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ONE HUNDRED YEARS OF COLLECTING : THE JOHANNESBURG ART GALLERY

201

SMIT ST

WOLMARANS ST

TWIST ST

BREE ST

1910-2010 KING GEORGE ST

WANDERERS ST

ONE HUNDRED YEARS OF COLLECTING : THE JOHANNESBURG ART GALLERY Editor: Jillian Car man

Published by DESIGN>MAGAZINE

Project director: Antoinette Murdoch

First published in 2010 on the occasion of the

57 van Wouw Street, Groenkloof, Pretoria

Editor: Jillian Carman

celebration of the centenary of the Johannesburg Art

PO Box 26703, Monument Park, 0105

Project team: Cameron Bramley, Anthea Buys,

Gallery collection.

Republic of South Africa

Reshma Chhiba, Grateful Dandara, Jacques Lange, Jeff

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Malan, Karuna Pillay and Anri Theron

E: cameron@designmagazine.co.za

Contributing authors: Jo Burger, Jillian Carman,

www.designmagazine.co.za

Bongi Dhlomo, Khwezi Gule, Nessa Leibhammer,

Sheree Lissoos and Elza Miles

reproduced or transmitted in any form or by any means,

Sponsors: Anglo American in South Africa, ArcelorMittal,

Photography: John Hodgkiss, with additional images by

electronic or mechanical, including photocopy, recording

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Geoff Black (p 32, 70, 109, 128), John Murdoch (p 8) and

or any other information storage and retrieval system,

and Arts South Africa, Circa on Jellicoe, Department of Arts

archival material

without prior permission in writing by the publisher and

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Production management: DESIGN>MAGAZINE and

All works of art reproduced in this publication are from

Property Company, MTN Foundation, National Arts Council,

Value Capture Media & Marketing (Pty) Ltd

the collection of the Johannesburg Art Gallery. All efforts

Nestlé South Africa, North-West Provincial Government,

were made to gain permission from the artists or copyright

North-West University,Old Mutual,PriceWaterhouseCoopers,

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ISBN 978-0-620-48858-7

Gallery, UNISA and Walter Sisulu Square Printed in the Republic of South Africa by Creda Communications (Pty) Ltd

CONTENTS

F oreword

Amos Masondo

F oreword

Michael Murray

F illing the spaces/Contesting the canons

Nessa Leibhammer

119

C ontending legacies: South African modern and contemporary art

Acknowledgements

collections

Antoinette Murdoch

Khwezi Gule

Sponsors

187

Library, memory and archives

Introduction: changing contexts

Johannesburg Art Gallery library

Jillian Carman

Jo Burger

Seeds of change

Retrieving the institutional memory

Bongi Dhlomo

Jillian Carman

Becoming historic

The FUBA Academy Archives

Jillian Carman and Sheree Lissoos

Elza Miles

191

References

193

Index of illustrations

An installation view of William Kentridgeâ&#x20AC;&#x2122;s I am not me, the horse is not mine (2010).

To commemorate Women’s Month in South Africa, JAG staff members curated the exhibition Transformations: women’s art from the late 19th century to 2010. This picture shows an installation view including Gabrielle Goliath’s photo tryptich Ek is ‘n Kimberley Coloured.

Johannes Phokela’s 2006 exhibition Translation (In memory of Durant Sihlali) installed in the JAG’s historic Phillips Gallery.

Edoardo Villaâ&#x20AC;&#x2122;s sculpture St Sebastian stands outside the North Entrance to JAG.

The giant match, a public performance by French puppetry troupe Les Grandes Personnes, celebrated the opening of the exhibition Borders in June 2010. The giant match took place in Joubert Park and in the gallery grounds and told the story of two families who reconcile their differences through a soccer match.

In 1996 American artist Robert Rauschenberg donated an edition of his print portfolio Tribute 21 (1994) to JAG. It was one of only 21 museums around the world to have received this valuable gift of 21 water transfer prints.

Audience members trying to stay dry in Bili Bidjockaâ&#x20AC;&#x2122;s installation, The room of tears, a work included in the groundbreaking exhibition Africa remix in 2007.

German artist Harun Farockiâ&#x20AC;&#x2122;s multimedia installation Deep play, first shown at Documenta 12 in 2007, was installed at JAG for the duration of the FIFA World Cup 2010.

Fish drum from Lake Fundudzi, a once-off performance by Samson Mudzunga and accompanying dancers in the JAG courtyard on Heritage Day, 24 September 2008.

The JAG library is an important resource for students and researchers in the arts and holds over 9 000 publications and an even larger archive of press clippings and documents.

FOREW ORD Amos Masondo, Executive Mayor: City Of Johannesburg

At the turn of the twentieth century, when Johannesburg

Essays in this publication examine with rigour the relation-

was still hardly formed, a woman named Florence Phillips

ship between three major phases in the life of the JAG

had a vision for the dusty mining camp: she wanted it to

collection, namely, its early history, its negotiation of South

be an arts and culture centre in the British colony. Her efforts

Africa’s apartheid era, and the creative milieu of post-

to start a municipal art collection for the city, and to build

apartheid, contemporary South Africa. The southern African

a place in which the collection could be housed, are the

traditional collection, which is well-represented in this

origins of the Johannesburg Art Gallery (JAG). Today, far

book, spans all three eras. Having been disregarded by the

from the exemplary colonial art collection Lady Phillips had

fine arts community in the early days of the collection, and

envisaged for the city, the Johannesburg Art Gallery’s col-

introduced to the JAG collection in the late 1980s, during

lection is one of the most important representatives of con-

apartheid, so-called traditional works continue in the present

temporary, historical and traditional southern African art in

day to provoke heated debate about the scholarly treat-

the world.

ment of this genre of art-making and its relationship to mainstream art discourse.

The Johannesburg Art Gallery centenary catalogue commemorates the hundredth year of the founding of the

Like the Johannesburg Art Gallery collection itself, the

Johannesburg collection by providing readers with a con-

Johannesburg Art Gallery centenary catalogue is a valuable

solidated showcase of some of the finest pieces owned

asset to the City of Johannesburg, in that it aims to make

by JAG. Spanning works from the foundation collection

this municipal art collection more accessible to the citizens

– the very first paintings purchased and donated in order

of the city. As a city art collection, the JAG collection belongs

to start a collection – to the cutting edge of contemporary

to the people of Johannesburg. It is my sincere hope that

art being produced by young South African artists, this

this catalogue will enrich the ways in which art lovers,

catalogue is a testament to the changing face of Johannes-

scholars and visitors to the city experience our fine cultural

burg throughout its history.

heritage.

FOREW ORD Michael Murray, Chairman of the Anglo American Johannesburg Centenary Trust

Anglo American has been a long-standing advocate of arts

to entrench the cultural vibrancy and continued growth

reminiscence about the transforming agenda of the Art Gal-

and culture, which we believe are crucial for the develop-

of South Africa.

lery Committee over the past 20 years, by Bongi Dhlomo,

ment of South Africa. To this end, we are immensely proud

the first black member of the committee, who was appoint-

of our partnership with the Johannesburg Art Gallery (JAG)

JAG has consistently been at the forefront of reassessing

through the work of the Anglo American Johannesburg

South African art history through the presentation of ground-

Centenary Trust.

breaking exhibitions and the publication of accompanying

Museums need to effectively promote themselves through

ed in 1992.

catalogues, such as The neglected tradition (1988) and

their exhibitions and collections. In order to achieve this,

We have realised profound value from supporting the gallery

Art and ambiguity (1991). Its extensive collections of over

catalogues accompanying exhibitions are vital, not only as

and its initiatives over the years. Our support is guided by

10 000 artworks, comprising traditional and contemporary

marketing tools, but also as educational resources. This

our desire to partner for best effect in everything we do,

South African art, and international art from the sixteenth

particular publication focuses on the traditional southern

whether it be mining activities, social causes or cultural

century to the present, are an important part of our artistic

African and contemporary South African collections, which

initiatives.

heritage.

take us into the next 100 years.

We recognise the importance of not only partnering with

The publication describes JAG’s collections in three main

Ultimately, as sponsors and supporters of JAG, our aim is

communities and stakeholders, but also of involving our-

areas:

to invest in the future of the gallery. It is our sincere hope

selves in culturally significant causes and events, and JAG

• The collection during JAG’s first 50 years. This consisted

that through our support, and by producing publications

mainly of European art, including seventeenth-century

such as this one, the arts will be opened up to marginalised

certainly fits this category.

Dutch paintings, French Impressionists, English modern-

communities, and a love for arts and culture will be instilled

The larger community is often disconnected from the arts,

ists and the Pim Bequest of over 500 prints, ranging

among those who were previously unaware.

and cultural sponsorship has the power to make a connec-

from Dürer and Rembrandt to Whistler. White South

tion in a way that would otherwise not be feasible. The

African artists were increasingly represented.

Further, it is our hope that the cultural diversity, national

capacity of art to influence and shape society is often

• Traditional southern African art, a collection that was

records and heritage of South Africa will be highlighted,

unrecognised. Art has the ability to affect one’s senses,

started in the late 1980s and has since been developed

recorded and preserved. It also represents the chance for

emotions and intellect, and to facilitate an intuitive under-

largely through funds from the Anglo American Johan-

new, unheralded talent to be recognised, encouraged and

nesburg Centenary Trust.

developed.

standing of life. Crucially, it can be appreciated in more than one way, with vastly contrasting takes on a seemingly con-

• Contemporary South African art in a variety of media,

sistent subject. Thus it has the ability to transform popular

and its modernist forerunners: works by predominantly

I trust that this publication will provide you with valuable

perceptions, and instil alternative ideas about the way we

black artists from the 1930s onwards, and their white

insight into the wonderful and complex artworks that consti-

observe the world around us.

counterparts.

tute JAG, and encourage a lasting legacy of creativity and art appreciation within South African society.

As such, it is of the utmost importance that further prom-

In addition, there is an overview of smaller closed collections

inence be provided to art, such as is the case with JAG.

like textiles and oriental ceramics, a description of JAG’s

Through supporting and partnering with JAG, we hope

important library and archive resources, and a personal

JAG would not be the vibrant institution it is today without its dedicated staff and volunteers (photographed 2010).

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

My special thanks, first of all, to the staff of the Johannes-

The catalogue project originated with Clive Kellner, Direc-

Hendriks (1937-64), Nel Erasmus (Acting Director, 1964-6;

burg Art Gallery (JAG) without whom this publication would

tor of the JAG from 2004 to 2008, and was brought to

Director, 1966-77), Pat Senior (1977-83), Christopher Till

not have been possible. This group of people works tirelessly

fruition with the generous support of Anglo American in

(1983-91), Rochelle Keene (1991-2003) and Clive Kellner

on exhibitions, education programmes, acquisitions and

South Africa. Thank you to Michael Murray, and to all those

(2004-8). Thanks to the Art Gallery Committee members

restorations, and the JAG collection would not be what it

who have served as members of the trust over the years.

through the years, in special memory of Alan Crump, and

is today without each and every one of them. In particular,

Special thanks must go to the Friends of the Johannesburg

to the current committee: Karel Nel, Bongi Dhlomo, Melissa

thank you to Jo Burger who passionately keeps the library

Art Gallery for their ongoing support. Thank you also to

Mboweni, David Goldblatt and Usha Seejarim.

and archives alive and has ensured their position in this

all other financial contributors (p 18-19).

publication. Thanks to Sheree Lissoos and Nessa Leibham-

Finally, my heartfelt thanks to the numerous friends and

mer for their contributing essays and to Reshma Chhiba

The political representatives who have supported the cata-

contributors who have dreamed, believed and showed sup-

for her work on the images, captions and copyright. JAG

logue project for the City of Johannesburg are Executive

port to the Johannesburg Art Gallery and its collection.

also has a constant presence of volunteers and interns on

Mayor, Cllr Amos Masondo; the MMC for Community Deve-

whose efforts the museum depends for its day-to-day

lopment, Cllr Bafana Sithole; Executive Director for Com-

running. JAGâ&#x20AC;&#x2122;s dedicated volunteer guides, many of whom

munity Development, Pilisiwe Twala-Tau; Director of Arts,

have worked at the gallery for years, also deserve thanks.

Culture and Heritage for the City of Johannesburg, Steven

In addition to contributions of various kinds from staff mem-

Antoinette Murdoch

Sack; and the Deputy Director of Museums and Galleries

Antoinette Murdoch, previously CEO of the Art Bank Joburg,

for the City of Johannesburg, Langelihle Mfuphi.

was appointed Chief Curator and Head of the Johannesburg Art Gallery on 1 April 2009. She has a Masters in Fine

bers, several other former and non-staff members have given their invaluable input. Previous JAG curators, Jillian

Thanks to Jacques Lange, Karuna Pillay and Anri Theron,

Carman and Khwezi Gule, and Art Gallery Committee mem-

the designers of the publication and of JAGâ&#x20AC;&#x2122;s new branding,

ber Bongi Dhlomo, have written essays, while Elza Miles,

and thank you to Cameron Bramley and Jeff Malan for

Anthea Buys and Grateful Dandara have contributed to the

handling fundraising for the catalogue project.

Art from the University of the Witwatersrand.

overall production of the book. In addition to her essay contribution, Jillian Carman has meticulously edited the

I believe that it is important also to acknowledge all pre-

book. Thank you also to Tracy Murinik for her proofreading,

vious directors and heads of the Johannesburg Art Gallery,

and to Richard Forbes who donated original screenprints

without whom the collection in its present form would

that accompany 50 signed editions of the book.

not exist: A Edmund Gyngell (1911-28), Austin Winter Moore (1928-9), E E Eisenhofer (1929-37), P Anton

a world class African city

SPONSORS Platinum

Gold

MAGAZINE

INTRODUCTION: CHANGING CONTEXTS Jillian Carman

When the Johannesburg Art Gallery (JAG) opened to the

was the first black person appointed, in 1992, to JAG’s

representing Johannesburg’s citizens cannot be removed

public on 29 November 1910, it was acclaimed for its mod-

Art Gallery Committee (AGC), a structure that had been

from office unless they voluntarily resign, commit a social

ern art collection (p 24). In fact, the more progressive of

in existence since the signing of the deed of donation in

indiscretion, become incompetent or die. Historically, many

London art critics lamented that this rough young mining

January 1913. The deed was created to keep JAG and

seem to have led long and upright lives with no intention

town in the colonies had received something that was more

its collections in trust ‘for the behoof and public benefit of

of giving up a prestigious public position.

avant-garde than anything ‘back home’. Today, 100 years

the inhabitants’ of Johannesburg in perpetuity, ensuring

later and with the benefit of hindsight, this avant-garde

proper maintenance for the collection, as well as its integrity

Demographic change in the AGC lagged behind JAG’s

claim seems absurd. But that was the opinion of the time.

and protection from political interference (Deed of donatio

realigned collecting and exhibition policies. This partly ex-

inter vivos, 21 January 1913). All decisions concerning JAG’s

plains why it took 80 years before black people became

A century later JAG is again acclaimed for its collection of

collections and related matters are made by the AGC before

visible and actual stakeholders in JAG. Dhlomo explains

contemporary art, the term preferred in 2010, as ‘modern’

going through various municipal committees, and before

how she wondered if she was a ‘sell-out’ when she accepted

no longer has an avant-garde meaning. The assessment

reaching the full council for ratification. Council may

her appointment in 1992. But then she goes on to describe

criteria and the vast scope of JAG’s collections, of course,

refuse to ratify an acquisition – as Nessa Leibhammer

her passionate involvement in developments during the

are radically different from what they were in 1910. JAG

describes in her essay concerning the purchase of the Lowen

years leading to 2010, and the current demographic and

today is far more than a gallery of contemporary art. Its

Collection – or withhold adequate maintenance and pur-

democratic ownership of JAG by all Johannesburg’s citizens.

various collections constitute a unique record of the develop-

chase funds, but it has no power to treat JAG’s collections

ment of public culture over the past 100 years. It is a visual

as disposable assets, or to instruct the AGC to act in an

The arrangement of the three essays after Dhlomo’s under-

archive and a witness of political and social change, as well

immoral or illegal way. The AGC has seven trustees: three

scores the trajectory of the changes in JAG’s collections

as of the huge shifts in assessing ‘what is art’ and what

political representatives (two municipal councillors – one

over the past 100 years, the challenges to the canons of

objects are worthy of collecting and holding in trust for the

usually the mayor – and a government appointee) and

western art history, and the nature of the collection in 2010.

citizens of Johannesburg; and, indeed, of who the people

four worthy citizens. Political interests cannot overrule

Becoming historic, by Jillian Carman and Sheree Lissoos,

are who are considered citizens. This centenary book sets

those of Johannesburg citizens, and the terms of the trust

describes the first 50 years of JAG’s life, and a collection

out to explain the complexities which make up JAG in 2010.

cannot be changed. This admirable document has ensured

that was firmly based within the tradition of western art.

the safe-keeping of JAG’s collections, but it has also ensured

Nessa Leibhammer’s essay, Filling the spaces/Contesting

Bongi Dhlomo’s essay, Seeds of change, sets the scene

an often conservative grip on JAG’s policies through lack

the canons, is intentionally framed by Becoming historic,

for describing this one hundred-year-old institution. She

of change in the committee. The four committee members

and Khwezi Gule’s Contending legacies: South African

modern and contemporary art collections. Leibhammer,

South African art – although only of art made by white

discusses artists and artworks that are rooted in South

by examining the items in JAG’s collection made by in-

South African artists. Black artists were virtually ignored,

Africa, its politics, subjects and contending identities. He

digenous southern African artists, interrogates accepted

with the exception of Gerard Sekoto, who had one western-

shifts to the margins those grand white artists who feature

art historical practices and the nature of what is consid-

style painting acquired in 1940, the only item by a black

centrally in twentieth-century books about the history of

ered art; probably the most acute challenges to the his-

artist held by JAG during those first 50 years (p 81).

South African art, and traces the artistic legacy of South

tory of art in South Africa. Gule’s essay describes JAG’s

African art from the 1930s onwards in terms of black artists

contemporary collection as it is today, drawing together

The central position in the book of Filling the spaces/Con-

practising in a western idiom who were ignored during

the strands that make up the complexity of art as it is

testing the canons is a metaphor for the central position of

JAG’s first 50 years.

practised and studied in 2010.

traditional southern African art in the radical reassessment of art and art history in this country. The traditional collection

JAG’s overall collections do not fit neatly into these three

Becoming historic, by Carman and Lissoos, describes the

contests the very criteria that Lane used to select items for

main areas covered by the chapters, nor is its history a tidy,

foundation collection that was established with Rand-

JAG’s foundation collection: the aesthetic judgement that

focused development along predetermined lines. Museums

lord money, most notably from Otto Beit and Lionel

conformed to the grand narrative of western art history in

are far too messy to fit into such confines; many would

Phillips (pp 27, 26). The project was driven by Florence

deciding what is good art, and what is not. According to

say this is to their advantage. One of the earliest indica-

Phillips (p 26) with the support of her husband Lionel,

this narrative, art made beyond its perimeters was prim-

tions of diverging purposes was the development of JAG’s

put together by Hugh Lane, and moved, in 1915, into a

itive, exotic or merely ‘other’. It was not part of mainstream

name from Municipal Gallery of Modern Art in the 1910

building designed by Edwin Lutyens (p 27). The essay

art history. The traditional art-making, therefore, of the

catalogue, which was produced under Lane’s direction,

addresses the basis on which the collection was built

majority of inhabitants in South Africa would have been

to the title given in the deed of donation of just over two

during the first 50 years of its existence, the main em-

judged inferior to that of the European settler elite. Only

years later, Art Gallery and Museum of Industrial Art. The

phasis having been the filling of gaps identified by Lane

those works by black South Africans that were made

latter name was evidently according to Florence Phillips’

(Prefatory notice, JAG 1910). The gaps, however, remained

within the western canon would have been considered

wishes, Lane having since resigned as London-based direc-

largely unfilled due to lack of funds until the 1930s,

proper (or fine) art and, if judged (by western standards,

tor of JAG. Her intention was always to have examples

when the municipal council belatedly realised what a

of course) to be of sufficiently high quality, they could

of lace and furniture (p 28) and other educational items as

valuable asset it had sitting in Joubert Park. It funded the

be purchased for a public art gallery.

part of JAG’s collection, but Lane had thwarted her plans

1940 additions of the east and west wings to the Lutyens

by putting together a collection of modern art that exclud-

building, which had opened in 1915 in an incomplete

In his essay Contending legacies: South African modern

ed industrial art (also known as applied or decorative art).

state and remained incomplete until 1986, when Meyer

and contemporary art collections, Gule in a way inverts

She had also wished to have an art school attached to the

Pienaar enclosed the courtyard and added wings, in the

the process of the first essay, Becoming historic. He dis-

gallery, and for the building to house an art library (see Jo

spirit of Lutyens’ original concept (pp 24-5). The council

cusses issues around what is modern and what is con-

Burger’s account regarding the Michaelis library, pp 187-8).

finally, in 1937, created a full-time director’s post with

temporary, and then works backwards to trace the nature

Neither of these plans materialised as part of JAG’s ex-

Anton Hendriks as the first incumbent, and allocated an

of the legacy handed down to today’s practitioners. Carman

tended functions. However, early gifts of Cape Dutch fur-

acquisition budget. The collection then began to have its

and Lissoos start with the modern (or contemporary) a

niture are still part of JAG’s collection (p 28), as is Florence’s

gaps addressed, a major gap having been the paucity of

century ago and follow it into an historical space. Gule

gift of a lace collection. The latter, however, was largely

ignored until the late 1980s, when members of the Wit-

directorship were American colour-field paintings by Jules

King of England. For example, Lane had not been knight-

watersrand Lace Guild assisted in cataloguing, repairing

Olitski and Helen Frankenthaler, while her successor Pat

ed when he first met Florence Phillips in April 1909,

and cleaning the lace prior to placing it on display (Griffiths

Senior continued the focus with works by Alexander Calder,

but became Sir Hugh Lane in June 1909. Florence Phillips,

1993).

