 Contact Artefacts | MenuHomeUpfront Now Up Books Towns Structures People Firms Lexicon | University of Fort Hare, De Beers Centenary Art Gallery Lydia FOUCHE: Design Architect Michael John DOVEY: Project Architect VAN DER ZEE - VDZ - CONSTRUCTION: Contractor |  | ||||||
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Click to view large map Coordinates: | The University of Fort Hare is renowned for its custodianship of a fine contemporary collection of black art. Significant artists represented include Gerard Sekoto, George Pemba, Sydney Khumalo, John Muafangejo, Lucas Sithole, Ephraim Ngatane, John Mohl, Cyprian Shilakoe, Ezrom Legae, Louis Maqhubela and Dumile Feni. The works encompass etchings, woodcuts, wood blocks, linocuts, serigraphs, drawings, paintings and sculpture. The collection covers a wide range of subjects and can be broadly divided into three periods, 1930 to 1950, 1960 to 1970 and 1970 to 1990. Due to its many years of existence the collection has grown and by the late 1980's its value has appreciated significantly. While some of the work was periodically displayed in the University library, the risk of damage by students and from inadequate climate and atmospheric control meant that the collection was primarily housed in various store rooms in the Administration building and elsewhere. None of the stores were suitable for the preservation of artwork. The De Beers Consolidated Mines celebrated their centenary in 1988 and decided to make a contribution to Fort Hare University that would mark the occasion and be associated with arts, culture and higher learning. The Anglo American and De Beers Chairman's Fund approached the Vice Chancellor, Prof JA Lamprecht with the proposal. The Fort Hare University Council accepted the donation and the proposal that the funds would be used to display the University's art collection and contribute toward better storage. Osmond Lange Architects was duly commissioned and conducted a precedent study of Art Galleries, looking at examples of best practice in SA and around the globe. The budget was however modest and the implementation of museum quality environmentally controlled exhibition and storage space was not achieved. Locally some direction was taken from the Everard Read Gallery in Johannesburg and buildings by Willie Meyer for an understanding of principles of lighting and display, rather than whole conceptual influences. The success of the earlier Osmond Lange Architects designed Staff Amenities Building was noted by the University. They liked the fact that it sat in the square, slightly rotated off the grid and fully using the space. They sought to create another public square east of the Admin building bookended by the Art Gallery Lydia Fouché was inspired by the idea of a Palladian building, a sculpture-in-the-round, sitting on and suggesting the origins of a future square. Simplicity, yet solid and enduring as a centenary. Mechanical services were, for budgetary reasons, to be kept to a minimum and the building therefore sought to be fairly solid and light excluding and with solid mass controlling temperature swings. On completion of the building an inauguration ceremony was held on 5 October 1989, attended by representatives of De Beers, the University Council and the professional team. A cast bronze commemorative plaque was set centrally into the slate tiled floor of the gallery, with the following wording THIS GALLERY, A GIFT FROM The building was awarded the Regional Clay Masonry Award 1990 by the Clay Brick Association in recognition of outstanding craftsmanship in the aesthetic use of genuine clay brick. Text provided by John Dovey in October 2016 and edited and extended by William Martinson, December 2024. |
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