africa, Baleka Mbete, who had been a

One of the key themes or recurring images in Kentridge’s

would describe according to Staniszewski’s criteria as propa-

member of Medu in exile. Amongst the other luminaries

films and drawings is that of the landscape, and in par-

gandist and ennobling, was that of ‘the Goya of the

who were Medu members, was musician Jonas Gwangwa,

ticular the ‘Highveld’, either as barren veld with mine dumps

Townships’, Dumile Feni. A larger-than-life figure, whose

who together with Steve Dyer, performed at the opening.

or littered with architectural references. O’Neil (2012:92)

works had not been seen much in South Africa given that

In these ways the exhibition became inclusive, expanding

uses the metaphor of the exhibition-as-landscape as a

he had lived in exile in London and New York, where he

its parameters beyond the Gallery’s walls and spaces. It

means of establishing a formal structuring device within

died in 1991.

represented a form of ‘remembering’ – a reconstruction of

the grammar of the exhibition. As viewers and as people,

people’s lives and of historical events that construct nar-

we orientate ourselves in relation to the natural and built

The Thami Mnyele + Medu Art Ensemble Retrospective

ratives. It is in such ways that exhibitions within a museum

environment around us, primarily visually and spatially. This

exhibition (2008) can be described as a ‘performative

context transcend the more traditional view of the museum

concept was made visible in the Phillips Gallery that con-

archive’ reflecting on a significant period in South Africa’s

as a ‘sepulchre for dead objects’,6 and embody what Tony

tained four large bronze figures, Shadow Quartet (2003/4)

cultural and political history. The exhibition was divided

Bennet (2006:59) describes as, “opening up the museum

and behind the figures, Shadow Procession (1999) was pro-

into two parts: the life and work of Thami Mnyele, an artist,

space to the representatives of different communities by

jected onto a screen contrasting with the bronze figures in

activist and MK cadre who was killed by the SADF on

providing them with opportunities for authoring their

the foreground. In the restroom, a small bathroom cabinet,

14 June 1985 in a raid on Gaberone, Botswana. The second

own stories”. As such it gives voice and expression to

Medicine Chest (2000) hung almost indistinguishably,

part of the exhibition presented the various units of

hidden histories.

Marina, the star!

in 1904. It is a work of mourning, a Trauerabeit 7 or labour

Endnotes

without end that uses theatrical devices to convey a Marina Abramović is considered one of the forerunners

historic account, but through poetic resonance. Stephen

of performance art in the world and has become some-

Greenblatt (1991:42) speaks of resonance as, “the power

thing of a celebrity, appearing in Jay Z’s recent hit Picasso

of the displayed object to reach out beyond its formal

2 Walter Benjamin refers to the term ‘aura’ in his seminal

Baby, as performed at a New York gallery. The status attrib-

boundaries to a larger world” and wonder; “the power of

essay, The Work of Art in the Age of Mechanical Repro-

uted to her is in light of her profound endurance-based

the displayed object to stop the viewer in his or her tracks

duction. For Benjamin, an aura represents an original

performances of the body in which she explores the limits

… to evoke an exalted attention”. This is indeed some-

and authentic artwork, such as a painting, whereas

and psychological parameters of herself and the audience.

thing that Kentridge’s work has an uncanny ability to

through the influence of technology and reproductions,

Two of her video works were shown in JAG, including

achieve in the viewer: an arresting wonder that inspires,

an artwork may loose its aura.

a single channel black-and-white projection, The Hero

yet is bound in the socio-political landscape of his time

(2001), featuring Abramović on a horse while holding a

and place in history.

1 I have used the term the “grammar of the exhibition” as referenced in the Manifesta Journal #7.

3 Simon Njami made this statement in discussion with myself at the Johannesburg Art Gallery in 2006.

white flag, and a multi-screen projection, Count on Us

4 For further reading on the development of art museum

(Chorus) (2003), a meditation on the genocide in Bosnia,

spaces, see Walter Grasskamp’s article in Oncurating,

accompanied by a chorus sung by children. The exhibition

Coda

#09/11: Curating Critique, titled, “The White Wall – On the Prehistory of the White Cube”.

opened together with her partner, artist Paolo Canevari, on the 1 May 2005, with a live performance by Abramović,

I have come to understand exhibitions as ontologically

5 Mary Anne Staniszewski is an art historian who analysed

titled Spirit Cooking, in which she stood clothed in a white

unstable, not as ‘things’ or ‘objects in a room’, but as ‘events’

the Museum of Modern Art’s exhibition histories in

gown on a platform staring transfixedly outwards above

that are informed by history and that shape society. Through

her publication The Power of Display (1998). In her

the audience.

this experience, I view the museum not as Foucault did, as

analysis she develops the concept of the three exhi-

a ‘space of difference’, a heterotopia, like a cemetery, prison

bition categories.

or ship, but as a “differencing machine”, that emphasises

6 Beth Lord’s paper, ‘Foucault’s Museum: Difference,

“the museum as a facilitator of cross-cultural exchange”

Representation and Genealogy’, published in Museum

(Bennet 2006:59). It was my privilege to oversee JAG

and Society, March 2006, offers a useful critique of

I was sitting at my desk when I received a telephone call

during a period in which we were able to present a series

Adorno’s notion of the museum as “sepulchre for dead

from Friedhelm Hütte of Deutsche Bank. He wanted to

of extraordinary exhibitions, in often challenging circum-

objects”, and Foucault’s assessment of the museum

know if JAG would like to exhibit William Kentridge’s Black

stances, that contributed towards a more socially cohesive

as a “placeless place” or heterotopia.

Box/Chambre Noire, a recently commissioned project for

society. Karsten Schubert (2009:11) emphasises, “it could

7 For a description of William Kentridge’s Black Box/

the Deutsche Guggenheim in Berlin. Naturally I acted

be said that one of the greatest myths about the museum

Chambre Noire, see the Guggenheim Museum in New

composed, and requested that he send a written letter

is that it is an oasis of calm untouched by the storms of

York’s website: http://www.guggenheim.org/new-

of request that would be considered according to the

politics and history, nothing could be further from the

york/collections/collection-online/artwork/22065.

appropriate channels. I put down the phone and ran through

truth. Over time, the museum has responded to political and

the building overjoyed with delight! Black Box/Chambre

social shifts with seismic precision”. It is in this precise and

Noire is an extraordinary work, consisting of a mechanised

yet reflexive response to political and social shifts that the

mini-theatre. The central narrative focuses on the German

Johannesburg Art Gallery leaves an indelible impression

massacre of the Hereros in then South-West Africa (Namibia)

in our society.

And the phone call ...

Sources

Kentridge, W. Black Box/Chambre Noire [Sa]. [O]. Available: www.guggenheim.org/new-york/collections/collection-online/artwork/22065.

Clive Kellner

Benjamin, W. 1968. The Work of Art in the Age of Mechanical Reproduction,

Lord, B. 2006. Foucault’s Museum: Difference, Representation and Genealogy.

in Arendt, H (ed). Illuminations. New York: Harcourt, Brace & Jovanovich Inc.

Museum & Society, March (1): 11-14.

Bennet, T. 2006. Exhibition, Difference and the Logic of Culture, in Karp, I,

Obrist, HU. 2008. A Brief History of Curating. Zurich: JRP Ringier.

gordonschachatcollection. He lectures part-time in Cura-

O’Neil, P. 2012. The Culture of Curating and the Curating of Cultures.

torial Strategies and Practices at the Department of Visual

Cambridge MA: MIT Press.

Arts, University of Pretoria. He was the director of the Johan-

www.manifestajournal.org/grammar-exhibition.

Schubert, K. 2009. The Curator’s Egg. London: Ridinghouse.

nesburg Art Gallery (2004-2009), Coordinator of the 2nd

Grasskamp, W. 2011. The White Wall – On the Presentation of The ‘White

Staniszewski, MA. 1998. The Power of Display, A History of Exhibition

Cube’. Curating Critique. Oncurating.org, # 09/11: 78-90.

Installations at the Museum of Modern Art. Cambridge MA: MIT Press.

Greenblatt, S. 1991. Resonance and Wonder, in Karp, I & Levine, S (eds).

Storr, R. 2006. Show and Tell, in Marincola, P (ed). What Makes a Great

Exhibiting Cultures, the Poetics and Politics of Museum Display. Washing-

Exhibition? Philadelphia: Pew Center for Arts & Heritage.

Clive Kellner is currently Executive Director of the Joburg Contemporary Art Foundation and curator-at-large of the

Kratz, C, Szwaja, L & Ybarra-Frausto, T (eds). Museum Frictions, Public

Cultures/Global Transformations. Durham & London: Duke University Press. Grammar of the Exhibition. Manifesta Journal, MJ #7 [Sa]. [O]. Available:

Johannesburg Biennale (1997) and co-founded the panAfrican curatorial platform, Camouflage art, culture & politics, and was editor-in-chief of Coartnews magazine.

ton & London: Smithsonian Institute Press. Szymczyk, A. 2009. Exhibitions, in Scharmacharja, S (ed). A Manual for Haxthausen, C (ed). 2002. The Two Art Histories, the Museum and the

the 21st Century Art Institution. London: Koening Books.

University. Williamston MA: The Sterling and Francine Clark Art Institute.

THIS AND FOLLOWING THREE PAGES: Installation views of Africa Remix, 2007.

100

101

102

103

Installation views of the Thami Mnyele + Medu Art Ensemble exhibition, curated by Clive Kellner with Reshma Chhiba, Jeannine Howse, Khwezi Gule, Tshidiso Makheta and Maria Fidel Regueros, 2008.

104

LEFT: Installation views of the William Kentridge Retrospective exhibition, 2005. RIGHT: William Kentridgeâ&#x20AC;&#x2122;s Black Box/Chambre Noire, 2006.

105

JOHANNESBURG CIRCA NOW Terry Kurgan and Jo Ractliffe

The exhibition

Johannesburg Circa Now was a multi-platform project

commissioned work for both development agencies and

developed in 2004 at a very particular moment in the history

some corporate sector social investment programmes,

of the city of Johannesburg: ten years into democracy, the

where the focus was on the social and physical regeneration

As we developed the project, we realised that underpinning

city witnessed a surge of developmental and regeneration

of the city’s old centre. And although our interests had been

our individual and collective work was a critical set of

projects as public and private investors turned their atten-

located in relatively distinct contexts, we recognised that

relations, affiliations and connections to other practitioners,

tion to the inner city. These manifested in the rejuvenation

there were interesting links between the two, and common

that inflected what we were now thinking and doing. We

of public spaces, housing developments and iconic infra-

ground in the complex and contradictory environment that

wanted to explore the possibilities of working within this

strucure projects, like the Nelson Mandela Bridge and

was the inner city. In particular, it was thought provoking to

‘condition of collectivity’, as it were; in a space where the

the Constitutional Court.

discover that the bodies of work we were developing then,

‘thing’ of art is as much about the fluidity of relationships,

Jo’s Johannesburg Inner City Works 2000-2004, and Terry’s

exchanges and process as it is about the material object.

Johannesburg Circa Now was principally about photogra-

Park Pictures, had emerged quite directly out of the projects

Consequently, the exhibition expanded beyond the original

phy and the city, and it started with a conversation. Cities run

we had presented on the Joubert Park Public Art Project

scope of a joint exhibition to include the work of student

on conversations, and ours gave birth to an ever-widening

in 2001 (see pp 148-153). This led to a thought about what

photographers at the Market Photo Workshop and the

circle of engagement with other conversations.

could happen in a coming together of our two projects, and

street photographers comprising the Joubert Park Photog-

we began to talk about collaborating on something new

raphers Association, as well as the products of a public

At the centre of our originating discussion were two shared

that we thought would find a most appropriate home at

project that invited broad audience participation.

preoccupations. On the one hand, an abiding interest in

the Johannesburg Art Gallery.

photography’s relation to the real and how photographs

Terry had worked with the park photographers since 2001.

mediate our experience of ourselves in the world. On the

Inevitably, while Johannesburg Circa Now started with

Her collaboration with them for this new project included

other, the practical experience of having worked on a

our independent bodies of work and an idea for a shared

mapping their often long-held fixed positions in the Park,

number of projects connected with photography, public

project that would mark a ‘meeting point’ between them,

documenting their personal and professional histories

space and the inner city of Johannesburg.

we ended up with a much larger and more layered project

and buying and collating hundreds of photographs un-

with three integrated components: an exhibition, an inter-

claimed by their clients over many years. These photographs,

At that time, Jo Ractliffe had just spent five years docu-

active public project and a catalogue publication that

juxtaposed with her own portraits of each photographer,

menting Johannesburg’s rapidly transforming inner city,

incorporated additional contributions from writers, teachers,

and of paintings selected from JAG’s Foundation Collection,

alongside various teaching and curatorial projects she

architects, photographers and visual artists. This trinity of

formed part of her installation in the gallery space.

was involved in that explored the city as both ‘studio’ and

image-action-text enabled us to extend our focus beyond

‘gallery’ space; and Terry Kurgan’s art practice had included

the fixed parameters of the exhibition space.

106

When invited to teach at the Market Photo Workshop in May 2003, Jo had met with a group of students – Zola Gule, Lwazi Hlope, Andile Komanisi, Lebohang Mashiloane, Sabelo Mlangeni, Nhlanhla Mngadi and Siphiwe Zwane – who were photographing in the inner city and who also expressed their interest in participating in the project. With the support of the Market Photo Workshop, the project shifted its focus and each photographer produced a series of images for the exhibition that explored a specific aspect of life and work in the inner city.

The public project When thinking about inviting the public to participate in this project, we wanted visitors to the exhibition to be able to register their contribution and response to the exhibition in a material way, in the actual exhibition space, alongside the other works on show. And, with regard to the diverse range of visitors we expected at the Johannesburg Art Gallery, we had to find a process that would be accessible to all. We also wanted it to be playful. We installed a photo studio into the exhibition space, with a selection of backdrops and props, lights, a camera and a printer – and true to the conventions of ‘real life’ photo studios, a specially made stamp to indicate the provenance of these pictures. During these sessions, visitors to the exhibition had the opportunity to explore how they wished to represent themselves through photographic self-portraits accompanied by short texts. Two copies of each image produced in the photo studio were printed – one for the exhibition, the other for the person to take home. The response to these workshops was diverse, provocative

TOP: Johannesburg Circa Now installation view. Photo © Jo Ractliffe.

and often very moving. While some participants enacted

BOTTOM: Park Pictures installation view, Johannesburg Circa Now. Photo © Oscar Gutierrez.

playful and elaborately staged fantasies, others were

107

more serious about how they represented themselves to the world. Pinned up on the walls of the Gallery, this wall of portraits and words continued to grow during the course of the exhibition.

The public project was designed and facilitated in collaboration with the Curriculum Development Project and the Wits School of Arts ‘Artists in Schools’ Partnership Project and the Imbali Visual Literacy Project. Together with teachers from the above organisations, we held a series of exploratory workshops. In these we exchanged various ideas about the focus, structure and process of the public project, as well as the critical issues of organisation and logistics – how to run a portrait studio smoothly when working with groups of as many as 50 learners from over 30 schools. We also wanted these sessions to support the work the teachers were doing in their schools, so part of the intention in these planning sessions was to develop ways of taking aspects of the project back into the school curriculum.

Our project assistants were then a group of young photographers, artists and art students, and they facilitated a programme of regular workshops during the exhibition’s three-month run. In addition to the schools’ workshops, open sessions with the general public were held each weekend. The project assistants were Lester Adams, Reshma Chhiba, Andile Komanisi, Bronwyn Lace, Andrew Mokgatla, Kamogelo Mokhonki, Paul Molete, Flora More, Thami Mqoco, Danny Nhleko, Amy Watson and Siphiwe Zwane.

TOP: Public Project installation view, Johannesburg Circa

Now. Photo © Terry Kurgan. BOTTOM: Public Project installation view, Johannesburg

Circa Now. Photo © Jo Ractliffe.

108

Many from this group, ten years later, are now practicing

through Johannesburg. Finally, David Andrew, John Fleet-

professional artists, photographers, arts and culture admin-

wood and Keorapetse Mosimane wrote essays that reflected

istrators, and curators.

on the value of a participatory approach to teaching and learning in the photo studio and the Market Photo

The book

Workshop collaborations.

Jo Ractliffe Jo Ractliffe is the Senior Lecturer in Photography at Wits University and has taught photography at various local and international institutions. She was a founder member of The Joubert Park Project, has been a Writing Fellow at

Altogether the texts included in our book were a way The book we published endeavored to bring the various

into the work of Johannesburg Circa Now, which at its

parts of Johannesburg Circa Now together in relation to

heart was about making material lived experience; a space

each other, and to locate these within a wider experience

through which to speak something of our individual and

of photography and the city.

collective responses to living in this place at that time. And while there were gaps and many things left out, we wanted

We compiled a selection of photographs drawn from

to work with photography in such a way as to activate a

the project, accompanied by essays and short texts by many

sense of the inter-connectedness of things. The photograph

of its participants, facilitators and collaborators. These

marks a point in a story, one from which we could then

provided points of access into the thoughts, activities

conjure our own narratives. There we could make of the

and results of the different platforms of the project.

photograph, or rather with it, an encounter that radiated

the Wits Institute for Social and Economic Research (WISER) and in 2013 was a Research Fellow at the Centre for Curating the Archive at the University of Cape Town. Her photographs reflect her ongoing preoccupation with the South African landscape and the ways in which it figures in the country’s imaginary – particularly the violent legacies of apartheid.

both inwards into our private world of associations and But equally importantly, we invited other ways of perceiving

experiences, and outwards, back into the myriad worlds

and reflecting on the city and photography. In addition to

captured within the space of this city.

commissioned essays about the city, photography, and our work, by writers Rory Bester, Santu Mofokeng, Sean O’Toole, Ruth Rosengarten, Melinda Silverman and Msizi

Terry Kurgan

Myeza, and photographs by invited photographers, David Goldblatt, Ruth Motau and Stephen Hobbs, the book

Terry Kurgan is an artist, writer and curator based in

incorporated a series of texts by South African writers,

Johannesburg. Her artistic interest is in photography,

artists and poets written in response to particular photo-

and in the complex and paradoxical nature of all photo-

graphic images. Here we asked contributors Phaswane

graphic transactions. She is currently Artist in Resi-

Mpe, Jay Pather, Ivan Vladislavic, Ingrid de Kok, Antje Krog

dence/Writing Fellow at WiSER, Wits University, where

and Penny Siopis to choose a photograph, one that for

she is producing an artist’s book comprising a series of

whatever reason fascinated, compelled or provoked them.

linked, narrative non-fiction essays that develop in rela-

But also, an image that had some connection – even if

tion to the evocative power of photographs as objects.

oblique or obscure – to growing up, living in, or passing

109

OFF THE BEATEN PATH: VIOLENCE, W OMEN AND ART Antoinette Murdoch

Off the Beaten Path: Violence, Women and Art, conceived

such violence. These included: Jane Alexander, Louise Bour-

the dress, leaving her body increasingly exposed. Art Works

by Art Works For Change, is a prominent international tour-

geois, Lise Bjørne Linnert, María Magdalena Campos-Pons,

for Change evocatively describe the audience’s actions,

ing exhibition which landed on the doorstep of JAG on

Marina Abramović, Wangechi Mutu, Miri Nishri, Patricia

“[l]ike vultures taking pieces of her, the audience violates

8 September 2013, and was curated by Randy Jayne Rosen-

Evans, Maimuna Feroze-Nana, Mona Hatoum, Icelandic

Ono’s body, shredding her clothes, stripping her almost

berg. After much effort behind the scenes, JAG managed

Love Corp, Yoko Inoue, Jung Jungyeob, Amal Kenawy, Hung

naked. But throughout most of the performance, she sits

to raise funds from the National Lottery to bring the show

Liu, Almagul Menlibayeva, Gabriela Morawetz, Yoko Ono,

motionless, trying to maintain a composed stare toward

to South Africa, with the conviction that it was a vital col-

Cecilia Paredes, Susan Plum, Cima Rahmankhah, Jaune

the audience”.2

lection of work that directly addressed a pressing South

Quick-to-See Smith, Masami Teraoka, Hank Willis Thomas,

African social issue.

Miwa Yanagi, AWARE/OWARE project.

The section on Violence and the Community, an untitled work by Yoko Inoue, showcased how “in some communities,

In her curator’s statement, Rosenberg comments that

The exhibition was divided into five categories: ‘Violence

where direct intervention is culturally impossible, women

“[t]hroughout the world, women and girls are victims of

and the Individual’, ‘Violence and the Family’, ‘Violence and

respond to severe domestic violence by assembling outside

countless and senseless acts of violence. The range of gender-

the Community’, ‘Violence and Culture’ and ‘Violence and

of the household in question and banging out an alarm on

based violence is devastating, occurring, quite literally, from

Politics’.

pots and pans. This informs the perpetrator that the spirit he attempts to break belongs to many, not one. There are

womb to tomb. It occurs in every segment of society, regardless of class, ethnicity, culture, or whether the country is at

In the section on Violence and the Family, Louise Bourgeois’

as many forms of activism as there are individual and group

peace or war. Often the victim’s only crime is that she is a

The Accident (silver gelatin print), beautifully reflected on

propensities and cultures: creating new ways of living

woman”. The conceptual background to the show could

the desire for solitude that often follows violent experiences.

together cooperatively, providing havens from violence,

hardly be more relevant in South Africa. According to some

“In this piece, a woman is alone in a black tunnel. Her torso

lobbying to change unjust legislation, or simply saying no.

sources, violence against women occurs with the highest

is skewered by a crutch, she is hobbled by her high heels,

Pot-banging is a form of protest for many communities that

frequency in the world in South Africa, topped by the stag-

nude and armless, yet she smiles complacently. Like a

signifies a community’s shift from ‘silent collusion’ with

gering statistic that a woman is raped in this country every

woman trapped in a violent family situation, she wears a

domestic violence to active opposition”.3

four minutes.

mask that tells the world everything is just fine.”1 For the staging of the exhibition at JAG, we were acutely

In the light of this devastating social evil, it was most relevant

Also from Violence and the Family comes Cut Piece by

aware that the communities in the immediate vicinity of the

and appropriate to showcase artists on the South African

Yoko Ono. In this video piece, Yoko Ono is seen sitting

Gallery are similarly deeply affected by sexual and gender-

leg of the exhibition who were unambiguously opposing

onstage in a black dress, as people cut away pieces of

based violence. It therefore was vital that we engaged

110

Installation views of Off the Beaten Path: Violence, Women and Art, exhibited at JAG in 2013.

111

Installation views of Off the Beaten Path: Violence, Women and Art, 2013.

112

women in the depressed inner-city areas around JAG in

most striking installations on exhibition in the Phillips Gal-

from all walks of life who are suffering abuse. We hope

a more practical and relevant way than simply staging the

lery. South African arts and crafts groups, Ardmore Ceramics,

that bringing the show to JAG helped in some small way

exhibition, and hoping it might be seen by some of those

Artist Proof Studio, Greatmore Outreach Project, Hlabisa

to do that.

victims of violent abuse. Accordingly, we held workshops

Basket Weavers, Keiskamma Arts Trust and Woza Moya-

with women from the surrounding area, and specifically

Hillcrest AIDS Centre Trust, participated in developing the

the Boitumelo craft group from Hillbrow.

work, and incorporating various artistic methods into it,

Endnotes

including painting, weaving and beading. 1 Quoted off Art Works for Change web page

These workshops took place in JAG’s educational studio, and presented each participant with a pre-manufactured

Marina Abramović, Jane Alexander, Amnesty International

www.facebook.com/artworksforchange/

papier-mâché bowl. After participating in talks about HIV/

Sweden Campaign, Hank Willis Thomas and Cuban artist,

posts/340945955968155

AIDS and sexual abuse, the women involved were then

María Magdalena Campos-Pons, as well as others, engaged

2 Ibid.

guided to develop ideas they wanted to express, which they

the theme of Violence and Culture, in which they explored

3 Ibid.

then painted onto their bowls. They were challenged to

issues such as rape and war, ideas of modesty, poverty,

4 Ibid.

think about safe places, and these were what they painted.

religion, genital mutilation, history and mythology.

The following day they were taught to play the the AWARE/

Antoinette Murdoch

OWARE game, to bring them further awareness of the

The last category, Violence and Politics, included a work by

dangers they face on a daily basis, and importantly, some

Mona Hatoum, titled Over My Dead Body, which the curator

skills to deal with them.

describes as “a call to action for women to stand up against

Antoinette Murdoch is the Chief Curator and Head of the

violence in every form – from domestic to warfare. By placing

Johannesburg Art Gallery (since 2009), and an artist. She

The exhibition statement describes the AWARE/OWARE

a tiny toy soldier on the nose of a determined woman,

hold a Masters in Fine Art degree from the University of

game for women empowerment as being based on the

Hatoum has made violence appear small in the face of

the Witwatersrand. Formerly the CEO of the Joburg Art Bank,

7 000 year-old African board game, Oware. “The large-scale

female solidarity and resolve – having the viewer believe

she also serves on the South African Museums Association

adaptation of the game” it states “was created as an inter-

that women as a whole have the power to stop violence.

(SAMA) North Committee. In December 2013, she was

active and educational forum to help communities explore

Yet the title invites the viewer to consider what sacrifices

named one of the top 50 Movers & Shakers of the South

the issue of female empowerment. The traditionally played

must be made to achieve this goal”.

African Art World by Art Times magazine.

Oware game focuses on two central principles – ‘to reap, you must sew’ and ‘to receive, you must give’. As such, this

To many people, the relationship between urgent social

game is not only played for enjoyment but has been passed

problems, such as violence against women, and visual art,

down from generation to generation as a useful educational

is ostensibly tenuous. Without educational resources and

and empowerment tool. Furthermore, researchers are

engaged care and shelter from other organisations, an art

discovering that we can learn valuable lessons through

exhibition, no matter how well-conceived and hard-hitting,

game-playing”.

will fail to make much difference at grassroots level. But in the South African context, where violence against women

On display at JAG was one version of the game that had

is of epidemic proportions, such an exhibition can help not

been developed as part of the Freedom to Create celebra-

only to conscientise people, but to mobilise essential

tion in Cape Town in 2011, and it proved to be one of the

financial and social resources towards helping women

113

URBAN LIFE John Fleetwood

Urban Life was a series of solo and two-person exhibitions

it created deep thinking paradigms that intersected with

of exhibitions by non-university photography students. It

of Market Photo Workshop (MPW) students that was hosted

new talk about photography as a democratic medium. This

was aligned with the idea of redefining society, democra-

in the Project Room at JAG throughout 2004. The work of

intersection of the anticipation of the digital image coincid-

tisation and taking ownership of the city and its institutions;

the twelve participating students was the outcome of the

ing with the anticipation of national democracy created an

but also of defining photography’s place in the arts.

Advanced Course at the MPW, lead by myself. ‘Urban life’

energised dynamic.

was the theme for the course and exhibitions, and en-

Pitso Chinzima, JAG exhibitions officer at the time, was keen

couraged a multiplicity of thinking about the city, how it

Discussion during the course opened up questions around

to offer us the Project Room space. But there was no budget

constructs itself, and of shifting identities.

various issues in society, including sexual identities, sub-

support available from JAG. So MPW bought the paint,

cultures, expression, fashion, shifts from traditional to urban

and the photographers painted. We curated and installed

The photographers involved were Cariña Booyens, Sipho

life, redefining the township as urban and redefining Johan-

the exhibitions; and JAG’s security looked after the work.

Futshane, Ingrid Masondo, Buyaphi Mdledle, Raymond

nesburg. Towards the end of the course it was clear that the

We also marketed and publicised the exhibitions.

Mokoena, Solomon Moremong, Zanele Muholi, Oupa Nkosi,

work these students had produced made a bold statement

Musa Rapuleng, Nicole Thomas, Iqbal Tladi and Nontsi-

about this new urbanism. Also key to this realisation was

There was a certain reciprocity that marked this exchange.

kelelo Veleko.

the need to show the work in the city.

Without artistic interference we were able to explore an exhibition space, giving photographers the rare chance to

The Market Photo Workshop, at the time, offered non-formal

The Photo Workshop at that point was run from the old

exhibit, to play and to grow accustomed to a gallery. In turn,

part-time photography training. Courses were scheduled

Newtown Post Office building in Bree Street, a crammed

new audiences that growingly supported the emerging

mainly over weekends and evenings. The Advanced Course

space with a darkroom and training rooms, but which

photographers, and who ordinarily would not have consid-

was practical and project driven, and was based on discus-

offered no space to exhibit work. Few galleries remained

ered attending the formalities of space of such an institution,

sion and peer review. These discussions focused on the

in the city centre as business had swiftly repositioned it-

visited JAG. Showing the work of these young photog-

anticipation of what ten years of democracy could bring

self north, to Sandton, during the prior decade. The Johan-

raphers at JAG gave the work, and the Gallery, currency; the

to society, of how the young democacy was shaping new

nesburg Art Gallery was one of few art spaces that had

public started to take the photographers and their photog-

identities and cultures, and especially on how photography

remained though. As an institution it still represented some

raphy more seriously. And the work, which brought content

fitted within this.

of the homogenising power of the museum – white power,

from a larger Johannesburg to the Gallery, thereby redefined

privilege, high art. But previous projects like the Joubert Park

Johannesburg to its audiences.

The then recent historical reference to the role photography

Public Art Project (JPP) had wanted JAG to redefine itself

had played towards liberation and resistance encapsulated

in relation to its location and context. This context made

It has been in subsequent years, as some of these photog-

thinking about the role of photography at the time, and

JAG the perfect space for us to consider using for a series

raphers have begun to develop local and international

114

profiles for their work, that the relationship between the

Urban Life project and JAG has become more evident. Both are fragmented attempts to narrate the story of Johannesburg.