Kenneth Noland (p 30), Dan Flavin, Donald Judd and numer-

correctly known as Mrs Lionel Phillips at the time, did

ous additions to the print collection (p30). Later a Francis

not become Lady Phillips until her husband was knighted

The furniture and lace collections have both been considered

Bacon was added (p 33) and in 1996, with the aid of funds

in January 1912. She was then known as Lady Phillips

closed (not actively pursued) since 1994, when JAG issued

from the Anglo American Johannesburg Centenary Trust,

or Lady Lionel Phillips, never Lady Florence Phillips, a

a policy document analysing its different collections, indicat-

two highly important pieces by Marcel Duchamp and Salva-

misnomer commonly used today. Similarly, Otto Beit

ing which were closed, and what the future collecting focuses

dor Dalí (p 31) were added to this collection, demonstrating

and Edwin Lutyens did not become Sirs until after their

should be (JAG 1994). The highly regarded Japanese print

that even with a focused policy, there should be sufficient

involvement with JAG. Furthermore, to distinguish be-

collection of some 200 works (Paton 1991) (p 29) has also

flexibility and awareness to enhance existing closed col-

tween Florence and Lionel Phillips, their first names are

been considered closed since 1994, as well as the oriental

lections.

used. So a combination of Florence and Lane, for exam-

ceramics collection of some 100 pieces (p 29). Both were

ple, indicates a practical usage, not a sexist prejudice.

consolidated during Hendriks’ directorship in the 1950s

The principal focus of the 1994 collecting policy document

and early 1960s. Both today are extraneous to JAG’s core

is the same today as it was 16 years ago: to consolidate the

policy, but nevertheless they remain superb assets which

South African collections. These are made up of traditional

enhance JAG’s collection and exhibition profile.

items, modernist twentieth-century art (particularly that of

Jillian Carman

previously marginalised black artists) and contemporary art,

Jillian Carman is an Honorary Research Fellow at the Univer-

Perhaps JAG’s most important closed collection is the con-

including international artists with South African links, like

sity of the Witwatersrand and the University of Johannes-

temporary international one started by Nel Erasmus. When

Marlene Dumas (p 156), and artists from other African coun-

burg. She was formerly a curator at the Johannesburg Art

Erasmus became director in 1966, she announced that

tries, like Oluwarotimi (Rotimi) Fani-Kayode (p 157). The

Gallery and is the author of Uplifting the colonial Philistine:

JAG’s future policy would be to continue buying ‘only the

purpose of this collecting focus is to build on JAG’s unique

Florence Phillips and the making of the Johannesburg Art

best South African works’ but it would not specialise in

strength: it is ideally placed to be a major international

Gallery (Wits University Press, 2006).

South African art ‘because it is felt that other South African

centre and archive of South African art, within South Africa.

galleries and museums are doing this’. Her focus would

This book should be ample evidence of this possibility as

be on acquiring ‘suitable overseas art as the means allow’

JAG goes into the next centenary.

(The Star, 28 April 1966). Sculptures by Henry Moore were acquired (p 32) and, in the early 1970s, possibly Erasmus’ most famous acquisition, a Picasso drawing of a harlequin

Endnotes

(p 33), partly funded by the then newly formed Friends of the Johannesburg Art Gallery. It caused a huge contro-

1 Titles have been omitted throughout the book, except

versy and was the best public relations exercise the gal-

for the Duke of Connaught, in order to cope with the

lery could have hoped for. Also acquired under Erasmus’

minefield of honours bestowed twice a year by the

LEFT: The opening of the collection in the South African School of Mines and Technology on 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. Photograph: Museum Africa. BOTTOM LEFT: Aerial view of Johannesburg Art Gallery, c 1930. BOTTOM RIGHT: Foundation stone.

TOP LEFT: Interior view with Thyrsis by James Havard Thomas (1854-1921) in the foreground. Probably part of a set of photographs commissioned from the photographer Arthur Elliott in 1931. TOP RIGHT: Aerial view from the south, showing the east and west wings, designed by Edwin Lutyens, that opened in 1940. BOTTOM: Aerial view from the north-west, showing the 1986 extensions designed by Meyer Pienaar and Partners Inc.

LEFT: Antonio Mancini (1852-1930) Portrait of Florence Phillips, 1909 Oil on canvas, 90.1 x 76.5 cm RIGHT: Giovanni Boldini (1842-1931)

Portrait of Lionel Phillips, 1903 Oil on canvas, 36.5 x 24 cm

LEFT: William Orpen (1878-1931) Otto Beit in his study at Belgrave Square, 1913 Oil on canvas, 81.5 x 76.3 cm RIGHT: Lawrence Josset (1910-1995)

Edwin Lutyens, after 1935 portrait by Meredith Frampton, c 1935 Engraving, 48 x 34 cm

LEFT: Handkerchief with needle lace border, French Early 18th century 34 x 35 cm TOP RIGHT: Cape Dutch armoire, 18th century Donated by Sigismund Neumann RIGHT: Detail of the donorâ&#x20AC;&#x2122;s label and one of the armoireâ&#x20AC;&#x2122;s escutcheons (key plates)

RIGHT: Hokusai (1760-1849) No 52 from the series The hundred poems explained by a nurse, c 1839 Wood-block print, 24 x 36.5 cm BOTTOM LEFT: Chinese roof tile

Souen Wou-kong, the king of the monkeys, Ming period Ceramic, 36.5 x 12.5 x 18.5 cm BOTTOM RIGHT: Kunimasa (1773-1810) Geisha playing a samisen (musical instrument), late 16th century Wood-block print, 36.8 x 24.7 cm

TOP: Roy Lichtenstein (1923-1997) Crak!, 1964 Offset colour lithograph 48.9 x 70.3 cm BOTTOM: Kenneth Noland (1924-2010) Broken ring, 1978 Oil on canvas, 179.5 x 214.5 cm

TOP: Marcel Duchamp (1887-1968) Boîte (box), 1968 Mixed media multiple, 41.5 x 38.5 x 9.9 cm BOTTOM: Salvador Dalí (1904-1989)

White aphrodisiac telephone, 1936 Modified telephone (mixed media), 18 x 12.5 x 30.5 cm

Henry Moore (1898-1986) Pointed torso, 1969 Bronze, 63 x 40 x 21 cm

LEFT: Pablo Picasso (1881-1973) Tête d’Arlequin II (Harlequin’s head), 1971 Crayon and pastel on paper, 50.2 x 65.2 cm RIGHT: Francis Bacon (1909-1992) Study of a portrait of a man, 1969 Oil on canvas, 35.7 x 30.5 cm

SEEDS OF CHANGE Bongi Dhlomo

My decision to go back to school, to take up fine art

Marianhill. I made many visits to the Durban Art Gallery

makes decisions about JAG’s acquisitions, exhibitions and

training at Rorke’s Drift, was not influenced by any grand

(DAG) during this period. My contact with the research

policies. My first reaction was to question why he was invit-

ideas of having seen or met great artists in the area where

department of the Institute of Race Relations gave me in-

ing me, the first black person to join the committee. He

I grew up. I had been working as a secretary for 18 months.

sights into the social conditions in the country under apart-

was at pains to explain why he felt I would contribute to

My father was taking me back to work after my first

heid. In 1982 I worked on a series of artworks, Forced

the institution’s growth and transformation.

annual leave. We had to take a detour and stop at the

removals. The series was exhibited in the Art toward social

Evangelical Lutheran Church Centre in Umpumulo. While

development exhibition during the Culture and resistance

I began with the above to indicate not just the gaps that

waiting for my father to finish his errands, I wandered

festival in Botswana the same year. Later, part of the series

we needed to address in the collection, but to indicate the

towards the notice board and saw a handwritten advert

was bought by the Killie Campbell Collection (today known

intricate manner in which most black artists of yesteryear

calling for applications from students who wanted to come

as the Campbell Collections of the University of KwaZulu-

came into being. The task of JAG’s AGC of the early 1990s

to Rorke’s Drift to study art. This was my introduction to

Natal, Durban). I realised for the first time my place in the

was not easy. I sat at the first meeting with much trepida-

art and its possibilities. I had not made any art before this,

art world and the possibilities offered by this field I had

tion: Was this the right step? Had I ‘sold out’? But the

but had once in a while seen an occasional white, male

chosen. In 1983 another artwork was bought by the Tatham

deliberations at hand put these doubts out of my mind.

artist with an easel painting a section of the Drakensberg

Art Gallery in Pietermaritzburg.

One of the main tasks of the AGC is that of acquiring artworks for the collection. The art that was displayed in the

range in Bergville. Looking back I know that the amphitheatre created by these mountains had a bearing on my

I married in 1983 and moved to Johannesburg. In 1984

Phillips Room, and the British and seventeenth century Dutch

later interest in art.

I started work at the FUBA Gallery. I found that art institu-

rooms, was all very intimidating and unlike anything we had

tions like the Johannesburg Art Gallery (JAG) were open

done in Rorke’s Drift. I came into the AGC with an open mind

After completing at Rorke’s Drift in 1979, I was faced with

to the public, but JAG was not as accessible as DAG had

to learn and to contribute to the tasks, the main one

the dilemma of finding employment in this new field I had

been. Whenever I visited JAG, I could not help but compare

being to look at ‘gaps’ in the collection. Avoiding the use

chosen for myself. In 1981, I finally landed a job with the

it to the Durban institution that had in its collection many

of a more apt term ‘left out/neglected’, because of its

African Art Centre in Durban as a secretary in the bursaries

artists I had come to know in Durban and in Natal (today

negative connotations, the AGC adopted the term ‘gaps’ to

department of the Institute of Race Relations. It was for-

KwaZulu-Natal). The setting of the displays, the distin-

indicate the redress in the collection regarding artists

tunate that the African Art Centre afforded me opportu-

guished schools of art production – it was all overwhelming

that were not represented. Most often these were black

nities to be involved with art- and craft-makers. I made

and intimidating. I still felt this way about the institution

artists. The AGC was aware that opening this space as a

acquaintance with artists that had studied in Rorke’s Drift

when its director, Christopher Till, approached me in 1992

basis for collecting was likely to open floodgates, as many

before me, and artists that had studied in Ndaleni and

to join the Art Gallery Committee (AGC), the body which

black artists were absent. It was necessary therefore to

skillfully wade through this difficult task. Other gaps in

(p 38), Gerard Sekoto (pp 81, 134), Durant Sihlali (p 39), and

against the inclusion of crafts and cultural effects in their

the collection also needed to be addressed, such as im-

other black pioneers. Later there were further acknowledge-

collections and the art history canon. Fine beaded items

portant white artists who had fallen through the cracks

ments and recognition of artists like David Koloane (p 152),

were scarce as most had been sold to individual collec-

during past acquisition processes.

who later joined the AGC. Koloane had worked in the

tors who would later present them for purchase to the

1970s and had continued producing art, moving from

highest bidder. During this time many items of cultural

The gap analysis was done concurrent to ongoing acquisi-

figurative collages to abstract expressionism in the mid-

significance that had been in use by traditional healers

tions. There were important artists that had since passed

1980s. The need to show developments with each artist

were brought forward for acquisition. The AGC had to make

on that were not represented in the collection. There

required looking over her/his full career to the present and,

difficult moral decisions to acquire these items that often

were living artists who had been producing art for a long

where possible, the AGC opted to acquire examples

belonged with the community or the family rather than a

time that were not represented. There were established,

showcasing these developments. This required careful re-

household-name artists who were also not represented

search by the curators as well as assistance, where possible,

in the collection. There was the shift towards acquiring

from the AGC. Artworks that could have been lost to the

contemporary artworks. There was yet another shift that

country were captured in this process, such as drawings

looked at cultural objects and crafts as works of art. All

and prints by Ezrom Legae (p 38), Julian Motau (p 39),

these collecting areas were vying for attention from the

Dumile Feni (pp 140-1), John Muafangejo, Cyprian Shilakoe

same budget that had formerly looked at a limited acquisi-

(pp 40, 147), Vuminkosi Zulu (p 40), George Msimang, Leon-

tion area. The curators of the different sectors of the collec-

ard Matsoso (p 41) and many others of this generation.

tion had to work hard to motivate for items on their ‘wish

storeroom in an art gallery. The argument to acquire rather than lose the items to collectors abroad always won the day, as it was clear that many sellers wanted a return on their purchases and had little or no sentiment about such items remaining in South Africa. In the financial year of 1991-2 the position of Curator of African Art was established and the southern African traditional art collection grew from strength to strength. Today JAG boasts some of the finest items internationally in this genre (p 41).

lists’, explaining how they would contribute to the entire

The winds of change were blowing all the time in the

collection. The AGC, on the other hand, knowing the urgency

country. City governments, like many other structures of

of acquiring some items that would otherwise be lost to

government, were heeding the call to embrace changes.

JAG forever, but also mindful of the overall needs and

I joined the AGC about the time Johannesburg became the

the limited funds, had the difficult task of turning down

Greater Johannesburg Transitional Metropolitan Council

some very worthy items in favour of others that filled

(GJTMC). This was a very interesting period in the life of

major gaps in redressing the focus of the collection.

art-making, art appreciation and art definitions in the city

or in abstract expressionist styles to explore the medium

and in the country. Shortly before I joined the AGC, JAG

and the freedom that came with working in open spaces.

There were numerous artworks collected during this re-

had embarked on defining what kinds of art-making had

This was viewed as a revolution brought to bear on black

dress phase. There were times when curators brought

to be included in its collections. Items formerly considered

artists by ‘outside’ forces. The artists that took part in these

forward artworks of such value to the collection that the

craft – the beaded old Ndebele dolls, aprons and veils,

workshops were mostly those who had studied in Rorke’s

AGC would dispense with the figures and unanimously

Zulu and Northern Sotho (Pedi) beadwork and many other

Drift and other community art centres in the urban are-

agree to the acquisition. These were works that the chair-

fine cultural artefacts – were acquired as the nature of what

as of Johannesburg, Cape Town and Durban. A work by

person, the late Professor Alan Crump, referred to as rare

constituted art in South Africa shifted and the collection

Dumisani Mabaso from one of the these workshops was

finds that had to be part of JAG; works by artists such

expanded to reflect this. The line between fine art and

one of the first abstract paintings by a black artist to be

as John Koenakeefe Mohl (p 133), Gladys Mgudlandlu

craft blurred as institutions and scholars argued for and

acquired by JAG.

During the period from the late 1980s to the mid-1990s many changes in art production took place. The Thupelo Art Workshop Project was born out of cultural exchanges between similar workshops in the USA and in Britain. The workshops gave an opportunity to many black artists who had not been exposed to working on large canvases

It was during this transitional period that a new wave of

In 1994 the country went to the polls to vote in the first

country, institutions have had to deal with birth-pains as

traditional artworks emerged. Glass beads were scarce and

democratic elections, and the African National Congress

new ideas have had to supplant old ones. It has been a

expensive, and unaffordable to artists working in a bead-

(ANC) took control of the Johannesburg city council. The

journey of partnerships between the art world and the

ing medium. Needing to continue supplying their wares

council has always had two seats on the seven-person

city, the institution and the public. The time I have spent

to users in traditional settings, the artists adopted cheaper

AGC, its members representing the citizens who, in effect,

serving on the AGC has taught me many things about art,

and more readily available materials to produce new

own the JAG collection, and whose money is used to make

but most importantly about change and transformation.

interpretations of items that had previously been made

purchases. ANC councillors started to attend AGC meetings.

We look forward to the next hundred years of JAG when

with glass beads. These items presented a conundrum to

For many, this was a completely new experience and AGC

the seeds planted during this centenary will have grown

collectors of traditional glass beadwork. The AGC was pre-

members had to painstakingly explain the process and

into big trees that will inform future generations about

sented with pieces like Ndebele aprons made in ‘plastic

rationale behind art acquisitions. Once the process was

their heritage. JAG continues to be the custodian of these

appliqué’, or a combination of plastic, plastic beads and

understood, as well as the need for the city to keep treasures

seeds and memories and I count myself lucky to have been

brightly coloured wool and other trinkets. However, ignor-

for future generations, councillors participated fully in

part of its journey since the early 1990s.

ing the new methods and expecting traditional-type art to

AGC deliberations.

remain in a timeless vacuum is contrary to the reassessment

Bongi Dhlomo

of southern African art history. This new type of art was

JAG has been in existence for a 100 years. It has undergone

seen as representing important developments in the art-

changes to its initial building structure, with extensions

makers’ careers, similar to such developments in artists who

being added to the original 1915 building in 1940 and

Bongi Dhlomo is an artist, curator, writer and educator who

worked in western-type painting and sculpture. These

1986. It has undergone changes in its approach to col-

has played a pivotal role in the development of the visual

artworks were important additions to JAG’s collection.

lecting and in its staff complement. Today there are more

arts in South Africa since the early 1980s. She has been

black members of staff compared to 20 years ago. There

a member of the Johannesburg Art Gallery Committee

The return to the country of the Brenthurst Collection be-

are changes in JAG’s audiences as well, with black people

since 1992.

came one of the highlights of this period. The recognition

and young members of the public becoming frequent visi-

of the importance of this collection and its place in South

tors to JAG. JAG is making huge efforts to integrate Joubert

African art production was a huge milestone for JAG and

Park and its users with the building in their midst. It is an

for the country. It felt good to be part of such an important

important player in the visual arts in this country and the

episode in the life of JAG. It is proper to give credit to the

African continent. JAG’s leadership role in developing

corporate citizenry that has come on board to assist JAG

its collections has led to many items being requested on

to access some of the artworks and collections that would

loan by institutions around the world. The AGC’s service

otherwise have been lost to the country. Anglo American

extends beyond the local Johannesburg community to

has played a significant role in this regard. It is hoped

the African continent and the world at large.

that other corporate citizens will emulate this philanthropic example and continue with support to institu-

As JAG celebrates 100 years of service to the Johannes-

tions such as JAG to keep the country’s heritage in

burg community we look back to the many milestones that

South Africa.

the institution has achieved over this period. Like the

TOP LEFT: Gladys Mgudlandlu (1925-1979) Study of birds, 1965 Ink on brown paper, 24.5 x 74.5 cm BOTTOM LEFT: Ezrom Legae (1938-1999) Man and his bird, 1983 Pencil, contĂŠ and pastel on paper, 100 x 230 cm TOP RIGHT: Durant Basi Sihlali (1935-2004) Pimville, 1969 Watercolour on cardboard, 38.6 x 50.7 cm RIGHT: Julian Motau (1948-1968) Township scene, 1966 Oil on canvas, 61 x 50.8 cm

TOP: Cyprian Shilakoe (1946-1972) My childhood remembrance, 1971 Woodcut on paper, 28.5 x 45 cm BOTTOM: Vuminkosi Zulu (1948-1996) Print in portfolio of 25 prints, undated Linocut ed. 8/50, 30 x 30 cm

TOP: Leonard Matsoso (1949-) Human head and buck skeleton in a landscape, 1971 Drawing in ink and pencil, 27.2 x 44.4 cm BOTTOM: Artist unrecorded Xikhigelo (headrest), Swazi Late 19th/early 20th century Wood, 14 x 45 x 8 cm

BECOMING HISTORIC Jillian Carman and Sheree Lissoos

The centenary of the Johannesburg Art Gallery (JAG) gives

The collection, in 1910, consisted of 130 items, representing

Dutch and eighteenth-century English schools. Because

us an opportunity to look back over JAG’s life so far, perhaps

the best in modern (contemporary) art and its antecedents

of this distance from their own tastes – both in the nature

with a sense of pride, even fondness; or outrage, or regret

in the nineteenth century. The curator was Hugh Lane, a

and the comparative cheapness – they were generally pre-

at what might have been; but mostly with a sense of grati-

prominent Anglo-Irish art dealer, who had achieved re-

pared to let an agent operate without interference in buying

tude that such a valuable visual archive is still being held

nown – and a knighthood – for putting together a modern

inexpensive art for the colony from which their wealth

in trust for the citizens of Johannesburg, who are the owners

art collection for Dublin, which opened in early 1908. One

derived. And furthermore, the public acknowledgement

of this heritage institution. We are also likely to be surprised

had to travel to the colonies (Ireland was also considered

would be to their advantage. (Their lack of monetary invest-

at how JAG’s collections in 2010 are so radically different

a colony) in order to see modern art, lamented art critics

ment in JAG, with the expectation that they would be

from JAG as she was in 1910. This chapter looks at the first

when the core JAG collection was displayed at the White-

50 years of JAG’s life, in an attempt to understand not only

chapel Art Gallery in London before departing for South

the nature of the collections, but also the nature of Johan-

Africa. Public art collections in England at that time were

nesburg’s citizens, visitors and stakeholders.

controlled by conservative advisers. The National Gallery

in London, for example, which governed the Tate, only In 1910 the citizens of Johannesburg were given a Munici-

bought works by dead artists.

pal Gallery of Modern Art. It did not have a permanent home

honoured for years thereafter, had been a criticism levelled at the Randlords by the labour wing of the Johannesburg town council.)

Yet despite their meagre funding, the Randlords were initially reluctant to invest in the collection. A permanent building had not yet been found, and they were suspicious of

yet; it had to wait until 1915 for that. But its reputation in

The original foundation collection was started in April

London, the centre of the British Empire, more than compen-

1909 when Florence Phillips (p 26), wife of Randlord (as

sated for its temporary residence in the South African School

Johannesburg mining magnates were known) Lionel Phillips

of Mines and Technology. It was considered more avant-

(p 26), met Hugh Lane in London. Lane persuaded her to

garde than any public art collection in Britain at that time,

collect modern art for Johannesburg and within days the

and was described by the Duke of Connaught at its opening

first acquisitions were made: three works by Philip Wilson

what Lane spent his money on, and he did not want modern

in Johannesburg on Tuesday 29 November 1910 (p 24), as

Steer (1860-1942) (p 48). Over the next sixteen months

art. Four nineteenth-century items were eventually negoti-

‘the first notable art collection in South Africa’ (The Transvaal

the core collection was put together by Lane, independent

ated at competitive prices, including Théodore Géricault’s

Leader, 30 November 1910). Furthermore, its subsequent

of a board of trustees, and with little interference from the

(1791-1824) The passage of the ravine, considered a major

home in Joubert Park (pp 24-5), designed by Edwin Lutyens

Randlords who provided the funds. They had no interest in

example of French romantic art at the time, but later attract-

(p 27), is today internationally renowned as the only Lutyens

nor, it seems, understanding of modern art.Their far more valu-

ing some doubts about its attribution (Carman 1984).

museum1 built by one of the most important architects of

able private art collections consisted largely of Old Masters

Alongside Florence and Lionel Phillips, who were not the

the early twentieth century.

from the Italian Renaissance, and seventeenth-century

wealthiest of the Randlords, Otto Beit (p 27) was the most

Lane, a canny art dealer, who might dupe them into paying for worthless items. The notoriously stingy Joseph Robinson gave nothing, while Julius Wernher appears to have been one of the few – perhaps the only – donor to interfere with

supportive of Lane and certainly the most generous of

in the National Gallery in London – on Camille Pissarro

of British modern art a hundred years ago for which Lane

the Randlord donors.

