KEYNOTE ADDRESS: 'Public Art Museums and Their Futures' at the University of Western Cape’s Centre for Humanities Research by Chepape Makgato,

 

It is an honour to stand before you today at the University of the Western Cape’s Centre for Humanities Research. I would like to extend my heartfelt thanks to Associate Professor Maurits van Bever Donker and his dedicated team for this gracious invitation, as well as to the William Humphreys Art Gallery's director Nelly Mkhize for allowing me to accept it.

As the representative of the William Humphreys Art Gallery (WHAG), I stand before you to share reflections on the future of public art museums and the vital role we play in shaping that future. Public arts museums are more than just repositories of art; they are cultural landmarks that foster community, creativity, and connection. They have the power to not only reflect but transform society. In an ever-changing world, where societal values and technologies are in constant flux, we must ask ourselves: What is the future of public art institutions? How do we remain relevant and responsive to the communities we serve?

The William Humphreys Art Gallery (WHAG) was officially opened in 1952 in Kimberley, Northern Cape, and named after its benefactor, William Benbow Humphreys, an art collector who donated a significant part of his personal collection to the gallery. WHAG's mission has always been to promote arts and culture in the region, making it a leading cultural institution in South Africa. Over the years, it has expanded its collection to include works by South African and international artists, with a particular emphasis on African and contemporary art.

WHAG has played a notable role in the development of South African art through its involvement, among other institutions such as Iziko National Museum, in key exhibitions such as the BMW Tributaries (1985) and the Cape Town Triennials (1982, 1985, 1988). The BMW Tributaries was a landmark exhibition that aimed to highlight the work of emerging Black South African artists, helping to elevate their profiles during a challenging political era. The Cape Town Triennials were significant national art competitions that showcased contemporary art from across South Africa, providing a platform for artists from different backgrounds and regions, including those from the Northern Cape. WHAG's hosting of these exhibitions contributed to fostering diversity and promoting both established and emerging voices in South African art.

One of the key challenges we face is accessibility. We must ensure that our museums are open and inviting to all. At WHAG, we have worked tirelessly to broaden our audience by offering diverse programming that speaks to various interests and backgrounds. We have made it a mission to break down barriers—whether physical, social, or economic—so that every individual feels welcomed and valued within our walls. This is central to the idea of what we call “the people’s museum.”

At the William Humphreys Art Gallery (WHAG), we place a strong emphasis on ensuring that our exhibitions reach a broad audience, both locally and nationally. To achieve this, we actively involve local and national media by extending invitations to our exhibition openings and events. This media engagement is vital in promoting public access to our offerings, as it provides widespread coverage and encourages community participation. By collaborating with print, broadcast, and digital media, we ensure that the public is informed and engaged with the cultural experiences WHAG presents, reinforcing our commitment to making art accessible to all.

WHAG has embodied this idea through key exhibitions like A Luta Continua and Three Decades of Democracy – Artists Across Generations. These exhibitions have not only highlighted pivotal moments in South African history but have transformed the demographics of our opening receptions, ensuring that they are representative of all South African citizens. A Luta Continua spoke to the social and political struggles that resonate deeply with the broader South African population, while Three Decades of Democracy provided a platform for artists across generations to reflect on our nation’s journey. Together, these exhibitions fostered a space that attracted a diverse audience—an audience reflective of our country’s multi-faceted identity.

Additionally, we have witnessed a significant change in the demographics of our opening receptions post-COVID-19, with a growing number of attendees from the Galeshewe communities and students from Sol Plaatje University, many of whom are visiting the museum for the first time. This shift is more than just symbolic; it reflects our broader commitment to creating an inclusive cultural space where all voices, experiences, and stories are represented. WHAG is no longer just a gallery for a select few—it is a gallery for all. Our recent exhibitions have been instrumental in welcoming communities who may have felt excluded from the art world in the past, fostering a sense of belonging and engagement within the local context.

In August 2024, we recorded 1,156 visitors, with 337 people attending the opening reception of A Luta Continua. Of these attendees, 4.2% were Indian, 10.4% Coloured, 22.3% White, and 63.1% Black South Africans. These figures highlight our progress in reaching a wider and more diverse audience, demonstrating that WHAG is increasingly becoming a space for everyone to engage with and enjoy the arts.

As we look to the future, we must also consider the role of technology. The digital age presents both opportunities and challenges. We have seen how virtual tours and online exhibitions can expand our reach beyond geographical limitations. However, we must not forget the irreplaceable value of physical interaction with art. Our challenge lies in finding a harmonious balance between the digital and physical realms, enhancing the visitor experience while maintaining the integrity of our collections.