Urban Life exhibitions programme: 04 April-9 May 2004 Group Exhibition, Urban Life 16-30 May 2004 Buyaphi Mdledle, Out of Focus 06-27 June 2004 Musa Rapuleng, Street Fashion Solomon Moremong, Black Sunday 04-25 July 2004 Sipho Futshane, Mother of Mine, Daughter of Spirits 01-22 August 2004 Ingrid Masondo, Split Ends Lolo Veleko, Beauty is in the eye of the Beholder 29 August-12 September 2004 Zanele Muholi, Visual Sexuality 19 September-10 October 2004 Nicole Thomas, Beyers Naudé Drive Oupa Nkosi, Kliptown 17 Octobber-07 November 2004 Iqbal Tladi, Hybrid Pitt House Raymond Mokoena, Amaphela (Cockroaches)

John Fleetwood

TOP LEFT: ©Carina Booyens. TOP RIGHT: © Nontsikelelo Veleko. BOTTOM LEFT: ©Iqbal Tladi. BOTTOM RIGHT: ©Ingrid Masondo.

John Fleetwood is the Head of the Market Photo Workshop,

14-28 November 2004

and an independent photography curator and producer.

Cariña Booyens, Scenes from a Car

Fleetwood’s interests in photography are predominantly in the developing mode of documentary photography and,

05-28 December 2004

in particular, the possibilities for photography in the politics

Group Exhibition, Urban Life

of aesthetics and representation.

115

TOP LEFT: ©Buyaphi Mdledle. TOP RIGHT: ©Musa Rapuleng. CENTRE RIGHT: ©Solomon Moremong. BOTTOM LEFT: ©Nicole Thomas. BOTTOM RIGHT: ©Raymond Mokoena.

116

TOP: ©Oupa Nkosi. BOTTOM LEFT: ©Sipho Futshane. BOTTOM RIGHT: ©Zanele Muholi.

117

SNAGGING AT THE JOINTS Stephen Hobbs

The project

Hence the second and equally compelling aesthetic com-

The main conversation

ponent was the research journey into JAG’s maintenance Given its four-year time frame, the JAG/SNAG project served

archives relative to a survey of the key ‘negative’ points in

At the forefront of Murdoch’s concerns, and a key focus from

as a unique opportunity to test a number of ideas about

the Gallery’s timeline – whether the incorrect orientation

the start of her five-year contract as Chief Curator, was the

the nature of the ruin as a site of imaginative potential. It

of the original Lutyens Gallery entrance, or the potential

restoration of the building as a project outcome for 2015.

was a conceptual design project that sought to revel in

sale of the Gallery in the early 1960s to become a national

As a starting point therefore, a process of near forensic

urban and architectural decay for its own sake, in so far as

eye research centre, amongst others.

analysis of every flaw-bearing nook and cranny was under-

the patina of time and ‘some’ collapse is a more interesting

taken; from mould, plaster collapse, exposed reinforcements,

reflection on the state of things than constant cosmetic fixes;

Space A’s bunker-like condition, submerged at the basement

rust, damaged electrical services, to ceiling rot and roof

and equally to objectify decay – as in neglect and lack of

level of the Gallery, served well to showcase some of this

damage. The resultant photographic audit lent itself to

care as a shocking condition that continues to be ignored.

archival material and various other artifacts, the key being

a conventional building condition report.

the Meyer Pienaar Architects’ competition model for the In the lead up to the 2014 JAG/SNAG exhibition in JAG’s

1986 addition. This configuration of material, set against

Meyer Pienaar building extension, the interim approach

a wall-to-wall black and white painted Johannesburg city

involved a series of smaller exhibitions in Space A, formerly

grid, served Murdoch with a strategic starting point for orien-

the Lace Room, a basement gallery adjoining the audito-

tational tours centred on exposing the state of the building.

Joints, leaks, city edge With the input of roof specialists and structural engineers, the building was explored in its entirety. The internal investi-

rium below the Lutyens building. Given the myriad socially engaged and educational work-

gation offered fascinating insights into the evolution of the

For chief curator Antoinette Murdoch, the requirement was

shops and exhibitions that took place at JAG, both preceding

Gallery over the decades of building add-ons, and repairs;

that this artistic intervention be complimented by a more

and parallel to JAG/SNAG, the project tended towards a

from Lutyens’ first build in the early 1900s, to the east and

supportive collaboration on re-assessing the condition of

more conceptual and observational approach to the various

west wing additions in the mid-1930s, all the way to the

the building, with a view to at least stabilising its water

subject areas under investigation, namely the building, Jou-

‘modern’ addition in 1986. The lack of transfer of knowledge

penetration issues, but preferably also to help develop and

bert Park, the Park fence, city users and inhabitants, transport

and skills for the maintenance of older building materials,

adopt a plan to radically alter the 1986 Meyer Pienaar addi-

nodes, points of connection and contact, water penetration,

carved sandstone, ornate wood finishing, beveled glass and

tion relative to the faulty materials used at the time – the

maintenance, the art collection, audience development,

hand crafted ceiling moldings relative to the more recent

copper domed skylights being an example.

staffing, security, storage, JAG’s exhibition programme,

bricks, mortar and modern servitude that came with the

and so on.

1986 addition, highlighted a ‘crisis’ in the necessary management and maintenance of such interfaces, old and new.

118

TOP LEFT: Clippings from the 8th and 12th December 1960 editions of the Rand Daily Mail reporting on the potential sale of the Gallery building to become a national eye research centre. TOP RIGHT: Installation view of the Meyer Pienaar Architectsâ&#x20AC;&#x2122; model for the 1986 addition set against a wall-to-wall black and white painted Johannesburg city grid which served as strategic starting point for orientational tours centred on exposing the deteriorating state of the building. BOTTOM: Selective images of the audit into the condition of the building. Images ÂŠJAG and Stephen Hobbs.

119

Standing on the roof in 2012, with a view of the Noord

recent evictions of street traders surrounding Joubert Park

photography; young couples pushing baby strollers in the

Street taxi rank, Joubert Park and surrounding buildings

(and greater Johannesburg), and one is confronted with

Phillips Gallery in JAG, it would seem all is as it should be.

north and south of the railway lines, my realisation was that

unfathomable decision making that neither supports the

the conservation plan for this building seemed intrinsically

social and economic fabric of the area, nor builds on the

Indeed for most, Sunday is a day for pause and relaxation,

linked to the wellbeing of the surrounding buildings, the

diversity of offerings on the street.

itâ&#x20AC;&#x2122;s the remaining six days of the week that require special effort in continuing to build a programme of relevance and

inhabitants of the city and the necessary daily operations required to maintain continuity of functions and practices

At the commencement of this project The Trinity Session was

of people and city. It was clear to me from this point that

midway through its three-year contract with the Johannes-

without an understanding of the greater plans of the City

burg Development Agency (JDA), as public art curator/

and private sector to effect change in this environment, this

coordinator, and while there were discussions between

art project would need to have both a philosophical and

JAG and the JDA about a possible public art intervention

collaborative attitude towards failure and futility. I would

in Joubert Park, the interest came and went. In this mode

equally need to look to new practical and aesthetic solutions

of practice, however, a piece of public art produced through

For the lead up period to the JAG/SNAG exhibition in 2014,

in picturing this condition, offering insights and tactically

a collaboration with local inhabitants and users might have

Space A was updated on a quarterly basis, in tandem with

engaging specialists whose work assists or confronts local

elicited a research component or fact finding conversation

the Galleryâ&#x20AC;&#x2122;s rotating exhibition programme. These updates

government and so on.

on the ground that, with the help of a capital projects budget,

included elements relating to new image and object making

could have provided a metaphorical bridge between the

attendant to the project, text pieces, photographic studies

Gallery, the relevance of its practices and specifically its col-

and so forth.

Means of engagement: Public realm

usefulness between the building and its surrounds.

Small exhibitions and holy spaces

lection to a local audience. Typically an exhibition of the outcomes of such a process of social and design engage-

On one occasion it was amusing to be informed that an in-

ment with local users and inhabitants goes a long way to

stallation element had been damaged during the movement

The necessary process of self-familiarisation with the inter-

engendering a means of narrative and collective ownership

of a Mozambican Christian congregation to and from the

stices of JAGâ&#x20AC;&#x2122;s architecture, and its interface with the city

of the final artwork, as its relevance is ideally plugged into

auditorium. The cracked work, which happened to be an

and public realm has, at its core, an all too familiar contradic-

the attitudes and practices of the area, expressed in an

upstanding piece of mirror plate, clad with adhesive tape,

tion between inclusion and exclusion, largely attributed to

artistic way. Yet this did not happen.

held together. The damage to the mirror was later playfully

the fencing off of the Park, which almost privatises the north

exploited when re-introduced to the exhibit with an external

entrance to the Gallery; the perceived threat of taxi violence,

dowel stick armature for support. The metaphor of building

and the general tardiness of the area.

Usability

as body, and reconstruction as surgery, was already inherent to the project. For my work, however, the accidental moment

Without an actual project for social engagement, wandering

Of all of the days in the weekly cycle of Joubert Park, none

served as a catalyst for exploring the interface between

the streets and photographing people seemed too voyeur-

would seem more telling of the social and cultural layers

new uses for the building, the cognitive relevance of the

istic and opportunistic to me, however there were moments

that accumulate, than a Sunday; between various small

artwork to the present audience and most interestingly,

of identifying urban edges peopled in such a way as to

outdoor prayer services, large-screen sports broadcasts,

the clash between a colonial building and African archi-

explain spatial conditions and character. Fast-forward to

family picnics and children playing; chess games and park

tectural traditions over the centuries.

120

TOP & CENTRE LEFT : Views of JAG facing Joubert Park showing the isolating fence. CENTRE CENTRE: View to the south from JAG’s roof. CENTRE RIGHT: View of Stephen Hobbs’ reconfigured cracked mirror plate installation piece in Space A. BOTTOM LEFT: View of the railway line to the south of JAG. BOTTOM RIGHT: View of the taxi rank on Noord Street. Images ©Stephen Hobbs.

121

Building practices in Africa Some time prior to JAG/SNAG’s move into this space, the media reported on the theft of a small classical sculpture in the Lutyens Room, a small adjoining grey sandstone gallery, a level above Space A. Shortly after the theft, the remaining sculptures were relocated and the room remained empty. Yet the aura of the theft seemed to linger. As a response to the vacuum of memory in this ‘antechamber’, a construction of re-commissioned timber, reaching to the skylight, aimed to highlight the permanence of the colonial building in opposition to contingent building methods in many African cities. Being the tiniest of all the exhibition rooms in the Gallery, the Lutyens Room receives special late morning sunlight, which pours in as arcs of gridded yellow and white light silhouetting the form of the window frames. The regularity of this atmosphere during setups in Space A brought a strange comfort to my exhibition process, which aimed at targeting faults within the system. In fact, despite the contradictory positioning of the original Lutyens building entrance, entering the Phillips Gallery from the south side, one is often welcomed – quite therapeutically! – by a warm sunny interior, expressing the full volume of the building and its generous high entrance and repetitive alcoves.

Condition as art. And practical solutions. In retrospect, the Lutyens Scaff tower served as something of an artistic indulgence. It was clear going forward that the balance between artistic treatment, presentation of

122

archival information and the new documentation arising

integrity, as well as the real threat these posed to JAG’s

out of building condition reports to work, the approach for

collection and greater heritage value.

the final exhibition in the Meyer Pienaar Gallery should avoid artiness through conventional object-based artworks, and

The following extracts outline the introduction and con-

rather engage the entire building as a situation where

clusion of the report.

the building would become material; be the material. All attendant objects and data would be in line with the factual,

INTRODUCTION

albeit at times bizarre, narrative of changes and contra-

The core of the problem solving process around JAG’s cur-

dictory management decisions inherent to the history of

rent condition centres on the following actions:

the building.

• An urgent technical audit managed by a ‘traditional’ project management team, lead in the main by a struc-

Working with the notion of information as aesthetic material,

tural and civil engineering assessment … to provide

an important justification for the JAG/SNAG exhibition was

an accurate costing for all technical restoration.

that the months in advance of the show played a construc-

• Interim storage plan for relocating the collection to

tive role towards Antoinette Murdoch’s building restoration agenda.

better facilities. • Identifying marketing opportunities in relation to this, through the exhibition of this collection, and using this

Months of picking at key documents in the Gallery library

as a fundraising strategy and proposition for a satellite

and maintenance files prompted a two-day workshop and

division of the Gallery’s holdings (Tate Gallery & Tate

public open session where critics, historians, heritage spe-

Modern for example).

cialists, artists, architects, user experience designers and the

• The development of a marketing strategy that both

Friends of the Gallery were invited on a tour of the faults

raises funds for the above and focuses on the centenary

of the building. The following day featured a public open

celebrations of the Lutyens building in 2015.

session, which then led into a design-thinking workshop.

• The development of a design strategy to repurpose the

The primary objective of these sessions was towards gen-

parts of the Gallery whose components as a result of

erating a report that sought to balance negative public

failure – in terms of water penetration etc – require

perceptions, and introduce radical architectural interven-

revised or entirely new architectural design.

tion solutions and practical steps towards arresting water

• Alignment; of all pro-bono specialists’ input and sup-

penetration and other damage in the Gallery, caused primar-

port to realise these objectives (heritage, marketing,

ily by poor atmospheric conditions and control.

advertising, restoration, etc).

The willingness on the part of Murdoch to publicly expose

PROPOSED NEXT STEPS

these faults – with a view towards finding a constructive

1. Presentation of report and strategy to Langalihle

solution for the Gallery buildings – came with real shock

Mfuphi, Deputy Director Museums and Galleries and

and horror to the workshop attendees who got to gauge

the Department of Arts, Culture and Heritage.

firsthand the threats to aspects of the building’s structural

FAR LEFT: Installation view of Stephen Hobbs’ Lutyens Scaff. TOP & CENTRE: Views of the Lutyens Room, before and after the theft of a classical sculpture from this space. BOTTOM: View of the early JAG/SNAG installations in Space A. Images ©Stephen Hobbs.

123

renovations to the entire building. As of mid-2012, the

for the project, which was ironically useful, in that the desire

Meyer Pienaar extension will be closed indefinitely in order

for any structural design change would come in part from

3. Christopher Till to source funding for the above team.

to conduct the necessary assessments and evaluations

local council, but in the main most likely benefit from an

4. Adrienne Hall â&#x20AC;&#x201C; assisting with fundraising strategy.

of the buildingâ&#x20AC;&#x2122;s condition.

exchange with the world of commercial suppliers and pro-

2. Jeremy Rose (architect) to submit Professional Team recommendation.

5. Randall Gross to commence strategy development in

fessionals. Hence the installation that unfolded comprised

The success of this endeavor will invariably be found in pub-

a series of planned stages and integrated interventions in

6. JH-01 to carry out user experience design and user

lic partnership, where investment from the City should be

response to this funding predicament.

audit of Joubert Park and Gallery, with the exhibition

used as leverage for private sector support. Through the

of findings in SPACE A. Commencing March 2012. Out-

course of the workshop, a debate ensued around the impact

Exhibition elements:

comes of this process to form a report on current audi-

and implications of corporate ownership of the collection;

1. Breakdown of old exhibition screens to reveal original

ence status at JAG and surrounds.

this as with many other challenging issues engendered a

aspects of the Meyer Pienaar design, and stockpiling

sense of panic at times, where a solution for protecting the

of all old and new materials for their own aesthetic

collection was [deemed] urgent and critical.

value and potential future use.

tandem with centenary planning.

7. Development of an advertising and marketing brief to Draft FCB to facilitate various objectives outlined here. 8. Setting up and marketing of donor fund for Centenary

2. Scaffold support for most noticeable ceiling collapse

restorations (additional meetings with PUMA required).

Going forward, the establishment of a centenary committee

9. Appointment of a focused 2015 committee â&#x20AC;&#x201C; after meet-

would be aimed at overseeing the communications and

ings and charettes consisting of staff, Friends, guides,

fundraising strategy for the restoration and or architec-

CoJ agencies, corporate supporters, art educators, CBD

tural redevelopment of parts of the Gallery in preparation

4. Placement of video and photographic work.

businesses, arts organisations, community resident

for 2015.

5. Design-in gaps; create open spaces for educational

organisations, broader media and taxi association. CONCLUSION The advent of the Lutyens Building 100 year milestone in

3. Re-orientate the visitor entry into the space on its north/ south axis.

projects and industry collaborations that would un-

JAG/SNAG Meyer Pienaar Gallery: May-August 2014

2015, is as much a symbolic moment to celebrate the en-

fold through the course of the exhibition. 6. JAG progress and milestones wall installation. 7. History wall, detailing the various building add-ons and key archival information.

durance of the Gallery, as it is a real incentive for assem-

From the outset it had been nearly impossible to raise funds

bling the right support and momentum for the necessary

through conventional national or provincial funding bodies

124

and surface water damage.

Installation view of Stephen Hobbs’ JAG/SNAG in the Meyer Pienaar Gallery, 2014. Images ©Stephen Hobbs and David Ceruti.

125

Re-design project: University of Johannesburg FADA, Department of Architecture MTech 2014 - Urban Update #3 JAG: So where to

from here? (seven-week programme) In their Urban Update 2014 project – JAG, so where to from

here? – students in the first year of the University of Johannesburg’s (UJ) Architecture Department’s master’s programme were asked to propose architectural updates to JAG and its precinct, critically considering the building’s neoclassical (1915; 1940) and postmodern manifestations (1986), and to interrogate the physical and psychic disconnectedness of the building and its art collection from its immediate context. Students were encouraged to consider ways in which public art may be reconsidered in this context; were tasked to reflect on the strict typological delineations of ‘museum’ and ‘park’ and explore ways of redefining and reconnecting these; to interrogate the validity of a term like ‘African museum’ and what such a phenomenon might mean or look like; to deliberate on the performative value of the body in space and compare more fluid attitudes to the generally static ways in which most art works still tend to be framed and shown to audiences. Through their designs students were encouraged to radically improve and extend on the building’s current function(s). The proposals that emerged demonstrated interesting possibilities for improved access, participation and enjoyment of JAG as an important resource catering to a complex urban, socio-cultural and economic context and a wide range of user groups.

126

TOP LEFT: Installation view of the Urban Update #3 JAG: So where to from here? student project. ABOVE: One of the many stakeholder workshops. TOP RIGHT: Gauteng Institute for Architecture public event, 2014. CENTRE RIGHT: Mapping of the activities and stakeholders in Joubert Park. BOTTOM RIGHT: Stephen Hobbs engaging with JAG/SNAG exhibition visitors.

Gauteng Institute for Architecture: Public Event: 24 April 2014

cultural content, it is an astonishingly publicly conscious space, having demonstrated timeous responses to critical urban conditions, new trends in contemporary practices and collecting, and strong visibility at important art world events,

This was a debate that considered the following premise as a trigger:

In 1960, JAG was up for sale for conversion to an eye research centre, an ironic reinforcement of the function of the museum. The neglect JAG experiences today is a lost opportunity, not only for design revisions and the like, but also for critical urban research and new possibilities for such culturally encoded buildings. JAG couldn’t be more relevant or important, a metaphor for the continuity and discord of our time; we should use it. Questions posed included: • Should it be demolished? Re-purposed? • Alternative awareness strategies for the role of buildings in relation to Joubert Park and the CBD, broader

and so forth. In closing, it is interesting to note that there is a fundamental design tension in central Johannesburg, between its city planners and its users. The tension lies in constant efforts to reach world class city status, in the face of urban practices operating with different intent, hence the formalising forces of the world class city agenda all too often fails to harness the innovative and adaptive tendencies of its local users. The sustained legacy of defensive spatial planning in our cities is intrinsically linked to our ability to be open and considerate of difference and change. The Johannesburg Art Gallery is still standing and functional. Dear reader, come up with a plan; participate; come with something special!

urban condition and opportunities. • Making visible JAG’s important collection. The ultimate intention of the JAG/SNAG project was to take advantage of an extended time frame (five years, if one includes the period of development from the 2014 exhibition to the 2015 centennial celebrations for which this text was commissioned), in order to witness and respond to the challenges and life cycle patterns of thinking and planning that only materialise, often, much later. Given the complex funding and programming processes of big international museums, it is fair to say that their con-

Stephen Hobbs Since 1994, Johannesburg has served as a reference point for Hobbs’ artistic and curatorial insights into the apartheid city turned African city – with a particular interest in the impact of defensive urban planning and architecture on the behavioral aspects of the city and society. Hobbs was previously the curator of the Market Theatre Galleries, and co-director of the Premises at the Joburg Theatre. Since 2001 he has co-directed the artist collaborative and public art consultancy, The Trinity Session.

tributions to contemporary discourses can be several years behind current debates. While JAG may be considered a big museum on the continent, and an important repository of

127

NEW ENGAGEMENTS/ SHIFTING BOUNDARIES 128

“… given the shift in artistic and curatorial practices, the role of education within art collections has equally needed to change in order to challenge complexities, contradictions and burdens of cultural, political and social histories carried by these institutions. … “The collection should therefore always be seen as an agent through which continuous examinations of curatorial endeavours are explored; equally, that these explorations are reliant on viewers as active participants in the making of meaning for art. This is based on the understanding that learning does not happen in an environment of autocracy (curators telling the ﬁnite story), but rather an understanding that different readers (curators and different audiences) also carry a set of tools and knowledge that work towards evoking multiple interpretations. Such an understanding starts to place works of art (by extension the artist), curator and audience as interlocutors tied in a web of narratives, which becomes activated through temporary exhibitions.” Nontobeko Ntombela (p 132)

129

CURATORIAL AS EDUCATION A few notes on the role of education within the context of a museum Nontobeko Ntombela

No matter how a particular museum may develop

as moments in which JAG’s art collection is curatorially ex-

Underlined in the notion of ‘cultural knowledge’ and ‘active

it remains essentially shaped by the policies of its

plored to ask questions around the role of education within

dissemination’ is the curatorial motivation to create a plat-

founders, which successive curators may modify but

the context of a museum. In so doing it considers education

not change (Carman 1988:203).

form for learning about new artistic practices entering the

as an active tool towards addressing issues of past im-

Gallery during this time as well as new display strategies

balances through the museum’s collecting and display stratHaving focused her PhD (as well as being an ex-employee

that in turn speak to transformative collecting strategies by

egies, which also records shifts and developments in

of JAG) on the history of the Johannesburg Art Gallery,

this museum.

curatorial and artistic practices. These are moments that

Jillian Carman’s writings acutely observe some of the chal-

are critically located in the exhibition making approach that

lenges South African museums like JAG are faced with

Locating curatorial practices as an instrumental tool with

have largely been motivated by the political dispensation

today. Her writings on JAG – though largely focused on

which to engage this notion of transformation, Brodie

of the early 1990s in South Africa.

recording its evolution and contribution to South Africa’s museum history, artistic and academic writing – connote

Looking at these three exhibitions, this essay proposes three

underlying issues with its current position, which are impli-

models – reflective, responsive and experimental – for con-

cated in its institutional ideological framework, collecting

sideration. The first exhibition model proposes reflective

history and Gallery building. As an African museum, JAG

curating – that which responds to issues of transformation,

like many other African art museums1 conceived around

based on artistic trends, strategies of collecting and adminis-

its time and/or with similar ideological frameworks, remains

trative attitudes.

a paradox in a place that is fast rejecting its relevance and reasons for existing (albeit politically, financially or ideologi-

Presenting a selection of works from JAG’s new acquisi-

cally). More importantly, Carman’s statement articulates

tion of that period, collected between 1992 and 2002,

the limitations and restrictions that these challenges pose

the exhibition New Strategies, curated by David Brodie

on curators and administrators who enter this space.

(2002:4), articulates this model. It aimed to, … critically explore[s] the Gallery’s collecting strategies, as well as situate the Gallery within a broader context of public institutions seeking to define their roles as socially and culturally responsible contemporary institutions. Central to this concept of institutions as agents that carry and define bodies of cultural knowledge, and activate the dissemination of such knowledge.

This essay examines three exhibitions,2 New Strategies (2002), Looking as Learning (2011) and Condition Report (2014). It examines these three exhibitions as possible points of departure from which we can reconsider and unpack the ways in which JAG’s art collection is constituted, studied and analysed. It examines these three exhibitions

130

further argues that “curatorial process now becomes the orientating function through which meaning, both original and accumulative, may be manifested” (2002:5). He proposes that curatorship must be recognised as a form of education (as part of the education programme) particularly towards accessing and disseminating information about the development of cultural production in South Africa. He states, “Such an education programme must focus on increasing interaction between potential learners, institutions and objects” (2002:05). This understanding of curating records a shift within South African curatorial practices, particularly of curating art collections. More details about this exhibition are described later in this essay. The second exhibition model proposes responsive curating – that is exhibitions that respond curatorially to the demands of the Gallery’s largest stakeholders, namely schools, in order to bridge the gap between abstract learning from

textbooks and experiential learning from seeing. In an-

roof tiles and Gothic wooden carvings that form part of

tensions when its comes to its institutional ideology, man-

other sense, such an exhibition is based on a model that

JAG’s permanent collection, their curatorial premise looked

agement practices and articulations of culture, given the

is audience driven.

at the role of the curator when tasked to recontextualise

inherent colonial project that is traceable in both the old and

these objects by exploring their history, movements and

new collections. These tensions can be observed in JAG’s

Within the exhibition Looking as Learning, the focus on

significance to the collection as a whole. Collectively, work-

employment demographics, collecting policies, exhibition

the high school learner was central to its conceptualisation,

ing as a group, each student offered their own individual

programming and the location of the museum. As such,

framing and selection of artworks presented. Basing its

take on this collection within one group exhibition.

the distribution and valuing of art, as well as knowledge

curatorial premise on the 2011 national secondary school

production, are affected by these tensions, which in turn

visual art curriculum of Grades 11 and 12, the exhibition

Taking what would have been a collection that has hardly

affect how the art of South Africa is perceived locally and

was primarily concerned with following groupings and

been exhibited within JAG’s exhibition history, these stu-

abroad, i.e. regionally within South Africa, throughout Africa

themes that were guided by that document. The aim was

dents were tasked with curating a show that responded

and the world at large, given the varying values for different

to the collection in order to offer new takes on objects that

artists’ works, lack of political buy-in, limited and/or con-

are largely ignored. In this instance the museum encom-

ditioned financial support, etcetera.

to offer high school learners (as well as the broader public) an opportunity, firstly, to experience these works of art first hand beyond the classroom and textbook; secondly, to understand how this museum could be useful towards their learning; and thirdly, to expose the collection by showing examples of works of artists listed in the curriculum – that may not be widely available to be seen in South Africa – that are actually at their disposal and available at JAG. As such it makes

passed the role of a laboratory by allowing this group to experiment with different curatorial and display approaches.

By centring integrated approaches between curating and

More details about this exhibition are described later in

education – not one above the other – this paper proposes

this essay.

another exploration of how such models can help address issues of politics of display, historical burdens, contradictions

All of these models engage strongly, in various ways, with

and the limitations of collections, in critical and reflective

aspects of education. They centre education as a continu-

ways. As Boris Groys argues, “since curatorial practice can

ous and active process towards understanding cultural,

never totally conceal itself, the main objective of curating

social, economic and political influences that operate within

must be to visualise itself, by making its practice explicitly

a museum.

visible” (2008:49).

The third exhibition model proposes experimental curating

In ‘A New Way of Looking at Old Things’, Susan Pearce

Similarly, this essay proposes that curatorial endeavours

– a model of curating exhibitions that encourages curatorial

(1999) argues that a museum is a social construct, purveyor

centred on education need to be made explicit, both in

explorations through experimentations structured as part

of ideologically charged notions of knowledge and his-

their intentions and motivations, and both conceptually

of learning – borrowing from Alfred Barr’s3 definition of

torical truth, which must evolve, and which must be a

and physically. At JAG this is needed in order to deal with

a museum as a laboratory – with an aim to foster new inter-

“reflexive exploratory” (1999:12) of culture. She argues

the historical contradictions and burdens imposed upon this

pretations, re-contextualisation and presentations of

that it must be a space where “existing collections can begin

collection and also to enable its audiences to understand

the collection.

to speak in new voices” (1999:12), and to her this implies

strategies used in the framing of the exhibitions they are

a major shift in management practices and attitudes. The

viewing, so that they are able to participate with a fuller

Condition Report was an exhibition curated by a group of

exhibition projects summarised above begin to engage with

understanding of how certain things have been presented

twelve postgraduate students from the University of the

this understanding.

to them. Thus it enables the viewer to understand their role

the existence of the contradictions existing in these collections, that being the combination of Western and African art housed within one institution and within an African context, all the more valuable and worthy of studying. More details about this exhibition are described later in this essay.

and agency when interacting with these spaces and its con-

Witwatersrand taking part in the course titled ‘Curating Exhibitions: The Politics and Aesthetics of Display’. Framed

Furthermore, thinking about Pearce’s position of museums,

tents, particularly when it comes to activating their own

around the collection of Hindu sculptures, Ming dynasty

the context of JAG indicates interesting and precarious

readings and interpretations.

131

This is by no means claiming that these are new models5

Such a change is not based on the old understandings of

offers a useful theoretical framework in analysing the his-

or that they have not been done at JAG before, nor a self-

what museums were meant to be in the early nineteenth

torical distortions and conflicting view points that arise

congratulatory stance about what JAG has achieved, but

century – what Jessica Morgan in her article ‘What is a

when studying exhibition practices.