(1830-1903), Alfred Sisley (1839-99) and Claude Monet

was renowned.

(1840-1926) (pp 48-9), who sought refuge in London from The fact that Lane could collect in a relatively unfettered

the Franco-Prussian War of 1870. British art, according to

There was no South African school of art in the foundation

manner was both unique for a public institution and hugely

this argument, continued in a pure national tradition, stem-

collection; the only local artist represented was Anton van

advantageous for realising a themed and coherent collec-

ming from Constable and Turner, while French art across

Wouw (1862-1945) in the Statuary section (p 55). South

tion. In his own words, Lane’s aim was to assemble ‘four-

the channel went off at a tangent. And not a desirable one,

Africa was not considered advanced enough to have its own

score or so of the best examples of Modern Art’, using ‘an

in the view of the National Gallery trustees, of whom one,

school of (white) artists, and the principal purpose of giving

extreme catholicity [wide-ranging] of taste … in the choice

Alfred de Rothschild, said the Impressionist paintings lent

Johannesburg a gallery of modern art, according to Lane,

of pictures’, in order to present a lesson in the history of

to the gallery by Lane in 1913 would disgrace a pavement

was to train and inspire young colonialists through access

modern art for South African students. He was, however,

artist (Conlin 2006: 131).3

a product of his time in that he considered the centre of

to a collection that was the equivalent of any that one could see in Europe. This, Lane confidently stated, ‘will have the

modern art to be the centre of the British Empire, and the

Lane counteracted Anglo art history jingoism by curating a

‘best examples of Modern Art’ to be English early twentieth-

British school of artworks in which the modern component

century. This is hardly something that would recommend

comprised painters like Steer, Augustus John (1878-1961)

him to present-day art history students, who are probably

(p 49),4 John Singer Sargent (1856-1925) (p 50), Laura

more aware than Lane ever was of the avant-garde art

Knight (1877-1970) (p 50), Spencer Gore (1878-1914)

scene in Paris around 1910: of Pablo Picasso (1881-1973),

(pp 50-1), Walter Richard Sickert (1860-1942) (pp 50-1)

Georges Braque (1882-1963) and cubism. Lane’s inclu-

and the sculptor Jacob Epstein (1880-1959) (pp 50-1) who

sion of indifferent nineteenth-century English artists and

rebelled against a moribund academic style and looked

his exclusion of major artists like John Constable (1776-

to France for inspiration. Apart from The fringe of the moor

1837) and Joseph Mallord William Turner (1775-1851) also

(1874) (p 52) by John Everett Millais (1829-96), there

seem as unfortunate to the twenty-first century viewer as

seems little continuity between Lane’s choices of British

they were to Johannesburg artist and writer, George Salis-

nineteenth-century art, for example William Powell Frith’s

bury Smithard, whose critiques of a century ago still remain

narratives (p 52), and the early twentieth-century British

among the most perceptive commentaries on JAG’s col-

moderns. But there are some striking similarities between

lection (Smithard 1910-11).

the British moderns and the nineteenth- to early twentieth-

London by Robert Ross (who succeeded Lane as London

century French and Dutch art that Lane chose for Johannes-

based director of JAG) and Henry Tonks (JAG 1912). And it

For his time, however, Lane’s concept of modern art and its

burg: for example, between Gore’s Applehayes (1913)

does, indeed, represent some of the best examples of the

origins was radical. He did not follow the British chauvinist

(pp 50-1) and Monet’s Springtime (1873) (p 49); John’s

Pre-Raphaelite School, with works such as Walter Deverell’s

interpretation in which no foreign, and particularly no

The childhood of Pyramus (1908) (p 49) and Pierre Puvis

(1827-54) The Irish vagrants (c 1853-4) (p 57), and Dante

French, influences were admitted into the canon of British

de Chavannes’ (1824-98) The source (pp 52-3); Epstein’s

Gabriel Rossetti’s (1828-82) Regina Cordium (1864) (pp 56-

modern art. According to theories expounded by authors

Mrs McEvoy (c 1910) (pp 50-1) and Auguste Rodin’s (1840-

7). The British modern school (p 58) was also augmented

such as Wynford Dewhurst (Impressionist painting, 1904),

1917) Miss Fairfax (c 1907). The visual evidence is there:

at that time, and again some 70 to 80 years later (p 57, and

French Impressionism in fact originated in Britain through

British modern art owed more to European prototypes than

top far right), making this one of the most significant of

the influence of works by Constable and Turner – displayed

its own national school. This is the radical interpretation

JAG’s historic collections. Fittingly so, as it represents

effect of making the new nation artistic’ (JAG 1910: Prefatory Notice). The main gaps that Lane identified as needing ‘to be filled up before the collection may be considered rep-

resentative’ were works by ‘Courbet, Corot, Daubigny, Manet, Renoir, Degas, Israels, Matthew Maris, Whistler, and the representative works of the best of the Pre-Raphaelite School’ (JAG 1910: Prefatory Notice) . The expansion of the French and Dutch impressionist collections had to wait another 30 to 40 years before having their gaps filled, but the British collection benefited shortly afterwards with the 1912 donation from Sigismund Neumann of Pre-Raphaelite and related work, put together in

the type of modern art that was at the core of what Lane

one of the most important in South Africa. It covers print-

plan, and new exhibits must be shown from time

curated for the foundation collection.

making from around 1500 onwards and includes engrav-

to time (council minutes, 30 July 1946).

ings, woodcuts and etchings by some of the premier pracWell before 1920, the residue of Randlord funds had dried

titioners in the field, such as Albrecht Dürer (1471-1528)

In the same report he set out his development plan, dividing

up. The Lutyens building had opened in an incomplete state

(p 59) and Rembrandt van Rijn (1606-69) (p 60). It has a

the collection into English School, French School, nineteenth-

in Joubert Park towards the end of 1915, without ceremony

wide representation of English ‘painter-engravers’ like

century Dutch School (Netherlands and Belgian), rest of

and without Florence Phillips, who expressed such disgust

Francis Seymour Haden (1818-1910), and an important col-

Europe, and South African painting. All but the last, South

with the council’s lack of interest in JAG that she refused to

lection of James Abbott McNeill Whistler’s (1834-1903)

African painting, had been present in Hugh Lane’s original

attend the opening. The Johannesburg based curator, Ed-

etchings (p 61). The print cabinet has continued to be one

collection. Of the South African collection Hendriks said:

mund Gyngell, who was appointed in a part-time temporary

of JAG’s major collections and has been consistently added

capacity soon after the collection opened in November

to, from etchings by Francisco de Goya (1746-1828) (p 61)

1910, had no powers in the choice of acquisitions (if and

to pop artist Roy Lichtenstein (1923-97) (p 30).

when they were made) and had to defer to the Art Gallery

It has been the policy of the Art Gallery Committee, for the last few years, to build up a collection showing the best and most significant aspects of South African painting, and a small but fairly representative

Committee (AGC) in all matters. The post remained part-

The second highlight in the 1930s was the eventual com-

time and temporary until the 1930s, and the gallery did

mitment of the municipal council to add two pavilions to

such a collection displayed next to the best European

not receive a municipal purchasing budget until the 1920s,

the Lutyens building, which had never been completed, to

painting cannot be over-estimated (council minutes,

when it was described as a ‘contribution to the Art Gallery

Lutyens’ original plans. Yet even with these new pavilions

30 July 1946).

Committee’. There was no proper acquisition policy in

the building remained incomplete. Lutyens worked on the

place, and occasional purchases and the acceptance of gifts

plans again, updating his original 1911 concept, and the

Hendriks consolidated what Lane had started in JAG’s foun-

seemed to be on the whim of donors and the AGC. A

dramatically increased space opened in 1940.

dation collection: he set out to fill the gaps, focusing particu-

London based buying committee that included the directors

collection is being formed. The educational value of

larly on the French collection in order to create an instructive

of the Tate and National Gallery and Henry Tonks of the

The third highlight was the appointment of Anton Hendriks

overview, for art students and visitors alike, of the principal

Slade, advised on purchases during the late 1920s to early

as director in 1937, a position he held until his retirement

art movements in France of the early twentieth century. He

1930s, but, according to a later director, Anton Hendriks,

in the early 1960s. He was the first professional Johannes-

acquired works on paper where oils would have been unaf-

in 1947, ‘the results were a complete failure … the agents

burg based director to be appointed and he effected major

fordable – such as a Vincent van Gogh (1853-90) draw-

did not know the Council’s collection and the paintings did

developments in the collection. His policies for the future

ing (p 62), an Edgar Degas (1834-1917) pastel and etching

not fit in, and some were duplicated, and others were so

of the gallery were tabled at council in July 1946, when

(p 63), a Paul Cézanne (1839-1906) lithograph (p 63) and

bad that they have never been exhibited (council minutes,

he declared that:

Henri de Toulouse-Lautrec (1864-1901) (p 64) lithographs.

25 March 1947). This was not an entirely fair criticism as

To illustrate the cubist style, he acquired a 1910-11 portrait

the purchases had included some good British modern

A modern art gallery … has an active function to per-

by Albert Gleizes (1881-1953) (p 65), a lesser known and

works by Gore, Sickert and Lucien Pissarro (1863-1944).

form as an educational institution in the life of the

more affordable artist than the cubist giants Picasso and

During JAG’s lean period up to the late 1930s there were, however, three highlights. The first was the bequest in

city. In order to convert the Johannesburg Art Gallery from a static show place to an institution which will fulfil this function as part of the city life, the existing

Braque. Similarly, a Paul Signac (1863-1935) painting was a more affordable option than a Georges Seurat (1859-91)

collections, which are merely the foundations of

neo-impressionist one. Hendriks also purchased beyond the

1934 of 551 prints from Howard Pim, a late member of the

the more representative collections of the future,

base which Lane had set, adding to JAG’s collection more

AGC. The Pim Bequest established JAG’s print cabinet as

must be built up and completed according to a general

recent items, such as a remarkable contemporary painting

by Fernand Léger (1881-1955) (p 68) and prints by Picasso

side under their names: Laurens Joosten Baack and Diewer

Coetzer, Goodman, Hugo Naude (1869-1983) (p 75) and

and other modern French artists. The French collection was

Jacobsdr van Harencarspel (p 71).

Van Wouw’s President Kruger in exile (1907) (pp 54-5)

also temporarily augmented by the loan from the 1940s

When Hendriks presented JAG’s new policy directions

were included in a major international travelling exhibi-

to 1960s of the privately owned Hague collection, which

to council in July 1946, he announced that JAG had been

tion of South African contemporary art that opened at

included paintings by Cézanne, Honoré Daumier (1808-79),

building up a collection of South African art for the previous

the Tate in September 1948 and toured to the Netherlands,

Van Gogh, Pissarro and Pierre-Auguste Renoir (1841-1919).

few years, and that it had a small but fairly representative

Belgium, France, Canada and the USA before returning to

Apparently Hendriks tried to purchase the Cézanne, but

collection. Works by South African artists had, in fact, slowly

Cape Town in November 1949 (SAAA 1948-9). This was

the municipality refused to pay the fee and the work was

been collected since 1916, when Lionel Phillips presented to

the first major showcasing of South African art to the world,

withdrawn with the rest of the collection.

JAG Konakontes, South West Africa by Robert Gwelo Good-

and the fact that the selection committee chose works by

man (1871-1939), the first painting by a South African to

artists represented in JAG attests to the calibre of Hendriks’

One of Hendriks’ greatest achievements was the establish-

enter the collection. By 1932 the JAG owned four further

curatorial choices.

ment of the seventeenth-century Dutch collection when he

donations of Goodman paintings (p 72), as well as Bertha

procured the Eduard Houthakker gift in the late 1940s,

Everard’s (1873-1965) Peace of winter, Transvaal and

By 1960, JAG had a collection that was similar in concept

coincidentally about the time the National Party came to

Willem Hermanus Coetzer’s (1900-83) The dusty shelf

to Lane’s of 1910, in that it had defined collection areas,

power. Houthakker was the brother of the renowned Am-

(1930) (p 75).

well-chosen works, and an educational purpose. But it was

far more than that. Hendriks had pushed for the develop-

sterdam dealer in seventeenth-century Dutch art, Bernard Houthakker, from whom the paintings had been sourced

Under Hendriks the emerging South African collection grew

ment of the collection beyond Lane’s groundwork in order to

(p 70 top, p 71 right). This was a deliberate move to accom-

and consolidated into a small but fine collection. He ac-

maximise its educational potential, and he had put together

modate the cultural heritage of Dutch-origin South Africans,

quired works by an older generation of South African artists

a fine, small South African collection to achieve this. Now

who had felt alienated by the British emphasis of the foun-

who should have been in the collection at, or soon after,

the aspiring artist could compare (primarily white) South

dation collection. Hendriks astutely added to the collection

its inception, such as Frans Oerder (1867-1944) (p 72) and

African art to quality European painting, instead of merely

during the 1950s, acquiring, for example, the exceptional

Pieter Wenning (1873-1921) (p 73). And he recognised

trying to absorb foreign art without a local reference point.

Pieter Claesz (1597-1660) Still life with a crab (p 70 bottom).

the importance of contemporary South African artists such

Hendriks had turned JAG into an active educational insti-

An exciting development regarding one of the Houthakker

as Jacob Hendrik Pierneef (1886-1957), (pp 73, 127) Mag-

tute by 1960 for art students of all races. Cecil Skotnes

gift’s anonymous portraits occurred in 1991, when the

gie Laubser (1886-1973) (p 74), Moses Kottler (1892-1977)

recalls that his Polly Street students regularly visited JAG

Netherlands Institute for Art History in The Hague, which

(p 74), Ruth Everard Haden (1904-92) (p 76), Maud Sumner

in the 1950s, their access facilitated by Hendriks. Access

had been researching with JAG the public holdings of

(1902-57) (p 77), Gregoire Boonzaier (1909-2005) (p 79),

to the Africana Museum, however, was denied to them.9

seventeenth-century Dutch paintings in South Africa, alerted

Walter Battiss (1906-82) (pp 79, 145), Alexis Preller (1911-

JAG may have been totally inadequate in terms of giving

JAG to the long-lost companion portrait to the Houthakker

75) (pp 80-1, 145) – and Irma Stern (1894-1966) (pp 78,

black people a sense of ownership and identity with the col-

portrait. With the aid of the Anglo American Johannes-

132), who had studied in Germany with Max Pechstein

lection: one painting by one black artist between 1940 and

burg Centenary Trust, the portrait was purchased at auction

(1881-1955) (p 69). He also purchased, in 1940, the first

the early 1970s was hardly likely to encourage this. But

and reunited with its companion. The husband and wife,

work by a black artist to enter JAG’s collection, Yellow

the attempts to provide access for all races to the col-

who were painted in 1629 by Nicolaes Eliasz Pickenoy

houses: a street in Sophiatown (1940) (p 81) by Gerard

lection at that time are worth noting.

(1588-1650/56), are now once again displayed side by

Sekoto (1913-93).8 All of these artists, as well as works by

Endnotes 1 A gallery housing a permanent, public collection is not a commercial outlet. It is the same as a museum devoted to art, and ‘gallery’ in this context can be used interchangeably with ‘museum’. 2 The illustrated catalogue accompanying the opening of the collection in 1910 lists 127 items, but there were

over ownership of the paintings. The most recent account is in Dawson (2008). 4 The John displayed with JAG’s foundation collection,

The way to the sea (or Decorative group) (1908), was lent to JAG by Lane and is today in Dublin City Art Gallery The Hugh Lane (formerly the Hugh Lane Gallery). JAG’s

The childhood of Pyramus (1908) was purchased in 1912 by JAG’s London based director, Robert Ross,

in fact a few more, including a William Orpen portrait

from Clive and Vanessa Bell, using funds donated by

of Otto Beit which still had to be painted (catalogue

Max Michaelis.

number 87a). ‘Modern’ in the early twentieth century had

5 Details of the curator’s salary and the purchasing budget

a similar cutting-edge meaning that ‘contemporary’ has

are in the annual estimates of the municipal council from

today, while ‘contemporary’ then meant indifferent art

1911/12 onwards. A brief historic overview of the JAG

that was made at the same time as the current calendar

funding is given in council minutes, 22 November 1949.

year. Information on the early years of JAG, its founders,

6 Johannesburg Art Gallery I: correspondence, purchase

collection, building and historical context, can be found in

lists September 1929-July 1930. Tate Gallery archive.

JAG (1910), Smithard (1910-11), Gyngell (1915), Gregory

7 For the changing attributions of the female portrait and

(1921), Hendriks (1958), Gutsche (1966), Erasmus (1968,

the final identification of the artist and companion piece,

1970, 1975), Lissoos (1986), Carman (1988a, 2005,

see Carman (1988b, 1994) and JAG (1997: 41-4).

2006), Stevenson (2002) and Goldin and Keene (2004).

8 No further works by black artists were purchased until

For the subsequent development of JAG see Carman (2003). On the Lutyens building, see McTeague (1984) and Miller (2002). 3 Lane withdrew his loan of impressionist paintings from

Sheree Lissoos Sheree Lissoos has been the Curator: Historic Collections at the Johannesburg Art Gallery since 2002. She was formerly the Paintings, Sculpture and Drawings Curator at JAG between 1984 and 1987, and Guest Curator in 1991. Prior to JAG, she was a Lecturer in Art History at the University of the Witwatersrand between 1981 and 1984.

the early 1970s (Carman 1988a: 207). 9 Cecil Skotnes in conversation with the author, 7 March 2001. See Carman (2003) for an analysis of open access to institutions in Johannesburg under apartheid.

the Hugh Lane Gallery in 1913 when the Dublin municipal council refused to authorise the building of an Edwin Lutyens museum. He then lent the collection to the Na-

Jillian Carman

tional Gallery in London, where the trustees were initially reluctant to display it. The paintings were still there when

Jillian Carman is an Honorary Research Fellow at the Univer-

he drowned aboard the Lusitania in 1915, leaving an un-

sity of the Witwatersrand and the University of Johannes-

witnessed codicil to his will, which cast doubt on whether

burg. She was formerly a curator at the Johannesburg Art

Dublin or London were to have the collection. Until the

Gallery and is the author of Uplifting the colonial Philistine:

late twentieth century there was ongoing conflict be-

Florence Phillips and the making of the Johannesburg Art

tween the National Gallery and the Hugh Lane Gallery

Gallery (Wits University Press, 2006).

