The genesis of Polly Street Art Centre
by Kresta Tyler Johnson
The recent publication of Polly Street: the story of an art centre was celebrated at a discussion held at Boekehuis in Johannesburg. The author and primary researcher Elza Miles discussed her labour of love with Jack Ginsberg, the founder of The Ampersand Foundation who published the book.
As Miles writes in the preface, the 'book is not about the lives of the artists who qualified at Polly Street Art Centre or about their teachers, but rather the achievements of the art school. It is also an attempt to set right the misconceptions which abound in records of the centre's history.'
The book is accompanied by an educational supplement similar to the TAXI art books series, which was written by Helene Smuts and funded by the Dutch Embassy. The book is replete with engaging and methodically researched stories on the Centre supported with numerous superb and obscure images.
The discussion between Ginsberg and Miles was humorous and entertaining. Ginsberg commented on the incredible feat of discovering so many images that many astute individuals of South African art had never seen before. Elza explained that former teacher and compulsive pack rat like herself, Fred Schimmel, produced many of the images, since he doesn't 'throw stuff away'.
Miles also kept detailed scrap books 'that date back to 1952. I can't throw anything away (she remarked). That's how this happened.' A humble soul, Miles shied away from many questions posed by Ginsberg, preferring to allow the book, stories and images to speak for themselves and elaborate on the Centre.
Ginsberg did inquire and comment on how Elza 'challenges facts about South African art and changes South African art history by ferreting out the facts. How are you (speaking to Miles) inclined to challenge facts on South African art history?'
Miles responded by saying, 'I am very inquisitive. There is not a mythology. I get up and do... I follow leads. Sort of divine intervention or what ever you want to call it. My biggest problem is I fall in love with everyone.'
Smuts noted how the 'book cuts through all the nonsense and brings through the individuals', indicating this was a result of the author's engagement with her subject.
The banter was enjoyable to observe and as Miles was pushed by people to try and divulge some deep influence, inspiration or resource behind her work and writing. To this Miles coyly replied, 'getting up in the morning, now is that the influence of previous generations?'
It is a well constructed book marked by the uniqueness of documenting previously unpublished images and stories. Copies are available through Boekehuis in Melville, Johannesburg.
