Systemic neglect of Johannesburg Art Gallery contrasts with creative industry growth

Mariapaola McGurk (PhD candidate Johannesburg Business School, University of Johannesburg) and Prof Natanya Meyer (Professor, SARChI Entrepreneurship Education, University of Johannesburg)

For over a decade, the Johannesburg Art Gallery (JAG) has faced persistent challenges with little progress. Every year, public concern resurfaces over the potential loss of one of South Africa’s most significant art collections and the ongoing deterioration of the gallery’s infrastructure. Situated next to a bustling taxi rank and Joubert Park in one of Johannesburg’s most densely populated areas, JAG’s location is seen to amplify these difficulties.

Public and media attention on JAG typically flares up in response to social media outcries, news coverage, and calls for action. Yet, this attention fades quickly, leaving the gallery’s plight unchanged. Despite the escalating situation, neither JAG’s management nor the City’s Department of Arts and Culture has provided transparency or viable solutions. year, tensions peaked when the Director of Arts and Culture for CoJ barred an oversight committee from accessing certain parts of the gallery.

Why does this neglect persist? Why is meaningful intervention absent? The issues at JAG are not isolated but symptomatic of systemic failures in Johannesburg, reflecting challenges that extend far beyond the gallery’s walls.

The Untapped Potential of Johannesburg’s Cultural and Creative Industries

Globally, the cultural and creative industries (CCIs) are recognised as powerful drivers of social, economic, and cultural development. In recent years, international organisations have emphasised their transformative potential, with the United Nations designating 2020 as the “International Year of the Creative Economy” and the African Union naming 2021 “The Year of Arts, Culture, and Heritage: Levers for Building the Africa We Want.”

In South Africa, the cultural and creative industries (CCIs) contribute 3% to the national GDP, matching the agricultural sector’s economic impact (SACO, 2022[1]). Gauteng Province is the leading contributor, accounting for 46.3% of the sector’s GDP and creating the highest number of jobs in the field (SACO, 2022[2]). As Gauteng’s economic and cultural hub, Johannesburg hosts the majority of the province’s creative businesses (Oyekunle, 2019[3]).

However, despite its vibrant creative economy, Johannesburg is not recognised as a UNESCO Creative City—a designation requiring municipal leadership to spearhead the application process. Currently, South Africa has three UNESCO-recognised Creative Cities: Cape Town (Design), Overstrand (Gastronomy), and Durban (Literature).

Despite this potential, the City of Johannesburg lags in prioritising CCIs. While Gauteng’s 2030 Growth and Development Strategy identifies CCIs as a high-growth sector alongside agro-processing and the digital economy (which also falls within the CCIs), this vision is absent at the municipal level. The city’s Growth and Development Strategy 2040 fails to even mention CCIs, as does the city’s profile, highlighting a disconnect between provincial ambitions and local implementation.

Perspectives from Johannesburg’s Creative Practitioners

A recent survey of cultural and creative practitioners in Johannesburg revealed striking insights[4]. Seventy-four percent of respondents work within the inner city and Johannesburg South. Using an eight-factor metric—education, leadership, infrastructure, culture, government policy, technological innovation, creative clusters, and diversity—practitioners rated Johannesburg’s creative economy as unsuccessful in six areas. Only diversity and culture showed mixed results.

JAG epitomises these broader challenges. Its deteriorating state mirrors the struggles experienced by many in Johannesburg’s creative sector.

Creative Hubs Thrive While JAG Declines

Amidst the city’s lack of support for CCIs, a contrasting trend emerges: the rise of creative hubs. These spaces provide essential resources such as studio spaces, market access, skills training, and exhibition opportunities. A mapping study identified 19 creative hubs in Johannesburg, 17 of which are located in the inner city (https://www.google.com/maps/d/edit?mid=1bbx8Wy45O5XlOrjPHpdO4AqTDlpaTdQ&usp=drive_link).

In stark contrast, JAG struggles to attract more than 5,000 annual visitors (a pitiful average of 417 visitors a month), often blaming its location. Yet, within a 5-kilometre radius, thriving creative hubs host open studios (Contra Fair alone had over 2000 attendees in 2023), engage communities, and drive sector growth—proving that location is not the issue but rather leadership, innovation, and relevance.