I have chosen to focus on these three exhibitions largely

Curator’ defines as being “closely related to strategies of

because they are projects where I have either (both as em-

discipline and enlightenment in the post-industrial age”

Coetzee speaks to the ideas of ‘accentedness’ as a deno-

ployee and as guest curator) participated in their making,

where “visitors were taught only curated histories, but also

tation, less about the way we sound when we speak, but

or have learnt about them through research, which in some

curated ways of seeing and behaving in the museum”

rather ‘accentedness’ as a notion located in the activity of

sense reflects the kind of relationship I have with this insti-

(2013:23) – but rather based on an understanding of edu-

‘translation’. It is important to note that Coetzee argues

tution, and in another sense evidences my own larger cura-

cation as a curatorial approach in exploring possibilities of

against translation in its literal sense of being “an effect of

torial scholarship on curating and education.

reimagining the relevance of museums within the context

inequalities, rather than as a meeting of equals” (Coetzee

of South Africa. This understanding also enables a space for

2013:1), which she views as a one-sided story and an

multiple interpretations, in that once the museum is consid-

instrument of colonial domination. But rather, she argues,

Indeed, the many exhibitions that JAG has produced indicate some of these approaches, but what I would like to offer here is a reflection on how such curatorial approaches start to speak to curating as an expanded field, that which is global in its broader framework, yet at the same time could be understood to speak specifically to a South African context. It also speaks to strategies that start to unpack some of the failures and successes that such endeavours present through their attempts to re-imagine and reinterpret JAG’s art collection. In turn, it locates a practice that is responsive and motivated by its local context, which may be approached differently in other parts of the world. Linked to this is the age old question of the role of art

ered a laboratory, or a space for experimentation, it is easy to understand that its collection is always reread and reexamined through exhibitions and other curatorial projects. The collection should therefore always be seen as an agent through which continuous examinations of curatorial endeavours are explored; equally, that these explorations are reliant on viewers as active participants in the making of meaning for art. This is based on the understanding that learning does not happen in an environment of autocracy (curators telling the finite story), but rather an understanding that different readers (curators and different audiences)

translation can be useful when understood as a concept that accents towards understanding an “attitude that challenges those in power and aims to bring to the surface conflictual histories” (2013:7). Her use of the term ‘translation’ is thus not located in the linguistic understandings of the term, but rather as a met-

aphor or antithesis of translation towards what she calls ‘accented thinking’, that which speaks to interpretations that are cognisant and active in foregrounding the contradictions of things, particularly of history (i.e. not telling only one side of the story). Many curators have similarly argued that the construction of an exhibition is, in another form, an

museums in South Africa today, which is tied to how South

also carry a set of tools and knowledge that work towards

African museums are dealing with the different needs and

evoking multiple interpretations. Such an understanding

aspirations of their multifaceted audiences and the complex

starts to place works of art (by extension the artist), curator

contexts in which they are placed. It asks the question:

and audience as interlocutors tied in a web of narratives,

understanding of translation with Coetzee’s, which she uses

how can art collections help us pose questions of new

which becomes activated through temporary exhibitions.

ironically, as an antithesis, particularly considering that often

histories and new modalities of display towards better serving its increasingly complex society?

act of translation, in that by placing certain works together and within a particular framework, it translates the meaning and reading of those works in a particular way. I align my

when curating collections we are confronted with incongruThis understanding of the role of education is one that sees

ent and Eurocentric values that many of these collections

the exhibitions as a space that not only diffuses these

were originally conceived upon.

I argue that given the shift in artistic and curatorial practices,

roles of teacher and student, but rather follows what Carli

the role of education within art collections has equally

Coetzee calls ‘accentedness’. Though her writing is located

Coetzee’s proposition makes it possible to work with these

needed to change in order to challenge complexities, con-

within the education field more broadly, Coetzee’s paradigm

incongruences when curating an exhibition. The task, such

tradictions and burdens of cultural, political and social

on ‘accentedness’, described in her book Accented Futures:

as that of the Wits curatorial students, was aimed at doing

histories carried by these institutions.

Language Activism and the Ending of Apartheid (2013)

just that, in that they were forced to deal with the anomalies

132

existing within JAG’s collection, and needed to reflect on

making itself available to being (re)directed by its stake-

proposing here is education as a curatorial approach that

what it would mean to re-exhibit the collection in a post-

holders in the way they engage these collections.

is understood both as a motivation for making exhibitions and a curatorial concept itself.

apartheid context, without regurgitating Eurocentric tropes or telling only one side of the story.

Accentedness thus speaks to Boris Groys’ understanding of museum collections’ ‘multiple authors’, given that these

Coetzee proposes that accentedness happens in moments

collections constantly “change[s] hands and authors”

of learning; learning that is centred around understanding

(2008:100), thus their meaning remains in constant flux.

multiple positions (at times even debunking these positions)

Such an understanding speaks critically to how knowledge

– between victors’ and victims’ stories; the writer and reader;

about art is circulated, disseminated and studied, in that

the teacher and learner – that which implicates all positions

these forms of knowledge production also need to clearly

in order to understand the complexities of translation and

outline the possibilities for change.

the complexities of engaging with history’s contradictions.

New Strategies, changes in the collection and exhibition practices at JAG What good are museums? How do they contribute to society? Can their roles be better modified to serve cultural needs of an increasingly complex so-

However, it is important to note that this is not about advo-

ciety? (Brodie 2002:4)

Coetzee’s use of the idea of accentedness thus proposes

cating for inappropriate or reductionist readings of artists’

an effective tool towards understanding how contradictions

works and their intentions, but rather an activation of newer

David Brodie, in his catalogue essay, ‘New Strategies’, asks

of history can be approached towards learning, particularly

readings that work towards making art more accessible

these questions as an attempt to grapple with what he

when thinking about the impact of apartheid, a system that

to a broader audience. This is in line with Vera Zolberg’s

identified as ‘new strategies’6 of collecting art within public

she argues is still long “ending”. She further believes that

(1994) idea of democratising education, which she argues,

art institutions. Essentially defining JAG’s new approaches

an ‘accented discourse’ can be a form of activism towards

promises “an elite experience for everyone” (1994:64).

to collecting contemporary art following the new South

bringing social change. If we are to think about this approach

Zolberg makes this proposition as a challenge to art mu-

African political dispensations in the early 1990s, he pre-

within the context of making exhibitions and through the

seums to change their persistent attitudes of art as only

sented these approaches in a form of an art exhibition

integrated approach of education as a curatorial approach,

reserved for a select few. She argues that “education in

showcasing a selection of JAG’s acquisitions from 1992 to

then it offers us an effective tool towards dealing with these

the broad sense of the term involves acculturation or inter-

2002.7 According to Brodie, such an exhibition demon-

incongruences and unequal past collecting strategies of

rogation into a common culture, and the acculturation is

strated how contemporary public art institutions, such as

South African art that are ever so prevalently reflected in

not confined to formal school alone” (1994:4).

JAG, were responding to the political, social and cultural changes taking place in South Africa at the time, activities

art collections of South African museums today. It also offers

mostly intensified in the early years of democracy.

a tool that can be used in dealing with the absences, gaps

Calling for curatorial premises that centre education, there-

and omissions found in these collections, inherent to apart-

fore, does not mean thinking of art as an instructive tool

heid’s exclusionary systems.

towards educating the ‘masses’, but rather as an experience

Sabine Marshal, in her article ‘Who is In and Who’s Out?

that locates education as a given or common experience.

The Process of Re-writing South African Art History in the

This notion of accentedness thus calls for the diffusion of the

Such an approach also means changing the attitude of edu-

1990’s’ (1999) offers that such shifts characterised museum

curators of museums as authority, implying that museums

cational programmes as ‘afterthoughts’ or support to exhi-

practices of this time, focusing on reconstructing and bridging

need to take account of the demands of their audiences,

bitions already curated. This also does not mean advocating

gaps and imbalances created by the neglect of contributions

which in my opinion should dominate what museums do.

for arts education in the sense of grassroots community

from artists of colour over the previous decades. This, she

As such it compels a museum to reflect on its position not

based training, but rather it is about promoting educa-

states further, called for extreme changes in exhibition,

only as the interpreter of its collections, but rather as a me-

tion as being a curatorial component, premised both in the

acquisition policies and interest in research topics, which

diator, responsive to changes taking place around it, and

making and conceptualisation of exhibitions. What I am

were attempts to re-write South African art history.

133

Brodie’s exhibition exemplified this shift, with JAG at a

Pointing to the challenges of institutional ideologies, Julie

dispensation happened 20 years or so ago, attempts to

critical juncture in redefining its roles as an “agent of cul-

McGee – although focusing on (although not delimited to)

shift these institutions’ policies have not been sustained.

tural knowledge” (2002:4), a role that Brodie describes

exhibitions taking place at the Iziko South African National

And based on the kinds of criticism many South African

as being a critical responsibility for a museum. He argues

Art Gallery in Cape Town – argues that exhibitions hosted

museums10 continue to receive, this indicates a crisis not

that “the role of the public art museums is to carry, define

by these public institutions are ultimately continued at-

only for JAG, but also for all art museums in this country.

and disseminate cultural knowledge through its collecting

tempts to “control social memory” (2006:179), which

policy and its vision towards cultural development” (2002:4).

remain entrenched in the western value system. She asserts

Another added factor; the extreme decline in visitor num-

Such an argument for the role of a museum speaks to the

that many institutions in South Africa, including JAG, remain

bers11 also shows that there is a real crisis for museums in

very core of notions of education, looking at ‘cultural knowl-

trapped in the rhetoric of reproducing historical tropes

Africa. This can be noted in the decrease of crowd-pulling,

edge’ as a space in which the formation of a kind of knowl-

– pointing out the disproportional lack of representation

large scale exhibitions of international stature that JAG

edge and learning can happen.

of localised narratives and practices in exhibitions.

used to hold annually. Instead, what one often sees now, are semi-large scale shows that only attract particular

Embracing the notion of audience driven curatorial ap-

McGee’s argument on these control systems of ‘social mem-

kinds of audiences, which still remain largely geared to-

proaches as a well as that of education as curatorial, a

ory’ points to unshifted ideologies, evidencing how these

wards white audiences, indicating that the status quo

key motivation for Brodie’s exhibition was about creating

institutions have not done enough to engage transformation,

continues to remain unchanged.

access and dialogue around an increased diversity of artistic

but rather defaulting back to their commitment to past poli-

practices in South Africa since the new dispensation, de-

cies. As a result, McGee’s observation echoes Carman’s as-

Often when such debates emerge, much of the blame tends

scribing that “[t]hese strategies centre educational elements

sertion that these institutions’ policies remain unchangeable.

to be directed at the lack of political and funding support for infrastructure and programming of these institutions.

as an embedded notion of the curatorial” (2002:5). Khwezi Gule’s unpublished essay ‘Colleagues in Conver-

Better yet, the usual excuse of art’s abstruseness for a lay-

I was not part of the making of this exhibition and my ref-

sation’ (2015) offers another anecdote about these insistent

man. Although this may be true to some extent, some of

erence to it is concerned less with unpacking its curatorial

past policies. It vividly captures some of the challenges faced

these issues also stem from ideological clashes that persist.

merit, than to site a moment where JAG has made efforts

by current employees; particularly JAG’s black employees. In

As a result, many South African museums are currently un-

towards political redress and education through its collec-

this interview they speak about their dissatisfaction with

able to balance the expectations of their diverse audiences,

tion. This to me signalled an institution in crisis; at the same

exhibition programmes and lack of space for their voices to

in turn leaving these public collections to exist only as curious

time a moment that was to determine the future of this

be heard. Whilst acknowledging the extent to which trans-

archives of the past and beholders of the cultural hegemony

institution. As such, it meant projects implemented during

formation attempts have continuously been implemented, it

and social ordering of former powers, which have paralysed

this time worked towards defining a new role for this insti-

however, also indicates the failure of these so-called trans-

the growth and expansion of museum practices within

tution. One would think this was also a moment for JAG

formation programmes in the post-apartheid context.

this democracy.

Carman’s earlier statement about the unchanging policies

For JAG, increasingly, there is a lot of criticism around the

Taking this into consideration, it explains why such institu-

of such institutions, a question remains about the extent

kinds of exhibitions this institution is producing, particu-

tions are constantly criticised for their lack of transformation

to which such projects, like the one Brodie curated, really

larly over the past seven to eight years since Clive Kellner’s

and also how they are constantly under threat of closure.

succeeded towards shifting and transforming this insti-

departure, largely due to lack of funding being raised to-

It means museums must re-evaluate how their programmes

tution’s ideological framework?

wards hosting the most desirable shows possible at the

speak to today’s politics, cultures and economies, in relation

to re-evaluate its ideologies. However, if we are to go by

Gallery. As such, it can be argued that although the political

134

to contexts in Joubert Park, the Johannesburg CBD, and

Looking as Learning

the rest of South Africa. Exhibited in 2011, Looking as Learning – was curated as a Furthermore, in order to change or challenge this insistent

collaboration between the JAG education department

history, we need to constantly return to posing questions

(headed by Musha Neluheni, then the education officer,

of these institutions, such as those that Brodie outlines in

but now curator of contemporary collections) and the con-

New Strategies. We need to ask; what do we do with these

temporary collections department (which at the time was

collections today? Do they simply remain disengaged monu-

part of my portfolio) – with the aim of exploring education

ments to a former power, or do we as a society call on these

as a curatorial framework.

institutions to take responsibility for their current positions and roles? In what way can this be achieved given the

The idea to co-curate was primarily based on the desire to

diverse and often conflictual needs and understandings

collapse the separate working processes around exhibition

of what these institutions ought to be? In light of the

making within JAG that often place the educational pro-

New Strategies exhibition, it might be necessary to ask the

gramming as an ‘afterthought’ or support service to the

question; is having group shows at every political turn (every

exhibition. It was an attempt to break the hierarchy often

ten years since democracy) enough to change these past

placed between museum curator and education staff, that

policies and ideologies? Who are these exhibitions for?

which Vera Zolberg (1994:53) argues is often

McGee further asks, “what does it mean for an institu-

circulated, while hopefully alleviating and revising the power relations that sustain the art world. The notion of collective curating is a strategy I have often employed in my practice, particularly in cases where I have worked directly with artists towards the making of a show, but I have always been curious about the varying degrees to which one might test how such a strategy operates, and to what extent one can measure its true manifestations. My understanding of collective curating has always been about working within a space where the collective force is acknowledged; a force that is not about shared responsibilities only, but rather about acknowledging shared authorship in ushering a single voice through the exhibition platform. Looking at this exhibition, its particular authoring further expanded the notion of authorship beyond artist and curator, to curator and curator, as well as the collection (and by extension the artist) and audience. Our under-

tion of European and colonial heritage embedded in South

[the] belie[f] that the museum educator is the ad-

standing of authorship in this instance was as reliant on

Africa to transform and incorporate more fully non-

vocate of the visitor while the curator is the advocate

the original intentions (of school curriculum developers)

Eurocentric cultures? What are the measures of success

of the artwork […] Since the Museum educator is

of the works of art chosen, as it was on the audience’s

vis-à-vis transformation? Who acts as jury? What kinds

frequently viewed a technician at best, and is sub-

(the learners’) pre-determined learning experience guided

ordinate to the real purpose of the museum, which

by the 2011 national schools visual art curriculum. Arguing

of evaluative process should be implemented?” (2006:180). Although such questions are hard to answer, I argue that taking the stance of engaging the role of education in a critical and reflective way may start to offer us space to explore these historical limitations. In Coetzee’s understanding of accenting history lies the opportunity to reimagine the future of museums and their collections. Brodie’s exhibition starts to do this and his engagement with this collection articulates an accentedness particularly through its concerns with the changing and complex society within which JAG is positioned.

is to acquire and care for artworks, democratization has a long way to go.

for what he calls heterogeneous authorship Groys (2008: 97) writes:

Therefore, it was an attempt to explore collaborative curat-

If the choice, the selection, and the decision with

ing by centring the objectives of these two departments,

respect to the exhibition of an object are thus ac-

which in turn experimented with the notion of education

knowledged as acts of artistic creation, then every

as curatorial. Explaining collaborative curating, Magali

individual exhibition is the result of many such pro-

Arriola (2010:26) writes:

cesses of decision, choice, and selection. From this

This collaboration involves both the artists and curators who have worked towards questioning the configuration of the art world and towards providing

circumstance result multiple, disparate, heterogeneous authorships that combine, overlap, intersect, without it being possible to reduce them to an individual, sovereign authorship.

alternative networks within which the works can be

135

Installation views of Looking as Learning, 2011.

136

reception, as well as its frame of operation” (Arriola 2010:30)

as an aid to enable students and teachers to navigate their

in order to fully capture the experimentations of the process.

understanding in ways that would be useful towards their academic writing around this collection.

The aim to conceptualise an exhibition based on the 2011 Grades 11 and 12 art curriculum also speaks to Coetzee’s

The fact that this exhibition took place in the basement

notion of accentedness in that the exhibition pulled together

does pose some moments of failure within this project – not

collections that are not often studied and exhibited together,

only because of the limitation of the space being exhibition

such as JAG’s international collection, together with its

unfriendly due to roof leaks, but also because it was not a

southern African modern and contemporary art collections.

place in the main halls and interface of the Gallery, which

The grouping together in one show of works from these

to some extent defaulted it to a sub-project in support of

different collections started to deal with JAG’s long history

other ‘main’ exhibitions in the Gallery at the time, essen-

of collecting (thus implicating collecting strategies), while

tially countering the very thing it claimed to do. This I believe

at the same time looking at ways in which to engage

has been reviewed in shows that have subsequently fol-

this collection today.

lowed along this track. As such, it does note an investment by the Gallery to explore this type of curatorial project as

Displayed in the basement building, this exhibition navi-

part of its core deliverables.

gated the themes described in the curriculum document chronologically. The themes described were as follows; Impressionism and Post Impressionism, Cubism and Fau-

Condition Report

vism, Surrealism & Dada, and Pop Art, Minimalism and Photo-realism from the international art collection; and

If we are to understand the predicament of South African

Voice of the Emerging/Artists Influenced by Historical

art museums today as monuments and archives of former

African Art; Community Legacies: Polly Street, Rorke’s Drift

power, carrying histories of elsewhere, then it explains some

and other local styles; Socio-Political Art – From the Struggle

of the disconnects that exist between their collections and

to the Present, and Post-Apartheid Identity in South Africa,

the contexts in which they are currently located. This

from the South African Collection.

identity crisis has left many art museums unsure of how to address the needs of its stakeholders, as well as unsure

The show relied heavily on schools coming to see the show

of how to deal with this accumulated history, today. This is

in order to fully realise its potential, and for other readings

certainly the case with the JAG collection, which carries

and meaning to be garnered. For us this was a moment

such a large number of western art pieces, along with a few

that defined JAG’s purpose as “a learning environment

oddities of works from the East. Its collection of Hindu

Rather than being a show that simply regurgitated thematic

in which curiosity, discovery and contemplation are en-

sculptures, Ming dynasty roof tiles and Gothic wooden

exhibition rhetoric, it was important for us that it implicated

couraged” (JAG education booklet 2011). As a way of

carvings exemplifies this anomaly. For this project I returned

curatorial motivations and the art curriculum in a process

extending this learning experience further, the show was

to JAG, no longer as an employee, but as a guest curator,

that “acknowledge[d], reflect[ed] and problematize[d] its

accompanied by a booklet that included nine essays by

with the understanding that I was to work with Wits stu-

own discursive context, its modes of articulation and

different contributors. The booklet functioned primarily

dents towards realising a show.

137

138

For these to be found housed within the art collection of

but also to address the omissions created through those

a South African museum today raises a number of questions

collecting attitudes.

about how such a collection came about. It implicates the thinking of people like Dr Petrus Anton Hendriks13 who

The exhibition Condition Report aimed to do just that. It

was the director in charge at the time the Chinese Ming

aimed to critique these collections in order to understand

objects were brought into the JAG collection. It was clear

some of the motivations for them entering JAG, to consider

that JAG collected historically, with the intention of being

how they speak of cultures of elsewhere, of the kinds of

at the forefront of global culture, yet that perception of

omissions they created, and of their relevance or irrele-

global culture was based on western standards – and to be

vance within JAG’s collection today. Contextualising their

seen to be breaking tradition, and to show forward think-

concept, the twelve curatorial students14 articulated their

ing, was a trend adopted in Europe at the time. This need

curatorial framework (2014:1) as follows:

to be seen on par with international trends was important for JAG given that the entire motivation for why this col-

Within a museum context a condition report is a

lection was established in the first place depended entirely

report that tracks the physical condition of a work

on western understandings and values of what culture was and meant. This meant that for the longest time the JAG collection looked at the West for answers, at what it

in a collection at various stages. It relates directly to the archive and concepts of collection and care. Through diverse curatorial processes and acts this term is extended to explore the condition and politics

deemed culturally acceptable and valued as art, but not

of display in relation to culture, ethnography, authen-

at what was around it. Some people may argue that this

ticity and otherness.

is still the case today.

Condition Report marked the end of the fourth year postFurthermore, one can argue that this has led to some of the

graduate course in curating that had been run, and jointly

rejections, criticism and neglect this institution is experienc-

taught by the departments of Art, Culture and Heritage

ing today. However, as precariously powerless, invisible

Management, and History of Art, at Wits School of Arts. In

or decayed as JAG may seem to be today, and as much as

the past, the course had tried to locate curatorial practices

it is not even an option to de-accession these collections

in post-apartheid, protest politics and the gaze discourses.15

(as a way of annulling this history), I argue that it is equally

But it seems we had never thought as keenly about what

important to understand the value of this shaky history

it means to talk about the ‘politics’ of display as we did while

in today’s context. This kind of thinking, I believe, will acti-

curating Condition Report, through this collaboration

vate the collection as a space of learning and knowledge

with JAG.

production and realise its laboratory potential in its full sense – a laboratory space to critique this history, in order

With twelve individual installations of the three collections

to learn about what South Africa measured itself against,

– Chinese Ming, Gothic sculptures and Hindu sculptures – juxtaposed against the contemporary collections – both South African and international – this exhibition enabled

Installation views of Condition Report, 2014.

different takes on questions pertinent to how one might

139

Installation views of Condition Report, 2014.

140

recontextualise and deconstruct these collections today.

space played not only with intervening in the physical space,

that JAG as an institution cannot do this alone. It needs its

The students posed questions about the unknowable jour-

but crossed over onto the online platform in order to think of

stakeholders, so as not to operate only from a place of de-

ney the collection travelled from distant lands to JAG, of

the museum’s audience beyond a physical interaction. These

fence and protection of this collection and its history, but

what they translated to after being moved from their

indeterminate curatorial processes probed moments for

to work jointly with them towards addressing its admin-

original contexts, of how value is constructed in order to

contemplation, critique and reflection, not only as sub-

istrative, ideological and building structural limitations. It

understand what gets displayed in a museum context, of

versions of old conventions of curating, but also as a place

can only do this by making itself vulnerable to public scrutiny

who assigns these values, of who their original intended

of learning.

– scrutiny that it can use as a tool from which to begin to

audiences were, and of how these audiences have evolved.

work through its contradictions. Understanding the role For each of the curatorial students, learning manifested

of education offers a space to make these vulnerabilities

Through her installation, Rita Potenza posed the question

through their individual interpretations of JAG’s collection,

visible, and through them to ask a series of questions, and

of whether it is possible, given their history and reclusive-

which extended to the audiences that visited the exhibition.

propose experiments that attempt to go beyond the ideo-

ness of some of the objects, for a curator to create what

It was a moment where learning (education) was trans-

logical limitations that Carman outlines at the beginning

James Clifford calls a ‘contact zone’ where visitors are

lated along the scaffold from the collection to curator, to

of this essay. The challenge here is not to take those forma-

enabled to engage with one another in vigorous debates

students, to other viewers, and vice versa. The entangled

tive ideologies as a given, but to constantly challenge them

around those objects related to the politics of collecting and

form of learning speaks directly to Coetzee’s ‘accented

and push back. And that I believe is the work of JAG’s suc-

display? Another student, Cally Thompson, consistently

moment’ – a learning that happens in all directions.

cessive curators – most importantly not only to implement

reminded us that democratic education should be cen-

these strategies, but also to find meaningful ways of evaluat-

tral to all curatorial projects. She argues:

ing their impact.

Conclusion I have been inspired by some of the theory around education that can become actualised through the exhibition, and through a process of audience engagement and participation. Education in this sense is not about a transfer of knowledge from the mu-

These three examples of curating compel us to think of

Endnotes

curating as a complex process that challenges and necessitates the changing nature of what curators and museums

In his article ‘African Museums: The challenge of

seum to its audience but rather becomes a joint

do within the context of South Africa, guided by the de-

Change’, Emmanuel Nnakenyi Arinze argues that

process of learning involving a dialogue between

mands of social, cultural, economic and political dynamics

“African Museums were not established for the same

the institution and the public.

specific to local conditions.

reasons as Western museums … in contrast African museums were created to house the curios of tribal

Irit Rogoff poses a further challenging question about

One has to commend JAG for being a space that enables

people and to satisfy the curiosity of the elite citizenry

the educational role of museums, namely, what can we

these different forms to manifest – of course not without

almost to the total exclusion of the local people who

learn from the museum “beyond that which its sets out

the mandatory agonising – but it should not be complacent

produced the objects and material” (1998:31). These,

to show or teach?” (Rogoff 2008:2). Such a form of self-

about its achievements. JAG should continuously work

he argues, were motivations that only served the in-

reflective curating implicates the curatorial process in direct

towards extending the role of education within its mandate.

terests of colonial power. Although JAG was conceived

ways. Thompson’s attempt to curate questions around the

The disconnects, contradictions and inconsistences that

based on a different need from the one Arinze de-

role of the curator and education offered her the space

exist in JAG’s collection, and the space from which it

scribes, given that it was established to show South

to experiment and to use the museum as her laboratory.

operates, needs to be addressed as a matter of urgency,

Africans what ‘culture’ was by bringing Western art to

Her QR code intervention placed within the exhibition

but with criticality, sensitivity and with the understanding

Johannesburg, it too operated on ideological principles

141

of racialised exclusivity and colonialist attitudes. It was

The term ‘representative’ necessarily covers a range

10 This criticism has also been directed at museums like,

a space made for whites only and, based on that, its

of various identities (racial, gender or otherwise), artistic

Pretoria Art Museum, Iziko South African National Gal-

motivation was therefore similar to those museums

styles and even artistic mediums, which had previously

lery, Durban Art Gallery, Oliewenhuis Museum, William

Arinze describes.

been peripheral […] The issue has been addressed

Humphrey’s Gallery among others, all of which are

Today exhibitions are regarded as moments through

through a focus on current artistic talent and a careful

located within major cities in South Africa.

which we can understand how artistic practices have

following of artistic trends and developments of the

11 The 2010 report on the State of South African Museums

evolved over time. They allow us to examine the chro-

present moment, as well as a careful look back to our

put together by the South African Human Sciences

nology of, and nexus between events, objects, artists,

recent history, searching for artists’ work that could

Research Council indicated that art museums are most

curators and art institutions. They demonstrate how

have, or should have, been collected long ago but

affected by their declining numbers.

artistic, curatorial and exhibition practices interconnect

had been overlooked (Brodie 2002:5).

as critical forms of knowledge of art history. Contex-

Rationalising his selection he states “by presenting a

Impressionist and Post-Impressionist Paving the Way

tualising exhibitions, Paula Marincola, director of Phila-

decade’s worth of acquisitions, we are offering an

to Modern Art’ by Lené Lordan, ‘Looking and Learning’

delphia Exhibitions Initiative, argues that “Exhibitions

insight into a vital period of development and advance-

by Jeannine Howse, ‘Dada and Surrealism in the JAG

are strategically located at the nexus where artists,

ment of the Gallery’s vision regarding its collecting

Collection’, by Anthea Buys, ‘The Art of the “New

their work, the arts institutions, and many different

policies and strategies – a visual record of choices

World’’’ by Musha Neluheni, ‘Modern South African

publics intersect. Situated critically, they function as

made and decisions taken as South Africa moved from

Artists’ by Nontobeko Ntombela, ‘Socially-Engaged

the prime transmitters through which the continually

pre- to post-election, from apartheid to democracy”

Art from the Anti-Apartheid Struggle to the Present’

shifting meaning of art and its relationship to the world

(2002:4).

by Khwezi Gule, ‘Post-Apartheid Identity in Visual Art’

An interview with JAG’s longest employed black admin-

by Zen Marie, ‘Questioning Gender: The Artwork of

viewer for contemplation, education, and not least,

istrative staff about their experiences working within

Mary Sibande, Zanele Muholi and Nandipha Mntambo’

pleasure”.

the museum.

by Portia Malatjie, and ‘Matters of Spirit’ by Nessa

In my understanding, this slow pace of transformation

Leibhammer.

is brought into temporary focus and offered to the

12 Essays included in this booklet were as follows: ‘The

Alfred H Barr was an American museum curator, and the

first director (from 1929-43) of the Museum of Modern

has been both deliberate and unintended. It has been

13 Hendriks was born in Rotterdam, Netherlands in 1899.

Art (MoMa) in New York City.

deliberate through strategies of gatekeeping, both from

In 1937 he was appointed to the post of director at

The Gothic sculptures were last displayed in an exhibi-

an employment and education point of view, given the

JAG where he remained until he retired officially in

tion curated by Clive Kellner titled Ars Moriendi (How to

limited examples that demonstrate changes in the

1964, but remained as an advisory director for a further

Die Well) in 2008, also at the Johannesburg Art Gallery.

valuing systems (content taught in university art schools

three years. In 1967, Hendriks was awarded an hon-

However, it is also important to state at this point that

and museum exhibition programming), black staff re-

orary Phd from the University of the Witwatersrand

previous curatorial strategies have not always been

tention and reasonable recruitment requirements,

for his invaluable contributions to the Johannesburg

inclusive and that these were deliberately imposed in

both from the education system and employment sec-

Art Gallery.

order to uphold a particular ideal that ran concurrently

tor, which has in turn meant the status quo has also

14 Chava Alheit, Usha Bapoo, Megan Kidd, Yolanda de

with the ideologies of the museum and the exhibitions

remained undisturbed – particularly when it comes to

Kock, Mpho Kumeke, Viola Makin, Amohelang Mo-

it produced.

specialist posts. It has been unintended merely because

hajane, Refiloe Motau, Rita Potenza, Sizwe Radebe,

He states,“The Johannesburg Art Gallery is committed

of the lack of political will and proper channels to

Nomcebo Sithole, and Cally Thompson.

to maintaining and augmenting a collection that is

challenge these museums particularly around their

both representative and, as importantly, of high quality.

deliberate gatekeeping strategies.