With the conclusion of the long-term loan agreements, WHAG has been relieved of the space challenges that previously restricted the display of our permanent collection. This has provided a valuable opportunity for our curatorial team to showcase more South African artists, who for a long time were underrepresented in our gallery. While European art continues to be an important part of our exhibitions, we have now achieved a more harmonious balance between African and European art on display. This balance allows us to honour our commitment to inclusivity and cultural diversity, offering the public a richer, more representative art experience.

In keeping with the ethos of inclusivity, WHAG is deeply committed to community engagement. Our outreach programmes, now in their twenty-first year, in the 8^th year funded through a sponsorship from MTN Foundation, that covers all aspects of our activities throughout the Northern Cape. These initiatives allow us to reach rural communities and historically marginalised groups by conducting workshops in schools across remote areas. This commitment extends beyond our immediate community of Kimberley, making art accessible to those who might otherwise never experience it.

To further develop the cultural offer, the WHAG runs WHAGFILM, recognising that film is now universally accepted as an important visual art medium. Its connections with literature and theatre make it a vital tool for establishing a South African national identity. This capability opens significant possibilities for promoting South African and African films, leading to a regular film programme that includes screenings of local and international films, as well as English literature "set work" films for school groups upon request. Additionally, screenings are presented for youths from places of safety and NGOs to alleviate boredom and reduce truancy.

Furthermore, we have introduced new residencies at WHAG to foster talent and bring fresh perspectives into the gallery. Our Artist Residency, which was revitalised from the legacy of the late Dumisani Mabaso, operates through an open call and invites artists from across the country. We also launched the Art Writer Residency Program, a pioneering initiative that allowed Creative Writing graduates from Sol Plaatje University to engage with our collection and produce insightful catalogue for the first time in the history of our collection. We hope to have more funding to produce more catalogues on our diversely rich collection. These residencies not only nurture emerging artists and writers but also broaden the cultural conversation within our walls.

In addition to these initiatives, WHAG has taken on a more expansive social role, conducting workshops with women offenders, individuals with mental health challenges, and children through early childhood development programmes. These efforts reflect our belief that art has the power to heal, uplift, and empower every individual, no matter their circumstances.

It is essential to highlight that WHAG does not only serve our local community in Kimberley. We reach out to communities across South Africa, providing artists with opportunities to be included in group exhibitions, solo presentations, and acquisition nominations. We are helping to build pathways for artists who may otherwise go unnoticed, amplifying their voices and giving them a platform on the national stage.

In celebration of both Heritage Month and Transport Month, we recently partnered with three prominent museum institutions around Kimberley—Transnet Station Museum, McGregor Museum, and the Big Hole—to launch the Museum Passport Initiative. This exciting programme invites participants to visit all four museums, collecting a stamp at each location. Once they complete their visits, participants can drop their stamped passports into a designated box at the fourth and final museum for a chance to win. The grand prize is a one-way Blue Train ticket for two, with the choice of traveling from Pretoria to Cape Town or Cape Town to Pretoria. This initiative not only celebrates our rich heritage and transport history but also encourages local and national visitors to explore Kimberley’s historical landmarks.

Some of the challenges we face at WHAG include unfilled vacancy posts, which place additional pressure on our already short-staffed team, making it difficult to fully achieve our vision and mission. Additionally, budget cuts have tightened our programming, limiting our ability to execute some of our initiatives. We are also dealing with infrastructure issues, as two of our wings experience leakages during heavy rainfalls, further straining our resources.

In closing, the future of public arts museums lies in our ability to adapt and innovate while staying true to our core values of accessibility, collaboration, and community engagement. As a cultural worker, I am committed to leading the charge in shaping an inclusive, dynamic, and forward-thinking institution that resonates with all members of our society. Let us envision a future where public arts museums continue to inspire, educate, and transform lives—where art is not just viewed but felt, experienced, and celebrated by all.

At WHAG, our vision for the next decade is to expand our national footprint across South Africa and the SADC region through traveling exhibitions from our own collection. We have already begun this journey with Peter Clarke’s For Some Pathway to Education Lies Between Thorns exhibition, which successfully had its second leg at the Springs Art Gallery in Gauteng, and is now being prepared for the Polokwane Art Museum in Limpopo. As we look to the future, a key question for all museums is how to navigate the space of preserving diverse stories while simultaneously investing in the reparative and restorative project of care. How can we, as cultural institutions, ensure that these efforts remain part of a generative dialogue that continues to evolve and engage?

Thank you once again to Associate Professor Maurits van Bever Donker and his team, and to the WHAG director, for making it possible for me to be here today. Together, let us continue to create spaces where art empowers and unites us all.

 

Thank you.