LEFT: Philip Wilson Steer (1860-1942) A Chelsea window, 1909 Oil on canvas, 121 x 90 cm RIGHT: Camille Pissarro (1830-1903) The forest, 1870 Oil on canvas, 78.8 x 97.9 cm

TOP LEFT: Alfred Sisley (1839-1899) Riverbank at Veneu, 1881 Oil on canvas, 60.3 x 81.3 cm TOP RIGHT: Claude Monet (1840-1926) Springtime, 1873 Oil on canvas, 60.5 x 81 cm LEFT: John Augustus (1878-1961) The childhood of Pyramus, 1908 Oil on canvas, 120.6 x 150.5 cm

LEFT: John Singer Sargent (1856-1925) The Brenva Glacier, 1909 Oil on canvas, 92 x 117 cm BOTTOM LEFT: Laura Knight (1877-1970) Boys (Newlyn, Cornwall), c 1909 Oil on canvas, 153.4 x 183.5 cm TOP RIGHT: Spencer Gore (1878-1914) Applehayes, 1913 Oil on canvas, 50.8 x 61.2 cm BOTTOM RIGHT: Walter Richard Sickert (1860-1942) Corner of St Catherine Street and the old arcades, Dieppe, 1910 Oil on canvas, 57.8 x 50 cm FAR RIGHT: Jacob Epstein (1880-1959) Mrs McEvoy, c 1910 Marble, 47.7 x 26 x 45.3 cm

LEFT: John Everett Millais (1829-1896) The fringe of the moor, 1874 Oil on canvas, 136 x 213 cm BOTTOM LEFT: William Powell Frith (1819-1909) The pulse, the husband, 1869 Oil on canvas, 107 x 128 cm TOP RIGHT: Jacob Maris (1837-1899) Gathering seaweed, near Scheveningen Undated Oil on canvas, 48.3 x 78.4 cm TOP FAR RIGHT: Henri Harpignies (1819-1916) The ravine, c 1869 Oil on canvas, 46.2 x 38.1 cm BOTTOM RIGHT: Henri Fantin-Latour (1836-1904) Bouquet, 1902 Oil on canvas, 31.5 x 38.1 cm BOTTOM FAR RIGHT: Pierre Puvis de Chavannes (1824-1898) The source, undated Oil on canvas, 40.3 x 32.6 cm

Becoming historic images

TOP: EugĂ¨ne Boudin (1874-1952) Regatta at Argenteuil, 1866 Oil on canvas, 45.5 x 73 cm

BOTTOM RIGHT: Anton Van Wouw (1862-1945) President Kruger in exile, 1907 Bronze, 25.8 x 48.27 cm

TOP RIGHT: Auguste Rodin (1840-1917) Miss Fairfax, c 1907 Marble, 54.2 x 58 x 46.9 cm

FAR RIGHT: Auguste Rodin (1840-1917) Eve, c 1881 Bronze, 75.6 x 22.5 x 26.5 cm

LEFT: Dante Gabriel Rossetti (1828-1882) Regina Cordium (Queen of Hearts), 1860 Oil on panel, 25.4 x 20.3 cm TOP RIGHT: Robert Martineau (1826-1869) A girl with a cat, 1860 Oil on panel, 30.1 x 22.6 cm TOP FAR RIGHT: Spencer Gore (1878-1914) Promenade and box at the Alhambra Theatre, c 1910 Pencil and ink on paper, 35.3 x 25.4 cm RIGHT: Walter Deverell (1827-1854) The Irish vagrants, c 1853-4 Oil on canvas, 63.4 x 77.2 cm

TOP LEFT: Walter Bayes (1869-1956) The open door, c 1911 Oil on canvas, 70.9 x 61 cm TOP RIGHT: Harold Gilman (1876-1919)

The reapers â&#x20AC;&#x201C; Sweden, 1912 Oil on canvas, 51 x 61 cm RIGHT: Robert Bevan (1865-1925) Culme Bridge, Hemyock, 1916-17 Oil on canvas, 71 x 58.4 cm

Albrecht D端rer (1471-1528) Melencolia 1, 1514 Engraving, 24 x 18.7 cm

TOP: Rembrandt van Rijn (1606-1669) Rembrandtâ&#x20AC;&#x2122;s mother, 1628 Etching, 6.6 x 6.3 cm BOTTOM: Rembrandt van Rijn (1606-1699) The three crosses, 1653 Etching, 36.95 x 45 cm

LEFT: James Abbott McNeill Whistler (1834-1903) The lime-burner, 1859 Etching, 25.5 x 17.5 cm RIGHT: Francisco de Goya (1746-1828) The Chinchillas, No 50 from the series Los Caprichos, 1797-8 Etching, 17.4 x 12.3 cm

LEFT: Vincent Van Gogh (1853-1890) Inmate of the almshouse (Portrait of an old man), 1881-3 Black and white chalk on paper, 44 x 29 cm RIGHT: George Breitner (1857-1923) Self portrait, 1882 Oil on canvas, 62.5 x 37.5 cm

LEFT: Paul CĂŠzanne (1839-1906) The bathers (large print), 1896-8 Colour lithograph, 42.3 x 51.9 cm BOTTOM LEFT: Edgar Degas (1834-1917) Mary Cassatt in the Louvre, 1879-80 Etching and drypoint, 35.5 x 26.9 cm BOTTOM RIGHT: Edgar Degas (1834-1917) Two dancers, c 1898-1905 Pastel on paper, 50 x 35 cm

LEFT: Henri de Toulouse-Lautrec (1864-1901) Woman combing her hair, No 7 from the series Elles, 1896 Colour lithograph, 52.4 x 39.5 cm RIGHT: Henri de Toulouse-Lautrec (1864-1901) Woman in a corset, No 9 from the series Elles, 1896 Colour lithograph, 53 x 40 cm

LEFT: Albert Gleizes (1881-1953) Portrait of a woman, c 1910-11 Oil on canvas, 100.2 x 73.5 cm RIGHT; Amedeo Modigliani (1884-1920) Portrait of Mrs van Muyden, 1915 Pencil on paper, 43 x 25.6 cm

Paul Signac (1863-1935) Leaving the harbour, La Rochelle, 1912 Oil on canvas, 71.4 x 100.2 cm

LEFT: Aristide Maillol (1861-1944) Bather with arms raised, 1930 Bronze, 82 x 34 x27 cm RIGHT: AndrĂŠ Derain (1880-1954) Girl with red hair, 1926-8 Oil on canvas, 41 x 33 cm

Fernand LĂŠger (1881-1955) Composition with two birds, 1947 Oil on canvas, 60 x 92 cm

LEFT: Max Pechstein (1881-1955) And lead us not into temptation, No 8 from the series Das Vater Unser (The Our Father), 1921 Woodcut, 39.8 x 29.8 cm RIGHT: Georg Grosz (1893-1959) Dancing, 1925 Pencil and black ink on paper, 56 x 48.8 cm

TOP: Antonie Palamedesz (1601-1673) A musical party, 1649 Oil on oak panel, 41.4 x 53.1 cm BOTTOM: Pieter Claesz (1597-1660) Still life with a crab, 1651 Oil on oak panel, 34.5 x 47.1 cm

LEFT: Nicolaes Eliasz Pickenoy (1588-1650/56) Portrait of Laurens Joosten Baack, 1629 Oil on oak panel, 121.2 x 89.9 cm RIGHT: Nicolaes Eliasz Pickenoy (1588-1650/56) Portrait of Diewer Jacobsdr van Harencarspel, 1629 Oil on oak panel, 122 x 89.5 cm

TOP: Robert Gwelo Goodman (1871-1939) The New Goch Gold Mine, 1917 Oil on canvas, 51 x 60.4 cm BOTTOM: Frans Oerder (1867-1944)

A view of the Rand in the early days, 1899 Oil on canvas, 49 x 96 cm

TOP: Pieter Wenning (1873-1921) A winter’s day, 1915 Oil on plywood, 55 x 72 cm BOTTOM: Jacob Hendrik Pierneef (1886-1957) Moçambique, 1926 Oil on canvas, 43 x 58 cm

LEFT: Maggie Laubser (1886-1973) Portrait of Kalie, 1925 Oil on cardboard, 48.6 x 36.7 cm RIGHT: Moses Kottler (1892 â&#x20AC;&#x201C; 1977) Meidjie, 1926 Cypress wood, 155.5 x 34.5 x 31.4 cm

TOP: Willem Hermanus Coetzer (1900-1983)

The dusty shelf, 1930 Oil on canvas, 49.5 x 61 cm BOTTOM: Hugo Naude (1869-1941) Table Mountain, undated Oil on canvas on board, 41.2 x 61.5 cm

Ruth Everard Haden (1904-1992) The rocky gorge, early 1930s Oil on canvas, 116 x 89.5 cm

Maud Sumner (1902-1957) Portrait of the artist, 1936 Oil on canvas, 79.8 x 64 cm

LEFT: Irma Stern (1894-1966) Portrait of a young girl (Barbara), 1944 Oil on canvas, 61.5 x 50.8 cm RIGHT: Freida Lock (1902-1962) Interior, a woman sewing, 1947 Oil on canvas, 60.9 x 51 cm

TOP: Gregoire Boonzaier (1909-2005) The yellow book, 1948 Oil on canvas, 61 x 51 cm BOTTOM: Walter Battiss (1906-1982) The eternal palace, 1948 Oil on canvas, 76 x 91.5 cm

LEFT: Alexis Preller (1911-1975) Fishermen of Bel Ombre, 1949 Oil on canvas, 60 x 75 cm RIGHT: Gerard Sekoto (1913-1993) Yellow houses: a street in Sophiatown, 1940 Oil on canvas, 50.8 x 74.5 cm

FILLING THE SP ACES/CONTESTING THE CANONS Nessa Leibhammer

In 1983, on his appointment as Director of the Johannes-

material in natural history, ethnographic or anthropological

Increasingly, from the beginning of the twentieth century,

burg Art Gallery (JAG), Christopher Till stated that it was a

museums. By rendering it separate from European culture,

particular types of African objects began to be accepted

grave omission that JAG, one of the leading art museums

which was synonymous with the idea of ‘civilisation’, African

as ‘art’ by some European and North American collectors.

in South Africa, had no southern African traditional art col-

art was relegated to the realms of the uncivilised. Reflect-

Even the South African National Gallery in Cape Town (today

lection and was therefore unrepresentative of the majority

ing on this as an unacceptable state of affairs, Jonathan

Iziko South African National Gallery, ISANG) established

of people in the region. Till did not mean that no museum

Lowen, the collector responsible for assembling the Brent-

a small collection of West African sculpture in the 1970s.

in the country housed southern African traditional art, but

hurst Collection, commented that, in the past,

Such items were generally restricted to masks and anthro-

rather that such items tended to be collected by natural

pomorphic forms from West and Central Africa that in-

history museums like the South African Museum, where they

a suggestion to a museum that they mount an ex-

spired early European modernists such as Pablo Picasso,

were categorised and studied as ethnographic. They were

hibition of South African traditional art would not

Georges Braque and Max Ernst. Yet even today these are

not considered art.

even [have] been considered. … If I had arrived with

described as ‘African’ and are kept distinct from European

a Ming vase they would have welcomed me in and

art in museums, frequently co-habiting with material from

put it down next to their greatest museum artefacts,

other ‘exotic’ locations like Oceania.1 Southern African

but when you offer them Zulu pots they direct you

material in international collections did not, on the whole,

to the service entrance (interview with Barry Ronge,

benefit from being reassessed as art in that, rather than

Sunday Times, 8 December 1991).

large-scale ceremonial items, it consisted mainly of small-

FROM ARTEFACT TO ART Traditional southern African material had been collected and housed in national institutions from around the early

scale utility objects such as milk pails, spoons, vessels,

nineteenth century. However, when general purpose mu-

Museums, just like encyclopaedias, communicate and en-

seums began to split their collections into differentiated

trench powerful messages about the world, its structures,

institutions, new locations were guided by the prejudices

categories and relationships. In this way institutions sanc-

In South Africa, the move towards a more democratic

of the time. Art museums – also known as galleries – were

tioned unequal distinctions between the cultural produc-

society in the later twentieth century saw traditional south-

reserved for art from Europe or made in a western mode,

tions of the west and Africa. Through association, pre-

ern African collections redefined with some movement from

like painting and sculpture or, in the case of craft, items

colonial Africa was set up as the primitive, static, savage

ethnographic collections into art galleries. Scholarship

like Venetian lace or Cape Dutch cupboards. Artworks of

and exotic counterpart to western civilisation. The latter

such as that of James Clifford (1988), Ivan Karp and Steven

oriental origin, such as Japanese woodcuts and Chinese

was positioned as enlightened, modern and progressive.

Lavine (Karp and Lavine 1991), and publications and exhibi-

headrests and staffs.

ceramics, were also often included. In contrast, for most

tions such as Susan Vogel’s Art/Artifact (1988) showed

of the twentieth century, South Africa placed its African

how, to a large degree, display and presentation determined

whether objects presented were thought of as art or eth-

Its chairperson, Alderman J F Oberholzer, did not consider

context of aesthetic qualities which make the Southern

nography. The first South African institution to integrate

these items to be art but rather ‘Kaffir’ craft that, in his

African Tribal art so distinctive … I believe in this

African cultural objects into its collections was the Uni-

view, had no place in an art gallery (information from

collection as a mirror of the past. As an essential voice

versity of the Witwatersrand Art Galleries (today Wits Art

Karel Nel, 6 April 2008).

to South Africa’s black people from their Ancestors, expressing confidence and dignity. As a reminder

Museum) with its Standard Bank Foundation Collection of African Art, a response to the introduction of an African

By contrast, the governing authorities of other South African

to South Africa’s white people that there was, and

Art component into the university’s History of Art syllabus

institutions had a growing appreciation of such items,

is, something to respect and look to in the tribal past.

in the 1970s. This opened the way for art galleries in South

coupled with concern over their increasing rarity and the

Almost everything in the collection was taken from

Africa to be more inclusive. In particular the Tributaries

need to preserve them in their country of origin. Even so,

South Africa decades ago. Some over a century ago ...

exhibition of 1985, curated by Ricky Burnett, broke with

Patricia Davison of ISANG highlighted how material of

This collection is not an assembly of ethnographica. It

previously established canons by placing Ndebele beaded

this quality was valued more highly abroad than in its coun-

is an art collection and each piece was carefully con-

aprons and painted dance wands, Lovedu carved posts

try of origin (letter to Rochelle Keene, 21 September 1992).

sidered aesthetically to form a comprehensive artistic

Peter Wengraf, Director of the Arcade Gallery in London,

statement assembled over 12 years of passionate

who was asked to value the Lowen Collection prior to its

searching (letter to Christopher Till, 10 December

purchase, commented that:

1984).

and guardian figures alongside works of contemporary artists such as Penny Siopis, Kevin Atkinson and Noria Mabasa (Burnett 1985). Such an inclusive approach to the creativity of a geographic region had already been seen in the National Art Gallery of Zimbabwe, where headrests and contemporary art were given equal status (interview with Christopher Till, 26 May 2008). The move towards a more inclusive, revised history of art in southern Africa continued with The neglected tradition curated by Steven Sack in 1988 (Sack 1988) and the collecting of southern African traditional art by major public art galleries such as JAG in 1987 and ISANG in 1989.

Acquisitions -- repatriating wooden treasures

It would be quite impossible now, to create a collec-

Lowen was clear about his collecting rationale. He explains

tion of Southern African Tribal Art which is as com-

why carved objects predominate in the Brenthurst Col-

plete and of such an overall high aesthetic standard

lection:

(letter to Jonathan Lowen, 20 September 1984). Most of the collection is devoted to the art of the When Johannesburg’s Management Committee did not

Carver who worked in wood and bone and rhino

authorise the expenditure of £250 000 for the 856 objects,

horn. The reason is that beadwork and basketry

Till approached the Oppenheimer family. Harry Oppen-

and the potters art has not ceased entirely and the

heimer agreed to purchase the collection and it was re-

decorative traditions may still be found. As an art

patriated in 1986. Since 1987, it has been housed at the

collector, I have been more interested in sculptural

Johannesburg Art Gallery on permanent loan as the Brent-

quality and, of course, rarity (letter to Christopher

hurst Collection.

Till, 10 December 1984).

It is evident from the outset that the objects were col-

With this collection, a firm foundation of material from

In 1984 Christopher Till presented a report to JAG’s Art

lected according to aesthetic considerations, indicating

southern Africa was established at JAG. Other collections

Gallery Committee (AGC) on the possible purchase of

a respect for the culture and sophistication of the artists

were subsequently acquired that expanded and enriched

the important Lowen Collection of traditional southern

who produced them. Lowen wrote:

JAG’s holdings. In 1987 JAG purchased a portion (114

African art. Jonathan Lowen, a South African who had

items) of the Jaques Collection of headrests, the same year

emigrated to London, assembled this collection between

Having an arts rather than anthropological back-

the headrests were declared a national treasure by the

1971 and 1983 (JAG 1991: 20). Although the AGC ap-

ground, I have focused my art collection upon two

National Monuments Council. From 1951 to 1987, the

proved the acquisition, it was subsequently blocked by

principle aims. First and foremost to select items re-

Jaques Collection of over 200 headrests had been on

the authorising body for JAG’s expenditures, the Man-

flecting the creative genius of the people who made

loan to the Africana Museum (today Museum Africa). Rever-

agement Committee of the Johannesburg City Council.

the pieces. Secondly, to represent the range and

end A A Jaques had acquired them while working for the

Swiss Romande Mission in the Transvaal (today Limpopo)

bidders for the collection were major museums in New

come to be accepted as high art. In contrast, the Brodie

and in Mozambique in the mid-1920s. The headrests from

York and Paris (Business Day, 14 January 1992).

Collection consisted of a significant number of beadwork pieces that were representative of many communities living

the collection were purchased with funds from the Anglo American Johannesburg Centenary Trust (AAJCT), an en-

What is noteworthy about both the Brenthurst and Horst-

in the southern African region, including Fingo, Gcaleka,

dowment to JAG in 1986 from this large mining house to

mann collections is that they were assembled largely outside

Pondo, Zulu, Ndebele, Sotho, Tlokwe, Tsonga, San and

mark the centenary of the discovery of gold on the Witwa-

of South Africa, with many objects originally removed by

Herero.4 The acquisition of this collection gave the JAG hold-

tersrand and the founding of Johannesburg (JAG 1997).

travellers, colonial officials, military personnel, missionaries

ings a more representative spread, not only in terms of

and explorers in the nineteenth and early twentieth centu-

geographical location, but also with regard to creative

Another group of important works was purchased in 1992.

ries. Equally, while objects left the country as souvenirs,

production by both men and women.

German-born collector Udo Horstmann had been assem-

trophies, specimens and curiosities, they were repatri-

bling objects from South African, British, North American

ated as art, an indication of changing attitudes in late

Furthermore, moving away from the more classical object,

and European sources from 1978 onwards (interview

twentieth-century South Africa not just to the artefacts,

Brodie included items that showed innovative moderni-

with Udo Horstmann, 18 March 2008). In 1992 he was

but also to the cultures and societies of black people.

sations, such as brightly painted dance wands, Barbie

persuaded to sell a small but important group of southern

dolls dressed in Ndebele outfits, beadwork with mirrors

African objects. Twenty-six works were purchased with

and charms attached, and a contemporary carving, Iwisa Locally sourced acquisitions

woman, by Johannes Maswanganyi.

lector Jurgen Witt. The collection includes beadwork, snuff

Turning its focus to locally sourced works, JAG acquired

Objects from the Brenthurst, Jaques, Horstmann, Long and

boxes, staffs, a rare Lovedu roof finial and three Tsonga

two more important collections. The first, purchased in 1993,

Brodie collections constitute the major part of JAG’s tradi-

figures.

was assembled by Stephen Long and added 79 beaded

tional southern African art holdings, possibly the finest in the

items from the Eastern Cape. In 1994, over 500 predomi-

world. Important works continue to be purchased, includ-

Besides the roof finial mentioned above, the collection con-

nantly beaded pieces were bought from Mordechai Brodie,

ing a further 59 items from Horstmann (mainly ivory snuff

tained other exceptional objects. John Mack, at that time

who had opened his gallery, African Magic, in Johannes-

spoons and combs), as well as nineteenth-century bead-

keeper of the African collections at the British Museum,

burg in the early 1960s. Brodie, travelling extensively in

work and carved pieces from gallerist Michael Stevenson

noted that the Pedi birthing pair included in this purchase

South Africa, had put together a collection that was arguably

and significant Tsonga-Shangaan items from art dealer

was very rare (letter to Rochelle Keene, 16 September 1992).

the last of its type and size that could be sourced in the field.

Natalie Knight. JAG continues to collect on a selective

Johan van Schalkwyk of the anthropology and archaeology

Social structures that supported traditional lifestyles had

basis and the current curatorial direction for the collec-

department of the National Cultural History Museum in

been eroding, and collectors and dealers had been scouring

tion is not to collect multiples of one type, but rather to

Pretoria also remarked on the rarity and quality of this pair.

the countryside for treasures at an increasing rate, com-

focus on obtaining exceptional single pieces. Carved works

mensurate with growing interest and prices.

with anthropomorphic or zoomorphic form, in particular,

AAJCT fund money and Horstmann donated a further 66 objects, including six items from the Tzaneen-based col-

are sought.

The pair of human figures, with the one depicting a woman giving birth, seems to be an exceptional pair and would by itself be a big asset for the museum

Genres and gender

(letter to Rochelle Keene, 16 September 1992). The first three collections – Brenthurst, Jaques and Horst-

EXHIBITING SOUTH AFRICAN HERITAGE

The importance of the repatriation of these works from

mann – focused on what could be termed a more classical

Europe to South Africa was widely acknowledged in

concern, with many of the older objects possessing richly

The exhibition Art and ambiguity, displayed at JAG from

academic and museums circles. Art critic Anthea Bristow

patinated wood surfaces. These are objects carved by men,

December 1991 to March 1992, was the first major exhibi-

described the acquisition as a real coup as the other

a genre that fitted more easily into canons of what had

tion internationally of the traditional art of the southern

African sub-continent. Besides the majority of the Brent-

the individual hands of artists in the work among

as child figures, medicine containers, ceramics, carved figures

hurst Collection being shown, the exhibition also included

known examples in other collections … The exhibition

and beadwork, with explanations of their significance

30 Jaques Collection headrests and loans from other collec-

and the collection are focused around sets of objects

and use, especially their functional and spiritual purpose.

tions, including the Standard Bank Foundation Collection

which include sticks, figures, pipes, ceremonial weap-

Views from within brought together traditional and con-

of African Art at Wits Art Museum, Johannesburg, the Junod

ons, beadwork and headrests. The majority of the

temporary works by black artists showing innovation, adap-

Collection at the University of South Africa, Pretoria, and

pieces are made of wood and represent a carving

tations to new materials and markets, and how some

items from the Natal Museum, Pietermaritzburg. The show

technique and tradition (JAG 1991: 3,4).

works made in the past have influenced or remain meaningful to artists today.

was curated by Karel Nel of the University of the Witwatersrand and Till, assisted by Alan Alborough, the JAG exhibi-

About a year later, the exhibition of the Horstmann Col-

tions officer at the time. It was unprecedented in its compre-

lection opened. Rochelle Keene, who had succeeded Till

By mid-1997 Veliswa Gwintsa had taken up the position

hensive coverage and in the research by leading scholars

as Director of JAG, wrote in her preface to the exhibition

of curator of the traditional collection. During her term at

that was assembled in the accompanying publication

catalogue:

JAG she curated Amabal’engwe: traditional garments of

the southern African region and Boipelo ka setso (Pride

(JAG 1991), which gave shape and meaning to the genre.