142

15 The past three years have yielded wonderful exhibitions – curating Lauren Beukes’ novel about a semi-fictional

Hillbrow, Zoo City (2011), the 1976 uprising captured as One Day in June (2010) and When We Look at

You (2013), which was a response to Nelisiwe Xaba’s interpretation of the ‘Hottentot Venus’ that she titled ‘When I Look at You’. 16 Clifford refers to the “contact zone” as the dramatic

Coetzee, C. 2013. Accented Futures: Language Activism and the Ending

of Apartheid. Johannesburg: Wits University Press. Gule, K. 2015. Colleagues in Conversation, unpublished transcript and recording.

MA: MIT Press: 93-100. Hagg, C. 2010. As Assessment of the Visual Arts Sector in South Africa

sented and in turn received and perceived by the viewer.

and Assistance to the Department of Arts and Culture in Developing a

It is for this reason that the gallery or museum space

www.hsrc.ac.za/en/research-outputs/view/5456#sthash.O8y3PhQn.dpuf.

17 “To use the QR code effectively I needed a space to house the questions. I used the online platform

www.callythompson.com on which I created post pages. Each post was a question that corresponded with a QR code. I created eight exhibition posts and

National Policy for the Visual Arts DAC/0006/07/T. [0]. Available:

Marshall, S. 1999. Who is In and Who’s Out? The Process of Re-writing South African Art History in the 1990’s. [O]. Available:

an opportunity to respond to my questioning” (Thompson 2014).

Ntombela worked as a curator at the Johannesburg Art Gallery (2010-2012), Durban University of Technology Art Gallery (2006-2010) and BAT Centre Art Galleries, Durban (2002-2006).

in Cape Town in Marstine, J (ed). New Museum Theory and Practice: An

duction in What Makes a Great Exhibition. Chicago: University of Chicago

below the questions that I asked, so that it gave people

lecturer, in the History of Art department. Before that,

Introduction. Oxford: Blackwell Publishing.

bition. When someone scanned a QR code they would

nity to respond. I had activated the option to comment

degree from Wits University, where she also works as a

McGee, J. 2006. Restructuring South African Museums: Reality and Rhetoric

Marincola, P. 2006. Questions of Practice: Practice Makes Perfect. Intro-

question and if they wanted to they had the opportu-

Rhodes University, she holds a Master of Arts in Fine Arts

http://motspluriels.arts.uwa.edu.au/MP1299sm.html.

therefore eight QR codes to place around the exhibe directed to the post where they would read the

Nontobeko Ntombela lives and works in Johannesburg. Currently enrolled in the History of Art PhD programme at

Groys, B. 2008. Multiple Authorship. Chapter in Art Power. Cambridge

shift that lies predominantly in how the object is pre-

becomes a powerful ‘contact zone’ (1988:120).

Nontobeko Ntombela

Press. Morgan, J. 2013. Question 1: What is a Curator? in Hoffman, J. Ten Funda-

mental Questions of Curating. Mila, Italy: Mousse Publishing: 20-29. Pearce, S. 1999. New Way of Looking at Old Things, in Museum International 202, 51(2). Paris: Unesco: 12-17. Potenza, R. 2014. Enclave, in Alheit, C. et al (eds). Condition Report. Johannesburg: Johannesburg Art Gallery.

Sources

Roggoff, I. 2008. Turning. e-flux Journal #0, November: 1-10. [O]. Available: www.e-flux.com/journal/turning/ Storr, R. 2001. How We Do What We Do, And How We Don’t, in Marincola,

Arinze, E. 1998. African Art Museums: The Challenge of Change, in Museum

P (ed). 2001. Curating Now: Imaginative Practice/Public Responsibility.

International 197(50)(1). Unesco: Paris: 31-37.

Philadelphia: Philadelphia Exhibitions Initiative.

Arriola, M. 2010. Towards a Ghostly Agency: A Few Speculations on Col-

Thompson, C. 2014. Accenting Space, in Alheit, C. et al (eds). Condition

laborative and Collective Curating. Manifesta 8: 31-45.

Report. Johannesburg: Johannesburg Art Gallery.

Carman, J. 1988. Acquisition Policy of the Johannesburg Art Gallery with

Zolberg, L. V. 1994. ‘”An Elite Experience for Everyone”: Art Museums, the

Regards to the South African Collection, (1909-1987) in South African

Public and Cultural Literacy’. In Sherman, D. J. and Rogoff, I (eds). Museum

Journal of Culture and Art History 2(3). Pretoria: Bureau for Scientific

Culture: Histories, Discourses, Spectacles. Minneapolis: University of

Publications: 203-213.

Minnesota: 49-65.

Clifford, J. 1988. The Predicament of Culture: Twentieth-Century Ethnography,

Literature, and Art. Cambridge, MA: Harvard University Press.

143

JAG'S TRADITIONAL COLLECTION: CONSTRUCTING MEANING Philippa van Straaten

For most of the twentieth century, museums and art galleries

These exhibitions have also caused curators to look reflex-

the Brenthurst Collection, which was assembled by ex-South

in South Africa still focused heavily on art that was produced

ively at the theoretical, ethical and practical processes that

African Johnathan Lowen in London from 1971 to 1983, and

in Europe or oriented towards a minority demographic with

artworks experience before they get to be seen by the public.

was repatriated to South Africa after being bought by

largely Eurocentric sensibilities. Also, following the long-

Patricia Davison highlights the ‘frames of reference’ and

Harry Oppenheimer in 1986. This extensive collection of

standing worldwide trend at the time of relegating African

meaning-making processes that objects within museum

just over 850 objects has been housed by JAG on long-term

and southern African material culture to the realms of ethno-

are subject to (Davison 1991:15). Viewers of exhibitions

loan since 1987. Other items included in this exhibition

graphic, natural history or anthropological museums, or other

are often not aware of the way in which “their experience

were a number of Jaques Collection headrests, purchased

cultural heritage spaces, it meant that these items were long

is conditioned by the spatial context and the manner in

in 1987 with funds from the Anglo American Johannesburg

not regarded as artworks but as exotic curiosities.

which the work is installed” (Davison 1991:15).

Centenary Trust (AAJCT), and loans from other institutions throughout South Africa.

It was only in the 1980s, with the appointment of Christopher

These important exhibitions, along with accompanying pub-

Till as director, that the Johannesburg Art Gallery (JAG)

lished catalogues and other printed material, have aimed

This exhibition and the comprehensive accompanying

began to think about and actively collect traditional southern

at facilitating not only a greater understanding of the works

catalogue (JAG 1991) was the first major international

African material culture as artworks. Changing social and

on display, but have also commanded further investigation

exhibition of art from southern Africa (Leibhammer 2010:

political circumstances and feeling in the country “saw tradi-

into theoretical and ethical issues of representation and re-

85-6), and consisted mostly of a variety of carved wooden

tional southern African collections redefined with some move-

presentation of southern African art in various contested mu-

pieces. The combination of the exhibition and the accom-

ment from ethnographic collections into art galleries”

seum and gallery spaces, like JAG, and for various audiences.

panying catalogue, which contained articles written by

(Leibhammer 2010:83), such as JAG.

Issues around terminology, labelling and classification have

prominent art historians, curators and academics, was seen

also been interrogated and dealt with through all stages of

as “[giving] shape and meaning to the genre” (Leibhammer

JAG has, since the late 1980s, not only acquired various

curating and exhibiting these collections. Also, in a sense, JAG

2010:86) and engaged viewers with, “a distinctive southern

important and diverse traditional southern African artworks

has created another ‘exhibition space’, through comprehen-

African aesthetic, underpinned by the contexts, spiritual

and collections, and worked on the re-contextualisation of

sive printed material accompanying certain exhibitions.

beliefs and ways of life that gave meaning to the forms,

these artworks into a museum setting, but has also held

The first of these three most prominent and large-scale

material and creative processes”.

several ground-breaking exhibitions thereof. Three of the

traditional southern African art exhibitions is Art and

most defining exhibitions are dealt with here, alongside brief

Ambiguity, held from December 1991 to March 1992, and

The catalogue, too, was described by reviewer Barry Ronge,

mention of other significant events that have allowed the

curated by Karel Nel of the University of the Witwaters-

as “… the only comprehensive examination of a tradition

contested JAG space to start changing views and viewings

rand, and Christopher Till and Alan Alborough from JAG

of South African art that was pillaged, removed, negated and

of traditional southern African art objects and exhibitions.

(Leibhammer 2010:86). Art and Ambiguity focused on

marginalised … Now, like the people of South Africa, it is

144

being gathered back from its exile … offering a sense of

The second of the three most defining traditional southern

identity and tradition that has been missing for decades”

African art exhibitions at JAG was Evocations of the Child,

(originally appeared in the Sunday Times, 8 December 1991;

curated by Nessa Leibhammer and Karel Nel in 1998. This

cited in Leibhammer 2010:86).

travelling exhibition included representative examples of child figures or fertility ‘dolls’ from various museum and

Installation views of Art and Ambiguity, curated by Karel Nel (featured above), Christopher Till and Alan Alborough, 1991-92. The exhibition focused on the Brenthurst Collection.

The resource book, Making Links (Leibhammer 1996) was

private collections. In her Introduction, Elizabeth Dell explains

based on two exhibitions, Secular and Spiritual: Objects of

how and why the accompanying catalogue to the exhibition

Mediation and Views from Within. Both exhibitions opened

had created a benchmark in research into the area (Dell

in August 1996, and were curated by then-curator of tradi-

quoted in Leibhammer 2010:86).

tional collections at JAG, Nessa Leibhammer. Making Links explained these exhibitions, and the ways in which tradi-

Dunga Manzi/Stirring Waters: Tsonga and Shangaan Art

tional African art is curated and exhibited in spaces like

from Southern Africa (Leibhammer 2007) was again a defin-

galleries and museums (Leibhammer 2010:86).

ing exhibition, not in the least because of the complex issues around Tsonga and Shangaan identity dealt with in the

145

TOP: Installation view of Secular and Spiritual: Objects of Mediation, 1996. BOTTOM ROW & TOP LEFT: Installation views of Dunga Manzi/Stirring Waters: Tsonga and Shangaan Art from Southern Africa, 2007. TOP RIGHT: Installation view of Matters of Spirit, an exhibition of works from the traditional southern African collection curated by Nessa Leibhammer, 2010.

146

accompanying catalogue (Leibhammer 2010:87). The exhibition, curated by Leibhammer in conjunction with Natalie Knight and Billy Makhubele as guest curators, celebrated Tsonga and Shangaan culture. In the Introduction to the catalogue, Leibhammer writes that the exhibition “addressed the problems of alienation and silence in a number of ways … [it brought] the knowledge and of ‘living’ memory of a family that embraces its heritage … to the artworks” (Leibhammer 2010:1). Although JAG’s traditional southern African collection is only 28 years old as of 2015, its size continues to expand, and its ongoing contribution to discourse, public interaction with, and experience of exhibitions and the objects on display

SOURCES

in 2004, and went on to complete the African Programme in Museum and Heritage Studies postgraduate diploma

continues to develop. Leibhammer writes that “JAG’s con-

Davison, P. 1991. Ambiguity, Style and Meaning, in Art and Ambiguity.

course at the University of the Western Cape in 2005. She

tribution to local and international scholarship in the field

Johannesburg: Johannesburg Art Gallery. Catalogue.

completed her MA in Heritage Studies at the University

has been significant … [and that the] understanding of

Leibhammer, N. 2010. Filling the Spaces/ Contesting the Canons, in 1910-

of the Witwatersrand in 2008. She worked for ICOMOS-UK

what constitutes southern African traditional art [is] under-

2010 One Hundred Years of Collecting. Johannesburg: Johannesburg

in London from 2009-2011, and was a Curatorial Assistant

pinned by a sound historical and theoretical context”

Art Gallery.

(Leibhammer 2010:87). As of 2009, the southern African art collections have also been shown in a dedicated space

at MuseumAfrica before her current role as the Curator for traditional southern African art at the Johannesburg

Philippa van Straaten

Art Gallery.

in the 100-year-old Edwin Lutyens section of the JAG building (Leibhammer 2010:87).

Philippa van Straaten is a curator working in Johannesburg. She completed her BA (Hons.) degree at Rhodes University

147

JOUBERT PARK PROJECT 2000-2001 Jo Ractliffe and Dorothee Kreutzfeldt

The Joubert Park Project begins in 2000 as a loosely

Above all the workshops generate an intensive momentum

rooms of the Gallery). At this point JAG is barely functioning

organised group of artists, photographers, people work-

of ‘creative’ activities, exchanges and explorations in the

as a public institution: it is insufficiently funded and under-

ing in the arts and a small grant that Dutch artist Jack

Park and Gallery: establishing personal and spatial relations;

staffed; sections are in disrepair; the doors are closed for

Mensink of the Artificial Shelter Foundation raised for a

engaging lived experiences of participants. Social and

long periods. In contrast, the Park is used intensely as one

project, So Where To, involving the photographers in

political themes predominate, and the need for the revi-

of the few public green spaces in the inner city, despite the

Joubert Park. It develops into an intensive programme

talisation of the Park, for safety, inner city rejuvenation,

lack of maintenance or care by the municipality. The clinic,

of ‘site specific’ artistic and educational workshops that

skills and life orientation for the youth. Out of this process

crèche, greenhouse, neighbourhood centre, lawns and

take place over the year in close collaboration with com-

core facilitators (*) begin to formulate a set of interests and

chessboards serve as significant public places. The day’s

munity initiatives and constituencies that make up the

aims under the name of the Joubert Park Project (JPP),

events and exhibition engage and celebrate these sites;

Joubert Park area, including the Johannesburg Art Gallery,

with the focus on Joubert Park Precinct, JAG and ‘public

there are spirited and funny moments, bringing together

the Joubert Park Neighbourhood Centre, Lapeng Child and

art’. (As the project develops, the collective of organisers

participants and audiences: for example, headdressed and

Family Resource Service, The Joubert Park Freelance Associa-

grows to include Rory Bester, Terry Kurgan, Cedric Nunn,

costumed ‘live’ pieces are moved around the giant chess-

tion and Park users. Artists, musicians and performers

Bettina Schulz, Marion Shaer and Merryn Singer.)

board, interrupting the usual rules and sights. Robin Rhode’s

involved in the workshops include Gerard Bester, Dorothee

workshop collaborators perform various scenarios in the

Kreutzfeldt*, Amanda Lane, Jones Mathebula, Sanae Sawada,

Open Day 2000 presents the workshops in the form of a

Gallery with wall drawings as ‘props’ – muggers stealing a

Usha Seejarim, Stompie Selibe, Rita Potenza*, Jo Ractliffe*,

photographic exhibition, installations and performances

‘suitcase’, kids throwing cans into a ‘basketball hoop’ and

Robin Rhode and Bié Venter*. Workshops with Park photog-

situated in the Gallery and the Park. The audience is ushered

lovers necking on a ‘park bench’. In the Park ‘speech bub-

raphers, facilitated by John Fleetwood*, Cedric Nunn, Peter

in and out of the Gallery. It coincides with the monthly

bles’ stencilled onto board with phrases taken from popular

McKenzie, Andrew Meintjes and Graeme Williams, and with

‘Ziyabuya Child and Family Arts Festival’ and begins with

hip-hop and kwaito songs are placed on benches and sculp-

input from David Goldblatt and Jürgen Schadeberg, are

a blessing ceremony with sangomas (facilitated by the

tures, in trees and the greenhouse, provoking unsolicited

directed towards developing technical, marketing and busi-

Performing Rites Company). The ceremony is conducted in

romantic conversations between people and spaces. In the

ness skills. In 2001, Terry Kurgan initiates another project

response to an early divination session at JAG with Makhosi

Gallery a debate on art in the public realm of inner city Johan-

with the Joubert Park Photographers Association, called

Fikile Dhlamini and Gallery director Rochelle Keene, which

nesburg is programmed, with speakers Leon Mdiya, Vernon

Joubert Park Photo Studio, which involves the installation

highlighted the plight of the Gallery and its lack of inte-

Openshaw, Clive van den Berg, Jo Ractliffe, Lesley Perkes,

of a professional mobile photo studio in the Park.

gration with the immediate environment (the key image

Bongi Dhlomo, Kathryn Smith and Stephen Hobbs. The day’s

that emerges is a female, unhappy ‘ghost’ who roams the

events are documented in a film, From the Ground Up, by

148

TOP LEFT: Blessing ceremony with sangomas facilitated by the Performing Rites Company, which highlighted the plight of the Gallery and its lack of integration with the immediate environment, 2000. BOTTOM LEFT: Installation view of Usha Seejarim’s paper pigeons. TOP RIGHT: View of Robin Rhode’s ‘Park Bench’ which illustrated how wall drawings were used as ‘props’ during his workshop. CENTRE RIGHT: Chess piece, JPP Open Day, 2000. BOTTOM RIGHT: Installation view of Speech bubbles, Open Day, 2000.

149

the Trinity Session. Open Day ends with songs and the light-

Wits Division of Fine Arts. The exhibition and performance

and Jo Ractliffe (collaborative video projections in the Gal-

ing of many paperbag lanterns in the Park, each featuring

programme occupy sections of the Gallery and the Park:

lery, including The Persecution of the White Car shot in

a drawing made by young participants in Usha Seejarim’s

Canadian artist Mara Verna sets up a mobile manicure and

Durban), Brendhan Dickerson (fire sculpture performance

workshop, which addressed their ‘hopes and dreams’ for

pedicure station for women along the walkways, a strangely

on opening night in the Park), Natasha Du Venage (move-

the Park.

intimate set up; stilted, often funny conversations across

ment workshop with youth from the inner city), John Fleet-

languages ensue. Icelandic artist Anna Richardsdottir, ac-

wood (photographic and sound installation in the Gallery

In the same year the JPP issues a call for proposals for the

companied by musician Stompie Selibe, performs a daily

exploring notions of dislocation and xenophobia), Abrie

Joubert Park Public Art Exhibition to take place in 2001,

cleaning routine and draws a close group of onlookers

Fourie (installation of Monument in the Park, comprising

inviting people to present ideas and projects that respond

– there are teasing comments and questions by passersby,

bibles), Sally Gaule and Susan Beningfield (multimedia in-

to the specific conditions, changes and potentials of the pre-

requests if one can join. The opening in October 2001 at-

stallation in the Gallery based on research of social dynamics

cinct and its inner city context. (In the call, it is declared that

tracts a surprising number of visitors – 2000 are recorded

in Newtown), Jeanette Ginslov and Marcus Neustetter

‘Public art is for everyone’, appealing for modes and forms

– the largest audience the Gallery has seen in several years,

(interactive installation, See-Saw, including sound and a

of production with the possibility to engage socially, artisti-

and is followed by a three month programme of workshops,

seesaw, Gallery), Manya Gittel (performance workshop with

cally with the specific realities, architectures and imagina-

happenings and talks.

youth resident around the Park), Catherine Henegan (billboard installation in the Park), Lucky Jiyane (life-size wire

tions of places and publics. It is an enthusiastic call for the activation of spaces, for testing the artist’s role in relation

From the pamphlet of the exhibition:

sculptures installed in the Park), Arthur Kunene (ostrich

to the city, audience and context. Within the politics and

Willem Boshoff (Broken Trust, granite seat sculpture in the

eggs painted with scenes from Joubert Park, Gallery Shop),

demographics of artistic networks, platforms and institu-

Park’s ‘Lovers Lane’), Matthew Burbidge (video shot from

Terry Kurgan and Nkosi Ndlovu (portrait project/exhibition

tions at the time – which is partly reflected by the group of

the Gallery roof, Gallery), Pitso Chinzima (installation in the

in the Park and mobile photo studio with the Joubert Park

facilitators – the project endeavours to mobilise partici-

Park commemorating people who experienced violence

Freelance Photographers Association), Busisiwe Mafu and

pations and collaborations across different artistic disci-

and trauma at particular sites), Patsy Cloete and Steffan

Simon Molefe (documentary on Joubert Park and residents),

plines and networks.)

Carstens (video of kite-making workshop inspired by JAG

Jones Mathebula (T-shirt printing workshop), Goodness

collection, Gallery), Steven Cohen, Elu Kieser and Nomsa

Nhlengethwa (sound installation in the Gallery based on in-

The core team of organisers lobby for funds and move their

Dhlamini (video installation of the Chandelier Project in the

terviews with people in the Park), Cedric Nunn with Isaac

‘offices’ into the administrative wing of the Gallery. The

Gallery and performance at the opening), Michael Coombs

Phakati and Siphiwe Shandu (photographs for anti-litter

responses to the call are surprisingly numerous and the

(plaster copies of security cameras installed in strategic

campaign), Celia Parsburg and Elin Wikström (radio project

selection process a lengthy, intensely debated affair, resulting

places around the Gallery and Park), Wilma Cruise (video

based on weekly conversations with residents in the Park),

in an ambitious three month programme and exhibition,

screening in the Gallery of people who lived and died in

Rita Potenza (portrait outlet collaboration with Park photog-

with 38 contributors, and collaborations from South Africa,

Joubert Park, The Tale of Shippy – a Lovely Man, Tale of DM

raphers, Gallery Shop), Robin Rhode (video projection and

Brazil, Argentina, Canada, Iceland, Switzerland, Holland,

– A Refined Man), Mauricio Dias and Walter Riedweg

installation in collaboration with previous workshop mem-

Great Britain and Sweden. The production runs on minimal

(Nightshift, video projection in the Gallery produced while

bers), Anna Richardsdottir (as described), Usha Seejarim

resources and individual and collective efforts, with the

on residency in Johannesburg; Videowall – installation with

(video and sound installation in the Gallery and paper pigeon

support of Gallery staff, input from the Bag Factory and

video and stills shot at Park Station), Sebastian Diaz Morales

workshop), Moses Seleko (cowhide-covered park bench),

150

TOP LEFT: Andrew Meintjes facilitating a workshop at Terry Kurgan and the Joubert Park Freelance Photographers Association’s mobile photo studio. TOP CENTRE: Cedric Nunn, Isaac Phakati and Siphiwe Shandu’s anti-litter campaign. TOP RIGHT: Peter McKenzie facilitating a workshop with the Joubert Park Freelance Photographers Association. CENTRE LEFT: Mara Verna’s Joubert Park intervention. BOTTOM LEFT: Elu Keiser performing at the opening. ABOVE: Brendhan Dickerson exhibition opening.

151

RIGHT: Anna Richardsdottir’s performance in Joubert Park. CENTRE: Manya Gittel’s movement workshop. RIGHT: Stompie Selibe’s workshop.

Stompie Selibe (instrument making and sound workshop),

a poverty alleviation and youth development initiative in

working in diverse fields. This includes the set up of a multi-

Kathryn Smith (photographic installation in the Gallery

neighbouring Hillbrow. In 2004, JPP moves to the historic

use gallery, Point Blank, and artists’ residencies. (The core

investigating potentially ‘lethal’ spaces), Amichai Tahor

Drill Hall next to Joubert Park, which is redeveloped as a

aim is to bring the strategies and instruments of the contem-

(karaoke project on opening night, Park), The Trinity Session

multi-use heritage site. Here the collective is formalised as

porary arts to bear on the complex and conflicted environ-

(screening of documentary From the Ground Up), Andrew

a non-profit trust, consolidating previous experiences and

ment in a manner that asks questions both of arts practice

Tshabangu and Peter McKenzie (with Park photographers

works to define a structure and programme in relation to

and the complicated reality of this shifting urban context

Varrie Hluzani and Nkosi Ndlovu, photographic installation

the Drill Hall, its history and environment, as site and mate-

– in relation to South Africa and globally.)

against shop windows in the precinct), Mara Verna, Leon

rial. Instrumental in this process are Keren Ben Zeev and

von Solms and Toni Morkel (performances in the Park) and

Maria Fidel Regueros, Dorothee Kreutzfeldt and Bié Venter,

Projects include: ´Notes to Home’, a series of exchanges with

Sue Williamson (From the Inside, slide projection in the Gal-

joined by Joseph Gaylard, and later Rangoato Hlasane and

artists from Maputo around questions of migrancy and

lery of text pieces painted on walls in surrounding areas,

Malose Malahlela – who would go on to form Keleketla!

xenophopia in 2006; ‘Cascoland’, a production residency

addressing HIV/AIDS).

– with input from Vincent Trutter and Lawrence Lemaoana

co-facilitated by JPP with a Dutch collective involving artists,

and board members. The proximity to JAG remains an im-

architects, urbanists and designers from Europe and South

The Joubert Park Project continues to operate from the

portant, yet an underdeveloped asset. Until 2009, members

Africa in developing projects concerned with animating the

Johannesburg Art Gallery until 2004, working on various

of the JPP work as site managers, generating and facilitating

Drill Hall in relationship to its urban context (2007); ‘Last

‘public’ projects, such as the Creative Inner City Initiative,

projects in collaboration with artists, educators and non-artists

One Standing’ (2008), a major snowball fight tournament

152

staged in collaboration with the Official Snowball Fight

The trajectory of the JPP from the first activities at the JAG, to

Association from Sierre in Switzerland, with teams recruited

the Drill Hall, is a complex one – the narrative of related

from a great diversity of inner city experiences, including box-

projects and networks, contributors and advisors, artistic

ers, taxi drivers, police, hairdressers, artists, street traders and

initiatives and failures are still to be properly recorded and

urban managers; Urban Scenographies (2009) in collaboration

critically examined. The disjunction which inspired and

with ScU2 – a group of artists from South Africa, DRC,

sustained the project – the disconnect between the Gallery

Kenya, France, Angola, Cameroon and Nigeria are invit-

and the inner city urban context – is one which endures,

ed to live and work at the Drill Hall and surrounds, and

and which should continue to present a compelling set of

respond to the proposed curatorial themes of stage, play-

cues or prompts for new actions and interventions.

ground, battleground and market.

Throughout this period the organisation hosts a significant

Jo Ractliffe

number of residencies involving artists, mainly from South Africa, as well as Europe and elsewhere. Artists live in an

Jo Ractliffe is the Senior Lecturer in Photography at Wits Uni-

apartment in the newly renovated August House, and de-

versity and has taught photography at various local and

velop work in the context of the Drill Hall and surrounds.

international institutions. She was a founder member of

The Joubert Park Project, has been a Writing Fellow at At the end of 2009, JPP ‘hands’ infrastructure, and the site

the Wits Institute for Social and Economic Research (WISER)

management role and funds over to Keleketla! Library

and in 2013 was a Research Fellow at the Centre for Curat-

(Keleketla! Media Arts Project NPC), whose programme is

ing the Archive at the University of Cape Town. Her photo-

conceptualised around the establishment of a youth library

graphs reflect her ongoing preoccupation with the South

on site. Initially a once-off project by JPP artist in residence,

African landscape and the ways in which it figures in the

Bettina Malcomess, with Rangoato Hlasane and Malose

country’s imaginary – particularly the violent legacies of

Malahlela, over the next six years the collective (Hlasane,

apartheid.

Malahlela and collaborators) organises after-school programmes, poetry sessions, exhibitions, stokvels, music collaborations and performances, workshops, residencies and

Dorothee Kreutzfeldt

artists’ studios (http://keleketla.org). In 2014 Keleketla! closes the library and after-school programme, partly as a

Dorothee Kreutzfeldt is an artist whose work has largely

result of the City’s inability to formalise a lease agreement

been defined by painting and collaborations, often within

with tenants at the Drill Hall. The collective now operates

specific urban contexts. She teaches in the Fine Art Depart-

from the King Kong building in Troyeville.

ment at the Wits School of Arts.

153

THE GREEN FENCE Usha Seejarim

As a young art student in 1995, I worked on a mural in

with the space, their response was a collective and resound-

well as several educational interventions, all met with

Joubert Park. The team, led by Nicky Bloemenfeld and

ing “No”. Upon further probing, they declared a discomfort

varying levels of success.

