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.
The Federated Union of Black Artists (FUBA) was established in 1978 to support black artists and a played pivotal role in training and advancing many careers, at a time when apartheid dispensation allowed for few other alternatives. In 1948 apartheid became the legal structure in South Africa.
This time of the year, Jozi art lovers can look forward to one of the highlights of the city’s arts calendar – the Turbine Art Fair (TAF) returns to the iconic Turbine Hall in Newtown from 14th – 17th July 2016.
We had a tough time pinning down JAG’s new Education Officer for a chat since his appointment earlier this year. Colin Groenewald hit the ground running and has already made great strides in reinvigorating JAG’s educational offering.
For over 35 years, Jack Ginsberg, well-known art collector, philanthropist and longstanding Friends of JAG treasurer, has assembled an extraordinary collection of more than 700 artworks, books and ephemera by esteemed South African artist Walter Battiss.
JAG kicks off the year with a not to be missed display of recently restored Gerard Sekoto (1913 – 1993) paintings. The 10 paintings from the JAG collection were restored in 2012 as part of a unique arts support programme by Merrill Lynch
‘Free From My Happiness’ is an exhibition showcasing the work of three young South African photographers, Sibusiso Bheka, Tshepiso Mazibuko and Lindokuhle Sobekwa.
BLEEK encompasses a number of photographic series and audio visual works that set out to interrogate the performance of white masculinity from different points of entry.
Following last year’s centenary celebrations of the Lutyens building, renovations at JAG are still continuing unabated. The City of Johannesburg (COJ) has allocated an amount of R24,000,000 for the restoration of the buildings, which is supposed to take place under heritage supervision until 2017.
On the 18th of March South Africa bid an untimely farewell to one of our most talented artists – David James Brown. Brown was born in Johannesburg in 1951.
The Johannesburg Art Gallery Centenary commemorative medallions provide JAG with a valuable and tangible memento of the recent celebration of its original Edwin Lutyens building.
The South African Mint (SA Mint) and the Friends of JAG partner in celebrating the Johannesburg Art Gallery centenary with the launch of three special limited edition sterling silver commemorative medallions.
Sitting pretty between two of the Joburg’s most successful recent city regeneration precincts, Braamfontein and Maboneng, JAG is primed for rediscovery by the city’s new urban trendsetters and Afropolitan glitterati.
The Johannesburg Art Gallery is pleased to present 1:1 by Alinka Echeverría, the British-Mexican artist’s first solo exhibition on the African continent.
Leading up to November, when the Gallery’s Edwin Lutyens building is officially 100 years old, JAG will be filled with exhibitions and a series of installations. The curatorial team will strive to exhibit as much of its acquisitions as possible, and fill the walls exclusively with work from the gallery collections.
The Gallery’s first collection was established by Florence Phillips (1863 – 1940), art patroness and wife of mining magnate Lionel Phillips. Art dealer, collector and gallery director, Hugh Lane (1875 – 1915), was drafted to put together the collection, which was first exhibited in London, before it was brought to South Africa.