Reviewer Barry Ronge wrote:

The present exhibition, while still recognising the

in our African heritage), both shown in 2002. The former

aesthetic quality of the collection, highlights different

displayed garments of ten cultures of the southern African

The catalogue is the first, indeed the only compre-

aspects of the works. The exhibits are accompanied

region, placed over metal frames simulating bodies. Photo-

hensive examination of a tradition of South African

by explanatory wall panels and labels which draw

graphs by Peter Magubane provided contextual information.

art that was pillaged, removed, negated and marginal-

attention to different ways in which the objects may

The second display showed a wide cross-section of the

ised … Now, like the people of South Africa, it is being

be approached. For example, a northern Nguni (Zulu)

collection and was accompanied by a catalogue of the

gathered back from its exile … offering a sense of

staff (cat 13) is displayed with different types of

same name (Maart 2002).6

identity and tradition that has been missing for

northern Nguni (Zulu) objects (including a headrest,

decades (Sunday Times, 8 December 1991).

milkpail and small vessel), all of which illustrate

In 1998 Leibhammer and Nel curated what could be consid-

the amasumpa or ‘warts’ motif … (JAG 1992: 2).

ered, after Art and ambiguity, the next defining exhibition

By assembling the objects in the exhibition and the essays

of traditional southern African art. Child figures, more

in the publication, the curators presented a distinctive

A curatorial post for the traditional southern African art

commonly known as fertility figures or ‘dolls’, are scattered

southern African aesthetic, underpinned by the contexts,

collection had been created in August 1991. The first in-

in collections throughout the world. Leibhammer and Nel

spiritual beliefs and ways of life that gave meaning to the

cumbent, Diane Levy, curated the Horstmann exhibition

brought together a representative example of these small,

forms, material and creative processes. Few had previously

together with Nel and compiled the catalogue.

anthropomorphic objects, including 13 important pieces from JAG, in Evocations of the child. The exhibition travelled to

believed that such an aesthetic existed. In August 1996 two separate but linked exhibitions opened,

major art galleries in South Africa during 1998-9. Like the

The installation of headrests, staffs, clubs and other items

Secular and spiritual: objects of mediation and Views from

objects, information regarding these figures was fragmen-

emphasised the elegance and infinite morphing of these

within, curated by Nessa Leibhammer, the next incumbent

tary and scattered. The accompanying catalogue, with

significant shapes. Till, in his preface to the catalogue,

of the traditional southern African art post. Accompany-

essays by leading scholars, created a benchmark in re-

wrote:

ing these exhibitions was a resource book, Making links

search into the area (Dell 1998).7

(Leibhammer 1996), that explained not only the exhibiThe assembling of examples of these [objects] and

tions, but also the way traditional African art is curated and

A further major exhibition was curated in 2007, Dungamanzi/

their presentation together allows comparisons to

displayed in western institutions. Secular and spiritual

stirring waters: Tsonga and Shangaan art from southern

be made and has begun the process of identifying

grouped together different genres of traditional art, such

Africa (Leibhammer 2007). Carved pieces from the Brenthurst

and Horstmann collections, as well as many beaded pieces,

begun to fill in the empty spaces of knowledge so that a

figures’ and ‘Fertile flowers of femininity: South Sotho

were displayed with loans from Knight, Nel, the Wits Art

more complete picture of creativity on the southern African

fertility figures’ respectively. Unpicking the rigidly de-

Museum and private collector Peter Rich.

sub-continent has begun to emerge.

fined ethnic categories was undertaken in two essays by Nel and Leibhammer – ‘The puzzle of the pendant

With Leibhammer as lead curator and Knight and Billy Makhubele as guest curators, the exhibition celebrated

ENDNOTES

around identity and its constructions were explored not

1 These include the Metropolitan Museum of Art in New

only in the catalogue, but also in the exhibition’s two video

York, the De Young Museum in San Francisco and the

Vonani Bila, in which each reflected on their own identities.

have been part of other in-house exhibitions such as Images

than the differences in these figures across southern Africa, was revealed (Dell 1998).

Quai Branly Museum in Paris. 2 African art was introduced into the Fine Art curriculum briefly in the early 1970s by Rayda Becker, and main-

Apart from these major shows, objects from the collections

beadwork was explored, and ‘Evocations of the child’, where the shared nature of concept and material, rather

Tsonga and Shangaan art and culture. Complex issues

interviews, one with Makhubele and the other with poet

figures’, where the interface between Sotho and Ndebele

NESSA LEIBHAMMER

streamed in 1977 by Anitra Nettleton (Nettleton 2010: 81-2).

Nessa Leibhammer is an Honorary Research Fellow at the

of wood, 1989 (Rankin 1989), A decade of collecting: the

3 Ironically at the time it was thought that this purchase was

University of the Witwatersrand, the University of Johannes-

Anglo American Johannesburg Centenary Trust 1986-1996,

very highly priced. However, soon afterwards, a similar

burg and the University of Cape Town. She is the curator of

1997 (JAG 1997), Present continuous, May 2005 and a

birthing figure pair was sold by an international auction

the Traditional Southern African Collections at the Johannes-

small educational exhibition that opened in November

house for a far larger amount, showing how rapidly the

burg Art Gallery and has been responsible for numerous

2005. International loans from the collection include art-

pieces were growing in value.

groundbreaking exhibitions, including Dungamanzi/stirring

works lent to Africa: the art of a continent at the Royal

4 The terminology and conceptual frameworks that mus-

Academy, London in 1995 and a small exhibition curated

eums and art galleries apply to their traditional southern

by Nel and Gwintsa, Glimpses from the South that accom-

African holdings is acknowledged as being deeply prob-

panied a show of contemporary South African art at the

lematic, skewing the understandings of pre- and colonial

Museum of African Art in New York in 2001. The traditional

histories of the region (see Hamilton and Leibhammer

collections continue to be displayed and, since 2009,

2010).

have had a dedicated space in the west wing of the Edwin Lutyens building.

waters, which she curated and whose accompanying volume she edited (Wits University Press, 2007).

5 The catalogue included essays by art historians Anitra Nettleton and Sandra Klopper, curators Rayda Becker, Diane Levy and Ann Wanless, and archaeologist Johan

While the forming of the southern African traditional collections at JAG is relatively recent, having only been included as part of the overall collection since 1987, JAG’s contribution to local and international scholarship in the field has been

van Schalkwyk. A map by David Hammond-Tooke was also featured (JAG 1991). 6 Essays by Gwintsa, Ronald Dorris and Nettleton are included (Maart 2002).

significant. The depth and range of the traditional collections

7 The book comprised 21 essays with an introduction by

have made it possible to establish an understanding of

Elizabeth Dell. Scholars such as historian Carolyn

what constitutes southern African traditional art under-

Hamilton explored the nature of women’s material

pinned by a sound historical and theoretical context.

culture in southern Africa, while Marilee Wood and

Where previously a hiatus of information existed, the

Gary van Wyk wrote on South Sotho figures in ‘The

exhibitions, publications and collections at JAG have

sorghum child: Nguana modula: South Sotho child

LEFT: Artist unrecorded Xifanisa xo vatliwa (female figure), Tsonga Late 19th/early 20th century Wood, pokerwork, textile, thread, 55.5 x 18.6 x 10.3 cm Brenthurst Collection (long-term loan) CENTRE: Artist unrecorded Xifanisa xo vatliwa (male figure), Tsonga Late 19th/early 20th century Wood, pokerwork, textile, thread, 44.7x 15 x 10.6 cm Brenthurst Collection (long-term loan) RIGHT: Artist unrecorded Umndwana (child figure), Ndebele, mid-20th century Grass, leather, textile, wood, thread, wool, glass (seedbeads), 22.6 x 11.3 x 11.3 cm Brenthurst Collection (long-term loan)

LEFT: Artist unrecorded Nguana modula (child figure), Sotho, late 19th/early 20th century Wood, string, thread, glass (seed-beads), metal (button), 36.4 x 14.2 x 14.2 cm Brenthurst Collection (long-term loan) CENTRE: Artist unrecorded Nâ&#x20AC;&#x2122;wana (child figure), Tsonga, early to mid-20th century Textile, wood, thread, string, plastic (seed-beads), brass (button), 19 x 5.8 x 5.8 cm Brenthurst Collection (long-term loan) RIGHT: Artist unrecorded

Okana kositi (child figure), Ovambo, late 19th/early 20th century Wood, sinew, string, glass (seed-beads), 19.6 x 5.7 x 5.7 cm Brenthurst Collection (long-term loan)

FULL VIEW AND DETAIL: Artist unrecorded Nduku/nhonga (staff), northern Nguni Late 19th/early 20th century Wood, 99.5 x 3.1 x 3 cm Brenthurst Collection (long-term loan)

FULL VIEW AND DETAIL: Artist unrecorded Nduku/nhonga (staff), Tsonga Late 19th/early 20th century Wood, pokerwork, shell, 103 x 6.2 x 6.9 cm Brenthurst Collection (long-term loan)

FULL VIEW AND DETAIL: Artist unrecorded Nduku/nhonga (staff), Tsonga Late 19th/early 20th century Wood, 107 x 3.8 x 8.8 cm Brenthurst Collection (long-term loan)

FULL VIEW AND DETAIL: Artist unrecorded Nduku/nhonga (staff),Tsonga Late 19th/early 20th century Wood, metal, 84 x 6.8 x 8.8 cm Brenthurst Collection (long-term loan)

TOP: Artist unrecorded Isigqiki (headrest), northern Nguni (Zulu) Late 19th/early 20th century Wood, pokerwork, 14.8 x 48.7 x 13.7 cm Brenthurst Collection (long-term loan) BOTTOM: Artist unrecorded Mutsago (headrest), Shona Late 19th/early 20th century Wood, 13.2 x 17.8 x 6.5 cm Brenthurst Collection (long-term loan)

TOP: Artist unrecorded Isigqiki (headrest), northern Nguni (Zulu) Late 19th/early 20th century Wood, pokerwork, 14.9 x 53.2 x 10.3 cm Brenthurst Collection (long-term loan) BOTTOM: Artist unrecorded Isigqiki (headrest), Swazi Late 19th/early 20th century Wood, 15.8 x 42.8 x 12 cm Brenthurst Collection (long-term loan)

TOP FAR LEFT: Artist unrecorded Mutsago (headrest), Tsonga/Shona, late 19th/early 20th century Wood, pokerwork,animal hair, 17 x 17.2 x 8.7 cm Brenthurst Collection (long-term loan) TOP LEFT: Artist unrecorded Xikhigelo (headrest), Tsonga, late 19th/early 20th century Wood, 16.3 x 17.2 x 6.4 cm Brenthurst Collection (long-term loan) BOTTOM LEFT: Artist unrecorded Xikhigelo (headrest with staff), Tsonga, late 19th/early 20th century Wood, animal hair, glass (seed-beads), 12.3 x 61 x 6.4 cm Brenthurst Collection (long-term loan) TOP RIGHT: Artist unrecorded Ingawa (pipe), southern Nguni, late 19th/early 20th century Wood, metal Bowl: 4.9 x 3.2 x 7.7 cm; length: 11.3 cm Brenthurst Collection (long-term loan) BOTTOM RIGHT: Artist unrecorded Ingawa (pipe), Sotho, late 19th/early 20th century Wood, sinew, glass (seed-beads), lead, metal Bowl: 8.5 x 3 x 4 cm; length: 15.7 cm Brenthurst Collection (long-term loan)

TOP: Artist unrecorded Set of snuff-boxes, northern Nguni, late 19th/early 20th century Gourd, brass (wire), copper (wire); largest: 11.3 x 9 x 9 cm Brenthurst Collection (long-term loan) BOTTOM: Artist unrecorded Tandu (snuff-container), southern Nguni, 1924 (inscription on belly) Blood, clay, animal intestines, 11 x 13.8 x 7.8 cm Brenthurst Collection (long-term loan)

TOP: Artist unrecorded Idlelo/Isiqobhelo (snuff-container), possibly northern Nguni Late 19th/early 20th century Horn, 23 x 2.5 x 2.5 cm Brenthurst Collection (long-term loan) CENTRE: Artist unrecorded Dikoma (snuff-container), southern Sotho/southern Nguni Late 19th/early 20th century Horn, wood, 27.8 x 2.8 x 2.8 cm Brenthurst Collection (long-term loan) BOTTOM: Artist unrecorded Xufikwana (snuff-container), Tsonga Late 19th/early 20th century Wood, 33.3 x 4 x 3.9 cm Brenthurst Collection (long-term loan)

TOP: Artists unrecorded Izintshengula (snuff spoons), northern Nguni Late 19th/early 20th century Bone, pigment, largest: 17.4 x 4.1 x 0.6 cm JAG and Brenthurst Collection (long-term loan) LEFT: Artist unrecorded Vessel, northern Nguni Late 19th/early 20th century Wood, pokerwork, 39.8 x 22 x 22 cm Brenthurst Collection (long-term loan)

RIGHT: Artist unrecorded Club, southern Africa Late 19th/early 20th century Wood, brass (wire), iron (wire), leather 57.7 x 11.2 x 11.2 cm Brenthurst Collection (long-term loan)

CENTRE RIGHT: Artist unrecorded Club, southern Africa Late 19th/early 20th century Wood, 71 x 9 x 9 cm Brenthurst Collection (long-term loan) FAR RIGHT: Artist unrecorded Club, Swazi/northern Nguni Late 19th/early 20th century Wood, 74 x 6.3 x 8.3 cm Brenthurst Collection (long-term loan)

LEFT: Artist unrecorded Club, southern Africa, late 19th/early 20th century Wood, brass (studs, wire), 56.4 x 8 x 8 cm Brenthurst Collection (long-term loan) RIGHT: Artist unrecorded Knife and sheath, Shona, late 19th/early 20th century Wood, wire, metal, 48.2 x 5.5 x 3.7 cm Brenthurst Collection (long-term loan) OPPOSITE PAGE LEFT: Artist unrecorded Axe, Central/East Africa, late19th/early 20th century Wood, iron, glass (seed-beads), 50.2 x 31.3 x 5.2 cm Brenthurst Collection (long-term loan) OPPOSITE PAGE RIGHT: Artist unrecorded Axe and headrest, Tsonga, late 19th/early 20th century Wood, iron, 59.4 x 15.1 x 3.1 cm Brenthurst Collection (long-term loan)

100

101

TOP LEFT: Artist unrecorded Xikhigelo (headrest), Tsonga, late 19th/early 20th century Wood, 15.5 x 18.5 x 6.5 cm Jaques Collection TOP RIGHT: Artist unrecorded Xikhigelo (headrest), Tsonga, late 19th/early 20th century Wood, 15 x 20 x 9 cm Jaques Collection RIGHT: Artist unrecorded Bead panel, Batlokwe, mid-20th century Leather, beads, brass, 83 x 65.4 cm

102

Elina Thugwana (date of birth unknown) Jogolo (apron), Ndebele, early 20th century Beads, leather, brass rings, h: 54 cm; outside diameter: 73.1 cm

103

Artist unrecorded Ibhayi (married womanâ&#x20AC;&#x2122;s ceremonial blanket), Xhosa, Mfengu, mid- to late 20th century Textile, glass beads, mother-of-pearl buttons, 125.5 x 141 cm Horstmann Collection

104

TOP LEFT: Artist unrecorded Knives with sheaths, Tswana, late 19th/early 20th century Wood, bone, leather, metal, hide, 22.3 x 2.2 x 1.3 cm Horstmann Collection TOP RIGHT: Artist unrecorded Spoon, northern Nguni/Tsonga, late 19th/early 20th century Wood, 63 x 5.9 x 7 cm Horstmann Collection BOTTOM: Artist unrecorded Seat, northern Nguni, late 19th/early 20th century Wood, 24.5 x 53.5 x 25.5 cm Horstmann Collection

105

TOP: Artist unrecorded Couple with woman giving birth, Pedi Late 19th/early 20th century Wood, bone, metal, beads, pokerwork Largest: 38 x 17 x 12.5 cm Horstmann Collection

BOTTOM LEFT: Artist unrecorded Roof finial, Lovedu Early to mid-20th century Wood, 47.5 x 23 x 23 cm Horstmann Collection BOTTOM RIGHT Artist unrecorded Ukhezo (spoons), Zulu Early to mid-20th century, wood Largest: 35.5 x 5.2 x 1.2 cm

106

TOP: Artist unrecorded Xikhigelo (headrest), Tsonga, late 19th/early 20th century Wood, 13 x 13 x 5.5 cm Horstmann Collection BOTTOM: Artist unrecorded Izithunga (milk pails), northern Nguni, late 19th/early 20th century Wood, string, hide; largest: height: 40.8 cm; outside diameter: 17.1 cm

107

Letisa Mashawu (date of birth unknown) Nceka (beaded wrap), Tsonga-Shangaan, mid-20th century Textile, glass beads, thread, snuff-tin, 131 x 144 cm

108

TOP: Artist unrecorded Intolibhantshi (beaded waistcoat), Zulu Mid- to late 20th century Textile, glass beads, thread, plastic buttons, metal buckle, 66 x 50 cm BOTTOM LEFT: Artist unrecorded Xigejo (short dance skirt), Tsonga-Shangaan Mid-20th century Glass beads, metal bells, plastic beads, string, thread, wool, 18 x 102 x 4 cm BOTTOM RIGHT: Artist unrecorded Imitsha (belts), Zulu/Shembe Mid- to late 20th century Glass beads, string, thread; top: 86 x 8.2 cm; middle: 84.5 x 7.8 cm; bottom: 102.5 x 12.5 cm

109

TOP LEFT: Artist unrecorded Irari (beaded blanket), Ndebele, mid-20th century Blanket, glass beads, 115 x 142 cm TOP RIGHT: Artist unrecorded

Majumburo (female apron), Mbukushu, early 20th century Glass beads, leather, thong, 63 x 81 cm BOTTOM: Venus Makhubele (date of birth unknown) Nceka (decorative wrap): The Lord is my shepherd Late 20th century Beaded cloth, 114 x 143 cm RIGHT: Artist unrecorded Isinkoti (coat), northern Nguni, mid-20th century Fabric, beads, 138 x 90 cm

110

111

112

OPPOSITE PAGE LEFT: Artist unrecorded Xinorabaji (divinerâ&#x20AC;&#x2122;s waistcoat with beaded train) Tsonga-Shangaan, mid-late 20th century Textile, beads, thread, 77 x 50.5 cm OPPOSITE PAGE TOP RIGHT: Artist unrecorded Selection of Omakipa, Ovambo, late 19th/early 20th century Bone, ivory, pigment; largest: 11 x 6 x 5 cm OPPOSITE PAGE BOTTOM: Artist unrecorded Xithabana (base) and xintewana (lid) (marriage basket) Tsonga-Shangaan, mid-20th century Woven grass, beads, thread, 17 x 26.5 x 25 cm LEFT: Artist unrecorded (left), Mandelane Sifundza (right)

Bantfwana (child figures), Swazi, late 19th century Beads, horsehair; largest: 82 x 11 x 6 cm

113

LEFT: Artist unrecorded Ingxowa yebolowe (menâ&#x20AC;&#x2122;s tobacco bags), Xhosa Early to mid-20th century Glass beads, leather, small brass rings, string, textile Largest: height: 74.4 cm; diameter: 69 cm TOP RIGHT: Artist unrecorded Gona (medicine containers), Hlengwe, 20th century Gourds, glass beads, thread, wood, metal, textile Largest: 40 x 25.5 x 25.5 cm BOTTOM RIGHT: Artist unrecorded Beer drinking vessels, Sotho, late 19th/early 20th century Ceramic, pigment; largest: 21.2 x 15 cm

114

115

Mamaila Ngobeni (date of birth unknown) Vanyankwavi (sangomaâ&#x20AC;&#x2122;s child figures), Tsonga-Shangaan, c 1970 Textile, beads, thread, wire; largest: height: 74.4 cm; diameter: 69 cm

116

LEFT: Artist unrecorded Nhekwe (snuff-box), Shona/Ndau, late 19th/early 20th century Wood, reed, pigment, 17.3 x 5.2 x 5.2 cm

RIGHT: Vina Ndwandwe (date of birth unknown) Lidded basket, Zulu, late 19th century Grass, pigment, 76 x 68.7 x 68.7 cm

117

118

CONTENDING LEGACIES: SOUTH AFRICAN MODERN AND CONTEMPORARY ART COLLECTIONS Khwezi Gule

Introduction At the time the collection of the Johannesburg Art Gallery (JAG) was established, my grandparents would have been in their teens. A new nation had been born out of bloody conflict but my grandparents had no say in the future of that country. Now a century later another recently-birthed nation, also born out of bloody conflict, is struggling to come to terms with the legacy of the preceding century. Part of the struggle has to do with ensuring that the descendants of people like my grandparents have as much stake in the future of the new nation as everyone else, if not in fact then at least in principle. Though the new dispensation does

of the artists that produced them within the greater field

to discern how current acquisitions attempt to speak to

of modern and contemporary art globally, and the general

a greater world outside the borders of South Africa.

conditions under which those artists worked and produced their art. The essay adopts a twenty-first-century view. In

It is my hope that these threads will constitute a clear

accordance with this view, the contribution of artists who

enough snapshot of the particular moment that JAG in-

were considered important and featured in the collection

habits within the larger cultural context.

in the early days must be weighed alongside the contribution of artists who were previously neglected for more that half a century of the collectionâ&#x20AC;&#x2122;s existence.1 A recent

Definitions

example of this phenomenon was the groundbreaking exhibition curated by Riason Naidoo, Director of the Iziko South

The JAG holdings are classified according to certain col-

African National Gallery, 2010: From Pierneef to Gugulec-

lections, the meaning of which are coming under increas-

tive, which brought the work of different collections and

ingly severe strain as time passes. The classification is essen-

aesthetic traditions into dialogue with one another.

tially two-fold: the traditional art historical divisions into

connote the end of bloodshed, it does not mean the end

schools and time periods, and the practical divisions into

of contestation of space, of values, of traditions. The diversity

A further thread has to do with a simple survey of the diver-

media, in accordance with museum best practices of stor-

and complexity of the JAG collection bears testimony to

sity of two collections, the South African modern and the

age, conservation and display.

these contested legacies.

