Beauchamp describes himself as an artist, multimedia designer, and art director. For the last 12 years he has created artworks by means of painting, spray-paint and stencils to comment on social issues and on the politicians and events that make up the South African social landscape. More recently he has used silk-screening in order to bring the content of the work (that is, critical observation of people and events) closer to a ‘media’ based technique. These works are the artistic version of satirical journalism and social critique, often controversial.
JAG has joined the list of 50 cultural institutions worldwide whose collections of contemporary art, encompassing more than seven thousand works, are now available to explore online. JAG has a growing collection with an exhibition space that can’t reflect its full scale. There are... “in excess of 10 000 objects, many of which cannot be seen often because of the number of internal and external exhibitions we host.
To any avid Pre-Raphaelite lover, Elizabeth Siddal is a familiar face among the movement’s ethereal beauties. Her striking features first caught the attention of artist Walter Deverell in 1949, when she was twenty years old and working as a milliner (hat maker) in London. She quickly became a popular muse among the Pre-Raphaelite artists, posing for Millais’s famous painting Ophelia in 1852.
Call and Response: First engagements with a KwaZulu–Natal heritage collection exhibition draws on JAG's recently acquired Maritz collection of heritage artifacts from various parts of the KwaZulu-Natal region. This collection has further enhanced and cemented JAG's reputation for having one of the finest Southern African heritage artifact collections in the world.
What does an elephant skull have to do with abstract sculpture? How did conservators foil a hidden attack from Germany? Why would you find a unicorn under a mulberry tree? Explore the surprising answers to these mysteries at Spellbinders, an exhibition dealing with the art of stories – and the stories of art.
JAG is fortunate to host A labour of love, following its much vaunted run in Frankfurt, Germany in 2015-2016. The story of this exhibition can be traced back to 1986, when the Weltkulturen Museum in Frankfurt on Main commissioned Hans Blum to buy works of contemporary South African art on their behalf. Blum acquired 600 works by black South African artists, which today forms a key part of the contemporary art collection of Museum.
JAG is fortunate to host A labour of love, following its much vaunted run in Frankfurt, Germany in 2015-2016.
The story of this exhibition can be traced back to 1986, when the Weltkulturen Museum in Frankfurt on Main commissioned Hans Blum to buy works of contemporary South African art on their behalf. Blum acquired 600 works by black South African artists, which today forms a key part of the contemporary art collection of Museum.
This year marks the 61st anniversary of the Women’s March to the Union Buildings on 9 August 1956.
Led by Lilian Ngoyi - a trade unionist and political activist, Helen Joseph, Albertina Sisulu, and Sophia Williams-De Bruyn, 20 000 women of all races, classes and religious persuasions protested against Pass Law legislation, bringing about a turning point in the struggle for freedom and South African society at large.
Johannesburg Art Gallery will host South Facing, Ângela Ferreira’s first solo exhibition at a public institution in South Africa. The exhibition, which opens on May 7, includes recent and previously unseen work, as well as a newly commissioned work by Ferreira that responds to the Gallery’s Meyer Pienaar extension.
Often described as a as a conceptual formalist, De Wet was also known for his serial puns. His oeuvre straddles nearly forty years and encompasses a range of diverse media from traditional sculptural media, performance and video to craft skills, which included crochet and embroidery.
Judith Mason, who passed away at the age of 78 on 29 December last year, was considered one of the foremost South African artists of her generation. She represented South Africa at the Venice Biennale (1966), the Sao Paulo Biennale (1971) and at international art fairs, like Art Basel (2009).
To activate visual discourse around the themes in the The Evidence of Things Not Seen exhibition, artists, photographers and general public are invited to post portraits on Instagram, Twitter and Facebook for Visible Tones: active visualisations of blackness.