The Vagaries of Transformation: The Case of the JAG
by Sean O'Toole
In 2002, the theft of certain artworks from the Johannesburg Art Gallery gave rise to an outburst of opinion. In the public realm artist Kendell Geers published an open letter calling for the resignation of the gallery's Director, Rochelle Keen. Maishe Maponya, Director: Arts, Culture and Heritage Services, publicly took it upon himself to respond to the artist's letter, meticulously arguing the case of the City of Johannesburg. Geers eloquently responded, arguing his case on ArtThrob and radio journalist Michelle Constant's SAfm show 'Art on the Edge'.
Throughout this period the JAG's Rochelle Keen seemed an invisible presence, spoken of but never heard. I recently approached Ms Keen for an interview, asking her a range of questions pertaining to the JAG, its history and its role into 2003 and beyond.
The positioning of the gallery in Joubert Park has and continues to present many problems. Can you discuss these?
Joubert Park is an interesting area; it has been in decline since the 60s. It was the first place to go grey during apartheid. In the early 80s when I was still a curator, we were dealing with a gallery moulded in the Western tradition, where only 'Art' was collected, where you didn't touch craft. Craft was not regarded as part of 'our' common heritage and was not viewed as important. You ended up with a museum situated in an area of great diversity that was not grounded in its location. It certainly wasn't grounded in Joubert Park in any way, nor to was it linked to things happening in the inner city. We now are.
This transformation could not have happened overnight. When did the JAG start to 'overhaul' itself, make itself relevant?
In 1985, when Christopher Till was the director, we started our collection of traditional Southern African art. During the 80s the JAG took a view that it was a South African art gallery in Africa and started collecting in a more representative and inclusive manner. We had quite a backlog to make up, and devoted considerable attention to researching previously neglected black artists. This was not easy. We live on a continent that is essentially a place of memory through oral traditions, not things put into showcases, not things collected and preserved.
In 1988, we held an exhibition called 'The Neglected Tradition' where, for the first time ever, we presented the biographies of a hundred black artists, artists like Gerard Bengu, Ernest Mancoba, Gerald Sekoto and the first black woman painter Gladys Mgudlandlu. Today the JAG holds the most representative art collection in this country, partly because of the research we did in the 80s.
This is not to say that we were not buying artists like Kendell Geers, Penny Siopis, Karel Nel, Alan Alborough or Lisa Brice. I have heard accusations that we collect in too much of a retrospective manner, and do not actively seek out a younger generation of emerging talent. Our curatorial team has decided that during 2003 we will focus attention on young upcoming artists, both in terms of collecting and our exhibitions programme.
Have your visitor figures reflected the 'change' you speak of?
Not initially. From the late 80s, and especially during the early 90s, visitor numbers declined. There were a number of reasons for this. The location of Shell House is one important factor. When the ANC was unbanned in 1990, they established their offices in close geographical proximity to the gallery. We found that a lot of learners, teachers and headmasters were worried about coming to this area due to all the marches and political flare-ups. School learners had always made up a huge part of our audience and their numbers declined rapidly. At about the same time the School Journey Service, which facilitated bussed school visits to galleries and other public institutions, was also discontinued.
And then there was the pre-1994 council. Essentially it wasn't interested in addressing any problem whatsoever; inner city issues such as the illegal creation of taxi ranks as well as unlawful pavement trading. Only post-1994 did we see a political willingness on the part of the council to do something about the inner city, and the problems facing the JAG. These initiatives included the Western Joubert Park Pilot Precinct Project, which tackled issues as diverse as the provision of basic services to residents, the rehabilitation of slums, pavements, roads and the taxi ranks. Joubert Park is now very much an activated space.
In 2001, the number of people passing through our doors increased by ten thousand (from 45 000 to 55 000). It is a huge achievement. We are also aware that we have changed the face of what our visitors look like. It used to be that 99%of our visitors were white. Today that has changed dramatically. Currently 60 to 65% of our visitors are black South Africans, from school children to university students to pensioners in old age homes to people living and working in the area.
Do you still have the budgets to pursue an active collecting function?
Yes. We are fortunate in that we are the only public gallery in this country with an endowment fund. The Anglo American Johannesburg Centenary Trust was established the 1986 with an initial donation of four million Rand. The interest from this sum allows us to procure new works.
In commenting on the recent exhibition 'States of Emergence', Kendell Geers stated: "It is really tragic � that commercial galleries are doing the work of museums." How do you respond to comments that the JAG is not fulfilling its role as an exhibitor?
I think the best way to respond is to state that we are a museum. We need to be seen in the context of South African museums. I understand that there is a large group of people who would like to see the museum present cutting edge shows. We have to, however, balance this against what I mentioned previously, our focus on exhibitions such as 'The Neglected Tradition', or Gladys Mgudlandlu's current retrospective.
True, there is a historical side that has been neglected. South African museums don't have a proud record in terms of what was shown prior to 1994. Perhaps we have not found the balance yet, but the second half of 2002 saw some exciting shows. David Brody curated 'Revision', the Trinity Session presented 'Mister Delivery' and Shelley Sacks held a show entitled 'Balanced Lives'. We have a lot of strengths to build on that no other gallery in this country can rival. We have a talented curatorial team, people like Brenton Maart and Pitso Chinzima on the exhibitions side; Prince Dube and David Brody are on our curatorial team. 2003 will see a major exhibition on the artist Dumile Feni, curated by Prince Dube.
Kendell Geers recently asked possibly a rhetorical question. "Why," he queries, "is it that the Kentridge retrospective will visit South Africa last when all the works originated in Houghton? The irony is that if the retrospective had been organised and curated five years ago, by a South African museum, then all the huge fees and royalties for the show would have been paid into a South African museum rather than the other way around." Should the JAG not be looking towards ambitious projects highlighting significant local artists that have the potential to tour internationally?
Indeed. We have toured shows in the past. The Gladys Mgudlandlu show is going on a national tour, after it closes in January. I certainly think the JAG should be looking at international shows though.
Where do you see this gallery going into 2003 and beyond?
I want to see this gallery build up the best collection of traditional and contemporary Southern African art in the world. People need to come here and say: 'Why was my experience of the JAG special?' I don't want to see in South African museums what I can see in the Tate Gallery. I want visitors to come here and get a sense of what South African society is all about.
Lastly, can you define the central role of the Johannesburg Art Gallery as a public gallery?
To collect, because by collecting we are building up what is the memory and heritage of the nation. To exhibit, which is achieved through our temporary exhibitions programme and also of course our permanent collection. To educate, which is the core function of any museum anywhere in the world.
The JAG have recently reopened their coffee shop in partnership with Nancy Nxumalo, of Marung Restaurant in the Carlton Centre. From early 2003, they will also host a Jazz evening on the last Friday of every month.