Andrew Lindsay, aimed to bridge the gap between the art

with the space. They were comfortable only as long as we

inside the Johannesburg Art Gallery and the people out-

were there, and in our absence they remained intimidated

A bizarre phenomenon that seems to have flouted this

side the Gallery. We worked with a group of youth who

by the structure.

norm, however, has occasionally occurred during certain events like Africa Remix and William Kentridge’s openings,

frequented the adjacent Joubert Park. We all made drawings of the artworks on display inside the Gallery at the time,

Twenty years later the invisible gap between the Gallery

which have seen unprecedented attendance – where the

and collaboratively we painted these images on the wall

and the people who work, live and leisure in its immediate

vehicle queue to enter the premises extended several kilo-

in the Park. Memories of this project are infused with the

vicinity is made tangible through a green fence between

metres outside the Gallery! Families with young children

strong stench of urine that we encountered anew each

the Gallery and the Park; through the obscurity of the

from the suburbs as well as visitors commuting via public

morning at the mural site. I mention this because it is an

entrance to the Gallery, the unconnected strong police

transport have, in these instances, somehow defied the logic

indicator of the realities of the location of JAG, and thus

presence that gathers each morning in the yard to con-

of attendance otherwise, and have seemed paradoxically

puts into perspective the nature of some of the challenges

vene before their deployment for general law enforcement

unaware of the dangers of the area, magnified at night.

of this specific context.

around the city; and the overall greyness of a not-sowelcoming place. The Gallery is an equally intimidating

In sporadic cases then, the green fence has the ability to be-

The young participants from the area expressed having

space for the visitor not familiar with or from the inner city,

come less opaque. The obvious desire for the sustained invis-

enjoyed the experience of engaging with the exhibition

reinforced by the congested King George Street, which

ibility of these barriers asks the question, who it is that the

that was showing at JAG at that time, as well as with the

is littered with hawkers, pedestrians and taxis, mingled with

Gallery serves and if, in fact, these seem to be two distinct

process of creating the mural. They verbalised a delight in

a perceived threat of a ‘smash-and-grab’ or other violence.

audiences; the so-called art literate community that resides

having gained knowledge of the Gallery and its artworks.

For this visitor, the green fence and police presence act

mostly outside of the inner city, and the inhabitants of

When asked why they had not visited the Gallery before,

not as measures of security. Instead of comforting these

the surrounding areas who are somewhat oblivious to the

they responded that they hadn’t known that they were

visitors, they fortify feelings of separation and anxiety.

activities of the Gallery. This prompts further questions

allowed to enter it. When asked about what they had

that seek to explore broader definitions of art, as well as

previously imagined the function of the building to be, they

Over the years various projects have attempted to erad-

the role of the Gallery. The disjuncture between the Gallery

had assumed that it was a police station or some other

icate, or at least address the metaphoric green fence. They

and its location persists perhaps because these definitions

inaccessible governmental structure. When asked if they

include engagements with the park photographers, the

are not fluid enough. Yet, JAG’s continual refusal to re-

would now enter the Gallery, knowing that it is open to the

Joubert Park Project (2001), The Greenhouse Project, as

locate might well be read to affirm its commitment to

public, that it is free, and given that they are now familiar

154

the building, to its location and to its audience/s.

View of Joubert Park from the north side of JAG. Image ÂŠDavid Ceruti.

What will it take then to increase engagement with

KPAs for the scorecards of senior City officials, politicians

JAG and its contents, which include one of the biggest

and other bureaucrats. Failing that, it is left up to the

and most impressive collections in Africa? Perhaps it is

individuals from the institution as well as the art community

about the right kind of programming that makes invisible

to be resourceful and find creative solutions defined by

the barriers that normally dissuade visitors from coming.

the industry that it represents.

Perhaps it is about prioritising community engagement that goes beyond a few isolated projects built in as an essential

But like the smell of urine on the mural wall, the challenges

mission and objective of the Gallery; an inside approach

within a changing environment will grow stronger and

to definitions of art that begins with an active engagement

stronger unless the immense value of what JAG is, what it

with the surrounding inhabitants. Perhaps it is about making

represents, and the potential that it can be, can be commu-

the physical structure friendlier and more accessible. When

nicated, understood, internalised and thus supported and

the question of capacity, resources, time and will arises,

promoted.

Usha Seejarim Usha Seejarim holds a Masters Degree in Fine Art. She has had seven solo exhibitions and participated in numerous group exhibitions nationally and internationally, and has completed a number of significant public art commissions. With a background in Art Education, Seejarim is committed to art as a vehicle for social change and continues to work at grassroots level through community-based public art projects. She recently initiated The Art of Access: an online platform making contemporary art more accessible.

perhaps in an ideal world these will become fashionable

155

NEW ENGAGEMENTS - OLD STRATEGIES Musha Neluheni

Over the course of the 100 years that the Johannesburg

of the museum, which in JAG’s case primarily included

that would be photographed at George’s Boxing Ring in

Art Gallery building has been in existence, its presence with-

Joubert Park. The British Council envisioned a three year

Hillbrow, and which were then sent back to the residents of

in Joubert Park has been challenging. Joubert Park was built

programme with the chosen museums, where the artists

Parkview in the form of a postcard. In a sense, they wanted

in 1898 and was the first park to adorn the fledgling city

and ecologists would rotate, but where the museums and

to show both the Parkview residents, as well as the partici-

of Johannesburg. However as the city has grown around

communities would remain constant.

pants from the inner city, just how close, and yet so far, their

the Park, it has gone through many socio-economic chang-

physical, social and economic situations were.

es. Over the past twenty years, JAG has attempted to host

The South African artists, Anthea Moys and Kyla Davis, were

a number of outreach programmes to try and become more

paired with British artists, Sandra Hall and Lee Griffiths.

The last few interventions were very much focused on the

relevant to the people in the Joubert Park community,

The artists chose to work with the Greenhouse Project in

environmental aspect of the project. The first part took place

achieving varying levels of success.

Joubert Park, which has a team of environmentalists who

at the Greenhouse Project using the building to create a

were able to assist them with the ecological aspect of their

‘fax machine’, where empty envelopes bearing messages

Although I was the Education Officer at JAG for four years,

project. Below is a breakdown of the artists’ engagement

such as “for you” and “open me please” were passed back

the project I would like to reflect on was one which I was

over the course of the three months.

and forth on a string slide between the artists and the

involved with before I began working at the museum. It was

participants from the inner city. These envelopes would be

a project I was brought into as a coordinator, due to JAG’s

The first intervention was a simple one, in which the artists

used at a later stage in the project. The remainder of the day

lack of staff at the time.

went into Joubert Park and offered free fresh orange juice

at the Greenhouse resulted in the participants learning how

to participants in exchange for stories about their mutually

to grow plants in the bottoms of plastic Coke bottles. The

My first encounter with JAG’s ‘outreach programmes’ was

shared square mile. Whilst waiting for their fresh juice,

majority of the project’s participants lived in the high-rise

in 2009 with the project, 1 Mile – a project sponsored by

they invited locals to write their names on the front of a large

buildings surrounding Joubert Park, therefore did not have

the British Council that sought to engage 31 artists, 18

label, while on the back, stories about where they feel safe/

gardens in which to grow plants, and so this was a new skill

ecologists, 8 countries and 10 communities in bridging the

unsafe. The public was apprehensive at first, but by the end

that the Greenhouse taught them. The final intervention

gap between museums and the environments around them.

of the afternoon, the artists had gathered a large volume

that took place happened in the Park and the Gallery. Par-

Each museum involved was chosen based on its proximity

of stories from adults and many of the children who pass

ticipants began in the Park, identifying the different species

to a ‘green space’, in order to bring art and environment

through the Park on a daily basis.

of trees there, and attaching their ‘fax machine’ letters to

together with the community surrounding the area. Artists

the trees, sealed with a kiss. They then went into the Gallery

and ecologists from the selected countries would be paired

The artists then looked further along the square mile radius

to redraw the different trees. A final exhibition profiling

with British artists to collaborate on a series of interventions

of the museum, going as far as Parkview, and making

the project was constructed on this day, made up of all the

over a three month period. The entire premise was that

connections with this wealthier suburb, and with Hillbrow.

different components that had been established over the

the artists were to work only within one square mile radius

The artists asked Parkview residents to donate flowers,

three month period. The entire project was blogged about

156

on the 1 Mile blog, which each participating country was

In the months following the end of the project, we saw the

that this is a relevant factor. In such a transient environment,

contributing to.

participants of the project continue to visit the Gallery. Of

one needs to question whether there can ever in fact be a

the 165 local participants, the children were our most

sustainable community engagement project that would

In the end, the British Council collected all the data from

frequent visitors, spending hours between the end of the

align the Gallery and the Park.

the projects all over the world, finding the Johannesburg

school day and closing time, roaming the halls of the Gallery,

intervention to have been one of the more successful. As

or drawing at the ‘children’s nook’. But as 2011 dawned,

stated in their final report, “Although there are examples

and those children and families moved on, the numbers

of the partnership working very successfully, as in Delhi and

from the Joubert Park community who interfaced with JAG,

Johannesburg, there is sometimes a sense of artists engaging

once again dwindled. Due to the global recession, the British

Musha Neluheni is an artist and curator, and currently the

with the project in parallel rather than in collaboration”.

Council withdrew the project funding to all the museums

Curator for Contemporary Collections at JAG. She was pre-

This is something I witnessed first-hand with the four artists

involved. Griffiths and Hall had initially planned a participa-

viously the Education Officer at JAG from 2010-2013. She

who worked on 1 Mile . There was a clear engagement with

tory “I Love Hillbrow” festival that would “challenge the

holds a BAFA from Rhodes University and is working

the community of Joubert Park. What started as a very

social and cultural barriers between Johannesburg’s most

towards her MA in Art History. She has participated in nu-

nervous first day serving juice in the Park, ended with them

deprived and violent neighbourhood and other local com-

merous group exhibitions and has had three solo exhi-

being welcomed every time they re-entered it, and with

munities”, however this, too, never materialised. The question

bitions. She worked as the assistant curator for the Sasol

them drawing the local community into the Gallery every

is, was the Park, the Gallery or the project at fault? Given

Art Collection between 2006-2009. She was awarded

time they were hosting a new intervention.

the transient community of Joubert Park (families only tend

Young Curator of the Year at the 2008 Aardklop Arts Festival.

Musha Neluheni

to stay in the suburb for under two years), one can assume

157

SHIFTING SPACES, PUBLICS AND AUDIENCES Reshma Chhiba

Leaving JAG, where I worked for six years, left me feeling

charge of all exhibition logistics and planning, but I also

I pose these questions less to answer them, and more as

both relieved and worried; worry stemmed from having

managed a team of men who, needless to say, were less

prompts for current debates around JAG, its status and rel-

given so much time and energy to a space that is never quite

than thrilled about the prospect of reporting to this ‘short

evance in the contemporary South African art world. Having

sailing smoothly; and one only really becomes aware of

Indian lady’. These are realities that one faces, being a

changed positions from Exhibitions Curator to Registrar

the dire state it is in once you have stepped out. Much of

woman, a female of colour, new to the game and fresh out

in 2009, under the leadership of Antoinette Murdoch, I had

what I talk about in this article may seem cynical or critical

of university. Along with these day-to-day challenges, very

direct and regular access to this collection. As Registrar, the

of JAG, but these thoughts come from a place of having

quickly into the job one also learns that, as with most gov-

main purpose of my job was to ensure historically accurate

experienced the space – both at its peak and at lower points

ernment-owned institutions, the wheels of operation turn

archiving and efficient collections management. Essentially,

– and is rather intended to draw attention to possible shifts

very slowly, thus adding to the difficulty. These challenges,

one is the ‘care-taker’ of the collection, liaising both locally

that could take place there, prompted by questions that may

along with JAG’s rather awkward geographical location

and internationally, ensuring the accessibility, both physically

or may not have been answered as yet. It is also from a

in Johannesburg’s urban landscape, which rightfully had

and pedagogically, of the collection and archive to various

place of sincerity and respect for the collection and archive

its place in 1915 when it was just built, surrounded by high-

institutions, while still aiming to maintain museum stand-

that I believe in the future of JAG, in whatever form it may

end apartments, one realises that audience participation,

ards and procedures. I say “aiming to”, because the reality

eventually end up – its legacy being a collection that is 105

engagement and dissemination of ideas may be harder

of JAG’s space is that, while its collection may be loaned

years old and one of the few public collections in the country

to achieve than might be the case in other parts of Joburg,

and recognised internationally, its space does not currently

that is able to grow annually.

or the world.

live up to international standards. This was the painful reality of the building during my time there. My intention here is

I joined the staff of the Johannesburg Art Gallery in 2007

Isolated and surrounded by a public that is mostly uncer-

not to criticise or be negative, as JAG has played a crucial

as Exhibitions Curator, under the leadership of Clive Kellner.

tain about what JAG actually is or does, JAG houses a

part in my growth as an artist and project coordinator, and

Having just come back from a four month mediation stint

treasure trove of over 9 000 pieces of art, and while some

I want to see the institution and collection survive. But how

at Documenta 12, I arrived just as Africa Remix was being

of it may be questionable – as I presume is the case with

does one do this if the higher echelons of the institution

de-installed, thus missing out on one of the most crucial

most public collections – it is certainly one of the most

– the City Council – do not see the value in its staff, collection

exhibitions under Kellner’s curatorship at JAG, and prob-

diverse collections of fine art objects amongst South Africa’s

or building? A lack of funds, coupled with ignorance about

ably one of the biggest crowd pullers that JAG has ever

public collections. On reflection I wonder to myself what it

art collections by the City makes it extremely difficult for

witnessed. Coming from a large scale exhibition such as

means to have this vast array of artworks available to the

those inside the institution, who work tirelessly to genuinely

Documenta, engaging with five exhibition venues and an

public? How exactly does the public gain access to these

make some difference.

audience of people from various countries, arriving at JAG

artworks or learn about the value of this space? And is

was both exciting and a bit daunting. Not only was I in

it still worth investing in and building this collection?

158

Over the years JAG and many well-meaning and concerned

spaces, the kinds of audiences we engage and who exactly

artists, curators, and project coordinators have tried, very

makes up the ‘public’, which sometimes fuels the contem-

convincingly, to engage the public and spaces surrounding

porary art that is being made and taught currently, dissuades

JAG. These artistic interventions, while often successful as

people from trekking down to JAG?

art projects, have not, however, managed a genuine and long-lasting impact on the space or the collection. These

Perhaps it is a combination of all of the above that deter-

fleeting moments of engagement are yet to see the results

mines who visits or does not visit JAG. Should JAG then be

of sustained shifts and engagement with the potential audi-

trying to insert itself more prominently in conversations

ences who have the most direct access to it. This is not a

about space and audience? Perhaps it already does. It is

criticism of these projects or the artists involved, who have

with a great sense of nostalgia for the collection that I have

created great value through their efforts, but rather high-

written this article, and a great amount of hope that JAG

lights the difficulty of JAG’s location, geographically and

finally finds its place in contemporary South Africa. I say this

historically. Is JAG’s aim to engage contemporary art audi-

fully aware that since stepping out of JAG two years ago

ences, or a public that is yet undefined? And how is some

my only engagement with it has been to use its collection

of its collection still relevant to either of these audiences?

as a teaching aid. I am convinced that this is where its

Or is its mandate simply to cater for school-going students

strength lies. In conclusion I ask again, what does it mean

who are able to travel to it, which it does quite successfully?

to have this vast array of artworks available to the public? How exactly does the public gain access to these artworks

All these challenges aside, JAG has seen many successful

or learn about the value of this space? And is it still worth

exhibitions and projects that are relevant in the trajectory

investing in and building this collection?

of contemporary South Africa art. These include Africa

Remix, the Spier Contemporary 2007 competition, Meshac Gaba’s retrospective (2007), Kay Hassan’s Urbanation,

Reshma Chhiba

Thami Mnyele + Medu Art Ensemble Retrospective (2008), Tracey Rose’s mid-career retrospective, Waiting for God

Reshma Chhiba is a visual artist and dancer based in Johan-

(2010), William Kentridge’s I Am Not Me, The Horse is Not

nesburg. She currently serves as Exhibitions Coordinator

Mine (2010). These exhibitions have been proof that while

at The Point of Order, an experimental exhibition space run

JAG may struggle, it has nevertheless created moments

by the Division of Visual Arts, Wits University. Previously,

of relevance, and is possibly still one of the most beautiful

Chhiba worked at the Visual Identities in Art and Design

spaces in Johannesburg in which to exhibit. But is beauty

Research Centre (VIAD), University of Johannesburg, and

enough? The staggering shift away from JAG, by artists,

as Exhibitions Curator and then Registrar at the Johannes-

patrons and curators, witnessed over the past few years is

burg Art Gallery. She is also the co-founder and Creative

determined by a number of factors. Some choose not to

Director of Sarvavidya Natyaalaya dance school.

go because they fear driving down the road and entering a space that is the neighbour to one of Joburg’s most notorious taxi ranks; others perhaps see it as an irrelevant space. Or could it be that questioning the relevance of

159

` LAPENG CRECHE Lorraine Deift

Lapeng sessions began as a desire to enrich the lives of

if I could help her, and made a little animal for her. When

and small gifts to the children, who become very boister-

children attending the crèche in the Joubert Park precinct.

I handed it to her, there was a glimmer of awakening in her

ous – so different to the shy small children at their first

eyes and her face suddenly broke into this huge smile as

visit. Bea, Tiny and myself are very grateful to all the people

recognition dawned that this is what you can do with clay!

who help us in various ways.

Malefane of JAG’s permanent staff, continue to host the

We make extensive use of inexpensive as well as waste

Mathibedi Nthite, who runs Lapeng, told us that the

pre-primary children of the Lapeng Child and Family Re-

materials: decorated paper plates and cardboard tea boxes

monthly visits have become an important event in their

source Service at JAG from 10h00-12h30 on the second

with pictures cut out of magazines; ‘shakers’ using card-

curriculum and are much appreciated. The children tell

Tuesday of each month, from February to November.

board toilet rolls decorated with stick-ons and filled with

their parents about their mornings at JAG, and excitedly

samp; coloured paper crowns and lanterns; puppets made

bring home their artworks, and some are even ‘bringing’

These mornings begin with 20 minutes of yoga, then a

out of papier mâché or airline socks; necklaces and bangles

their parents to the Gallery on weekends and during school

fifteen-minute guided tour of JAG, followed by an activity

with paint-dyed pasta; spatter paintings using toothbrushes

holidays and acting as their ‘guides’!

– either in the studio (in winter), or in the quadrangle (in

… We’ve received some wonderful donations for the pro-

summer). Once the children have completed their artworks,

gramme too, such as a nursery that donated coloured pots,

biscuits and juice are served and the morning is rounded

gravel, sand and Kalanchoe seedlings for each child to

off with a sing-song.

pot and take home and nurture.

While the first Lapeng visit took place in November 2009, voluntary docents, Lorraine Deift and Bea Katz, and Tiny

Lorraine Deift Lorraine Deift has been a volunteer docent (trained in

The sessions are thoroughly enjoyed by the children, who

As the year rolls on, it is so rewarding to note the pro-

1979 by Jillian Carman) at JAG for 36 years. She is pas-

are an absolute joy! We work with different media each

gress of the children; to see the development of small muscle

sionate about children and conducts many school tours,

time, and reference these during the Gallery tour, concen-

control, concentration and staying power, and the way in

including ongoing monthly sessions with the children of

trating on clay, wood, or metal sculpture, for example, on

which they become more familiar with terminology and are

the Lapeng Crèche. She co-authored the Dumile Feni Re-

exhibition in the Gallery at that time. We then settle down

able to identify a ‘photograph’, a ‘painting’, and a ‘sculpture’

source book published in 2004. Over the years she has

to creating our own sculptures to the accompaniment of

in the Gallery and, as a result, a more positive interaction

helped train many new guides. She also takes it upon herself

some great music, and gales of laughter from the children

with the works they are exposed to, many keenly remem-

to keep an eye on the Gallery’s plants! She is a yoga prac-

when we precede the clay and painting activities by dressing

bering what they have learnt at their previous visit!

titioner and a genealogist.

them in shopping bags modified as aprons to protect their clothes! At one clay session, one solemn little girl was

The last session of the year is the end-of-the-year party,

battling with her lump of clay on the table. I asked her

where the docents contribute cupcakes, sandwiches, sweets

160

161

JAG LIBRARY AND ARCHIVES Jo Burger

It is the heart and soul of JAG – or definitely the institutional

muscles in his neck while turning and photocopying the

1909/10 ‘A’ book, which features clippings of the very

memory of JAG; for some a hidden pot of gold or a treasure

heavy ‘A’ books! But not put off, he has kept coming back,

first exhibitions of the nucleus of JAG’s collection at the

trove that they have only just discovered. I like to think of it

year after year, for more.

Whitechapel Gallery, London, in 1910.

The past century has had many dedicated role players in-

This Foundation Collection, curated by Hugh Lane, was well

volved in bringing together this invaluable resource: previous

received abroad, apparently the envy of all, and won glow-

In the 21 century, archives have come to be rightfully

directors, librarians, curators, other staff members, artists,

ing reviews from noted critics of the time. There had been

acknowledged, by institutions and corporates alike, who

other art institutions and galleries, donations, and an

one reservation, though, that being about where this

recognise their importance as a critical resource. The archive

exchange system of publications with other museums. The

collection was headed … namely, to Johannesburg – a

is a powerful tool and can be utilised in many ways.

‘lost’ archive of the founding of JAG was also retrieved

dusty mining metropolis. In South Africa of 16 July 1910,

Cinderella has finally come out for all to see, no longer con-

through the dedication of Dr Jillian Carman.

the critic states: “Whether this collection will appeal to

instead as the brain of JAG. The JAG Archives have been so many things to so many users over the last century. st

the Colonial Philistine is another question …”.

fined to a dusty, dark museum! Her popularity has increased, and she’s even proving to be quite glamorous!

In 1994, the Federated Union of Black Artists (FUBA) Academy Archives, compiled by Dr Elza Miles, was do-

The Library’s collection of invitation cards of the 20th century

Hand in hand, as the value and importance of JAG’s art

nated to the Library by the Netherlands Embassy. This

South African exhibitions are unique, beautiful, and could

collection and building have extended, so too has its

invaluable archive is not only a prized possession of JAG,

be pieces of art in their own right. These documents are

collection of library and archival material. The JAG Library

but a resource that is used regularly and has functioned

not just objects of beauty, however, but are still relevant

has always held its own in providing an excellent resource

as the primary resource for many publications and re-

as a reference source. Another set of beautiful documents

and research standards, attested to by many researchers

search since. We are grateful to all of these role players

is the collection of posters of previous JAG exhibitions, and

both locally and from all over the world. Some occasionally

for their contributions.

dates back to the 1960s.

have ultimately been forced to venture into the inner city

The JAG Archive comprises the history of the building, the

The Annual Reports provide the most user-friendly reference

and pay JAG a visit, have been pleasantly surprised at what

collection, information on artists, JAG’s staff over the years,

source about JAG, and cover 26 years of JAG’s history.

they have found, despite gloomy pictures painted for

and the Gallery’s numerous exhibitions, events and activities.

Additionally, there are important letters, collection cata-

them of what they might expect to experience.

The most important of all documents in the archive are the

logues and other paraphernalia that the archive houses.

‘A’ books, modern day scrap books, pasted with newspaper

Artist files of artists featured in the collection, and exhibition

But there have been some casualties too: Prof Steven Dubin

clippings, newsletters, invitation cards, speeches from

catalogues, form the majority of all the documents in the

from Columbia University, for example, who injured the

openings, and much more. A prized edition is the first

archives and are used on a daily basis.

sceptical researchers, who by sheer need of the resource

162

The Art Reference Library is specialised and a one-stop

JAG believes in an active library and archive. Post-graduate

And one Grade 12 learner, W Mawela of Parktown Boys

resource for researchers, hosting a wealth of exhibition

interns from Wits University have assisted in the Library,

High School, got carried away: “I felt like I was at home

catalogues and other art library materials rarely found in

and have learnt from these invaluable resources, enabling

– even better … no radio or TV. This was a lifetime ex-

any other libraries. The most popular section is the artists

them to do better in the workplace.

perience … surely I will come back”.

boxes, which contain newspaper clippings, essays, invitation cards and more. Same Mdluli of Wits writes: “Thank

Many researchers have expressed the hope that in future

you for the wonderful resource centre. I would not have

this resource could be made available to wider and global

come this far with my PhD studies had it not been for

audiences. Digitising the archive will literally unlock this

the JAG Library”.

hidden treasure, and it is a desired goal.

Jo Burger Jo Burger has been the Senior Librarian of the Johannesburg Art Gallery Library and Archives since 1996. She was

Beyond the doors of the Library and Archives are three other

So what, for me, is the most outstanding or unique file,

formerly a teacher at various schools and a lecturer at the

resources that form a further part of JAG’s archives. The

photograph or document in the archive? Most enchant-

Goudstad Teachers College. Between 1991 and 1994 she

display cabinet in the foyer of the building is a quick mini-

ing for me is the correspondence between Auguste Rodin

was the medical librarian at the JG Strijdom (now Helen

reference of the history of JAG and its collections, available

and his sitter, Miss Fairfax, the latter personally donat-

Joseph) Hospital before she was appointed to the Johan-

to all visitors, and was given a make-over in 2014. The office

ing those letters to JAG.

nesburg Art Gallery.

of the registrar holds information on the collections, copyright of works, photographs, exhibitions, loans and much

But listening to what users of these resources have had

more. The admin office files contain correspondence,

to say about their experience of the Library and Archives is

budgets, invoices for works in the collection, documents

equally valuable. Prof Dan Magaziner of Cornell and Yale

regarding the building, staff and institutional activities.

University wrote: “Unbelievable archive. I’d be nowhere

The most important documents are kept in a safe.

without it ”.

163

CHANGING VISIONS

Stephen Hobbs’ JAG/SNAG outside projection, 2010.

164

“The Johannesburg Art Gallery (JAG) is committed to preserving and providing access to our South African art heritage and to giving due recognition to our neglected artists through exhibitions, publications and education programmes. The Gallery collects works of art-historical importance and conserves these pieces for future generations. In addition to an extensive collection of historical European and South African paintings, drawings prints and sculptures, JAG is home to several works at the cutting edge of South African contemporary art. The museum also actively aims to redress omissions and oversights in collecting practice during South Africa’s colonial and apartheid eras by regularly acquiring works by, and hosting projects that create awareness about, artists who have previously been marginalised in the construction of South African art history.” JAG mission statement “… if you are to address what is acknowledged to be one of your key constituencies, you will need to adopt a different language and form of engagement.” David Andrew (p 193)

165

TIMELINE OF JAG DIRECTORS AND CHIEF CURATORS OVER THE PAST CENTURY

Lady Florence Phillips Art enthusiast 1900s-1940

Sir Hugh Lane Founding Curator 1909-1911

A Edmund Gyngell 1911-1928

Nel Erasmus Acting: 1964-1966 Director: 1966-77

Pat Senior 1977-1983

Christopher Till 1983-1991

166

IMAGE CREDITS: Portrait of Florence Phillips, 1909, by Antonio Mancini, ©JAG. Sir Hugh Lane, ©National Portrait Gallery, London. Nel Erasmus, ©Albert Geyser. All other images from the JAG archives.

Austin Winter Moore 1928-1929

E E Eisenhofer 1929-1937

P Anton Hendriks 1937-1964

Rochelle Keene 1991-2003

Clive Kellner 2004-2008

Antoinette Murdoch 2009-present

167

NEL ERASMUS Nel Erasmus

JAG’s Lutyens building has fine proportions – during my

So successful was my predeccessor, Dr Anton Hendriks, in

years as Director (1964-1977, and before, from 1957 when

making these drawbacks known to the City Council, that

I was a professional assistant), I loved them; they have an

land for a functional building was acquired on the ridge

Nel Erasmus holds a BA Fine Arts degree from Wits (1950)

effect, to put it mildly. But beauty and functionality did not

between Oxford and Jubilee Roads in Parktown.

and a NATC (National Art Teachers Certificate) (Wits Tech),

meet here. The nineteenth century design of the museum

and taught at the Johannesburg High School for Girls in

makes the building suitable for a static collection of works

In 1968, I went with the City’s Chief Architect, Mr Buchanan-

Barnato Park during 1952, and in London, before settling in

of fine art. But this never-finished building offered ex-

Smith, on a carefully prepared study tour of new and modi-

Paris mid-1953, where she continued her studies at the Sor-

tremely limited use of space.

fied museum buildings in Europe, Israel and the USA. This

bonne, the Academie Rànsom, and the École des Beaux-

study tour ended in Mexico City, where we attended the

Arts, and travelled extensively in Europe and Greece. It

This fact influenced everything we ever did at JAG.

Unesco conference on post-war museum buildings.

took JAG Director, Dr Anton Hendriks, one year and three

Exhibition space was converted into two offices, a library

Much emphasis was placed on providing independent

professional assistant on his staff (1957). From 1963/4

and a workroom. Space for a small South African collection

spaces, under the same roof, for permanent collections and

she assumed full responsibility for JAG, and retired as

had to be found next to the storage area: a low-ceilinged,

temporary exhibitions, where certain spaces could be shared,

Director in 1977.

half-underground space. In later years, when the collection

while the specific requirements of both permanent and

had grown greatly, it had to be shown as a temporary

temporary activities could be met – a fundamental notion

exhibition.

that is still key to JAG’s survival as a museum.

One exhibition hall was reserved for regular print exhibitions.

Under all the dust and grime, I still feel there is something

But temporary exhibition space was an ever-present problem.

noble about the JAG building. Something that needs to be

interviews to decide that he indeed wanted to train her as

revived as one of the City’s hidden gems. This gem could Lectures were sometimes arranged in exhibition halls of

serve the surrounding community well as a venue for the

course, but we had no chairs. Where were we to store them?

city’s jazz musicians and other music contemporaries, as

And so we focused on guided tours instead.

well as being a centre for music lessons.

The building offered a beautiful venue for small ensembles, so we had chamber music concerts from time to time, the ambience of which were always well-received by the public.

168

Nel Erasmus overseeing the installation of works in the new JAG sculpture garden before its opening in 1971.

