Abstract
This article traces the South African National Gallery’s (SANG) journey through social transformation in South Africa. As South Africa transformed from pre-colonization, colonization and apartheid, to a post-apartheid state, this state art museum itself transformed, sometimes parallel to these changes, sometimes earlier. The museum was established as a colonial structure, but went through a process of transformation. As a national museum, it represented the state by default. Through several processes and curatorial championship such as Heritage Day, inheriting artwork from the Ethnographic Museum, and various socially-engaged projects, inclusion of black South African curators, the museum managed to transform itself into a more democratic institution. This is significant when studying museology, social transformations, postcoloniality, ideas of a white-wall white cube art museum, “primitive” art, and other fields as it touches upon and affects each of them and shows how these concepts can be better understood by studying their relation to one another, especially in the context of South Africa.
References
- Adedze, A. (1997). Collections, collectors, and exhibitions: The history of museums in Franophone West Africa. Michigan: UMI, Dissertation Services.
- Anderson, B. (1983). Imagined communities: Refections on the origins and spread of nationalism. London: Verso Books.
- Atkinson, B. and Breitz, C. (1999). Grey areas: Representation, identity, and politics in contemporary South African art. Johannesburg: Chalkham Hill Press Limited.
- Bedford, E. (1995). Contemporary South African Art 1985- 1995: From the South African National Gallery permanent collection. Cape Town: Hansa Reproprint.
- Bedford, E. (1993). Ezakwantu: Beadwork from the Eastern Cape. Cape Town: South African National Gallery.
- De Kok, I. (1998). “Cracked Heirlooms: Memory on Exhibition,” in Negotiating the Past; The Making of Memory in South Africa. Cape Town: Oxford University Press.
- Mayibuye Archives (n.d.). Uwc-Robben Island Museum Mayibuye Archives. Retrieved 7 April 2022 from https://mayibuyearchives.org.
- O’Doherty, B. (1986). Inside the White Cube: The Ideology of the gallery space, (Expanded edition). California: University of California Press.
- Wedeen, L. (1999). Ambiguities of domination: Politics, rhetoric, and symbols in sontemporary Syria. IL: The University of Chicago Press.
- Personal observation and interviews: Internship at the South African National Gallery – August 16 – September 16, 2001. Specifically worked with Emma Bedford, Kathy Grundlingh, Zuki Mjoli.
- Interviewed artists Jane Alexander, Sue Williamson, Kevin Brand, and Mgineini Pro Spbopha and poets Karen Press and Ingrid de Kok.
Abstract
Makale, Güney Afrika Ulusal [Sanat] Müzesi’nin (South African National Gallery, SANG) Güney Afrika’daki ırkçı apartheid döneminin değişim sürecindeki rolünü incelemektedir. Güney Afrika, sömürgecilik öncesinde, sömürgecilik döneminde ve ırk ayrımı dönemi öncesiyle sonrasında dönüşümü yaşarken, devlet sanat müzesinin kendisini bu politik dönüşümlerle bazen öncesinden, bazen eşzamanlı olarak nasıl değistirdiğini gözlemliyoruz. Müze, daha çok sömürgeci bir yapı olarak başlamış, ancak zamanla bir değişim sürecine girmiştir. Devlet müzesi olarak devleti temsil etmiştir. Farklı süreçlerden geçerek ve farklı küratöryel inisiyatiflerle, örneğin Heritage Day (Gelenek Günü), etnografya müzesindeki eserleri kendi koleksiyonuna dâhil ederek ve farklı gruplarla sosyal bağlantılı projelerde çalışarak, siyahi Güney Afrikalı küratörler ve sanatçıların işlerini bünyesine dâhil ederek, müze, daha demokratik bir yapı hâline gelmeyi başarmıştır. Bu makale, müze bilimi, sosyal değişim, sosyal uyum, sömürgecilik sonrası, sanat tarihindeki
“beyaz küp” olgusu, “primitive sanat” gibi farklı alanlara değinmektedir ve her birini incelerken, bir diğeriyle bağlantısına bakılmasının da durumu daha iyi anlamak için önemini, özellikle Güney Afrika deneyiminde vurgular.
References
- Adedze, A. (1997). Collections, collectors, and exhibitions: The history of museums in Franophone West Africa. Michigan: UMI, Dissertation Services.
- Anderson, B. (1983). Imagined communities: Refections on the origins and spread of nationalism. London: Verso Books.
- Atkinson, B. and Breitz, C. (1999). Grey areas: Representation, identity, and politics in contemporary South African art. Johannesburg: Chalkham Hill Press Limited.
- Bedford, E. (1995). Contemporary South African Art 1985- 1995: From the South African National Gallery permanent collection. Cape Town: Hansa Reproprint.
- Bedford, E. (1993). Ezakwantu: Beadwork from the Eastern Cape. Cape Town: South African National Gallery.
- De Kok, I. (1998). “Cracked Heirlooms: Memory on Exhibition,” in Negotiating the Past; The Making of Memory in South Africa. Cape Town: Oxford University Press.
- Mayibuye Archives (n.d.). Uwc-Robben Island Museum Mayibuye Archives. Retrieved 7 April 2022 from https://mayibuyearchives.org.
- O’Doherty, B. (1986). Inside the White Cube: The Ideology of the gallery space, (Expanded edition). California: University of California Press.
- Wedeen, L. (1999). Ambiguities of domination: Politics, rhetoric, and symbols in sontemporary Syria. IL: The University of Chicago Press.
- Personal observation and interviews: Internship at the South African National Gallery – August 16 – September 16, 2001. Specifically worked with Emma Bedford, Kathy Grundlingh, Zuki Mjoli.
- Interviewed artists Jane Alexander, Sue Williamson, Kevin Brand, and Mgineini Pro Spbopha and poets Karen Press and Ingrid de Kok.
Details
| Primary Language | English |
|---|---|
| Journal Section | Research Article |
| Authors | |
| Early Pub Date | May 31, 2022 |
| Publication Date | May 31, 2022 |
| Submission Date | April 7, 2022 |
| Published in Issue | Year 2022 Issue: 25 |