The governance “Black Hole” of JAG

As worded in a recent article by Giulietta Talevi and Ferial Haffajee[5], JAG has the strangest “Black Hole” when it comes to governance. No one seems to be responsible. JAG staff continually blame the city and have stated numerous times that they have all signed a confidentiality clause in their employment contract and, therefore, cannot speak to the public or the media. The AGC (Art Gallery Committee) stated that they are simply an advisory committee and have no jurisdiction to make decisions or speak on behalf of the gallery or the city; the city, under Director of Arts and Council Mr Vuyisile Mshudulu, refused to respond to questions for this article, or to engage with media and the public. The Friends of JAG say they have no authority or power – it is quite truly – a black hole even though the Deed of Donation, signed in 1913, is very clear about where the responsibilities lie. According to the chair of the AGC, the council intend to fulfil the mandate outlined in the Deed most effectively and practically given the current situation. It is unclear what that means with no timelines, no inventory of the collection, no clarity on loaning agreements, and no clarity on accountability. According to the Deed, the Mayor of Johannesburg should be on the AGC which is also no longer followed.

The collection, donated by Florence Phillips, Otto Beit, and Max Michaelis, was gifted under a Deed of Donation in 1913, which outlined specific management requirements. The Deed designates an Art Gallery Committee, chaired by the mayor, as the oversight body for decisions regarding the collection, including loans and sales. However, there are indications that this committee no longer fulfils this role. The Friends of JAG, established in 1976 at the request of the mayor’s office, boasts a 48-year legacy of collaboration with the curatorial team. This partnership, however, appears to have waned in effectiveness, further compounding the gallery’s operational challenges.

A Vision for JAG’s Transformation

JAG faces significant challenges that stem not merely from insufficient funding but from structural and strategic deficiencies, including outdated operational models, ineffective leadership, and a failure to adapt to evolving demands.

As a traditional “white cube” gallery, JAG has struggled to align itself with the broader needs of Johannesburg’s creative economy. The term “white cube’ was first coined by art critic Brian O’Doherty and represents the way in which art is shown in what initially appears as a neutral space, but is layered with financial, intellectual and social snobbery and exclusion. Despite its impressive collection, the gallery remains disconnected from its local context. This misalignment undermines its potential relevance and impact.

To regain relevance, JAG must evolve into a dynamic creative hub that fosters innovation and cultural exchange. By introducing artist support programs, incorporating a restaurant that celebrates local cuisine, and offering engaging spaces for community interaction, JAG could become a centrepiece of Johannesburg’s creative industries. Such a transformation would likely make securing funding for restoration and development more feasible.

Currently, JAG’s siloed approach hinders meaningful collaborations with public, private, and national institutions. A systems thinking approach not only would allow for more substantial progress and partnership, but also for a more releveant and direct connection with the distributed nature of the CCIs. Proper storage and preservation of its collections remain unmet needs, while its leadership lacks the vision to align the gallery with the creative and cultural industries (CCI) objectives of Gauteng Province. This broader misalignment reflects not only on JAG but also on Johannesburg’s cultural strategy as a whole.

A Call for Leadership and Strategic Reform

JAG’s challenges underscore deeper systemic issues in Johannesburg: fragmented decision-making, limited cross-departmental collaboration, and a lack of appreciation for the economic and social impact of the CCIs. The absence of a cohesive municipal vision for the sector further compounds these problems.

Incremental efforts, such as small-scale workshops, fall far short of addressing the magnitude of the issues. To unlock JAG’s potential and elevate Johannesburg’s CCIs, the city must:

  • Recognise the value of CCIs as powerful drivers of economic and cultural growth. This requires a deeper understanding of the industry’s complexity and distributed network—growth cannot happen without this understanding.
  • Develop a comprehensive CCI strategy with actionable goals, emphasising cross-departmental collaboration with sectors like tourism, SMMEs, and community development.
  • Prioritise high-level leadership to champion the sector, with the Executive Mayor taking an active role in driving the strategy forward.

Without bold reform, JAG will remain a stark symbol of missed opportunities and systemic neglect—a painful reminder of Johannesburg’s failure to realise the potential of its cultural wealth.

See you next year—same time, same outcry, same silence from the city!

*First published in the Mail & Guardian 8th January 2025: https://mg.co.za/friday/2025-01-08-systemic-neglect-of-johannesburg-art-gallery-contrasts-with-creative-industry-growth/

*Photos by Gallo Images/ Fani Mahuntsi


[1] SACO. (2022). The Economic Mapping of the Cultural and Creative Industries in South Africa.

[2] SACO. (2022b). The Economic Mapping of the Cultural and Creative Industries in South Africa.

[3] Oyekunle, O. A. (2019). Creative Industries in South Africa: An Engine for Urban Regeneration.

[4] McGurk, M. (2025). A systems thinking approach to the growth of the creative economy in Johannesburg. Johannesburg: University of Johannesburg (Doctoral Thesis).

[5] https://www.vryeweekblad.com/en/opinions-and-debate/2024-11-22-joburgs-art-treasure-wont-survive-more-rack-ruin-and-rain/

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