169

LADY PHILLIPS AND LUTYENS' MISTRESS Christopher Till

Being asked to recall moments during the time I had the

The next is walking through her hallowed halls and studying

design). Added to this was a proposed new gallery space

privilege of spending with the Grande Dame, on the occasion

the faces of Dutch burghers gazing self-satisfiedly back with

extending along the the entire Joubert Park side of the

of her centenary, feels a little like betraying her age and

lacy wives beside them, and thinking whether these would

completed plan. “The extention is rather a fusion into the

secrets. The personification of JAG comes in several forms,

be my daily companions. I was on my way to Australia

Lutyens footprint with quiet foreground elements placed

beginning with the indomitable figure of Lady Phillips,

from Zimbawe, where I then lived, to be interviewed for

as to support and enhance the inherently grand stature

complete in her effervescent pink frilled hat and pearls,

a job at the Western Australian Art Gallery, and had been

of the existing edifice”, said the architect Willy Meyer.

painted by Antonio Mancini and reproduced on the cover

persuaded to apply for the directorship of JAG, which had

of Thelma Gutsche’s book, No Ordinary Woman: [The Life

become vacant with the tragic death of Pat Senior.

and Times of Florence Phillips] (1966) – for that is what they both represent!

The huge hole dug into Joubert Park defined the parameters of the building to accommodate more exhibition space,

Waiting for the appointed time for this, I witnessed a Council

sculpture courts, a library, children’s workshop, conservation

meeting debating the dangers of arming black traffic officers

studio, technical workshop, auditorium space and coffee

My dalliance with Edwin Lutyens’ unfinished mistress I can

and wondered what I was doing considering coming back

shop. The growing building became my hunting ground to

dimly recall as a boy, beginning at the end of a tram ride

to South Africa! My arrival back in Zimbabwe, with no deci-

argue with builders, contractors, and the project manager,

from Oxford Road to Joubert Park, with her highly polished

sion having been taken yet whether to remain there, take

in achieving a building which would live up to the archi-

parquet floor and ceilings that reached for the sky with

the Australian job, or come home, was met with the news

tectural statement and complement the Lutyens design.

Miss Fairfax ethereally hovering in an alcove as a fitting and

that I was indeed heading south – my appointment having

This was all done on a set of crutches, leapfrogging up

beautiful embodiment of the imposing presence felt in her

already been announced in the Rand Daily Mail! Deci-

and down stairs and over building rubble leading to a

voluminous embrace. Tall wooden doors and imposing

sion made!

unrepeatable nickname being used by disgruntled con-

silence with a guard following to prevent nasty little hands touching anything seems familiar.

tractors after having the quality of their workmanship My arrival in December 1983, four months late due to a

consistently condemned!

motorcycle accident on the eve of my intended departure, A visit years later as an art student to gaze upon real French

began a courtship with the Grande Dame, which over the

The approaching Centenary of Johannesburg provided an

Impressionist paintings, the subject of wonder and awe

years began as a waltz, and moved to a tango.

opportunity to once more turn to the Randlords, whose

after having learned of these mysteries in exam questions,

support of the Gallery goes back to its very beginnings.

conjures up a drive through bohemian streets and a park

The incomplete Lutyens plan, which led to Lady Phillips not

An approach to Anglo American led to a telephone call to

with benches marked for white children with nannies and

attending the opening of the Gallery in November 1915

me from Mr Gary Ralph, with whom I had been negotiating

whites only, and peering through the railing into the court-

in protest, was finally to be completed in the form of the

the possibility of assistance, asking to see me at the Gallery

yard from Joubert Park at the spot where clandestine

Meyer Pienaar design, which added two buildings onto the

at 6pm one evening. The news he brought with him resulted

messages were exchanged by ‘terrorists’, and where a sculp-

footprint of the Lutyens-designed missing pavilions, and a

in the Gallery’s wine stock being plundered in celebration,

ture by Henry Moore was stolen!

third on the missing northern wing (the two other missing

and was followed on the 6th November 1984 with the

pavilions having been added in 1940 using the Lutyens

announcement by the Chairman, Mr Gavin Relly, of the

170

Auguste Rodinâ&#x20AC;&#x2122;s Miss Fairfax, c 1907.

171

formation of the Anglo American Centenary Trust, with the

a chronological and national grouping, to a thematic

Perhaps the most significant exhibition of these was The

donation of 6 million Rand being made to the Gallery. This

hanging of the late nineteenth to twentieth century works

Neglected Tradition: Towards A New History of South African

was made up of 4 million Rand for the establishment of an

in these areas.)

Art (1930-1988). My introduction to the Dutch burghers

endowment fund to purchase works of art; 1,7 million Rand

and their wives, French café society, English interiors, and

to complete the extentions to the building, and 300 000

A selection of contemporary international and South African

South African landscapes, seemed singularly lacking an

Rand for the commissioning of sculptures for the Gallery’s

collections was hung in the new subterranean exhibition

African voice. The commissioning of this exhibition set out

sculpture gardens. An evening and day to remember!

gallery, and the print collection housed in the new print

to find this voice and bring it into the Gallery as an integral

store, with temporary print exhibitions drawn from this

part of South African art and the Gallery’s collection.

The Centenary Sculpture Competion resulted in Bruce Arnott,

exhibited in the adjacent print room constructed for this

David Brown, Willem Strydom, and Gavin Younge being

purpose. Temporary exhibitions were accomodated in the

Having collected and introduced traditional African art into

commissioned, and their sculptures unveiled at the end of

new gallery space on a rotating basis.

the National Gallery of Zimbabwe, my decision and inten-

1986 – that being the Centenary year of the City of Johan-

tion to do the same in South Africa was achieved, once

nesburg – in the inner courtyard and around the JAG

The Lutyens building was installed with temperature and

again through the assistance of a Randlord benefactor!

building. In addition to this, a Centenary Print Portfolio was

humidity control and new lighting conforming to inter-

An outstanding collection of southern African material col-

published, featuring the work of Giuseppe Cattaneo, Robert

national standards.

lected by Johnathan Lowen in London was brought to my

Hodgins, Ezrom Legae, Karel Nel and Malcolm Payne.

attention by Professor Elizabeth Rankin, then at the UniOn a wonderfully balmy summer evening, the refurbished

versity of the Witwatersrand. A visit to London, accompanied

The Gallery closed to the public from the 1 January 1986,

Gallery and new extention, facing with its new entrance

by the City of Johannesburg’s Chairman of the Culture and

with the staff who had been housed in the two originally

into a completely revamped Joubert Park, which had been

Recreation Committee, Mr Danie Malan, to persuade him

completed pavilions (in 1940) moving into the new offices,

‘restored’ to its former glory, opened on the 22 October

to authorise the purchase of the collection, fell on deaf ears.

and returning the pavilions to exhibition spaces once more.

1986 with the exhibition, Johannesburg Art and Artists:

However, an approach to the Oppenheimer family saw them

The closure enabled the Old Lady to be given a new ward-

Selection from a Century. With a classical ensemble playing

buying the collection and placing it on permanent loan to

robe, with the walls of the building being covered in col-

in the Lutyens building and a jazz band in the new ex-

the Gallery. (An exhibition of this, titled Art and Ambiguity:

oured fabric and re-hung following a Victorian approach

tension, invited guests swayed to the new heartbeat of

Perspectives on the Brenthurst Collection of Southern

of double and triple hanging of the historical collections.

the completed Johannesburg Art Gallery, 75 years after

African Art was held in the Gallery in 1991.)

This was inspired by the hanging of the Manchester City

Lady Phillips’ dream was launched. Her smiling image hang-

Art Gallery where I had seen this method used there in

ing against the newly installed pale pink fabric of the

This was followed up with the acquisition of the the Jaques

its refurbishment, and decided to do the same in the re-

Phillips Room seemed to hold a new measure of satisfac-

Collection of headrests, which had been on loan to Museum-

hanging of the refurbished Lutyens building. This allowed

tion and delight!

Africa, and which was being withdrawn and offered for sale.

for many more works from the collection to be hung with an aesthetic effect of the salon being achieved.

Using funding from the Anglo American Centenary Trust, The sprightly and reinvigorated Gracious Lady and her new

this became the foundation of the traditional Southern

beau played host to thousands of admirers that reached

African Art collection, and the first purchase made using

The Dutch collection moved into the vacated south-east

record figures of 107 170 in 1987/88; 124 378 in 1988/89

these funds, in March 1987. The acquisition represented

pavilion, with a selection of the print collection installed

and 109 212 in 1989/90, as well as holding the highest

a particular milestone for me in the trajectory of the Gallery

in the south-west pavilion, and the French, English, and

number of exhibitions – 22 – in one year. These were halcy-

and its role of collecting and representing the art of the

international modern collections being hung in the south,

on days in a giddy dance, with a refreshed and excited

society that it serves.

east and west wings. (This was rearranged in 1990 from

partner and dedicated fans.

172

These collections were exhibited in the new gallery exhibition

‘Obie’s’ utterances of these being “’n Gedrog” (an eyesore),

space in cabinets on either side of the Print Room and Print

and the publicity he evoked around their purchase, still

Exhibition Room. The European collections were now juxta-

resonates today. In 1985, as an April Fool trick, he put a

posed with exceptional examples of the art of southern Africa!

replica of the Tête d’Arlequin in the window of the OK Bazaar’s window in Eloff Street, under armed guard,

The role played by Lady Phillips and Sir Hugh Lane in the

stating that “Nobody will give it a second glance”, and

formation of the bedrock of the collection, built upon by sub-

claimed that it was to be seen for the last time before

sequent directors and curators, has seen the growth of the

being sold to an American buyer, “Just to prove how few

collection over decades into what is, in my view, the finest

citizens approve of this kind of art”. Many still believe

in southern Africa. The establishment of the Anglo American

that this was what had in fact taken place, and that the

Centenary Trust and the funding it provides saw many signifi-

work was lost to the collection!

cant acquisitions made during the 1980s and early ’90s, and has continued to do so over the past two decades.

While this was done by Obie with tongue firmly in cheek, I am not sure Lady Phillips would have appreciated the at-

The Trust broke the dependence of the Gallery on the in-

tempted humour in it, having tangled with the City fathers

adequate and contested resources made available by the

and having suffered their strangling of her dream for the

City, characterised by the publicity seeking antics of the

Lutyens design to be fully realised for 75 years.

Chairman of the Management Committee at that time, Councillor Obie Oberholzer. This is graphically illustrated

A century on, and nothing much has changed in this regard!

in two particular instances, which were taken up by the

However, all those who have continued to support and

press. The first was the the acquisition of Pablo Picasso’s

believe in that vision can wish the Gracious Lady a happy

Tête d’Arlequin in 1974 under Nel Erasmus’s directorship,

100th birthday and wish her many more. Hip hip hooray!

and the second, Francis Bacon’s Portrait of a Man in 1983,

LEFT: Construction view of the Meyer Pienaar extension. RIGHT: Invitation cover for the opening of the new JAG exstension, 22 October 1986.

Christopher Till Christopher Till was Director of the National Gallery of Zimbabwe, before serving as Director of JAG (1983-1991). As Director of Culture for the City of Johannesburg (1991-2001), he established the City’s first cultural office and directed the formation of arts and culture policy. He established the Johannesburg Arts Alive International Festival in 1992, the Johannesburg Biennales in 1995 and 1997, and the rebuilding of the Civic Theatre (now Joburg Theatre), and was a seminal role player in the development of the Newtown Cultural Precinct. He is the founding Director of the Apartheid Museum in Johannesburg, and the Gold of Africa Museum in Cape Town; is the principal driver in the development of the Mandela Capture Site in Howick, KwaZuluNatal, and is currently directing the planning and development of the new Javett Art Gallery and Museum at the University of Pretoria.

which was acquired shortly before my arrival at the Gallery.

173

ROCHELLE KEENE The Johannesburg Art Gallery was my second ‘home’ for

collection put together by Sir Hugh Lane. I would see the

Director of the Johannesburg Roads Agency (JRA) at the

25 years. I started at the Gallery on 1 April 1978, and my

Philip Wilson Steer lady looking through the Chelsea win-

time, and the current City manager] will always be a hero

last day was 31 December 2003 – a very long stretch!

dow to my right (From a Chelsea Window, 1909), and

in my eyes – he answered the call, came to the Gallery and

Charles Shannon’s Lady in a Winged Hat. Portrait of Mrs

within hours had convened an emergency task team to

One of the great pleasures for me was walking in to the

Scott, Wife of the Explorer, 1908, as I walked through the

deal with the flooding. He personally ensured that a budget

Phillips Gallery every morning. Even when the new entrance

beautiful wooden and glass-paned doors, and then look

was provided to carry out the necessary repairs at the time

was opened, the staff would use the Lutyens entrance to the

through the windows at the sculpture courtyard; and I

and chaired the meetings of the task team which met fre-

Gallery in the mornings and evenings. I loved the barrel-

would always enjoy a quiet moment of contemplation

quently, often at 07h00, in order to accommodate his

vaulted ceiling with its plastered decorations and the

before the day began.

busy schedule. When the Gallery celebrated its 85th anniversary special mention was made of the role he played in

beautiful morning light that came through the three arched

ensuring that we had real reason to celebrate!

shuttered windows. I loved the wooden shutters, and watch-

In contrast to this, the Meyer Pienaar extensions, completed

ing them being opened and closed every day with a long

in 1986, were a nightmare almost from the start. Built with-

wooden pole was special. The shutters of the Phillips Gallery

out gutters, and with inadequate provision for storm water

The Lutyens galleries changed a lot over the years and each

had the most beautiful hinges, which were made by metal

drainage, the building leaked and then flooded throughout

new exhibition, too numerous to mention, made the gal-

worker George Ness, whose work was much admired by

the summer seasons. We all dreaded the summer rains and

leries look and feel different. One of the wonderful uses of

Sir Herbert Baker, as well as by Baker’s protégé, Joseph

often stood ankle deep in water in the display area as the

the Phillips Gallery was for opening events and concerts. The

Michael Solomon, who worked in Lutyens’ office in 1911.

building flooded and we bucketed out and mopped up rain

acoustics in the Phillips Gallery are near-perfect, and many

water to try and save the cork floors. There were several

wonderful musical and other events were held there over

The Lutyens building was amazing. It was opened in 1915

times when we removed artworks from exhibition as an

the years. I well remember truly special concerts arranged

and, during my time at the Gallery, hardly any maintenance

emergency when rain poured down the walls. The final straw

by the intrepid Dr Thelma Gutsche, the driving force behind

was needed. I remember a minor leak when one of the glass

for me was one really wet December day when once again

the Friends of the Johannesburg Art Gallery in the early days.

doors in a skylight was faulty. It was easily repaired and,

we were flooded. This day, from the early morning, we were

She often invited young upcoming performers to perform,

while I was still there, there was never another leak. The

ankle-deep in rainwater. I remember standing in the exhibi-

who went on to become extremely well-known and success-

maintenance was virtually limited to painting the ceilings

tion hall and crying: from sadness and frustration. I tried to

ful in their careers – two of these were Tessa Ziegler (classi-

and walls every now and again.

get hold of every single City Councillor, from the Mayor

cal guitarist) and Tessa Uys (pianist). She also had the Alma

to everyone on the Management Committee (which was

Musica Trio performing on special occasions, much to the

The Gallery for me was always welcoming and I loved seeing

in recess), to come in to the Gallery and see for themselves

delight of Gallery visitors.

different exhibitions in it, although it was mostly hung with

what we were dealing with. Mavela Dlamini [who holds

permanent collection works of art from the original

a Masters degree in civil engineering, was Managing

174

I also remember a magical day in the sculpture courtyard

Rochelle Keene

with Richard Cock who taught young people how to make

Council of the South African Museums Association from 1996-2006, and as its President from 1999-2001.

rudimentary musical instruments with found objects, and

Rochelle Keene holds a BA (Hons) degree in History from

then conducted an impromptu concert with them playing

the University of the Witwatersrand. She has worked in the

their ‘instruments’.

museum sector all her life, initially at the South African National Museum of Military History, then at JAG, and at

Antoinette Murdoch has been wonderfully successful in

the Adler Museum of Medicine, Faculty of Health Sciences,

securing funding for the refurbishment of these ‘old’

University of the Witwatersrand. She joined JAG in April

galleries and the repair of the ‘new’ section. I wish her

1978, finally serving as Director from 1989-1993 and Chief

and her team everything of the very best for the next

Curator from 1994 to December 2003. She served on the

Works from the Foundation Collection in the Phillips Gallery, as well as the grand piano presented to JAG in memory of Pat Senior.

100 years!

175

CLIVE KELLNER When I was appointed the Director and Chief Curator of

building through proactive community and audience en-

Court Justices, academics, workers, immigrants, children or

JAG, I asked about a particular work in the collection,

gagement primarily through a programme of high profile

tourists, experiencing the profound fulfilment of engaging

Untitled – The Family Bath (1981) by Michael Goldberg.

exhibitions. Given the limited resources and budgets of

with art, whether contemporary or historical. It is a reminder

It was a work I was familiar with, having seen it as a child

JAG it was important to scale down the number of smaller

of the fundamental role that museums can play in trans-

when visiting JAG with my father in the early 1980s. I

exhibitions, to enable staff to spend time preparing and

forming societies. Last year, I attended an evening opening

was informed that the steel bath had been used at the

researching. This entailed an emphasis on scholarly

at MOAD [Museum of African Design]. I stopped at a garage

Gallery to refrigerate cold drinks, the concrete bricks were

publications and on producing high profile, large-scale

to ask directions, when a petrol attendant knocked on my

being used as doorstops and the metal grid had been

exhibitions that led to increased sponsorship and partner-

window, and called my name, “Hey Clive … do you remem-

used for a braai. The restoration of Untitled – the Family

ship opportunities.

ber me … from JAG days …”.

Bath, not only restored a part of myself, brought full circle through the experience of a young boy into that of a

In response to a journalist’s question concerning JAG’s

museum director, but also symbolised the restoration and

location within downtown Joubert Park, amidst taxis, con-

rejuvenation of JAG amidst the backdrop of a transforming

gestion and crime, I responded, “I don’t think JAG has a

post-apartheid society. I would therefore describe my

reputation with its surroundings, I think South Africa has

appointment not as a job or vocation, but as a ‘calling’. My

a reputation with its surroundings” (Maart 2004). Here I

vision for JAG was to develop a credible local and inter-

was addressing the question of urban topography in relation

national institution by strengthening the curatorial and

to cultural, racial and economic disparities as exemplified

exhibitions departments and content, networking and

by the contrast between Sandton and Alexandra, the rich

raising the profile of the museum, building institutional

versus the poor and the legacy of old apartheid versus a

capacity and taking care of in-house problems quickly

new African identity. I viewed these as symptomatic of the

Clive Kellner is currently Executive Director of the Joburg

and efficiently. As such, I went about transforming the

historical processes of transference into a more legitimate

Contemporary Art Foundation and curator-at-large of the

institution from the inside out.

society and the rather unique opportunity this presented

gordonschachatcollection. He lectures part-time in Cura-

for JAG to be an instrument for social cohesion, audience

torial Strategies and Practices at the Department of Visual

engagement and a cultural ambassador for the city.

Arts, University of Pretoria. He was the director of the Johan-

It is the mandate of museums to: collect, preserve, research

Sources Maart, B. 2004. Picking Up the Pieces, in Art South Africa. [O]. Available: http://artsouthafrica.com/archives/archived-featured-articles/212-mainarchive/archived-featured-articles/1411-picking-up-the-pieces.html.

Clive Kellner

nesburg Art Gallery (2004-2009), Coordinator of the 2nd

and exhibit for public benefit. This understanding was fundamental to my vision for JAG. However, there is a per-

The renewal of JAG resulted in increased visitor numbers,

Johannesburg Biennale (1997) and co-founded the pan-

ceived paradox in the status of a museum to be both a

an exciting high profile exhibitions programme, extensive

African curatorial platform, Camouflage art, culture & poli-

‘time capsule’ and an ‘experimental laboratory’. On

community outreach, accolades in the form of ‘The Star

tics, and was editor-in-chief of Coartnews magazine.

the one hand, I was aware of historical precedent – the

Readers Choice Awards’ and ‘Best of Joburg’. As noteworthy

legacy of previous directors, exhibitions and collections;

as these achievements were, the most memorable was

and on the other hand, the need to rejuvenate the Lutyens

seeing people, whether ordinary citizens, Constitutional

176

Installation view of Michael Goldberg’s Untitled – The Family Bath (1981).

177

ANTOINETTE MURDOCH I started working at JAG as the Chief Curator on 1 April

collects works of art-historical importance and

their jobs at the highest level possible. During my time at

2009. My vision for JAG took shape slowly as I set out to

conserves these pieces for future generations. In

the Gallery, Without Masks, an exhibition of Afro-Cuban

try to understand the nature of the beast before I said or

addition to an extensive collection of historical

art (see p 76), stands out as a baptism of fire for me: as

promised too much. However, I do recall making an an-

European and South African paintings, drawings

well as it being a very well-attended exhibition, it critically

nouncement to my staff that within three months the air

prints and sculptures, JAG is home to several

attempted to make sense of African identity across the

conditioning would be fixed. It is now six-and-a-half years

works at the cutting edge of South African con-

world. Then there was Ernest Cole Photographer (see p 78),

later, and there are finally people crawling around on the

temporary art. The museum also actively aims

in association with the Hasselblad Foundation; and the very

roof installing partial air conditioning for the 100-year-old

to redress omissions and oversights in collect-

important Off the Beaten Path, which was funded by the

Lutyens building. This small administrative victory involved

ing practice during South Africa’s colonial and

National Lottery. This exhibition included women artists

six years’ worth of report writing and resilience in the face

apartheid eras by regularly acquiring works by,

globally, and is described in an essay in this book (see pp

of much frustration. Were it not for the very pushy Alba

and hosting projects that create awareness

110-113). Waiting For God (see p 81), curated by Khwezi

Letts (at the time Deputy Director: Arts and Culture), we

about, artists who have previously been mar-

Gule, Renaud Proch, Linda Givon and Nontobeko Ntombela,

would not have completed the restoration that has been

ginalised in the construction of South African

was a highly controversial mid-career retrospective by Tracey

accomplished up to this point. Vast areas of waterproofing

art history.

Rose; and Matters of Spirit, (see pp 146-147) a semipermanent exhibition of works from the Traditional southern

are currently being installed, and the Meyer Piennaar building (with its long-standing reputation for a leaky roof) will

In order for us to preserve and provide access to art heritage,

African Collection, curated by Nessa Leibhammer. Coming

soon be fully repaired.

we have to start with the building, which houses that

of Age: 21 Years of Artist Proof Studio, curated by Pamela

heritage. After all, it is the home and the showcase of

Allara, Kim Berman, and various others, was a showcase

In working out my own vision for my work at JAG, I turned

the many artworks collected over the years. JAG, as the

of dozens of artists working at the Artist Proof Studio

to JAG’s mission statement for guidance. My preoccupation

home to this wonderful collection of art, needed a lot of TLC.

excelling in the art of printmaking. Last but not least, and

with the physical space and infrastructure of the Gallery

Without neglecting any of the other aspects of the mission

to me the most important exhibition in relation to my vision

is addressed in JAG’s now reworked mission statement.

statement, my team set out to get the Lady in order.

for the gallery, JAG/SNAG (see pp 118-127), a series of interventions also described in this book.

This revision of the statement began during Clive Kellner’s tenure, and was subsequently completed by my curatorial

This focus on the wellness of the building has, of course,

team. It states:

always taken place in the context of providing JAG’s stake-

In terms of the simultaneous building upgrades, a deck was

holders and visitors with the best possible access to the

installed in the courtyard, a new security system has been

The Johannesburg Art Gallery (JAG) is committed

kinds of art and art-historical redress elaborated on by the

installed, the wooden panels in the east wing have been

to preserving and providing access to our South

mission statement.

restored, all offices have been painted, new toilets have

African art heritage and to giving due recognition

been fitted, a new corporate identity has been developed,

to our neglected artists through exhibitions, pub-

The exhibitions over the years, many of which are detailed

lications and education programmes. The Gallery

in this book, are testimony to the curatorial teams doing

178

and new sign boards have been placed around the Gallery.

Most recently the City of Joburg committed a further

histories; and contemporary socio-political debates, for

R50 million for renovations to the building in 2017!

which JAG is a very useful and appropriate forum.

Several suggestions have been made to move the Gallery

I can only hope that the celebration of this Centenary, and

from its current location. A straightforward response to

this accompanying book, will start addressing some of these

this idea is to ask why? I think the Gallery is ideally located

questions more closely; and more importantly, that those

in a high traffic area and it is perfectly central to most of

people who feel wary about JAG, its curatorial policies

the city’s suburbs. It fulfils a crucial educational and social

over the years, its colonial history, or its current physical

identity role for many inner city residents, and remains a

location, will get positively involved in its change. Without

Johannesburg landmark with a rich and varied history, which

the support of the arts community, the institution will remain

it is also in a unique position to question, debate and con-

in flux. It will be a hit and miss of good and bad exhibitions

test. Now the Gautrain and Rea Vaya train provide direct

and programmes, which do not lead to any resolution or

public transport access to the venue.

future for what should still be the flagship art institution of our famous African city.

I think the key to the way forward for the Gallery is to keep up the physical and infrastructural maintenance, and to wholeheartedly confront the issues of perceptions of what

Antoinette Murdoch

the Gallery is and should be. Many of the writers in this book question who the audience of JAG really is – which

Antoinette Murdoch is the Chief Curator and Head of the

is on one level a wider question about who the appropriate

Johannesburg Art Gallery (since 2009), and an artist. She

or desirable audiences for a public art institution located in

hold a Masters in Fine Art degree from the University of

the centre of a busy African city should include. That

the Witwatersrand. Formerly the CEO of the Joburg Art Bank,

wider question is also about the role of art itself in such a city, where identity, race and cultural capital are under intense scrutiny. I believe that audience should start with the people here in Joubert Park. For example, while there have been many artistic interventions in the immediate

she also serves on the South African Museums Association (SAMA) North Committee. In December 2013, she was named one of the top 50 Movers & Shakers of the South African Art World by Art Times magazine.

vicinity of the Gallery over the years, none of these have proven to have longevity, except perhaps Terry Kurgan’s and Jo Ractliffe’s photographic projects (see pp 106-109), specifically with the park photographers. As these photographers still frequent the Gallery to take pictures of a curious

FROM TOP TO BOTTOM: French Connections walkabout, 2012. Exhibition poster for Coming of Age: 21 Years of Artist Proof Studio, 2012. Sculpture in the JAG courtyard. Renovations in process on Meyer Pienaar roof, 2015.

audience, ordinary people in the area, with no background in art appreciation, are brought in and made aware that entrance to the space is free, and that many treasures lie within it. On another level, many openings and panel discussions have seen heated and necessary debates about the placement and presentation of art objects; of colonial

179

CHANGING VISIONS Bongi Dhlomo-Mautloa

“Though no one can go back and make a brand

The street photographers used the building as a backdrop

new start, anyone can start from now and make

for pictures they were taking for their clients to send back

a brand new ending.” – Carl Bard

home to their families.

In 1995 I was invited to speak at the annual Association

During this ‘transition’ period the Art Gallery Committee

of Art Museum Directors (AAMD) conference in Baltimore,

meetings engaged in robust discussions in all aspects of

Maryland in the USA. The topic was, ‘Why art museums

the Gallery, but in particular around acquisitions. There was

matter’, and I was one of three international contributors.

a glaring need to redress acquisition trends with a view

There were a few institutions I could have drawn inspiration

to closing the gaping gaps in the collection. They were small

from around the country. I was still trying to find my feet on

steps that gained momentum as the country was settling

the Johannesburg Art Gallery Committee and I chose to

into her new-found democracy. The Johannesburg Art Gal-

work with the experience I was gaining and the inspiration

lery had been an active participant in the 1st Johannesburg

that was the Johannesburg Art Gallery at the time.

Biennale earlier in 1995. In redressing and in embracing

Bongi Dhlomo-Mautloa Bongi Dhlomo-Mautloa is an artist, curator, writer and educator who has played a pivotal role in the development

the changes, JAG was actively involved in the repatriation The country was grappling with the rapid political changes

of important indigenous artworks: the Brenthurst Collec-

of the ’90s. Institutions such as JAG and other museums

tion stands as a living testament of the changes that were,

were working hard to realign to the changes. I approached

and continue to be, effected by the Gallery.

my address to the gathering in Baltimore by addressing my own changing vision of what the Johannesburg Art Gallery

In the words of Dr Myles Munroe: “Nothing is as permanent

had been, and what it was working towards. I did a couple

as change. Nothing is as constant as change. Change is as

of spot interviews in Joubert Park and with friends I had

constant to existence and common to creation”. In cele-

known for a while. My focus was not so much on the con-

brating the 100 years of the Luytens building we are

tent of the collections as much as the building and my

constantly reminded that within its hundred-year-old walls

respondents’ understanding of its function. Very few of the

there are constant changes of vision that make the building

respondents knew that the building housed art collections.

a relevant site of engagement in the 21st century.

Many thought the building housed government offices.

180

of the visual arts in South Africa since the early 1980s. She has been a member of the Johannesburg Art Gallery Committee since 1992.

Art Gallery Committee meeting, 2010.