South African contemporary. I will explore the ways in which the two collections are aesthetically, historically and formally

The contemporary collection is probably the most diverse in

This essay is intended to pursue a number of discussion

entangled with one another and other collections within

terms of materials, as it incorporates not only traditional

threads that I hope will, in some way, enrich the readerâ&#x20AC;&#x2122;s

the museum.

media such as painting, watercolour and sculpture, but also

understanding of both the complexity and importance of

multimedia work. However, this very trait presents a number

the collections of modern and contemporary South African

The evolving character of museums and the contexts in

of conceptual and practical problems in addressing what

art held by JAG. These discussion threads concern what are

which they operate in the early twenty-first century are also

ought to be included and excluded from this collection.

considered important works in the collection, the importance

worth mentioning, since they provide a prism through which

119

The traditional categories within the museum that define

humidity and should be stored and displayed in traditional

artists, such as Kay Hassan (1956-), have developed their

the different collections, though still quite valid in many

‘print cabinet’ conditions. But there is often little allowance

practice in other directions (Powell 2008), the continued

ways, have been seriously tested recently. Attempts to define

in such curatorial methods, or in the organisation of archival

popularity of printmaking is due in no small measure to

what constitutes contemporary art often encounter a number

records, for new media, installations and performances.

institutions such as Rorke’s Drift and, more recently, Artist Proof Studio in Johannesburg, which has been training print-

of challenges. Many artists reference multiple visual, historical and cultural vocabularies that make it difficult to categorise according to genre or ideology. As artistic practices become increasingly multivalent globally, the geographic origins of the artist are becoming less relevant. In addition to this, contemporary art deals with contemporary means of production such as new media, contemporary means of circulation such as the internet, and the global art market that is fuelled by an ever-increasing range of biennials, art fairs and conferences. One could also say that contemporary art is primarily concerned with issues that affect contemporary society or address a whole range of philosophical concerns that contemporaneity implies. Part of the problem, of course, is that the term contemporary arises out of a crisis in modernity and of the modern mus-

Art and education Although objections could arise with regard to categorising South African artists according to the kind of tutelage they have received, it is important to trace the trajectories of what now constitutes South African contemporary art. Firstly, it is worth acknowledging that a significant number of artists practising today received their art training before 1994. As a result, patterns of production amongst many artists tend to follow certain distortions created by apartheid. Among these was the kind of art training that black and white artists received. This generally meant university or art school for white artists and different types of community institutions for black artists.

eum as well. The crisis, according to Stuart Hall (2001), is a

makers since the early 1990s. Similarly, institutions such as the Federated Union of Black Artists (FUBA) and Funda Centre in Johannesburg focused primarily on traditional media such as painting, sculpture and printmaking and worked less with photography, video and installations. It is also worth mentioning that John Peffer (2009) identifies ‘grey areas’, where black and white artists met socially and professionally. These were spaces where ideas were exchanged and new forms of artistic practice emerged, thus constituting unique sites of learning outside the confines of apartheid legislation. In Johannesburg, such sites included private homes, commercial art galleries and institutions such as Polly Street Art Centre (1949-65) (Miles 2004). Questions about the mutuality of these exchanges remain

result of the drive within modernity itself to redefine and

Secondly, there was unequal access to travel and residencies

reshape not only its own modes of production but also its

internationally, and black artists rarely had access to availa-

modes of representation.2

ble literature on international trends and discourses.

With regard to some of the work in the JAG collection, an-

This does not mean that work by black artists was necessar-

other challenge is how to categorise artists who are prima-

ily inferior to that of white artists, but it has affected a

rily working in a modernist approach but whose production

number of things. For instance, the proportion of artists who

stretches to the present. Among these are artists such as

are included in international exhibitions and biennials, the

David Koloane (1938-) (p 152), Kagiso Pat Mautloa (1952-)

proportion of reviews and catalogue writings, as well as

(p 154) and Helen Sebidi (1943-) (p 151).

representation in major collections.

A further issue, as outlined above, is one common to most

Another less obvious consequence is the form of art-making

art museums. This concerns the practical care of contempo-

that was favoured by particular institutions. For instance,

It is widely believed that art education for black people

rary artworks which cross a range of media. For instance, a

Rorke’s Drift in Natal (today KwaZulu-Natal), operating

subsists mainly in the transmission from generation to

number of contemporary artists such as Berni Searle (1964-)

from the 1960s to 1982, produced a number of well-known

generation of traditional art-making methods. This can

(p 181) and Tracey Rose (1974-) (p 181) work through pho-

South African artists who work primarily in printmaking

be true and there may well be similarities between artists

tographs, which are sensitive to light, temperature and

(Hobbs and Rankin 2003). Even though some of these

in particular regions. But to presume that they are merely

120

and have been raised a number of times, in particular by curator, artist and art historian Thembinkosi Goniwe, who has argued that it is always the black subject that is ’becoming’, while the white participants never have to shift either physically (it is often the black artist that has to travel to town to be part of the supposed ‘grey area’) or ideologically (see, for example, Goniwe 2003).

Art and education: of mimicry and assimilation

practising an inherited craft learnt at a grandparent’s knee

Similar individual interpretations, deviating from notions

is manifested in all spheres of life. A number of scholars

is both patronising and wrong.

of the traditional, apply to a number of black women artists

have argued that modernity has always tried to make a

whose primary mode of expression uses ceramics. Rebecca

clean break with tradition. That, however, seems like a limit-

If you ask any art student what is common to Jackson

Mathibe (1936-) and Nesta Nala (1940-) defy notions that

ed reading. It is true that modernity is a critique of certain

Hlungwani (1923-2010) (pp 127-8), Noria Mabasa (1938-)

what they produce are traditional objects. When, in 2004,

aspects of tradition but, judging from artistic expression,

(p 127), Paul Thavana (1930-), Phutuma Seoka (1922-97),

I had the opportunity to ask Nesta Nala how she learned

modern artists, at least after French Impressionism, were

Samson Mudzunga (1938-) (p 12), Johannes Maswanganyi

to make these vessels, she pointed out that she taught

obsessed with traditional or ‘primitive’ societies. Pablo

(1949-) (p 128) or Nelson Mukhuba (1925-97), you will

herself and that she did not learn the skill from her parents.

Picasso’s (1881-1973) famed ‘theft’ of African imagery is

likely hear the answer that they all live in Limpopo and they

She has, however, acknowledged elsewhere that the tradi-

by no means an exception. Artists described as cubist, ex-

are all woodcarvers. You might even find that they are neatly

tion was passed down to her through her grandmother and

pressionist, dadaist, surrealist, or in terms of other art move-

packaged into this, that and the other ethnic group, such

then her mother. But she certainly adapted these traditions

ments, were preoccupied with not only visual languages

as Venda sculptors. However, such generalisations often

to her own style, and was the first to declare them art objects

that exist outside of western Europe, but also various phi-

camouflage the more intricate differences in the practices

by signing them. Her designs may appear deceptively similar

losophies and forms of material culture. The traffic of ideas,

of these artists.

to traditional markings, but they are often completely origi-

of course, was by no means one-sided.

nal. Even when commissioned by an archaeologist to recreMany black artists do not rely on knowledge passed on from

ate specific historical elements in her pots, based on ancient

In South Africa the advent of modernity, which I would argue

one generation to the next, nor do they necessarily produce

pottery shards, she incorporated those elements into her

is not necessarily synonymous with colonial occupation, pro-

work for use in a traditional setting. They are conscious

own aesthetic signature.

duced varying responses among black artists. For the pur-

participants in a wider art market and they make items

pose of this essay I will delineate two responses. The first, to

primarily for this market. There may have been times, for

It is true of course that these artists draw from the rich visual

a large extent among traditional art-makers, was a tendency

instance in the case of Hlungwani and his New Jerusalem

vocabulary and deep repository of knowledge and narrative

to incorporate elements from different cultures into tra-

site, when some of these artists created objects for spiritual

of their traditional heritage. However, this does not exclude

ditional objects, with an eye on the commercial market. The

purposes or their own communities. But today they mainly

the ordinary everyday contact and exchange that they

second response occurred in those who practised art in

trade in and promote ideas of traditional woodcarving

have and continue to experience with people, both rural

a western mode. Among the earliest of these artists were

in response to expectations from an art-buying market.

and urban, of various cultures and religious beliefs, and

Simon Mnguni (c 1865-1956) and Gerard Bhengu (1910-

who present different commodities and patterns of con-

90) (p 131). What is striking about them is that much of

The pleasures of humour and irony in responding to this

sumption. It is patronising to imagine that these artists

their work is very much like the recordings of early white

market are also not lost to them. Take, for example, Hlung-

live in a zone outside of time where their traditional modes

ethnographers. In the case of Bhengu this was largely due to

wani’s Christ playing football (1983) (p 128) or Maswan-

of art-making are simply left intact without the influence of

the patronage, among others, of Killie Campbell and Max

ganyi’s pink President P W Botha (1988) (p 128), as well as

modernity and contemporary existence.

Kohler.

Mudzunga’s drum-making (p 12), which he has transformed into a performance genre. His drums are no longer traditional objects for use in traditional settings like those of the early twentieth century and earlier. In a number of

The South African modern collection

performances Mudzunga reenacts the cycle of death and

Though their imagery and kowtowing to patronage could perhaps be viewed as problematic by contemporary standards, they were among the first black artists in South Africa to produce artworks using western modes of representation.

rebirth by having himself buried in a drum and then

Scholars of modernity hold varying ideas about what distin-

JAG holds a significant number of Mnguni and Bhengu

exhumed, emerging out of the drum transformed; often

guishes twentieth-century modernity from previous his-

watercolours. It should also be pointed out that these ethno-

wearing a suit.

torical epochs. What is clear, however, is that modernity

graphic studies do not constitute the whole range of their

121

artistic repertoires. A number of their works were land-

(1848-1903). The elongated faces and exaggerated facial

The colonial encounter was much more ambivalent and

scapes and commissions from black patrons, especially

features, the use of bright colours and impasto, attest to her

they were prepared to meet modernity on their own terms.

for book illustrations.

allegiance to the expressionist idiom. Her painting Congo

Various writers, among them Emile Maurice (2006), have

Musicians, 1942 (p 132) is a good example of these aes-

A contemporary of Sekoto, George Pemba (1912-2001),

thetic sensibilities.

was arguably the most talented portrait artist of his gen-

criticised Bhengu and others for feeding the European

eration. Pemba tackled a wide range of subjects – both

appetite for African exoticism. While it may be true, due

In many ways South African artists have often tended to

modern and traditional; well-known figures and common

to the manner in which some of the subjects are depicted

look to Europe as the fountainhead of aesthetic and intel-

folk. Among these is an exquisite self-portrait done in his

and the fact that Bhengu was dependent largely on white

lectual excellence. This is understandable if one considers

advanced years that is owned by JAG. Also among the

patronage, such a disparaging view overlooks the technical

that colonial influence, especially in the economic and cul-

most innovative of South African artists of this era was

accomplishment of the artist and also the fact that some of

tural spheres, came from Britain and Europe.

Ernest Mancoba (1904-2002). JAG has one of his rare pieces of figurative sculpture, Bantu Madonna (1929)

Bhengu’s illustrations were commissioned for books written by leading black scholars of the time, such as the brothers

This is also why the advent of artists such as John Koena-

(p 135), and the work stands as an example of the vernacu-

R R Dhlomo and H I E Dlhomo.

keefe Mohl (Mohlankana) (1903-85) (p 133) and Gerard

larisation of European art and themes. In painting, Mancoba

Sekoto (1913-93) (pp 81, 134) created a major shift in the

moved away from representational art towards abstrac-

So far I have only mentioned how modernity affected black

way that black South African artists practised art. These

tion, particularly after his move to Paris in 1938 and then

artists. Producers of much of the earliest forms of western

artists shifted the focus and looked at subject matter in their

Denmark in 1947 (p 135). His work L’Ancêtre is a striking

art that were practised in South Africa were referred to as

urban environments. Their depictions of township life tended

example of this. In Denmark, Mancoba became part of the

ethnographic, topographic or Africana artists. Artists such as

to show ordinary, everyday occurrences and activities. There

influential group Cobra (Copenhagen, Brussels and Amster-

Thomas Bowler (1812-69) and Thomas Baines (1820-75)

was no attempt to exoticise what they saw. With time,

dam) which focused on giving greater prominence to art

recorded indigenous people, landscape, flora and fauna,

however, these artists turned to different subject matter

from sites that were, at the time, peripheral to the major

and events such as wars. Their works are often represented

altogether. Mohl, for instance, produced a large and impres-

art centres in France, Germany and England.

in historical rather than art collections, as is the case in

sive body of landscapes. Sekoto on the other hand left South

Johannesburg, where Museum Africa represents these

Africa for France, and depicted elements of that environ-

Other notable black artists of this era include Selby Mvusi

artists and not JAG.

ment, alongside work that spoke of a longing for home.

(1929-67) (p 136) and Gladys Mgudlandlu (1917-79) (p 38),

The preoccupation with the exotic in South Africa con-

In so doing these artists fashioned a vernacular form of mod-

woman modern artist. Her work is remarkable in its econ-

tinued well into the twentieth century with artists such as

ernism. What these artists also managed to do was confront

omy and expressive qualities. Two important examples

Irma Stern (1894-1966) (pp 78, 132), although her works

a myriad of racist assumptions about black people. Among

of Mgudlandlu’s work are Three men in blue (1970) and

may be said to be more sympathetic studies of indige-

these was the idea that black people are incapable of pro-

Xhosa fairytale (1970). In both, the central groups are set

nous people. In the case of Stern in particular, the modern

ducing original art that is equal in innovation and technique

against idealised landscapes and are rendered in confi-

art movements that were sweeping across Europe clearly

to the best that European artists could produce. Their art

dent brushstrokes and bold colours, demonstrating the

informed her trajectory as an artist, both formally and

curtailed the perception that black artists who paint in the

artist’s attentiveness to colour combinations and acute

conceptually. Stern went to Germany to study under the

modern idiom are merely mimicking art by white people

awareness of form – testimony to an artistic vision that

renowned German expressionist Max Pechstein (1881-

that they see around them.

is as eloquent as it is simple.

and also that of Oscar Kokoschka (1886-1980) and a

The work of these artists also put into question the notion

One of the most historically celebrated white artists in

number of post-impressionists, such as Paul Gauguin

that African subjects were merely victims of colonialism.

South Africa is Jacobus Hendrik Pierneef (1886-1957)

who also bears the distinction of being a pioneering black

1955) (p 69). Her paintings echo his expressionist style,

122

(pp 73, 137). Pierneef’s work consists mainly of land-

Skotnes, along with Walter Battiss (1906-92) (pp 79, 145)

Out of this anti-apartheid ferment there emerged artists

scapes of various sites in South Africa. He is best known for

and Alexis Preller (1911-75) (p 80, 145), drew quite heavily

such as Fikile Magadlela (1952-2003) (p 150) and Thami

his neo-cubist work in which landscapes, clouds and trees

from local indigenous forms of art-making. In the case of

Mnyele (1948-85) (p 151). These artists were preoccupied

are rendered in a semi-abstract geometric style. The ma-

Skotnes and Battiss, San rock paintings were particularly

with using art as a tool for liberation. This also prompted

jority of his work depicts an idealised, uninhabited land

influential. Yet questions remain whether, in reality, this

some artists to shun the gallery world and choose to show

that in many ways betrays the kind of economic exploitation

appropriation actually promoted the recognition of in-

their work in the black townships, which were situated

that was taking place in political reality. Pierneef and the

digenous art-making as being equal to art anywhere else

outside of the more affluent white urban areas. After the

sculptor Anton van Wouw (1862-1945) (p 55) represent

in the world.

1976 uprising many of these artists became targets of the

the cultural manifestation of Afrikaner nationalism. Much

apartheid security apparatus and many of them chose to

like other nationalist projects in other countries, idealism

Battiss was also influenced by dadaism and staged a

go into exile. However, in terms of tutelage, the younger

seems to have been the chosen means of expression. Pier-

number of ‘happenings’. He in turn influenced a group

artist depended on mentorship by older artists such as

neef’s pristine landscapes and Van Wouw’s ‘types’ – heroic

of younger artists, among them Norman Catherine (1949-)

Legae (p 38). What was special about Magadlela and

Afrikaner or tribal native – tended to reinforce the idea of a land that was available for exploitation by the heroic and stoical Afrikaner whose plans of dispossession, they believed, were appropriate for the ‘uncivilised’ black population. Interestingly this idealism also applies to the work of black artists such as Sekoto who, in contrast to Afrikaner nationalism, expresses an emerging African nationalism. This tendency towards idealism began to wane with the appearance of artists such as Stanley Pinker (1924-) (p 138), Fred Page (1908-84) and Dumile Feni (1942-91) (pp 140-1), who offered a world view that was harsh and unforgiving. The next generation of modern artists emerged in the 1950s. The Polly Street Art Centre (named after its location in Johannesburg) was significant in the development of

(p 158) and Malcolm Payne (1946-). In the late 1960s, Swedish missionaries in KwaZulu-Natal established the Evangelical Lutheran Centre for Arts and Crafts which came to be known as Rorke’s Drift. A number of ceramic-, textile- and printmakers went through this centre: Allina Ndebele (1939-), Azariah Mbatha (1941-) (p 146), John Muafangejo (1943-87), Vuminkosi Zulu (1948-96) (p 40), Eric Mbatha (1948-), Cyprian Shilakoe (1946-72) (p 40, 147), Tony Nkotsi (1955-), Bongi DhlomoMautloa (1956-) (p 146), Sam Nhlengethwa (1955-) (p 148-9) and Kay Hassan (1956 -), to mention but a few. Many of the artists who graduated from Rorke’s Drift dealt with religious themes. Some manipulated biblical scenes in

Mnyele in particular was that their work spoke not only of pain and loss, but also of the dignity and resilience of black subjects. Mnyele was critical of artists who showed images of suffering. He would later join the Medu Art Ensemble in exile in Botswana seeking even more radical ways of making his art speak to resistance against apartheid. With other artists in Medu’s graphic arts unit Mnyele produced anti-apartheid posters that were smuggled and distributed inside South Africa (Seidman 2007, Kellner and González 2009). Another extremely influential art school was the Johannesburg Art Foundation, established in 1982 by Bill Ainslie (1934-89), and formerly known as the Bill Ainslie Art Studios

order to articulate their opposition to apartheid. Some

(1971-81). Artists such as Sebidi (p 151) and Koloane

several important artists of this generation. They include

artists, though not overtly political in their outlook, repre-

(p 152) benefited from the tutelage they received there.

Sydney Kumalo (1935-88) (p 142), Lucas Sithole (1931-

sented figures in biblical scenes as black people. Other

1994), Ezrom Legae (1939-99) (p 38), Ephraim Nga-

artists, such as Muafangejo, depicted aspects of traditional

Koloane is well represented at JAG which owns drawings,

tane (1938-71), Feni, Winston Saoli (1950-95) (p 142),

life, his personal experiences and historical scenes rendered

paintings and prints by the artist. Much of his work depicts

Durant Sihlali (1935-2004) (p 142), Louis Maqhubela

in his iconic bold style of relief printing.

the plight of marginal citizens who are allegorised in the

(1939-) (p 143) and Ben Arnold (1942-) (p 142) (Miles

form of stray dogs. The most recent acquisition by JAG of a

2004). JAG owns a significant body of work by these artists,

It is important to note also that in the early 1970s a number

Koloane, a pastel work, Brazier and dog (2008), is a moving

who are also represented in important collections inter-

of black artists were heavily influenced by the ideas of

depiction of the grey smog that often hangs over the town-

nationally. One of the first important teachers at Polly

Steven Bantu Biko and Black Consciousness. This philosophy

ships and city, especially in winter. Through the smog shad-

Street was Cecil Skotnes (1925-2009) (p 144) who was

provided a new and radical way in which artists could

owy silhouettes of women carrying braziers on their heads

also an emerging artist at the time.

confront the horror that was apartheid.

and scavenging dogs can be discerned. Similar echoes

123

can be found in works by photographer Jo Ractliffe (1961-),

early to mid-1990s, as South Africa underwent its transition

fresh new tools with which to critique much of the art and

such as Nadir 14 and 15 (1988) (p 153) and End of Time

to democracy, with many exiled artists returning to South

writing that had marginalised women and non-Europeans

(1999).

Africa and the lifting of the cultural boycott, many more

from participating fully in the academy and institutions

South African artists were able to travel internationally.

of art.

Koloane is a prime example of an artist whose work strad-

South Africaâ&#x20AC;&#x2122;s isolation was broken by groundbreaking

dles the divide between modern and contemporary art.

exhibitions such as Colours (House of World Cultures, Berlin,

Further, the impact of new digital technologies cannot be

A lot of his earlier works, which tended to focus on formal

1996) and Liberated voices: contemporary art from South

overestimated. Not only have they provided new ways

qualities in keeping with modernist aesthetics, were pro-

Africa (Museum of African Art, New York, 1999). This access

of making art, but also new connections and communities

duced in the Thupelo Art Workshop Project, of which he

to the international scene and markets had a major in-

can be forged across borders and economic and social di-

was a co-founder in 1985. However, Koloane also addresses

fluence on the type of art that was being produced.

vides. This also applies to the proliferation of media networks and popular culture and the undermining of traditional

contemporary issues, and the ever-increasing urban expansion of Johannesburg continues to be central to his work.

Forms of art such as video, installations, sound art, digital

affinities and customs/sensibilities.

art, and performances became commonplace. This trend was

The South African contemporary collection

given further impetus by the two editions of the Johannes-

New interactive technologies, even if somewhat crude in

burg Biennale (1995 and 1997). While the first focused

certain respects, are making artists, curators and museums

largely on local artists, the second biennale included a

sit up and take notice. However, they also pose new chal-

larger contingent of international artists.

lenges for collecting and showing such works of art. Indeed many of them even challenge the very notion of what an

From the 1970s, the proliferation of art schools, such as Funda Art Centre and FUBA in Johannesburg, and com-

At about the same time as democracy came to South Africa,

art object is. A case in point is the work by Nathaniel Stern

munity arts projects such as CAP (Community Arts Project)

unparalleled economic, political and cultural winds were

(1977-) Step inside (2004). It relies on interactive software

in Cape Town, made it possible for large numbers of black

sweeping across the globe. The Berlin wall fell and the two

that enables the â&#x20AC;&#x2DC;viewerâ&#x20AC;&#x2122; to step inside a purpose built

students to receive formal tuition in art and for some to

Germanys were reunited. The Soviet block collapsed, bring-

environment where sound and image combine to create

gain entry into universities. Due to their independence from

ing down with it several countries that had depended on

a real time projection of the viewer on the screen. In es-

government these schools enabled artists to take on more

its patronage. Several western European countries ex-

sence, the viewer is the artwork. Hence, it becomes very

political subject matter and even overt political action,

perienced unprecedented growth in their migrant popu-

hard to pin down what exactly the art object is. Is it the

such as the printing of anti-apartheid posters and T-shirts.

lations and for some countries, especially France and the

bits of data that are stored on a CD as software, or is it the

These efforts culminated in the much-celebrated Culture

United Kingdom, second generation migrants began de-

entire installation including microphones and projectors?

and resistance symposium and festival of the arts held in

manding equal status as citizens of their adopted countries.

