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.
The Evidence of Things Not Seen, a reference in part to James Baldwin’s book of the same title, speaks to the intangible but pervasive nature of identity. Using works from the JAG collection exclusively by artists of colour, the exhibition explores various forms of identity and explores issues of feminism, queerness, revolution and culture in Black identity.
JAG’s Musha Neluheni has been appointed assistant curator of the South African pavilion at the 57th Venice Biennale. Neluheni, who is curator of the JAG’s contemporary collection, will work alongside Lucy MacGarry, to present a major, two-person exhibition of artists Candice Breitz and Mohau Modisakeng.
Staged at locations across Johannesburg, Africans in America and the symposium Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures form part of In Context 2016, an ongoing curatorial series initiated by Goodman Gallery director Liza Essers in 2010.