181

DAVID KOLOANE My early memories of the Johannesburg Art Gallery are not

citadel, characterised by peace and order. Joubert Park

’90s. Our mandate was to advise and persuade the acqui-

by any means flattering, but brought with them a sense

was, at the time, an island of tranquility, with freshly painted

sitions committee to acquire the work of black African

of rejection and exclusion.

park benches festooned with “whites only” stickers.

artists in the form of prints, paintings, sculpture and new media, including photography, video, and so forth. It was,

The first attempt I made to visit JAG was in 1974, when I

In 1960 a group of independent artists initiated an open

as such, essential for us as committee members to visit as

ventured into the Gallery after black communities were

air display exhibition where individual artists were allo-

many exhibitions as possible in the Johannesburg area. The

finally allowed in.1 As I entered the reception, I saw a group

cated exhibition stands for displaying and conducting sales

collection of black African artists’ work in the Gallery left

of white uniformed personnel in spotless black uniforms

of their work. The ‘Artists Under the Sun’ group held their

much to be desired at that time, despite black communi-

and shimmering black boots. As I walked towards the art-

displays on the first weekend of each month. Among the

ties in Johannesburg, and South Africa generally, being

works on display, one of the attendants immediately fol-

artists who displayed their work regularly was John Koena-

in the majority.

lowed me, and no matter where I looked and walked, I could

keefe Mohl, one of the founding members of the ‘Artists

feel the piercing eyes. It was as if I had wandered into a

Under the Sun’ project – who was also Helen Mmakgabo

An acquisitions meeting was held quarterly to assess if we

no-go area.

Sebidi’s mentor – while other artists included Billy Molo-

could grow the collection. On the whole, black African com-

keng, David Mogano, Alfred Mtimbane, Helen Sebidi and

munities were still trapped under the failed grand idea of

The second attempt I made was even more bizarre, as there

Welcome Koboka.2 The absurdity of the situation was like

the apartheid concept, which was characterised by the lack

were armed guards around the Gallery. I did not even bother

a comedy of errors where, on one hand, you had an official

of essential cultural infrastructure, and which translated

to find out what was happening.

cultural institution – JAG – which excluded black African

into only a handful of artists sheltered under the dubious

communities, cheek by jowl with a spontaneously organised

mainstream umbrella appearing successful, while the major-

open air display enjoyed by all race groups.

ity remained stifled.

and an underground railway bridge. Across the bridge,

When Christopher Till was appointed director of JAG in

During these meetings, it was evident that in discussion of

further south, is the city’s largest taxi rank, characterised

1983, he brought about meaningful changes to the insti-

the work, university based members would be conversant

by an ant-like melee of human traffic in a chaotic criss-cross

tution. These included the appointment of black members

with the academic ability of persuasion, whilst other mem-

of urban/rural destinations fuelled by a cacophony of taxis,

onto JAG’s acquisitions committee. I was pleasantly sur-

bers’ terminology was not adequate and coherent enough

buses, and any other modes of wheeled contraption on

prised when I received an invitation to be a member of the

to persuade the committee, and at times irrelevant artwork

the road.

committee, together with Bongi Dhlomo-Mautloa. We had

would be selected because of the articulate academic art

both been curators at the FUBA Gallery, which was an inde-

talk rather than based on concepts such as visual harmony.

The location of the Gallery might have been ideal at some

pendent cultural initiative that had an impact on visual

As a result, the acquisition of black artists’ work was a pain-

point in history when the city was envisioned as a white

and performing arts in Johannesburg during the 1980s and

staking effort. Thankfully, the volume of work by black artists

The Johannesburg Art Gallery is perched, or rather compressed, between the largest park in the city to its north,

182

in the collection has since gradually increased as more black students enter tertiary level education, which now provides limitless possibilities and unimagined destinations, obliterating the matriculation barriers of yesteryear. The expansion of artistic expression into new media has further provided the necessity of choice for these artists.

There have been some groundbreaking retrospective exhibitions at JAG over the past decade of some outstanding local artists who had previously been prejudiced by the institution, but whose integrity has, to some extent, been restored through these recent developments. Artists such as Dumile Feni,5 whose work had been neglected, was one such artist who was bestowed with a retrospective exhibition (in 2005). Others include Gerard Sekoto (1989), George Pemba (1996) and Ernest Mancoba (1994).

National art competitions are often viewed as a nationâ&#x20AC;&#x2122;s creative psyche and a barometer of artistic expression, and corporate sponsorship assumes a vital role in the artistic landscape of any country.

The Cape Town Triennial art competition, which took place every three years,6 was a major activity in the local art world. The jury panel of most exhibition competitions had historically been exclusively white, so it was a pleasant surprise for me to receive an invitation to join the competitionâ&#x20AC;&#x2122;s national panel.7 I agreed to become a panel member8 as I felt I needed to comprehend how the art market in South Africa operates on a national level. It was important for me to assess the problems associated with artmaking within

Installation views of Kay Hassanâ&#x20AC;&#x2122;s Urbanation, a mid-career retrospective of paintings, installations, photography, collage and video, 2008.

183

urban and rural areas in order to establish the extent of the

and second Johannesburg Biennales (1995 and 1997),

Christopher Till had previously been the director of the

national network of formal and non-formal institutions.

as well as the likes of William Kentridge, Dumile Feni and

National Gallery of Zimbabwe.

Kay Hassan’s retrospective exhibitions. Changes in lead-

4 In 1977 David Koloane co-founded the Federated Union

As this was a national competition there were collection

ership have also brought in their wake a diversity in the

of Black Artists (FUBA) Gallery and became its first

centres in cities and towns around the country. Panel

progress of the institution, both positive and negative.

curator.

members visited every collection point to assess and select

The ratio of personnel in all sectors has been radically

5 Feni had settled in the USA in 1979 and died there in 1991.

approved artwork. All the selected and approved artwork

transformed since 1994, and the general estimate cur-

6 Sponsored by the Rembrandt van Rijn Art Foundation,

was then sent to the National Gallery in Cape Town for

rently is 80 percent black and 20 percent white.

in association with the Art Museums of South Africa, the Triennial ran every three years between 1982 to 1992.

the final selection of award winning work and the exhibition component. The prize giving ceremony was convened

As I write this, the present exhibition in JAG’s experimental

7 There was a general polarisation of race relations during

at the National Gallery. The Anton Rupert Foundation pro-

basement space is a multimedia installation by the versatile

this particular period, such as the internicine violence

vided the necessary resource for travelling around the

artist Happy Dhlame – who studied in Switzerland – titled

termed ‘black on black’ by the general media, and also

country in the form of a private luxury jet and we, the panel-

‘Ndawo Mnyama’, which translates as ‘A Place of Darkness’.

the ‘sellout’ label, which fuelled random mob justice.

ists, were joined by the local representative on the selec-

It reflects the numerous dilapidated buildings in the city

8 Other members of the jury panel were Alan Crump, head

tion panel. Fortunately I had worked with some of the panel

centre with no electricity or running water, which are occu-

of the Wits Fine Art Department, Rayda Becker, curator

members on different projects before, and the discussion

pied by destitute people seeking opportunity in the city.

of the Gertrude Posel Gallery at Wits, Edoardo Villa, a

on these selections of work was vibrant and vital to all

JAG’s basement space has, through constant flooding,

prominent sculptor, Christopher Till, director of JAG,

members. I always remember the late Edoardo Villa used

become a shadow of its erstwhile splendour, and the exhi-

and myself.

to say, “I can only select work that I can feel and not what

bition serves as an appropriate metaphor of that decay.

9 The Dumile Feni retrospective was researched and co-

my mind tells me. Your long academic talk and big words

ordinated by Prince Dube, who is one of the new breed

don’t impress me”!

of black curators.

Endnotes The schizophrenic role that JAG has played in the develop-

David Koloane

ment of my art career is mind-boggling, to say the least.

1 Ed note: While there was never any formal legislation

The sense of rejection I felt during the apartheid era made

to bar black visitors from entering JAG, their reception

me resolute that I must become a participant in influenc-

was marked by such suspicion and discomfort that it

Dr David Koloane is an artist and writer based in Johannes-

ing change, rather than being a mere observer always

amounted to much the same thing.

burg. From 1977 to 1979 he was founding member of

moaning and complaining in utter despair. Being appointed

2 Welcome Koboka was an enterprising artist who bought

The Gallery in Jeppestown. He joined the Federated Union

to the acquisitions committee widened my scope of in-

a camper vehicle from which he showcased his work

of Black Artists (FUBA) in 1979 as a tutor, and later be-

fluence and insight into the visual arts generally. The Cape

around the country, and it is evident that he took a leaf

come head of department. He completed a diploma in Mu-

Town Triennial brought into sharp focus the diverse prob-

out of the Artists Under the Sun concept to advance

seum Studies at the University of London in 1985, and in

lems confronting art practitioners around the country and

his career.

2015 was awarded an honorary Doctorate from Rhodes

the dismal lack of basic infrastructure and attendant

3 Other members of the jury included Alan Crump, head

University. Among numerous other positions he has held,

of the Fine Art Department at the University of the Wit-

he is co-founder of the Thupelo Workshop programme and

watersrand (Wits), Karel Nel, practicing artist and lec-

the Fordsburg Artists Studios. He has served as a board

JAG over the years has been the altarpiece of contem-

turer at the same university, Christopher Till, director of

member for the NAC, and served on the Johannesburg

porary art in the country, hosting exhibitions for the first

JAG, and Bongi Dhlomo-Mautloa, artist and curator.

Art Gallery Committee from 1983.

resources.

184

Installation views of Happy Dhlameâ&#x20AC;&#x2122;s Ndawo Mnyama (A Place of Darkness), 2015.

185

COLLECTIVE VISION Closed Session Discussion: 23 July, JAG Boardroom

serious to consider in the ongoing process of the Gallery’s

who have strong voices in the arts community, who have a

transformation over a century.

strong connection to Johannesburg, and/or who have some connection to the Gallery, but it is not ever going to be every-

I was explicit in my invitations to all of you about my reasons

body. The question is then, how do we fill in some of those gaps?

Participants: Natasha Christopher (NC), John Fleetwood (JF),

for bringing you here, that the focus and intention of this dis-

We cannot account for every person’s voice, but we can con-

Raimi Gbadamosi (RGb), Stephen Hobbs (SH), Donna Kukama

cussion is not to thrash out the issues of the past or current

sider how a discussion such as this can be guided to raise issues

(DK), Londiwe Langa (LL), Antoinette Murdoch (AM), Tracy

leadership of the Gallery, but to collectively consider the pos-

that need to be raised, and how we hypothetically – at this

Murinik (TM), Nontobeko Ntombela (NN), Usha Seejarim (US)

sibilities for JAG going into the future – to have an engaged

point it is always going to be hypothetically, because the Gallery

conversation around, firstly, why JAG still exists – because

will continue to change according to who is employed here,

Apologies from: David Andrew, Reshma Chhiba, David

there is nothing obvious around the fact that it does still exist!

and whoever shapes its projects and functions – collectively

Goldblatt, Rangoato Hlasane, William Kentridge, David Koloane,

It exists still in spite of itself, in spite of the lacking support from

consider what might still happen here? That is where I would

Dorothee Kreutzfeldt, Cynthia Kros, Terry Kurgan, Gabi Ngcobo,

the City over the years; in spite of its challenging location

like to start with to frame our conversation.

Musha Neluheni, James Sey, Koulla Xinisteris.

... I have specifically made this a closed forum, because it could

Khwezi Gule opted not to participate.

not be manageable otherwise. But it is a carefully considered

TM: How does one structurally salvage the building? The

forum that I have assembled to discuss where and what JAG

building itself has been in structural crisis for years already,

is today, and what we envision going forward for the Gallery.

and despite a current grant to fix the roof, there is still a great

Tracy Murinik (TM): This proposed conversation really

We are grappling with how to encompass the contradictory

deal that will remain in a state of neglect. What are these other

comes out of a longer conversation I had with Nontobeko

aspects of JAG without ignoring its strides and successes, but

areas that need structural and practical attention, upgrading

Ntombela and Khwezi Gule in the very early stages of concep-

also, as I said, without whitewashing its serious challenges.

and design, and what does one do about them?

tualising the direction and content for this book, in which we

JAG is not an uncomplicated space. Its vulnerability, for many

grappled with the fact that there is a need to record, and a very

years, structurally and existentially is acknowledged.

Antoinette Murdoch (AM): Since I started at the gallery six years ago, one of my main priorities has been the practical side

strong argument to be made of the value of recording, a hundred years of this building. At the same time there is nothing

Another thing I want you to consider here today, is that our

of JAG, because in my opinion, there is no option to move the

obvious about how you relate that story, or those many stories,

discussion is not only about the conceptual direction of the

Gallery, because this is an ideal place – an interesting space

into the archive, because essentially this becomes the recording

space. The challenges JAG faces exist also at an absolutely

where Europe and Africa meet ... There are thousands of people

of a particular archive that could go in any number of directions.

practical level: what do you do if the building that houses the

in the surrounding area that should participate in what we

It could be a very straightforward celebration of the history

potential for meaning and possibility, and for growing a repre-

have got here. [Some members of the City] view JAG as just a

of JAG; it could be something that simply records that ‘we came

sentative collection and bringing in audiences, is itself a threat-

burden to maintain ... It has taken six years of begging and

from this place, and now we are at this place, and these are the

ened space?

pleading with the City to get the Gallery to a point where it can host art. We can’t have a building that is falling apart; if

exhibitions that we have done’. Or it can be what I hope for it to be, something a lot more complex and nuanced; something

Part of the discussion that I had initially with Nonto and Khwezi

we do, we can’t exhibit art, and without exhibiting art we can’t

that identifies the gains and accomplishments and the shifts

was that a book is never going to contain everyone and every-

develop audiences, which to me is one of the key things. After

that have happened in the Gallery over a hundred years, but

thing that can be said about a space. I have tried very hard to

this period of time, with much help from Alba Letts – then

that also does not look to whitewash the issues that remain

bring in many voices to the book, that I believe are people

Director for Arts, Culture and Heritage – the City agreed to

186

make available R24 million. That was last year, and you will

to be a serious look at the storerooms being kept at the optimum

addressing, of who does the museum serve? A lot of the city

notice the knocking from the roof [as renovations are now in

standards. The City also gives us an annual budget. Our budget

does not feel as if the DIA serves them. And so the people who

progress], where the entrance tiles and screed are being stripped

last year was R23 million, which included covering staff salaries,

use the DIA predominantly come from the suburbs, into the city,

and replaced. … Everybody knows that the Meyer Pienaar

which make up a big part of that; and operations. This year it has

to visit the museums. Those that live around it directly just see

building has been leaking, apparently since the first day, but

been cut to R10 million, which includes the R7-8 million re-

it as this building that they can walk through on a cold day, or

now, after 30 years, the issue is finally being dealt with. I am

quired for staff. The budget has been cut by more than half from

maybe pop in, if they can afford to, for a coffee. There are these

most certainly not the first Head that has begged and pleaded

the last financial year to now, and this has been going on for

pressures – the government has one set of pressures, and the

for money for the maintenance and upkeep of the Gallery. I

many years.

museum has others. I think raising a tax may be one way of dealing with it. But it will just go back to what Nonto has just

know that it has been an ongoing issue, and was most certainly something that Clive Kellner and Rochelle Keene had tried to

TM: How many staff does the Gallery employ?

pointed out, namely, who feels that the museum serves them? If the local community does not engage with this actively, then

deal with. There is also work being done on the air conditioning on the Lutyens roof. Those three things are happening at the

AM: The [internal] staff is 24 people (includes security staff);

it will become very hard to raise the tax on the local community

moment.

plus cleaners – employed on a contract basis (where obviously a

who, allegedly, the institution ought to be serving.

chunk of the money goes to the contractor, who employs six

[Ed: Subsequent to this forum, just before going to print, AM

people) – so 30 staff members all in all working for JAG.

was informed that the City has committed a further R50 million

NN: Maybe to add onto this, and to be frank about it, I think there is also this delusion that we are serving an international

Nontobeko Ntombela (NN): I feel like there is constantly

community that doesn’t really exist. And I think we should really

an issue around understandings of what JAG is, or who JAG

be honest about who is it that these institutions, in an African

TM: What other things are needing to be done to the building,

serves. For JAG to constantly have to deal with administrative

context, are aiming to serve.

just to make it a functional safe space for art – what money

questions that become redundant or unproductive says a lot

is available for the required upkeep, storage, safety, etcetera

about what the City’s understanding is of the institution itself.

Donna Kukama (DK): We need to rethink what the model

of the work?

So then the question is, who does the institution serve? And

of a museum is, because I think that is where the core problem

for renovations to the JAG building in 2017.]

do those people understand that they have an institution that

lies. How JAG exists now, in this space, is completely unrelated

AM: To clarify, our purchasing budget comes from the Anglo

serves them? I feel like this conversation should be addressing,

to what goes on outside it. So the museum model itself might

American Trust. When the Meyer Pienaar building was com-

yes, the practical and the infrastructural issues, but the infra-

need to be rethought and reconsidered. That then could inform

pleted in 1986, which was funded by the City and Anglo Ameri-

structural issues are always going to be there. So what is the

how the budget gets to be spent, and for what types of activi-

can, there was R4 million left over. That money was then in-

infrastructure? And who is it serving? And maybe then the

ties. The idea is not to say, oh lets be all-inclusive, but to say that

vested in a trust fund, and from the interest of that account,

conceptual question of who JAG is serving might be answered,

we have been following this kind of Western model of a mu-

artworks are purchased. The City does not contribute to the

maybe in a practical way too.

seum, but it is quite lost where it is right now. How can we still activate cultural activities without changing the role of the

acquisition of artworks. Now, it is a wonderful thing, but it is also problematic in terms of storage. Small parts of the Gallery

Raimi Gbadamosi (RGb): Something strikes me as bearing

museum, by rethinking what this model is? I think that is what

have subsequently been ‘stolen’ to create additional storage

a similarity to cities that I seem to spend a lot of time in at the

is important. The collection is another thing. I am wondering

space, which is not ideal, obviously, because the basement

moment, that is Detroit and Johannesburg. They both carry a

what the possibilities are of having the collection elsewhere?

gallery is becoming smaller and smaller to make space for the

similar history in terms of their institutions, both in terms of the

Or having it travel?

wonderful acquisitions that we have. But we cannot complain

racial make-up of the cities, and government politics. Recently

about our acquisitions! So that is one of the issues that should

the Detroit Institute of Arts Museum (DIA) also faced a con-

be dealt with urgently. JAG has a wishlist that is about five typed

siderable pressure on their funds. What they managed to do

pages long, but a lot of those things can be done over a long

was to convince the local government to raise a tax, which sup-

DK: It feels like the collection just sits there in storage and gets

period of time. I would agree that the International Museum

ports the DIA alone. There has been some concern around this,

leaked on from the roof. Are there ways of resolving the problems

Standards are the first things that we need to look at: regulating

because there are other museums around the city that don’t

of the collection taking over the exhibition space? Can it

temperature, humidity and light. So in future, there needs

benefit from this. This actually relates to what Nonto was

not move?

AM: You mean keeping the collection in storage?

187

AM: JAG took part in the Turbine Art Fair this weekend – which

to change them, or do anything. Unfortunately I don’t work that

or from structural engineering, to commit to something that

I know largely services a certain demographic – but it’s the first

way. I will find anyway possible to put on the exhibitions we

is not an absolute necessity. Their priorities are health, educa-

time we’ve done it; and we also took part of the collection out

have planned.

tion, infrastructure, water, electricity. I cannot see how art is even mentioned there. So, what is art? And where does it func-

to Villa Arcadia [previously the home of Florence and Lionel Phillips, now owned by Hollard] a couple of years ago, but it

NN: I am not asking this question suggesting, lets give up; but

tion? And to whom is it important? And how does that frame

definitely has positive engagements taking the collection to

what I am saying is that it also begs the question, again, of who

this art Gallery? It has to serve [people] here, and if it does so

the people, rather than expecting the people to come here. The

is being served here? And if those people aren’t demanding

successfully to some extent, then it can go further. I’m also

collection doesn’t sit in the storerooms and get rained on, and

and putting that pressure [on the City], then that responsibility

wondering, can one rent JAG’s spaces out for conferences? For

we try and have parts of it out in the Gallery as much as we can.

is only sitting with the person directing the organisation [JAG].

housing schools? So that there is activity, and an income. But what we need to keep in mind is that a museum for the City

We have just had an exhibition in Italy of over 60 works from our collection; we are busy with a project in Rio, and on the

AM: That is why everybody must come on board.

of Johannesburg is perhaps a lost concept.

NN: But that is what we need to define: who is that ‘everybody’?

AM: We have actually dealt with that for many years and we

Reunion islands. So we have constant loans going around internationally as well. We are also representing Candice Breitz at

currently have a church group that attends here every Sunday.

the 2015 FNB Joburg Art Fair – so I think that we have started touching on those things; but it can be done more, within a

Usha Seejarim (US): I think part of the structure also includes,

restricted environment in terms of funding. We are restricted

and it has already been touched on, the hierarchy outside,

in that capacity to be actively doing that kind of thing all the

beyond the Gallery, which includes the City. This has come up

time. There are obviously also restrictions in terms of interna-

in the Acquisitions Committee several times; but I think salvag-

AM: Yes. We also have yoga sessions every three months; we

tional museums standards where you have to control the tem-

ing the structure includes building that relationship in a healthy

rent out the boardroom; we rent out the auditorium … That

perature, and there are certain pieces that travel better – those

way. The City needs to become our friend. I think this forum

profit goes towards the Friends of the Johannesburg Art

that are covered with glass, as opposed or raw paintings that

needs to look at ways in which that can be made possible.

Gallery that serves us in turn. In that way we are very active,

are quite difficult; so you have to consider all of those things.

Because if that can happen, I think it would help significantly.

but I hear you. In fact, over the last ten years already, interna-

JF: And they bring in income?

tionally it is a thing that museums talk about all the time –

But a very good idea. On the point of funding, I wanted to say that a lot of what we’ve managed to do is through the Friends

John Fleetwood (JF): Can I make a pragmatic statement?

about these kinds of activities that happen within the museum

of the Johannesburg Art Gallery; and the most recent cash injec-

While you were speaking earlier, I was doing this incredible

to make it an alternative space, rather than just a space to come

tion that we’ve received was through a William Kentridge dona-

research on the Internet. It says that Lutyens’ appointment as

to see art. I absolutely agree with you.

tion. In a lot of ways the Friends of JAG fund saves us.

JAG architect was regarded as a plum job, and that there was a considerable outcry from local architects because of the

TM: I would like to just pick up on some points from Nonto,

NN: A couple of comments with reference to what Donna said.

commission being from outside the country. Then it speaks

and Usha, and from Donna, which speak to some of the ques-

The one is: isn’t the relationship with the Friends also part of

about why the building was not built out of brick, but out of

tions that I have listed. The critical question here is what and

the problem? I’m not saying this in a bad way in terms of what

stone, but was then left incomplete up until 1986 … So this

who does JAG serve, and how should JAG serve, and do the

the Friends have done, but it means that when one reaches frus-

analogy of a building being incomplete somehow continues.

people identified as needing to be served, as Nonto men-

tration justifying to the [City’s] administration why you do what

And it also speaks about who was commissioned to do it. I

tioned, do they even know that this institution is there to serve

you do, JAG does ultimately find a solution [through the Friends

think one of the first questions that I am trying to answer is,

them? It also picks up on Donna’s question around the model

stepping in to help]. Therefore, when the administration sees

what are we storing here? And for whom? I think that the anal-

of the museum, and what Usha has spoken about in terms of,

that there is someone else who has come to the rescue, the

ogy of the building being incomplete is still much the same as

if we are thinking of the museum structurally and there’s any

City feels relieved of that responsibility.

what it stores. What is its value for people in this area? I think

further development around the structural component of the

we need to come to a realisation in 2015 that the world is get-

museum, how is that considered conceptually to accommodate

AM: It is a Catch-22 situation. We could down tools and say

ting poorer and that art is not the priority for survival. So the

the needs of this new model of a museum that would accom-

we are not working anymore; that we have the exhibitions that

City is not going to help us. I can guarantee that at this moment

modate this audience. Critically, we cannot ignore the fact that

are currently on, and that can stay up, and we are not going

a city like Johannesburg does not have the ability, from tax

we need to identify who the audience is.

188

I think what is absolutely critical to JAG going forward is a self-

that it exists for them. That would be a primary thing. I think

RGb: So if I was a member of this local community, I would

definition that is clear, where the use of its limited resources

that the sheer lack of knowledge, let alone the significance that

probably not want to interact with the police under any circum-

pushes a mandate and an objective that defines art probably

the museum has, becomes clear mainly on opening nights.

stances, and so I would not come into this building. There must have been close to a hundred officers outside the building when

not in a way that Florence Phillips defined it when the collection began. And probably not in the way that Lutyens envisioned

AM: We don’t have budget for marketing and publicity. How

we arrived this morning. So the nature of the place has been

the Gallery serving the city, because the city was also a very

do we reach people without spending money?

obscured so much that its local communities are not aware [of it]. It is these kinds of things that have to be addressed. The very

different space at that time – not only was it a different space in terms of who was targeted to visit the Gallery, but who was

RGb: Well, churches manage it! Seriously, they don’t advertise.

nature of the building has to connect with its local community;

in fact allowed to enter the city, never mind who knew about

And yet people know of their existence. They use word of

there are hundreds of thousands of people who live around

or wanted to visit an art gallery in the city, was completely con-

mouth. They find ways of doing things. This is a community of

this building.

strained. Those for me become extremely necessary questions

artists who are used to working with very little money, and yet

to tackle.

manage to create great profiles for themselves. It astounds me

JF: I know it costs money, but what would a billboard cost for

that the resources that artists bring to bare upon their own

this space? If you have a relevant billboard that people can iden-

existence aren’t brought here.

tify with, that might start to get people inside this building. We

Usha so rightly pointed out that the conceptual needs of the

also need to establish what is the passion that is going to drive

Gallery must be integrated with the physical vision for the Gallery, which Nonto has pointed out as being completely inter-

Natasha Christopher: I think Raimi has a valid point about

related with the administrative function of the Gallery. What

the approachability of the building. When you go into [Joubert]

should JAG mean to the City. What does and can it mean for

Park you find that people who use the Park regularly are una-

US: Years ago I did a course on monitoring and evaluation, and

the artists and art community of the city, and who are its pro-

ware of what goes on in the building. The building itself is not

we did a case study that has always stuck with me. It was about

jected audiences. What is JAG’s standing on the continent?

inviting; it is closed off from the surroundings. There is no com-

a theatre, and engaging a specific community, a diasporic com-

What will maintain JAG’s relevance. What should and can the

munication between the Park and the museum – no signs, no

munity of Mexican people. This theatre company wanted to

arts community hold JAG accountable for? What are the mech-

open doors, nothing visible to indicate a welcoming space. But

encourage a culture of theatre, so they took a different ap-

anisms of transformation of the space conceptually, ideologi-

it’s not simply about signs. What does this place look like from

proach: instead of thinking what they think should come there,

cally, and physically? What is the reality of being in this part of

the point of view of the Park – if you are watching from the

they took the demographics of the community and said, okay,

the city and the constraints that it brings. What are the practical

Park, what do you see? How do we diffuse the space between

this is a Mexican community, let’s engage culturally. They organ-

realities of being in this part of the city?

the building and the surroundings?

ised a whole lot of Mexican theatre and did a number of other

AM: I will just clarify that a lot of what we do in the Gallery is

The irony (is it irony?), if we look at the history – is that along

sale in local shops. They took the audience into account and

the result of directives we receive from the City: I mean direct

with the art museum, Joubert Park was designed as an exclu-

worked in a reverse kind of way. What I am getting at is that

directives, as in ‘This is what you must do’. ‘We want to see this.’

sive space. We are dealing with a legacy here, a white elephant

we keep saying, we are here in this space, surrounded by this

The City requires that you are evaluated through KPIs (key per-

maybe, a building/institution that signifies the folly of the early

community. For me the key thing is to find ways to engage this

formance indicators), and you have to deliver a weekly report

20th century Johannesburg gentry. And we are trying to rectify

community so that there is ownership of this space, in a real

of what you do.

that, instead of asking the tough questions, instead of tearing

way. What would it take to find this person, staying in that flat,

that apart and creating a new form.

to want to come here and look at the space, where that person

the Gallery going forward?

things. Tickets were not sold from the theatre, they went on

RGb: When I had a show here – I don’t drive, so Uber brought

says, “This is part of my environment”?

me back and forth, this is relevant – each time I came here, I

RGb: And with all the police outside the building, one would

would be asked where I was going. I would tell them I was

think that this was a police station.

much it costs to get into the museum and what is in the muse-

DK: How can this space also go out to them? I think that was really what I meant when making the point of rethinking

coming here, obviously, and each time I would be asked how AM: A lot of people do!

the model of the museum.

um. Now these are people who live in the city. They have access to this. So people need to know that this place exists, and

189

US: Exactly, and there must be models around that we can find

constituency of whom those in council are aware. If they know

that there is an endowment, they would believe that their role

and look into, and see how other people have solved this prob-

that you vote for them, they will respond to your needs. The

can diminish. And I think one needs to balance that out. But

lem. It is about an active community engagement process.

sooner one engages with these people practically, the more

I think that it is possible if you have the right support and the

Maybe we look at, not art students, but social development

likely the money is going to emerge.

right infrastructure, and the right vision.

a way that doesn’t demand a new position being created at

US: A question about money that gets left over from a budget:

US: Wouldn’t less money from the city also mean more auton-

JAG, or a marketing budget. There must be a way.

is it a possible to do what was done with the Anglo money

omy for JAG?

students, or models of engaging communities; have it happen in

being invested in a trust, where you could use the interest? JF: Exactly, and that is what you want. So for me there are two

DK: We could also rethink exhibition spaces; it could just be a shifting, ongoing exhibition space where different artists

AM: No. If the City gives you budget for something, you have

things here: whether you want lobbying to convince the City;

show, and directly people will be attracted, and they will under-

to spend it.

or whether you want to build entrepreneurially towards selfsustainability. For me those are the two options, and for me,

stand what is going on here. TM: I think that is an incredibly interesting proposition though.