Or is it the experience (much more ephemeral) that

Gaborone in 1982 under the auspices of the Medu Art

Museums and galleries that had previously ignored contem-

viewers have when they step into the box?

Ensemble. The symposium was accompanied by an exhibi-

porary African art came under increasing pressure to be

tion, Art toward social development, co-curated by David

more inclusive. New buzz-words, such as multi-culturalism,

Other challenges posed by this new kind of artwork revolve

Koloane, Emile Maurice and others from South Africa and

began to feature increasingly.

around what is to be done when the available technology can no longer support the medium on which the software

Botswana. Meanwhile the traditional view of art history came under

is stored. How does one maintain the integrity of the art-

By the late 1980s and 1990s post-modernity became a new

the sway of interdisciplinarity. Scholars from various cultural

work in an environment where technology changes all

trend in South African art circles, especially among those art-

studies departments, including gender studies and post-

the time?

ists who had had access to mainstream art education. In the

colonial studies, provided art historians and theorists with

124

One of the effects of the cultural shifts of the 1990s was

labour exploitation in South African mines. The sculpture

Recently, photographs have come to be considered as forms

that mobility became easier for artists of former colonised

of the sooty black miner loses none of its eerie qualities,

of expression rather than a means of documenting events.

countries who began to live and work in artistic centres

no matter how many times one looks at it.

The photographer Zanele Muholi (1972-) also uses her work as a form of activism. She focuses on the lives of black

in Europe and North America. In an increasingly globalising world, the issue of separate nationalities became less impor-

Of course, apartheid operated on many levels of society

lesbians, their relationships, and the constant hate crimes

tant, especially when it became ever more obvious to many

including town planning, architecture, language, legislation

that many have to deal with in the townships.

art practitioners that old categories could no longer apply.

and the judiciary, as well as in many clandestine operations.

But there were also problems. New nationalisms arose,

Works by Colin Richards (1958-), Willem Boshoff (1951-)

Nontsikelelo ‘Lolo’ Veleko (1977-) has tended to focus on

manifested in growing xenophobia and neo-Nazism in

(p 167), and Jeremy Wafer (1953-) (p 169) seek to decon-

street fashion in order to narrate a different kind of con-

many European cities, just as migrations increased to the

struct false hierarchies and to question the basis of know-

sciousness that has emerged among young people in

rich western world from countries beset with poverty and

ledge and notions of enlightenment. In some cases, such as

South Africa’s urban areas, a consciousness that defies

repressive regimes. Contact between South Africa and the

in the works of Marc Edwards (1958-) and Alan Alborough

branded clothing and rigid notions of gender identity.

rest of Africa also increased by way of biennials and cultural

(1964-), the intention is also to show the banality of evil.

Thulani (2005) and Thato (2005) form part of the series,

exchanges. JAG has subsequently taken to acquiring works

Alborough’s Neck loss (1993) is one such example.

Beauty is in the eye of the beholder, by Veleko. In some

of contemporary art from other parts of the African con-

ways these echo earlier photographs by Santu Mofokeng

tinent, one such work being Oluwarotimi (Rotimi) Fani-

(1956-). Apart from scenes of traditional rituals (p 173),

Kayode’s (1955-89) Every moment counts (p 157).

Photography

Mofokeng also works with photographs of black families taken around 1900, challenging and displacing the images

These developments meant that the subject matter for

South Africa has a very rich history of photography. JAG

of primitive Africans such as those by Alfred Duggan-

many young artists changed drastically from the kind of

started acquiring photographs from the late 1970s onwards

Cronin (1874-1954).

‘struggle’ or ‘resistance’ images of the 1970s and 1980s

as part of its original print collection, and by the early 1990s

(see Williamson 1989 for these images). A number of art-

had a wide representation of documentary photographs

ists from the 1980s and early 1990s turned to humour and

by the likes of Constance Stuart Larrabee (1914-2000),

irony in order to analyse apartheid. Not only did they depict

Billy Monk (1937-82), Neville Dubow (1933-2008), Alf

the excesses of the apartheid regime, but they also mocked

Kumalo (1930-) and David Goldblatt (1930-) (pp 170-1).

the austerity and morality of Afrikaner/white culture. Wayne

Generally, photographers seldom had their works collected

The documentary mode of representation was transformed

Barker (1963-) (p 160), Brett Murray (1961-), the Bitterkomix

by art museums and exhibited in art galleries until the late

in the 1990s by a number of artists, including William

duo of Anton Kannermeyer (1967-) and Conrad Botes

twentieth century. The mainstream art community viewed

Kentridge (1955-) (pp 4, 175). He works with a variety of

(1969-), Andries Botha (1952-), David James Brown (1951-)

documentary photography with an element of scepticism,

media including etching, drawing, animation, film, sculpture

(p 165), Robert Hodgins (1920-2010) (p 161), Barend

and the apartheid government often viewed it as a danger

and sound to express his primary preoccupations: the evils

de Wet (1956 -) and Penny Siopis (1953-) (p 163) are

to the state. The documentary photographer Ernest Cole

and absurdities of power, the retrieval of memory against

some of the artists whose work followed this tendency.

(1940-90) (p 172), for example, went into exile when his

amnesia, the poignancy of powerlessness, and the loneliness

works were banned, and never returned to South Africa.

of the once-powerful. His work deals, in a very personal way,

Other artists, notably Jane Alexander (1959-) (p 196) and

His photographs only came to be known in his country of

with labour exploitation on the mines and the excessive

Paul Stopforth (1945-), created images that caused shock

birth after democracy.

wealth that this produced. His early animated films focus

Public memory and selfinsertion

and derived value from such emotive responses. Alexander’s

mainly on the character Soho Eckstein, a mining magnate,

Integration programme (1992) stands as a testament to

whose wealth brings loneliness and unhappiness. Animated

125

films such as Ubu tells the truth (1996-7) and the installa-

these omissions may be understandable, while others might

2 For further discussions on the topic see Aranda et al

tion Black box/Chambre noire (2005) both reflect atrocities

be regarded as nothing short of atrocious. In either case,

(2010), Enwezor and Oguibe (1999), Groys (2008) and

committed by those in power. Black box references the

exclusions are all regrettable. Any work that enters the

Richards (2008).

German massacre of the Hereros in South-West Africa (to-

collection of JAG does so with the recommendations of

day Namibia) in 1905.

the director and curatorial staff, and the endorsement of the Art Gallery Committee and other council committees.

Khwezi Gule

The post-apartheid moment provided an opportunity for

Thus a number of people are implicated in these omissions.

revising the stories of people that had been omitted from

It remains to be seen a hundred years from now, or even

Khwezi Gule is the Chief Curator of the Soweto Flagship,

or distorted by official history and art history. Artists such

as early as ten years from now, if actors in the cultural

which includes the Hector Pieterson Memorial Museum

as Searle (p 181), Rose (p 181), Thando Mama (1977-)

field will reflect positively on the impact, however small,

and the Kliptown Open Air Museum. Prior to this he held

(p 179) and Clive van den Berg (1956-) use various strate-

that we have had on the collection. Whatever their assess-

the position of Curator: Contemporary Collections at the

gies including video, performance and photography in order

ment might be, unlike in generations past, we cannot claim

Johannesburg Art Gallery. Gule continues to be an active

innocence or ignorance. No effort can be spared to make

member of the artistic community through his participation

sure that the people of my generation have a stake in the

in various projects and public forums. He also contributes

future of the country and institutions such as JAG, some-

essays and articles to various publications.

to reinsert personal narratives into public discourse. The use of the artist’s own body, apart from being a strategy to avoid the problems posed by the subject/artist dichotomy, also offered a way in which artists could represent themselves in their own voices. While the works of Searle and

thing that my grandparents could only dream about.

Rose initially involved their identity as coloured women, for

That current choices might fail to recognise or give promi-

example Rose’s Venus Baartman (2001) and Searle’s Snow

nence to some major artists and their works should be con-

White (2001) (p 181), later works have tended to become

sidered as a constant reminder of the enormity of the

more formal and less emotive in content. Mama’s interest is in perceptions of black/African male masculinity. His work

We are afraid (2003) (p 179) is typical of this trend. Other young artists such as Nandipha Mntambo (1982-) and Nicholas Hlobo (1975-) (p 182) have questioned notions of tradition, masculinity and femininity.

task that lies ahead. Nevertheless, herein lies the value of a collection: it is not subject to the limitations of one project, nor the myopia of one curator nor museum official. It lies in the generations of art lovers, artists, researchers and scholars who will continue to look upon this collection for inspiration, for information and for a picture of what the art world was like a century ago.

Conclusion The task of narrating the extent and depth of the JAG

Endnotes

collection in a short essay is one that necessitates much exclusion. As I have stated earlier, part of the unfortunate

1 Ivor Powell (2008: 38-42) makes the point that, al-

legacy of the collection are the exclusions that were perpe-

though the first acquisition of an artwork by a black

trated in the past. In this light the acts of collecting and

artist took place in 1940, the next such acquisition

archiving are deeply political and are intricately bound

happened only in the early 1970s.

with the politics of the time and its rhetoric. Some of

126

TOP: Jackson Hlungwani (1923-2010) Altar of God, date unknown, installed at JAG 1993 Wood, dimensions variable BOTTOM Noria Mabasa, (1938-)

Carnage II, 1988 Fig wood, 79 x 197 x 218.5 cm

127

LEFT: Jackson Hlungwani (1923-2010) Christ playing football, 1983 Nkonono wood, 58 x 24 x 32 cm RIGHT: Johannes Maswanganyi (1948-) President P W Botha, 1988 Painted wood, 142 x 38 x 50 cm

128

BOTTOM: Johannes Segogela (1936-) Bout, 1989 Maroela wood, enamel paint, sepile wood, 31 x 19.5 x 21.6 cm RIGHT: Lucky Sibiya (1942-1999) Untitled, c mid-1960s Carved gourd, ink, 22.5 x 16.4 x 17 cm BOTTOM RIGHT: Lucky Sibiya (1942-1999)

Untitled, c mid-1960s Carved gourd, ink, 28.5 x 22.5 x 22.5 cm

129

LEFT: Bonnie Ntshalintshali (1967-2000) Joseph, 1991 Screenprint, 65 x 50 cm RIGHT: Bonnie Ntshalintshali (1967-2000) Elijah, 1991 Screenprint, 33.7 x 27.4 cm

130

LEFT: Gerard Bhengu (1910-1990) Portrait of a young girl (A Zulu girl), undated Watercolour on paper, 30.9 X 24.1 cm

RIGHT: Job Kekana, (1916-1995) Portrait of Sister Pauline, c 1989 Jacaranda wood and afrormosia, 38 x 28 x 19.5 cm

131

132

LEFT: Irma Stern (1894-1966) Congo musicians (previous title: Bahutu musicians), 1942 Oil on canvas, 145 x 135 cm RIGHT: John Koenakeefe Mohl (1903-1985) Magaliesberg mid-winter, c 1943 Oil on board, 62.5 x 86.8 cm

133

TOP: Gerard Sekoto (1913-1993) Street bonhomie â&#x20AC;&#x201C; District Six, c 1945 Oil on wooden panel, 50 x 71 cm BOTTOM: Ephraim Ngatane (1938-1971) Township scene, 1969 Watercolour and gouache on paper 56 x 75.6 cm

134

LEFT: Ernest Mancoba (1904-2002) Bantu Madonna, 1929 Yellowood, 86.3 x 21.8 x 17.3 cm RIGHT: Ernest Mancoba (1904-2002) Untitled (abstract), 1959 Oil on canvas, 41 x 51 cm

135

Selby Mvusi (1929-1962) Measure of the city, 1962 Oil on canvas, 79.5 x 106 cm

136

Jacob Hendrik Pierneef (1886-1957) Karibib, a view of the town, c 1929 Oil on canvas, 43.7 x 58.8 cm

137

Stanley Pinker (1924-) The cry of man (6 panels), 1957 Oil on canvas Panel 1: 72.6 x 91.5 cm Panel 2: 72,5 x 72.6 cm Panel 3: 72.4 x 152.8 cm Panel 4: 72.5 x 152.6 cm Panel 5: 72.5 x 36 cm Panel 6: 72.8 x 125 cm

138

TOP: Albert Adams (1930-2006) South Africa (triptych), 1959 Oil on board, 183 x 122 cm (each panel) LEFT: Peter Clarke (1929-) Listening to distant thunder, 1970 Oil on board, 61 x 76.4 cm

139

Dumile Feni (1942-1991) Untitled (Creation), undated Drawing triptych (left panel), 168 x 100 cm

Untitled (Crucifixion), undated Drawing triptych (centre panel), 178 x 101.5 cm Untitled (Expulsion), undated Drawing triptych (right panel), 158.5 x 101 cm

140

141

142

TOP LEFT: Sydney Kumalo (1935-1988) Mourning woman, undated Bronze, 35 x 14.9 x 13 cm

TOP: Winston Saoli (1950-1995)

LEFT: Ben Arnold (1942-) The Lion of Judah, 1979 Terracotta sculpture, 25 x 14 x 20.5 cm

RIGHT: Louis Maqhubela (1939-) Composition, 1972 Mixed media, 51.7 x 58.7 cm

Untitled B, c 1970 Coloured pencil on paper, 74 x 52.8 cm

143

LEFT: Cecil Skotnes (1926-2009) Woodpanel I, 1966 Stained, carved wood panel, 182 x 47.3 cm RIGHT: Edoardo Villa (1920-) Approach, 1975 Painted steel, 214.2 x 21.5 x 63 cm

144

TOP LEFT: Walter Battiss (1906-1982) Copy of a Bushman painting near Bonnyvale, 1940 Body colour, underdrawing, watercolour, 22.5 x 37 cm TOP RIGHT: Walter Battiss (1906-1982) Copy of a Bushman painting, 1943 Watercolour on paper, 25.6 x 37 cm LEFT: Alexis Preller (1911-1975) Hieratic women, 1955 Oil on canvas, 86.9 x 101.7 cm

145

TOP LEFT: Artist unknown (Bongi Dhlomo-Mautloa) (1956-) At the end of the day, 1992 Acrylic on canvas, 90.5 x 114.5 cm BOTTOM LEFT: Azaria Mbatha (1941-) David and Goliath, c 1960 Linocut, black ink, 31.4 x 46.5 cm RIGHT: Judus Mahlangu (1951-) Crucifix, 1976 Etching, 39.2 x 23.5 cm FAR RIGHT: Cyprian Shilakoe (1946-1972) Totem (two views), 1972 Rhodesian teak, 60 x 15 x 9 cm

146

147

LEFT: Sam Nhlengethwa (1955-) Stop it Verwoerd (diptych), 2003 Photolithograph, each 19.5 x 27.9 cm RIGHT: Sam Nhlengethwa (1995-) and Zwelethu Mthethwa (1960-) 7:30 News, 2000 Print, collage on digital photograph, 91 x 124 cm

148

149

RIGHT: Fikile Magadlela (1952-2003)

Robed figure in a desert landscape, 1975 Pencil and mixed media on paper 169.8 X 101 cm OPPOSITE PAGE TOP LEFT: Helen Sebidi (1943-)

Where to go? 1991 Etching, 65.6 x 50.2 cm OPPOSITE PAGE BOTTOM LEFT: Helen Sebidi (1943-)

Like a dream, 1991 Etching, 66.1 x 51 cm OPPOSITE PAGE RIGHT: Thami Mnyele (1948-1985)

Alexandra and the river underground, 1976 Mixed media on paper, 56.5 x 39.5 cm

150

151

152

TOP FAR LEFT: Nhlanhla Xaba (1960-2003) Heading home, 1993 Etching, 24.5 x 24 cm TOP LEFT: David Koloane (1938-) Mgodoyi series 1, 1993 Lithograph, 55.7 x 75.6 cm BOTTOM FAR LEFT: Andrew Tshabangu (1966-) Woman preparing fire,1997 Ed 1/5 silver gelatin print on fibre-based paper, 30 x 45 cm BOTTOM LEFT: Andrew Tshabangu (1966-,) Woman and fire at Turbine Hall, 1997 Ed 1/5 silver gelatin print on fibre-based paper, 30 x 45 cm TOP RIGHT: Jo Ractliffe (1961-) Nadir 14, 1988 Photolithograph, screenprint on paper 54.2 x 86.7 cm BOTTOM RIGHT: Jo Ractliffe (1961-) Nadir 15, 1988 Photolithograph, screenprint on paper 54 x 85 cm

153

LEFT: Samson Mnisi (1971-) and Clifford Charles (1964-) Untitled, undated Acrylic and mixed media on hessian, on canvas 205.4 x 198.6 cm

154

RIGHT: Kagiso Pat Mautloa (1952-) Tablet, 1993 Metal, wood, canvas, oil paint, nails, pop rivets, rust 143.3 x 110.9 x 2.2 cm

TOP: Kendell Geers (1967-) Empire, 2002 Video, dimensions variable

BOTTOM: Ruth Sacks (1977-) Donâ&#x20AC;&#x2122;t panic, 2005 Two-channel video projection, dimensions variable

155

Marlene Dumas (1953-) Young boy (Blue body), 1996 Watercolour and ink on paper, 123.4 x 69.5 cm

156

LEFT: Fazal Sheikh (1965-) Fatima Abdi Sahal, Somali refugee camp, Mandera, Kenya, 1992, 1992 Silver gelatin print mounted on aluminium, 55.4 x 44.5 cm RIGHT: Oluwarotimi (Rotimi) Fani-Kayode (1955-1989) Every moment counts, 1989 Lightjet print, 117 x 117 cm

157

LEFT: Bruce Arnott (1938-) Citizen, 1985-6 Bronze, 226 x 110 x 156 cm RIGHT: Norman Catherine (1949-) In sheepâ&#x20AC;&#x2122;s clothing (two views), 1998-1999 Oil on fibreglass, metal, 245 x 168 x 20 cm

158

TOP LEFT: Joachim Schönfeldt (1958-) Villiersdorp Co-op, 2004 Oil paint and varnish on hand-carved wooden panel, 70 x 72.6 cm TOP RIGHT: Peter Schütz (1942-2008) Umzumbe trophy, 1990 Embossed plate, screenprint, 85.2 x 59.4 cm LEFT: Claudette Schreuders (1973-) The neighbour, 2003 Jacaranda wood and enamel, 64.5 x 23 x 16.3 cm

159

160

LEFT: Wayne Barker (1963-) Untitled, c 1987 Paint on metal, 115.3 x 87 cm RIGHT: Robert Hodgins (1920-2010) Ubu â&#x20AC;&#x201C; The official portrait, 1981 Oil and tempera on pressed board, 35.2 x 24.9 cm

161

162

LEFT: Penny Siopis (1953-) Melancholia, 1986 Oil on canvas backed with polystyrene 197.5 x 175.5 cm RIGHT: Deborah Bell (1957-) After the flood, 1989 Oil on canvas 200 x 165 cm

163

TOP: Alfred Thoba (1951-) If South Africa have love. I want freedom, 1990 Oil on board, 97.7 x 131.2 cm BOTTOM: Sfiso Ka-Mkame (1963-) Glory glory (dyptich), undated Pastel, 63.5 x 89.5 cm

164

TOP: David James Brown (1951-) Animal No 2, 1980 Jara wood, steel, 79.5 x 43.5 x 118.5 cm BOTTOM: Kendell Geers (1967-) Suitcase, 1988 Photocopy, resin, sand, suitcase, 26.7 x 40.5 x 14.2 cm

165

166

LEFT: Alan Crump (1949-2009) The execution, 1990 Watercolour on paper, 58 x 76 cm RIGHT: Willem Boshoff (1951-) Prison hacks â&#x20AC;&#x201C; Nelson Mandela, 2003 Granite, 132 x 100 cm

167

LEFT: Gavin Younge (1947-) Future memories, 1979 Steel, black enamel paint, 206.5 x 276 x 230.5 cm RIGHT: Vincent Baloyi (1954-) The song and dance of peace, 1993 Steel, found objects, 108.5 x 79 x 46 cm

168

TOP LEFT: Jeremy Wafer (1953-) Oval (Blue), 1997 Colour etching and aquatint, 75 x 106 cm LEFT: Walter Oltmann (1960-) Third hand, 1992 Grass rope, copper wire, copper tubing, 148 x 101 x 65 cm

RIGHT (three works): Jeremy Wafer (1953-) Red oval 2 (2 of 4), 2003 Fibre reinforced resin, pigment, 50 x 26.5 x 15 cm Red oval 3 (3 of 4), 2003 Fibre reinforced resin, pigment, 51.5 x 29 x 18.7 cm Red oval 4 (4 of 4), 2003 Fibre reinforced resin, pigment, 56 x 30 x 19.5 cm

169

BOTTOM: Ranjith Kally (1925-) Business as usual. Chief Albert Luthuli looking out of his spazza shop window in Groutville, soon after being told that he had won the Nobel Peace Prize, 1958 Silver gelatin print, 39.8 x 29.3 cm

170

David Goldblatt (1930-) From The transported of KwaNdebele series TOP LEFT: Going to work: 2:40 am queuing for the PUTCO bus on the Boekenhouthoek-Marabastad route at a bus stop in the bush of KwaNdebele, 1983 Silver gelatin print on fibre-based paper, 25.8 x 37.9 cm TOP RIGHT: Going to work: 2:45 am the first bus of the day pulls in at Mathyshoop on the Boekenhouthoek route from KwaNdebele to Pretoria, 1983 Silver gelatin print on fibre-based paper, 30.4 x 25.8 cm BOTTOM LEFT: Going to work: Wolwekraal-Marabastad bus at about 4 am more than an hour and a half to go, 1983 Silver gelatin print on fibre-based paper, 25.8 x 38 cm BOTTOM RIGHT: Travellers from KwaNdebele buying their weekly season tickets at the PUTCO depot in Pretoria, 1983 Silver gelatin print on fibre-based paper, 25.8 x 37.9 cm