I believe you would want to be self-sustainable.

TM: A sense of ownership develops through interaction and

Could one not make the case to the City, with the Anglo Ameri-

knowledge, and desire. But when you develop strategies to

can fund as an example, and say to them that this is a way that

AM: That is what they did with the Johannesburg Civic Theatre

build a sense of ownership and identification for the communi-

JAG is being strategic and is showing initiative; that JAG recog-

[now the Joburg Theatre]. Bernard Jay and a few big business-

ties on JAG’s doorstep, are you offering things that have inter-

nises that the City cannot prioritise funding to the Gallery as

men made an arrangement with the City and the theatre that

est and meaning to yourself, or are you asking them what they

an institution every year, that they have just cut your budget

they could use the theatre rent-free. That was basically the City’s

would want to receive?

in half, and one way in which you could make greater use of

contribution, as far as I know. But then it was much easier for

the money that they do give you, is to invest it.

them to commercialise a theatre than it is a gallery. But that

US: For communities in this area, their definition of art may not

kind of public partnership is possible, and the City has already

be what is in this collection. How to find the marriage between

AM: You know I used to think anything was possibly until I

the two in a constructive engagement?

started working at the Council. Now there are also things that

done something like that.

are impossible. But there is nothing that can’t be asked for

Stephen Hobbs: Two thoughts. The first is actually sitting

RGb: I want to respond to the question earlier about how does

through a series of report writing, where we can lay out the

down with the right property-related people in this area and

one deal with the local government. I think that where cultural

business sense of it.

understanding the sectional title and condition of these buildings. The assumption is that the surrounding buildings would

projects have been successful, it has been diplomatic. Most people who enter into politics, enter into politics because of

RGb: How much would the museum need as an endowment

be under sectional title, so there is not one owner. That should

politics – they want to be politicians. It is not because they

to run itself? Let’s say you would get a ten percent return. The

allow a shift in the attitude of using the space, its safety and

want to save the local museum. It becomes quite expedient,

banks charge more than that, so you would get quite a large

security etc. So there are two relationships. There is the function-

because they will do what is going to best serve them. So one

sum. So the R30 million a year to run this place would be an

ality of the building, and then the functionality of the surrounds.

needs to start thinking about this diplomatically. Diplomatic

imaginable endowment that you would need. Then you would

I am interested in thinking about examples of other institutions

missions. I have not been to the Council Chamber of the City.

need three hundred million – and it is possible for an institution

that have gone through the same building decline problems.

But this becomes very important. If one wants to affect state

of this nature to raise that amount of money – through govern-

The National Portrait Gallery [in London] was a case in point.

policy, one engages with the state. Most artists and cultural

ment, private enterprise …; through selling artworks, whatever

There are numerous institutions in the United Kingdom where

practitioners in the city I know who engage with the state com-

it may be, even deliberately plundering your own collection.

sandstone buildings have experienced water penetration. One

plain about the lack of readiness of the state to engage with

So you raise three hundred million, and you live off of that in-

can look at how they fixed those things; what were their

cultural institutions. If a hundred people went to every council

terest and whatever the government decides to give to you.

council relationships, etc. And then, the obvious stuff: having conversations without the actual art object in the room, and

meeting with regards to this museum, probably in a year, or in two years, the amount of money coming to this museum would

JF: I strongly support that. I think that some of the pitfalls one

measuring that – that is the digital space, and bringing those

increase radically, because it would become a viable and real

needs to consider though, are that as soon as the City knows

possibilities out into the open; offering screenings, making

190

public displays of artworks, finding ways of putting stuff that

RGb: Something that strikes me in that example: first of all,

I mean outside the building – making ambassadors for the

is inside, outside. These are not new ideas. They speak to event

you have a budget of R1,2 million to carry out an event which

place, and so forth. I don’t know the extent to which those kinds

and spectacle, and they are not necessarily costly.

culminates on one day. With R1,2 million I think that this mu-

of projects have been thoroughly addressed, unpacked and

seum would be able to do something quite similar, so that needs

analysed in a collective way with the relevant participants, but

TM: Your point around ways of putting what is inside, outside,

to be taken into consideration. I also, for quite a long part of

it seems like a worthy exercise. Talking to users of the environ-

touches on what Donna was speaking about earlier, in terms

my life before I came here, dealt with this question of what it

ment, but not regular users of this building, has critical infor-

of envisioning a new model for the museum, and in what form

means to be an African – both in Britain, and being on the con-

mation in it, which could lead to a number of transformations

– structurally, or not – the museum actually exists; that is,

tinent. So I began to wonder, what does an African want in a

in its architectural and content forms.

does it necessarily exist only in the structural confines of

museum, seeing that museums have existed in Africa before

the building?

Europeans arrived? They existed, they were sustained, they

District Six Museum [in Cape Town] is an example of how

were held as places of importance; people recognised that

effectively a community can guide the development of a mu-

SH: I just want to throw something in. [The Trinity Session] was

it was a representation of both an individual and a collective

seum; the Queens Museum in New York is another, where there

commissioned to create a programme two years ago, where

history. So the idea of the museum is not alien to Africa. I think

is such a high level of community ownership through the nar-

we were given a 60 000 pound budget for a project between

that it is perfectly possible to make people who live close to

rative and design, through oral history, of the impact of the

South Africa and the United Kingdom [UK]. We had been work-

this museum aware that there is a museum for them. I do go

shifting architectural environment, that when you walk into

ing extensively with the Jeppestown community at the time,

back to the R1,2 million though, because this is a sizeable

that building you are engaging with it and you know it is a

and a group of artists there – a very similar kind of situation

amount of money. I also think there are very simple things that

museum for the people, by the people. There seem to be some

to here – a migrant residential footprint, where families come

can shift. If the entrance of this museum moved from the side

serious consequences for that approach, because it would

in, maybe stay for a three to five year period, and then move

of the building, for instance ... It took me months to realise

shift the power dynamics, and it would shift a lot of things that

on to wherever jobs are; there is never a stable base of residents.

where the front entrance of this museum was! The first time I

the staff here are required to do to run this form of institution.

We spent a lot of time on a series of workshops; we brought

came here, I was brought to the back, and I assumed that was

Just the maintenance on the collection alone is an astonishing

our UK partners to Jeppe Park, and we took South African artists

the entrance, because each time I came to the museum, that

inhibitor from a cost point of view that does require a level

to the UK, and we set up a series of projects that engaged

was how I got in. And it literally took me months to figure out

of restructuring of the content at some level.

directly with the residents of that neighbourhood, where they

that it was somewhere else. I am yet to go to any other museum

became contributors to the narrative. On the 19th of July last

in the world where the entrance is not obvious to its public.

TM: I don’t know if we can speak about an audience. I don’t think that we can assume that everybody that JAG is catering

year, at minus two degrees in Jeppe Park, 400 Jeppestown residents came out to be a part of a project that was for them.

SH: I think there is a tremendous amount of structural change

for is going to be catered to homogenously. I think that we

It is impossible to run programmes like that month by month

that needs to happen in order for the institution to speak to

need to recognise that as paradoxical as it is to have what has

in terms of the intense activity that is involved with the residents

a constituency who, in theory, should know that museums

functioned for a century along its initial conception, that is, to

in the area, but that exercise demonstrates a moment of success

have been on the continent way before colonisers visited. Which

have a Western fine art museum in the middle of a city that is

of being able to pull residents out of their homes under duress,

I support. The R1,2 million: it is not sustainable on an on-

very much not that, we need to consider the paradoxical nature

i.e. in bad weather, into an environment where the entertain-

going basis, because nobody earned any money on that. It was

of who the audiences are as well.

ment is there and is created with them. Again, that is not a new

an act of social, cultural, artistic and institutional will. So it was

idea. I know projects like that have been done here [at JAG],

a bubble of remarkable exchange. The continuity and legacy

NN: One of the things that keeps coming back to me is this idea

but I frankly think it is that, or move the collection. I am genu-

associated with that is traceable and can be mapped, and

of transparency – I suppose it ties back to what Tracy is

inely not in support of moving the collection though. No matter

people can speak fondly of the experience and how it impacted

saying about parody. What if we were to understand the con-

how many times the collection is curated, what is the frame of

their lives. The sustainability of that requires perhaps less than

versation from the Gallery and its public, and have a similar

reference of success for this institution? It can’t be Western

R1,2 million in a funny sort of way, through a different type of

understanding and conversation of what is expected of JAG

standards, because those are mismatched. We need to think

financing model to look at those exchanges becoming rich and

from the administration’s point of view. These tensions start

of what are the African standards.

self-sustainable, based on the energies of different individuals

to happen because there are directives [from the adminis-

who can run with projects. And I don’t mean inside this building,

tration], but I don’t know what those directives are as a

191

member of the public outside of it: I don’t know what the

first of all, needs to change. What do I demand from JAG? I

The church had evolved into a space that fulfilled multiple

municipalities are expecting us to deliver, and I can only have

feel like there is a big space of opportunity for JAG to be at the

functions responding to the rapid changes in the once Vic-

an opinion on what I want to see in the Gallery. So when I am

forefront of defining the space, and this place of forever

torian city.

speaking, I am focusing my attention on the Gallery, because

looking at ‘we must be making reference to elsewhere in

the Gallery is not fulfilling what I want it to; yet the Gallery

the world and plugging ourselves into other ideas’ – Brazil-

2. Secondly, John Kelsey’s injunction to artists to “risk their own

itself is being directed from elsewhere to deliver something

ian or Asian ideas, for example – and forgetting that those

definition”. I have picked up on this point below. In summary,

that I am not satisfied with.

ideas may be helpful to us to build on or consider as a whole,

in JAG’s case, this might entail a different language of engage-

but what do we actually want to mould ourselves into? Could

ment with the Joubert Park and other constituencies – perhaps

I am saying this in order to go back to when you [TM] sent your

we use this opportunity to imagine JAG being something

encouraging a space which invites a long-term presence that

invitation, and why you wanted to have a conversation with

that has never been there before – something that is com-

allows Joubert Park and inner-city residents to be in the space

us. Was it really to say all is well and good, and to document

pletely new? My experiences of travelling in other parts of

on a day-to-day basis – a reimagined ‘school’ of sorts, perhaps

what has been done, and does that mean plugging my voice

Africa, is that these kinds of spaces don’t even exist. Here we

one that engages Grant Kester’s insistence on the “durational”

in a testimony to what I have done, and what kind of relation-

do have the opportunity, we do have the infrastructure, but

quality of the dialogical. Could this become a space for the

ship I have with JAG today? Do I imagine the relationship

how do we utilise it in a way to offer another example –

Another Road Map School? One that is more celebratory,

and portray the relationship in a very straightforward way

whether it fails or is successful – that questions and tests, and

even carnivalesque?

within the publication? To go back to why I am here, yes we

that starts to look at the museum from an African point of view?

can throw around ideas, but in reality, only very few of us are

Again, ownership and transparency, a shifting of our attitudes,

3. And thirdly, assessing a Master’s research report recently

going to have time to follow up on anything that we throw

and language, is something that we really need to test out, and

with the title: “How much is the community of Jourbert (sic)

around at this table, and it becomes another pipe dream

I see this publication as a possibility of arguing for those things.

Park involved in the Johannesburg Arts Gallery today?” by

– another wishlist gets drawn up, and twenty years down the

Sizwe Radebe. Here I include some reworked fragments from

line we come to the same thing. It is about calling it and saying

[Ed: Those who were invited to be part of this discussion, but

what really is: we are just laying out some of our fascinations,

who were unable to attend, were given the assurance that they

my report:

some of our wishes, and maybe also just pointing out some

would nevertheless be given the opportunity to add their com-

The candidate sets out to address a question relevant to the

of the problems and relationships that exist within the institu-

ments, having been sent the transcript of the session. Additional

future of the Johannesburg Art Gallery (JAG), namely: How

tion. And transparency goes back to, whose ownership? We

contributions follow.]

much is the community of Joubert Park involved in the JAG

say we imagine the Gallery for an African audience, and of

today? As such, there is a direct quality to the terms of the

becoming an African museum, yet we contest that there are

David Andrew: Three things come to mind as I think about

research report – the candidate sets out to gather primary

police outside, and that this is a misrepresentation of the space.

a contribution to the conversation that took place on 23 July:

responses to the question from a range of stakeholders and

Maybe that is a definition we must accept. Maybe we need

residents from the area in order to gather evidence that enables

to understand and think about JAG as a gallery that must

1. Firstly, my step-father’s funeral in Pietermaritzburg on 13 May,

a response to the question. A historical contextualisation, and

adapt to its nature, to what it is. The fact that people mistake

and a walk from the Metropolitan Methodist Church down one

some of the projects and exhibitions associated with the Gallery,

it to be a police station or prison, how could it capitalise on

of the main streets, Langalibalele Street (previously Longmarket

frame the research report. The candidate concludes by offering

that as a space that behaves in a particular way and has things

Street), to see the ‘city’ and how it had changed, or stayed the

a reflection on the research findings … which allow for a set of

inside it, and how could that be communicated? And I think

same, for that matter. I didn’t get very far, but recall passing by

proposals to be made for the future relationship of JAG and

that is where the most basic ideas could potentially bring a

another substantial church building (steeple, nave and aisles)

the Joubert Park users/residents, the most significant being the

different way of understanding JAG: of JAG as a space that

in Langalibalele Street that had been completely repurposed

signalling of the need for further research in this area: “A

could be adapting to its environment. We had Metro cops there

and owned in ways unimaginable to its earlier users – if I re-

continuation of this research, an exploration of what may

when I was working here, and they are still there, and they are

member correctly it housed a number of different spaces for

interest the Joubert Park community in JAG, is having the

not going to move, because there are very few spaces they are

the selling of meat, for groceries and electrical appliances. The

community itself being part of this museum” (p 54).

going to feel like they can occupy. So I think, also, that atti-

cross at the entrance existed pragmatically with the colourful

tudes have to change. And whose attitudes are they? My own,

signs of goods to be purchased and the names of the retailers.

192

The candidate aims to establish to what extent the communities

researchers will access and use as the future of JAG continues

have understood as JAG’s mission. Similarly, “A gallery or

living in the Joubert Park area are able to access, and are indeed

to be debated and decided upon. In many ways the research

museum should be a peaceful place where even the under-

interested in accessing the JAG space. The research question

report represents the starting point of what might be a much

privileged can relax and create an imaginary world …” (p 48).

is pursued through a contextualising of the “JAG project”

lengthier research process. The quoting of Anton Hendriks’s

This seems to go against the import of the sentence quoted

since its opening in the early twentieth century. The candidate

(director of the JAG from 1937-1964) on pages 26 and 27

earlier in this report: “A continuation of this research, an

then engages in a series of informal interviews with visitors to

points to how the candidate opens up spaces of potential for

exploration of what may interest the Joubert Park community

the Joubert Park, and a further series with those who have

a more critical reimagining of the gallery:

in JAG, is having the community itself being part of this museum” (p 54). Similarly, on page 55, the candidate identi-

had a more formal affiliation with the JAG (Murdoch, Kellner, A modern art gallery … has an active function to perform as an educational institution in the life of the city. In order to convert the Johannesburg Art Gallery from a static show place to an institution which will fulfill this function as part of city life, the existing collections … must be built up … and new exhibits must be shown from time to time (quoted in Carman 2003:241).

fies areas for further research in the future, citing the need for

because, just as much as the style might at times be different to

However, as I note in the conclusion to this report, I am not sure

Koulla Xinisteris: There has been a lot of discussion about

a conventional academic form, it captures an attitude that seems

that these moments of prising open the “static show place”

the need to integrate people from the surrounding areas into

appropriate for this research. It is a form that emphasises the

in order to engage the shifting socio-political and aesthetic

being part of JAG’s audience – and I think that’s important,

need for an institution like the JAG to “risk its own definition”,

landscapes of southern Africa are always recognised.

in fact, imperative. And some of it has already happened. But

Nehuleni, Venter). The candidate concludes that there is much to be done in relation to deepening the dialogical relationship between the Joubert Park communities and the JAG. A number of possibilities are surfaced, including what the candidate refers to as the introduction of “cyber technology” to draw in new constituencies.

a focus on school children and an operational plan for engaging the Joubert Park community. It seems to me that the import of this research is the manner in which it points to perhaps a need for a more radical engagement with the notion of the museum as “peaceful place where even the underprivileged can relax and create an imaginary world” (p 48).

The candidate writes in a compelling manner – compelling

nobody appears to be considering reviving JAG’s lost audiences

to use John Kelsey’s words, as it interrogates its future role. This is a significant study – while some might argue against

– those who used to come to the Gallery, and are already

Would the work on “undoing architecture” by Alex Opper have

its often colloquial style, my sense is that this is an appropriate

interested in art – which is also important: it is important for

provided conceptual tools for a more critical conclusion to the

form of writing in the manner in which it speaks to how JAG

the whole of the arts community; it is our art space where

study? What would it mean to consider how the JAG might

will need to engage its “closest audience”. The candidate seems

ideas are and should continue to be played out.

undergo a process of “undoing” so that its authoritarian pres-

to make an argument through the form – here the research

ence as a “prison or morgue” (p 24) or “police office” (p 48) is

report positions itself as stating: JAG, if you are to address

As much as JAG’s mandate should be about transforming the

disassembled by, and with, the Joubert Park communities?

what is acknowledged to be one of your key constituencies,

museum; about lobbying, integrating new audiences – which

The work of others comes to mind too: Grant Kester’s work

you will need to adopt a different language and form of en-

should also include the policemen that gather outside its doors!

on dialogical aesthetics and the importance of the “duration-

gagement. Or, at the risk of repeating myself, as art critic John

– it should not be an either/or vision: it should be both – bring-

al”. It seems clear that the JAG, in tandem with its various

Kelsey would suggest, JAG needs to “risk its own definition”.

ing in new audiences, as well as bringing back the already es-

city and private associates, needs to do more in relation to en-

The candidate argues his position in a direct, even humorous

tablished audiences. The museum should be a broad bridge,

gaging the Joubert Park communities, but concomitantly, the

way. The style of writing is engaging in the way it promotes

rather than just looking to integrate its surroundings; it should

research report needs to offer more in terms of understanding

the need for something more mobile as opposed to the static

be tapping into the unseen or less established artists in the city

the messy complexity of addressing this challenge.

quality that is JAG. Whether this is intuited or not, the candidate

– giving them visibility. And work from the collection could

begins to make a strong argument for a different evolution of

also travel to places.

Here the candidate’s gesturing towards cyber technology (p 42)

art and its consumption. Having said this, there seem to be

playing a greater role in attracting a different audience to the

some contradictory positions present, particularly in relation

JAG, and the acknowledging of the Looking as Learning and

to the argument for JAG becoming “a haven of tranquility”

Gerard Sekoto Day (p 42) programmes as being worthy of

(p 47). Surely a very different space is required? The notion of

extension, deserve mention. As such, this is a study that other

a “haven” seems to hark back to what Lady Phillips would

193

194

INDEX 1 Mile2 62, 156-7 AbramoviÄ&#x2021;, Marina 60, 63, 99, 110, 113 Accentedness (Carli Coetzee) 132-7 Acculturation 133

A Fragile Archive 63, 82 Africa Remix 61, 96-7, 100-105, 154, 158-9 Anglo American, Johannesburg Centenary Trust 46, 58, 144, 170, 172-3

Ars Moriendi (How to Die Well) 62, 72, 96, 142 Art and Ambiguity 57, 144-5, 147, 172 Art Gallery Management Committee/ Art

Culture and Resistance Symposium and Festival

Goldblatt, David 54, 56, 58-60, 62, 66, 96, 109,

of the Arts 98

148, 186

Curriculum 63, 108, 131, 135, 137, 160

Gothic wooden carvings 46, 52, 131, 137, 139,

Dhlame, Happy 61, 63, 184-5 Dhlomo-Mautloa, Bongi 2, 4, 7, 46, 56, 58, 148,

142 Greenhouse Project/Centre 47, 148, 154, 156

180-82, 184

Gutsche, Thelma 16, 18, 32-3, 45-6, 170, 174

Drill Hall 13, 152-3, back fold out

Hassan, Kay 58, 62, 96-7, 159, 183-4

Dunga Manzi/Stirring Waters 61, 96, 145-6

Hendriks, Dr P Anton 25, 29, 44-5, 50, 52, 55, 139,

Education, curriculum 34, 38 Eloff, Jan 34, 38 Erasmus, Nel 2, 4, 45-6, 53, 63, 166-9, 173

Gallery Committee 18, 20, 25

Evocations of the Child 58, 145

Artists Under the Sun vi-vii, 13, 45, 182, 184

Fairfax, Miss Eve 44-6, 57, 163, 170-1

Beit, Otto 17, 44

Feni, Dumile 56, 59-60, 63, 92, 98, 160, 183-4

Boshoff, Willem 54, 56, 58-60, 94, 150

FIFA World Cup 9, 77

Brenthurst Collection 46, 57, 144-5, 172, 180

Foundation Collection 9, 57, 60, 63, 86-89, 106,

142, 167-8, 193 Hillbrow 98, 113, 143, 152, 156-7 Howden, Robert 18, 20, 24, 44 Imbali, Visual Literacy Project/Teacher Training Project 46, 108 JAG Art Gallery Committee 7, 9, 12, 33, 46, 180, 184 JAG mission statement 165, 178

JAG/SNAG 9, 63, 118-127, 164, 178, 198 Cape Town Triennial 54-57, 183-4 Carman, Dr Jillian 2-3, 12, 16-33, 39, 43, 47, 50, 53-4, 56-8, 62, 91, 93, 130, 134, 141, 143, 160, 162, 193 City Beautiful 12, 19, 33 Cole, Ernest 62, 78, 178

Condition Report 63, 130-1, 137-142

162, 175 Friends of, the Johannesburg Art Gallery/ Friends of JAG 2, 9, 45-7, 57, 122, 124, 174, 188 FUBA (Federated Union of Black Artists)

Jaques Collection, headrests 46, 144, 172 JDA, Johannesburg Development Agency 47, 120 Johannesburg Biennale 47, 57-58, 94-5, 100, 173, 177, 180, 184

Academy Archives 47, 92, 162, 182, 184

Johannesburg Circa Now 3, 60, 106-109, 179

Gaba, Meshac 61, 96-7, 159

Joubert Park Photographers Association/

Geers, Kendell 57, 59-60, 94-5

Freelance Photographers 59-60, 106, 148, 150-1

195

Joubert Park [Public Art] Project (JPP) 4, 106,

Meyer Pienaar, building, extensions, Gallery 5-6,

109, 114, 148-154

16, 19, 22-4, 27, 29-32, 46, 57, 63, 118-19, 122,

Keene, Rochelle 2, 4, 46, 57-8, 60, 148, 167, 174-5, 187 Keleketla! Library 152-3 Kellner, Clive 2, 4, 12, 47-8, 61-2, 72-3, 96-105,

Rose, Tracey 62, 81, 159, 178 Miles, Dr Elza 47, 58-9, 62, 162 Searle, Berni 61, 69, 96-7 Milner, Lord Alfred 36, 39, 41 Sekoto, Gerard 44, 46, 50, 56-7, 91-3, 183, 193 Ming dynasty 131, 137, 139

Kentridge, William 47, 55-63, 75, 85, 97-100, 105,

Mnyele, Thami 56, 62, 96, 98, 104, 159

Kinshasa: The Imaginary City 61, 67, 97

Senior, Pat 46, 166-7, 170, 175 Solomon, JM (Joseph Michael) 19, 174 Mohl, John Koenakeefe 45, 56, 182 South African School of Mines and Technology Murdoch, Antoinette 2-4, 9-10, 47, 63, 83, 110-13,

Koloane, Dr David 2, 4, 13, 56-7, 59, 182-5, 186

118, 122, 158, 167, 175, 178-9, 186-90

Lane, Sir Hugh 9, 12, 16-18, 33, 45, 50, 52, 63, 87,

Neglected Tradition, The 3, 12, 56, 90-3, 172

162, 166-7, 173-4 Lapeng, Crèche, Child and Family Resource Service 4, 47, 148, 160-1, 198 Leibhammer, Nessa 58, 60-3, 79, 142, 144-7, 178 Leisure 3, 11, 34, 43, 154 Letts, Alba 9, 178, 186

Looking as Learning 62, 130-3, 135-7, 193 Lowen, Johnathan, collection 46, 57, 144, 172 Lutyens, Sir Edwin/Lutyens building 3, 4, 6, 9,

Rorke’s Drift 60, 63, 91, 137

124-5, 170, 173-4, 178-9, 187

134, 142, 158, 167, 176, 178, 187, 193

154, 159, 184, 186, 188

Respectability 3, 11, 14, 34, 37-9, 43

16-17, 20, 44, 50 South African War 11, 17, 34, 36, 38-9, 42 Till, Christopher 2, 4, 46, 57, 63, 90, 124, 144-5,

Nel, Karel 54-5, 57-8, 60-1, 63, 94-5, 144-5, 172, 184 Neluheni, Musha 2, 4, 9, 62-3, 79, 135, 142, 156-7, 186

New Strategies 59, 130, 133-5 Ngatane, Ephraim, 56, 92 Oberholzer, Councillor JF ‘Obie’ 46, 173

166-7, 170-3, 182, 184

Tributaries exhibition 91, 93 Van Wouw, Anton 7, 21, 44, 53, 55 Villa, Edoardo 45, 53, 55-6, 60, 90, 184

Without Masks: Afro-Cuban Art 62, 76-77, 178-9,

Off the Beaten Path 63, 110-113, 178

199

Oppenheimer, Harry 46, 57, 144, 172

Zuid-Afrikaanse Republic (ZAR) 11, 34

Outside Inside 3, 57, 94-5

Please note that this index is not inclusive of all artists/

12-13, 16-33, 39-42, 44, 47, 54, 56, 94, 97-8, 118,

Pemba, George 56, 58, 60, 183

exhibitions/subject matters referenced in this book. Inclu-

122-4, 146, 168, 170-4, 176, 178, 187-9

Phillips Gallery 23-4, 26-7, 98, 113, 122, 174

sions have been based upon names/key subjects referred

Manaka, Matsemela 90, 93

Phillips, Lady Florence 6, 12, 16-17, 32-3, 39, 43-4,

Mancoba, Ernest 56, 58, 92, 183 Market Photo Workshop 59-60, 62, 106-7, 109,

47, 57, 93, 166-7, 170, 172-3, 188-9, 193 Phillips, Sir Lionel 12, 16, 32, 39, 44, 188

114-17

Pim, Howard 17-18, 25, 44, 51-2

Matters of Spirit 62, 142, 146, 178

Polly Street, Art Centre 55, 63, 91, 137

Medu Art Ensemble 62, 96, 98, 104, 159

Rand Regiments Memorial 17-19, 33, 42

196

to in the included authored texts only.

Central to the activities of JAG is the work done by its volunteer guides. The first training programme was initiated in 1975. In 1976, Lorraine Deift (featured above dressed in red) and Bea Katz (featured above dressed in pink) began their training as voluntary guides. Bea Katz retired in 2014 and Lorraine Deift still guides with great enthusiasm. In 1988, JAG had a record 37 trained guides.

TOP LEFT: Guide conducting a tour of JAG, 1978. Image courtesy of Rand Daily Mail. TOP CENTRE: Mayor’s lunch for guides, 1979. Featured to the left is Pat Senior, then JAG Director. TOP RIGHT: Guides in front of gallery, 1990s. SECOND ROW LEFT: Mayor’s lunch for guides, 1981. THIRD ROW LEFT: Guide conducting a tour, date unknown. BOTTOM LEFT: Guides in the gallery space, 1997. ABOVE: JAG’s current volunteer guides.

197

TOP LEFT: Lapeng CrĂ¨che children in education studio. TOP RIGHT: Sekoto Day activities, 2012. SECOND ROW RIGHT: Children visiting JAG on Heritage Day 2014. THIRD ROW LEFT: JAG bus, 2010. THIRD ROW CENTRE: Art This Way installation on Joubert Park fence for Art Week 2014. THIRD ROW RIGHT: Park photographers taking portraits in the courtyard. BOTTOM LEFT: Stephen Hobbs conducting a walkabout of his JAG/SNAG installation. BOTTOM RIGHT: JAGed educational supplements from various exhibitions.

198

TOP LEFT: Opening of Artist’s Proof Studio ‘Coming of Age’ exhibition, 2012. TOP RIGHT: So Long, Wish You Were Here graffiti exhibition by Two By Two Studios, 2014. SECOND ROW RIGHT: The Giant Match, performance by French puppetry troupe Les Grandes Personnes, 2010. THIRD ROW LEFT: Opening of Alan Crump: Fearless Vision exhibition, 2011. THIRD ROW CENTRE: Seitisho Motsage installing Common Threads tapestry exhibition, 2015. THIRD ROW RIGHT: Seitisho Motsage, Tulani Skosana and William Mabidilala installing Close to Dali exhibition at the Turbine Art Fair 2015. BOTTOM LEFT: Opening of Without Masks, Afro-Cuban exhibition, 2010.

199

Views of JAGs vast collection in storage. TOP: Contemporary store room. CENTRE LEFT: Furniture store room. CENTRE RIGHT: Main store room. BOTTOM LEFT: Contemporary store room. BOTTOM RIGHT: Print store room. All images by ÂŠDavid Ceruti.

200

iii

ISBN 9780620681162

9 780620 681162