171

Ernest Cole (1940-1990) TOP LEFT: On a Saturday afternoon in the heart of Johannesburg five tsotis mug a white man. While others watch warily, and pretend to be passersby, fifth man surprises victim from rear end with forearm blow across throat, early 1960s Handprinted black and white photograph, 20 x 25.5 cm TOP RIGHT: As white man sags to street, second tsotsi helps empty his pockets. Attack was over in seconds. Gang got away with victim’s weekly pay envelope. Woman in background scurrying out of harm’s way, early 1960s Handprinted black and white photograph, 20 x 25.5 cm BOTTOM LEFT: A white pocket being picked. Whites are angered if touched by anyone black, but a black hand under the chin is enraging. This man does not know that his back pocket is being picked, c 1967 Handprinted black and white photograph, 30 x 20 cm BOTTOM RIGHT: Blacks have just picked this man’s pocket, having distracted him by touching him – is allowed to go on his way – till next time, c 1967 Handprinted black and white photograph, 30 x 19.7 cm

172

Santu Mofokeng, 1956-) From the Chasing Shadows series TOP: Sangoma invocation ritual, Easter Sunday Zion Apostolic Church,1996 Selenium-tinted photograph on Ilford Multigrade IV fibre-based paper 50.8 x 61 cm BOTTOM: Shrine at the portals of Motouleng, 1996 Selenium-tinted photograph on Ilford Multigrade IV fibre-based paper 50.8 x 61 cm

173

TOP LEFT: Pieter Hugo (1976-) Steven Mohapi. South Africa, 2003 Pigment ink on cotton rag paper, 100 x 79 cm TOP RIGHT: Mikhael Subotzky (1981-) Keith. Lavender Hill, 2005 Digital print on cotton rag paper, 70 x 47 cm LEFT: Guy Tillim (1962-) Goma residents salute Laurent Kabila after his armyâ&#x20AC;&#x2122;s takeover of the city from Mobutuâ&#x20AC;&#x2122;s troops (Leopold and Mobutu series), 2003 Archival pigment ink on cotton rag paper, 141 x 98.7 cm

174

William Kentridge (1955-) Procession series #6, 2000 Ed 5/7 bronze on wood base, 144 x 129.7 x 49.5 cm

175

Moshekwa Langa (1975-) Here to stay, 2000 Mixed media on paper, 137 x 98 cm

176

RIGHT: Churchill Madikida (1973-) Virus, 2005 DVD projection, dimensions variable BOTTOM: Sue Williamson (1941-) From the inside: Benjamin Borrageiro, 2000 Digital print on paper, 90 x 200 cm

177

Diane Victor (1964-) Smoke portraits (series of 6), 2005 Smoke deposits on paper, 58 x 41 cm (each panel)

178

LEFT: Minnette Vรกri (1968-) The calling, 2003 Video, dimensions variable RIGHT: Thando Mama (1977-) We are afraid, 2003 Video, dimensions variable

179

180

OPPOSITE PAGE LEFT: Robin Rhode (1976-) He got game, 2002 Video, dimensions variable OPPOSITE PAGE RIGHT: Reshma Chhiba (1983-) Untitled, 2003 Video installtion, dimensions variable LEFT: Berni Searle (1964-) Snow White, 2001 Video, dimensions variable RIGHT: Tracey Rose (1974-) The kiss, 2002 Lambda photographic print, 124 x 123.5 cm

181

LEFT: Nicholas Hlobo (1975-) Igqirha Iendlela, 2005 Leather jacket, rubber inner tube, blouse, ribbon, bust, 170 x 62 x 60 cm RIGHT Johannes Phokela (1966-) Chocolat, 2005 Oil on canvas, 198 x 168 cm

182

TOP: Bridget Baker (1971-) Blue collar girl (Cape Town) (triptych), 2004 Lambda and diasec photographic print, each panel: 54.5 x 80.5 cm BOTTOM: Mustafa Maluka (1976-) Nigga with an attitude, 2005 Oil on canvas, 183.1 x 133.1 cm

183

TOP LEFT: Kathryn Smith (1975-) There was nowhere to go; the small of her back was pressed up against the writing desk, 2003 Installation, LED sign and lambda prints, dimensions variable TOP RIGHT: Joni Brenner (1969-) Nigredo, 2001 Oil on canvas on glass, 21 x 26 cm RIGHT: Joni Brenner (1969-) Pyroclastic, 2001 Oil on canvas on glass, 21 x 26 cm

184

Billie Zangewa (1973-) Pillow talk, 2004 Cut silk and cotton, 100.5 x 110 cm

185

186

LIBRARY, MEMORY AND ARCHIVES Johannesburg Art Gallery Library Jo Burger

building with the 1986 Meyer Pienaar extensions. This

following librarians were Maureen Rall, Sonja Begg, Lynn

unfortunate situation of having no formal library or books

Neethling and Jo Burger. Soraya Badat filled the post when

did not however prevent JAG staff from selecting and ex-

it became vacant in 1994-5, until Jo Burger was appointed

panding their references. The first director, Anton Hendriks,

in 1996. The title of the post changed to Librarian/Archivist.

an authority on art publications, made a huge contribution, One of the resources that Florence Phillips envisioned and

acquiring important monographs, catalogues and cata-

Assistants were appointed, and for the last 14 years,

fought very hard to have realised during the earliest years

logues raisonnés for the reference section. Working along-

Matstidiso Qakisa has been a great help. Voluntary workers

of the Johannesburg Art Gallery (JAG) was a library. A

side him as an assistant was Nel Erasmus, who became the

have also long assisted in the library. Joy Cheesman, Sheila

century later her vision is a treasured reality. Today the

next director, and she was also known for her enthusiasm

Lawrence and all other volunteers will be long remembered.

JAG library exists as an invaluable, specialised collection

in various fields of research. The baton was passed on

that is used and acknowledged by researchers locally

through the years to directors and curatorial staff whose

Since 1985 the cataloguing and classification of the col-

and abroad. The success of the library can be attributed

expertise and special interests are reflected in the library’s

lection of books has been given a considerable boost work-

to the many dedicated role players that have invested in

varied and rich collection, a tradition that continues today.

ing together with the Central Cataloguing Department (CCD), diligently managed by Sonja Begg and Iris Cohen. Com-

it over the past century. Through the years the collection developed as a reference

puterisation of the collection was the next big task at hand.

The JAG library was started in 1912 when Florence Phillips

section for JAG staff. For a long time it was scattered and

The manual card catalogue was closed off in 1994 and

persuaded Max Michaelis to donate a thousand pounds

moved to different locations within the gallery, until it

the input of cards onto the URICA database was intro-

towards books for the gallery. An excellent selection of

finally came to settle in the lower level of the new extension

duced. In order to achieve standardisation of the elec-

books on art, architecture and crafts was carefully assem-

in January 1986. For the first time, with the library’s entire

tronic bibliograhic system, this collaboration is still on-

bled by experts in London. However, the 1915 JAG building

stock housed together, it was able to function as a specialist

going with the City of Johannesburg’s Bibliographic and

did not include the pavilion designed for the library, and

art reference library for the public in addition to its primary

Distribution Services. Over the last twelve years this

so when the first consignment of books arrived, and the

function as a resource centre for JAG staff. The resources

process has been finalised.

gallery could not house them, it was arranged for them

were made more accessible, and an immediate increase

to be housed at the Public Library instead until such

followed in the use of the new library by students and

The exchange programme, whereby publications from

time that the pavilion was complete. Since that never

researchers.

international and national museums, galleries and institutions are received in exchange for the JAG’s publica-

materialised, the books remained at the Johannesburg For more than six decades no official librarian was appoint-

tions, has been one of the most important contributors

ed. JAG staff managed all the tasks. In 1979, a full-time

to the library’s collection. Further donations from galler-

Despite two new wings being opened in the gallery in

Professional Officer (Librarian) post was created, the first

ies, publishers, banks, Friends of the Johannesburg Art

1940, a library was eventually only included in the JAG

incumbent being Mimi Badenhorst (later Greyling). The

Gallery and guides, universities, artists, critics, authors,

Public Library as the Michaelis Art Library.

187

auctioneers, journalists, private donors, and other organisations and institutions are received. A special donation of 27 000 slides was received from the Randse Afrikaanse Universiteit (now University of Johannesburg) in 1994. Despite severe and ongoing budget constraints, the library’s

Retrieving the institutional memory Jillian Carman

Some of the more valuable resources were those that had previously not been in the public sphere, such as a large collection of Hugh Lane’s private papers recently acquired by the National Library of Ireland, and some letters from Hugh Lane to Florence Phillips in the possession of Flor-

When I began doctoral research in 1995 on the founding

ence’s great-granddaughter, Paula Hunt. Most of the mate-

of the Johannesburg Art Gallery (JAG) I knew I had a tough

rial, however, was already in the public domain, but had not

val material, pamphlets, news-cuttings, journals, videos,

job ahead of me. All early records that should have been

been tapped for information that could associate it with

CDs and DVDs.

preserved on JAG’s property had been destroyed by ‘a

JAG. Such material gained significance in the light of new

previous director’, according to Anton Hendriks (JAG

associations, such as contextualised readings of press re-

It is encouraging to see the extent to which this library is

director 1937-64; letters to Lillian Browse, 26 March 1942,

ports of the time, and reinterpretations of some letters and

used and acknowledged, and we look forward to being

and Margery Ross, 26 April 1951). Furthermore, any records

of service for the next hundred years.

that may have survived in the care of Florence Phillips,

holdings have increased regularly. The library contains resources of over 10 000 art books, supplemented by archi-

the initiator of the JAG project, were destroyed on her death in 1940 by her daughter (Gutsche 1966: 398). Fortunately, Jo Burger Jo Burger has been the Senior Librarian of the Johannesburg Art Gallery library and archives since 1996. She was formerly a teacher at various schools and a lecturer at the Goudstad Teachers College. Between 1991 and 1994 she was the medical librarian at the J G Strijdom (now Helen Joseph) Hospital before she was appointed to the

documents relating to Florence Phillips and her interactions with the curatorial staff at the Victoria and Albert Museum (Johannesburg Art Gallery, British Library and Victoria and Albert Museum archives). Occasionally the serendipitous matching of dispersed material resulted

the important Robert Ross papers survived, but that was

in some important insights, such as a new angle on the

because they only arrived on JAG’s property during Hendriks’

Randlords’ patronage suggested by the matching of a

tenure (Carman 2006: 391). They were, however, of limited

telegram to Otto Beit (National Library of Ireland) with

value as they start after the opening of JAG’s foundation

the minutes of the Council of Education, Witwatersrand

collection. There appeared to be no extant archival material

(University of the Witwatersrand Library, Historical pa-

on the foundation collection itself, how it was sourced,

pers) and a letter from Hugh Lane to Florence Phillips

and how it was curated.

Johannesburg Art Gallery. The challenge of my research was to try and retrieve the lost archive, to reconstruct some sort of institutional memory. I began with an audit of all early material on JAG premises,

(Paula Hunt collection). In the end there was sufficient primary material, drawn from a wide range of sources, that could be used to reconstruct JAG’s early history, and start to retrieve an institutional memory that was in danger of being lost.

which was scattered and not easily accessible, and moved on to an audit of further related material within public and

For a full list of archival sources used in this research,

private collections in South Africa, Ireland, the UK and the

see Carman (2006: 390-2).

USA. Although some basic records did not turn up – such as account books and insurance lists for the original collection, or an employment contract for Hugh Lane – sufficient other material emerged to enable a recreation of the circumstances of JAG’s founding.

188

Jillian Carman Jillian Carman is an Honorary Research Fellow at the University of the Witwatersrand and the University of

Johannesburg. She was formerly a curator at the Johan-

interview artists, their families and friends. She worked

Many of the artists included in the archives have since

nesburg Art Gallery and is the author of Uplifting the

with galleries across the country, did extensive archival re-

died, and the files of the FUBA Academy Archives offer

colonial Philistine: Florence Phillips and the making of

search at the State Archives in Pretoria, working through

a rare and valuable basis for researchers to work with.

the Johannesburg Art Gallery (Wits University Press,

boxes of newspaper clippings, catalogues, programmes

They represent a heritage salvaged timeously by Miles’

2006).

and journal articles, supplied by the National Film, Video

vision, passion and persistence.

and Sound Archives. These boxes, compiled by the Bureau of Human Resources, were treasure troves on South African

FUBA Academy Archives

art. Confronted with the first batch of material, Miles

Elza Miles

diverted from the decision of merely focusing on the seHoused in JAG’s library, this unique and invaluable archive

lected artists and instead photocopied everything that re-

Elza Miles is the writer of several art books and a print-

is one of South Africa’s most prized art resources. Tirelessly

lated to African art, artists and their work. In 1992 she

maker.

researched, documented and compiled by Elza Miles

compiled and published an Artists’ birthday calendar for

between 1992-3 during her tenure as researcher in resi-

1993, which showcased the research unit at FUBA Academy,

dence at FUBA (Federated Union of Black Artists) Acad-

and also gave her the opportunity to pay tribute to art by

emy, the archive documents the work and lives of black

then unknown artists, such as Micha Kgasi and Thomas

South African artists at a time when the majority of these

Masekela, two of South Africa’s underrated sculptors. She

artists were still largely unrecognised, underrated and

had further hoped that the calendar would lead to respons-

neglected in their own country.

es from readers by providing information on artists whose names were listed in the introduction. Eventually, in the

Several years earlier, in 1988, Miles had already discussed

case of Albert Adams, a painter who left South Africa in

with Sipho Sepamla, the Director of FUBA Academy, the

1960 and was completely forgotten in the country of his

need of establishing a research unit and had written a

birth, this happened when Jane Alexander responded

proposal to the effect of compiling resources. At that time

from the Irma Stern Museum with a package on Adams.

she was teaching history of art at FUBA and was alerted to her students’ need of local role models. Miles and Sepamla

Miles did extensive fieldwork in and around Johannesburg

had agreed that a handbook on pioneering black South

and Pretoria. She visited Botswana twice, where she fol-

African artists would be an indispensible resource. Barbara

lowed leads for John Mohl. The archives also contain her

Lindop was already producing a book on Gerard Sekoto

research in KwaZulu-Natal, where she gleaned valuable

at the time, and so Miles and Sepamla agreed on artists

information on Zulu artists, especially Laduma Madela,

Sydney Kumalo, Ernest Mancoba, John Koenakeefe Mohl,

from documentation held in the Campbell Collections of

Ephraim Ngatane, George Pemba and Lucas Sithole as their

the University of KwaZulu-Natal, Durban. Her research took

additional key list. Miles’ final research, however, went way

her to Port Elizabeth, where she interviewed George Pemba

beyond this small group of important artists.

several times, as well as to the University of Fort Hare. In Cape Town she gleaned information on Cape artists in

The extensive parameters of her research saw Miles pioneer-

the library and education department of the Iziko South

ing daring and endless journeys through South Africa to

African National Gallery.

189

190

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192

INDEX OF ILLUSTRATIONS Adams, Albert, 139

Clarke, Peter, 139

Havard Thomas, James, 25

Alexander, Jane, 196

Coetzer, Willem Hermanus, 75

Hlobo, Nicholas, 182

Arnold, Ben, 142

Cole, Ernest, 172

Hlungwani, Jackson, 127, 128

Arnott, Bruce, 158

Crump, Alan, 166-7

Hodgins, Robert, 161

Artists unrecorded, 41, 88-102, 104-107,

Dalí, Salvador, 31

Hokusai, 29

109-115, 117

Degas, Edgar, 63

Hugo, Pieter, 174

Augustus, John, 49

Derain, André, 67

JAG building, 24-5

Bacon, Francis, 33

Deverell, Walter, 57

Josset, Lawrence, 27

Baker, Bridget, 183

Dhlomo-Mautloa, Bongi, 146

Ka-Mkame, Sfiso, 164

Baloyi, Vincent, 168

Duchamp, Marcel, 31

Kally, Ranjith, 170

Barker, Wayne, 160-1

Dumas, Marlene, 156

Kekana, Job, 131

Battiss, Walter, 79, 145

Dürer, Albrecht, 59

Kentridge, William, 4, 175

Bayes, Walter, 58

Epstein, Jacob, 50-1

Knight, Laura, 50

Bell, Deborah, 163

Fani-Kayode, Oluwarotimi (Rotimi), 156

Koloane, David, 152-3

Bevan, Robert, 58

Fantin-Latour, Henri, 52-3

Kottler, Moses, 74

Bhengu, Gerard, 131

Farocki, Harun, 11

Kumalo, Sydney, 142

Bidjocka, Bili, 10

Feni, Dumile, 140-1

Kunimasa, 29

Boldini, Giovanni, 26

Frith, William Powell, 52

Lace, 28

Boonzaier, Gregoire, 79

Furniture, 28

Langa, Moshekwa, 176

Boshoff, Willem, 167

Geers, Kendell, 155, 165

Laubser, Maggie, 74

Boudin, Eugène, 54

Gilman, Harold, 58

Legae, Ezrom, 38-9

Breitner, George, 62

Gleizes, Albert, 65

Léger, Fernand, 68

Brenner, Joni, 184

Goldblatt, David, 170-1

Les Grandes Personnes, 8

Brown, David James, 165

Goliath, Gabrielle, 5

Lichtenstein, Roy, 30

Catherine, Norman, 158

Goodman, Robert Gwelo, 72

Lock, Freida, 78

Cézanne, Paul, 63

Gore, Spencer, 50-1, 57

Mabasa, Noria, 127

Charles, Clifford, 154

Goya, Francisco de, 61

Madikida, Churchill, 177

Chhiba, Reshma, 180-1

Grosz, Georg, 69

Magadlela, Fikile, 150

Chinese roof tile, 29

Haden, Ruth Everard, 76

Mahlangu, Judus, 146-7

Claesz, Pieter, 70

Harpignies, Henri, 53

Maillol, Aristide, 67

193

Makhubele, Venus, 110

Palamedesz, Antonie, 70

Steer, Philip Wilson, 48

Maluka, Mustafa, 183

Pechstsein, Max, 69

Stern, Irma, 78, 132-3

Mama, Thando, 179

Phokela, Johannes, 6, 182

Subotzky, Mikhael, 174

Mancini, Antonio, 26

Picasso, Pablo, 33

Sumner, Maud, 77

Mancoba, Ernest, 135

Pickenoy, Nicolaes Eliasz, 71

Thoba, Alfred, 164

Maqhubela, Louis, 142-3

Pierneef, Jacob Hendrik, 73, 137

Thugwana, Elina , 103

Maris, Jacob, 52-3

Pinker, Stanley, 138

Tillim, Guy, 174

Martineau, Robert, 57

Pissarro, Camille, 48

Toulouse-Lautrec, Henri de, 64

Mashawu, Letisa, 108

Preller, Alexis, 80-1, 145

Tshabangu, Andrew, 152-3

Maswanganyi, Johannes, 128

Puvis de Chavannes, Pierre, 53

Van Gogh, Vincent, 62

Matsoso, Leonard, 41

Ractliffe, Jo, 153

Van Rijn, Rembrandt, 60

Mautloa, Kagiso Pat, 154

Rhode, Robin, 180

Van Wouw, Anton, 54-5

Mbatha, Azaria, 146

Rodin, Auguste, 54-5

Vรกri, Minnette, 179

Mgudlandlu, Gladys, 38-9

Rose, Tracey, 181

Victor, Diane, 178

Millais, John Everett, 52

Rossetti, Dante Gabriel, 56-7

Villa, Edoardo, 7, 144

Mnisi, Samson, 154

Sacks, Ruth, 155

Wafer, Jeremy, 169

Mnyele, Thami, 150-1

Saoli, Winston, 142

Wenning, Pieter, 73

Modigliani, Amedeo, 65

Sargent, John Singer, 50

Whistler, James Abbott McNeill, 61

Mofokeng, Santu, 173

Schรถnfeldt, Joachim, 159

Williamson, Sue, 177

Mohl, John Koenakeefe, 133

Schreuders, Claudette, 159

Xaba, Nhlanhla, 152-3

Monet, Claude, 49

Schutz, Peter, 159

Younge, Gavin, 168

Moore, Henry, 32

Searle, Berni, 181

Zangewa, Billie, 185

Motau, Julian, 39

Sebidi, Helen, 150-1

Zulu, Vuminkosi, 40

Mthethwa, Zwelethu, 148-9

Segogela, Johannes, 129

Mudzunga, Samson, 12

Sekoto, Gerard, 81, 134

Mvusi, Selby, 136

Sheikh, Fazal, 157

Naude, Hugo, 75

Shilakoe, Cyprian, 40, 146-7

Ndwanwe, Vina, 117

Sibiya, Lucky, 129

Ngatane, Ephraim, 134

Sickert, Walter Richard, 50-1

Ngobeni, Mamaila, 116

Sifundza, Mandelane, 113

Nhlengethwa, Sam, 148-9

Signac, Paul, 66

Noland, Kenneth, 30

Sihlali, Durant, 39

Ntshalintshali, Bonnie, 130

Siopis, Penny, 162-3

Oerder, Frans, 72

Sisley, Alfred, 49

Oltmann, Walter, 169

Skotnes, Cecil, 144

Orpen, William, 27

Smith, Kathryn, 184

194

A frame being repaired in the conservation department at JAG.

195

An installation view of Jane Alexanderâ&#x20AC;&#x2122;s African adventure (1999-2000, mixed media installation, dimensions variable) as part of Africa remix in 2007.

196

An installation view of Borders, a recurated exhibition of works from the 2009 Bamako Encounters photography biennale, hosted by JAG from June to September 2010.

197

JAGâ&#x20AC;&#x2122;s installation team hanging the exhibition Transformations: womenâ&#x20AC;&#x2122;s art from the late 19th century to 2010.

198

The opening night of Africa remix, curated by Simon Njami, in July 2007.

199

Roger Ballenâ&#x20AC;&#x2122;s mid-career retrospective installed in the Phillips Gallery in 2007.

200