Art Profile: Antoinette Murdoch

Taryn Cohn

Antoinette Murdoch has had a long standing relationship with the Johannesburg Art Gallery. Recently appointed as the Chief Curator of JAG, Murdoch was smitten with the gallery when a maverick young school mate took her there for the first time on a date during her matric year.

“I fell in love with JAG at that moment” says Murdoch. Unfortunately, the same could not be said for the hapless chap! She describes standing in front of Penny Siopis’s Melancholia as her “eureka” moment, which led to a career of studying, practicing and managing visual art. Now, a mere 18 years later, she has been appointed to the helm of the institution she revered.

“This position does not come up very often,” states Murdoch.” With at least 5 year contracts, this sort of position is usually held for 8 years or more.” She explained about her decision to apply for the post at this relatively early point in her career.
Murdoch’s contract is for 5 years.

However at 36, Murdoch is certainly not one of the gallery’s youngest Chief Curators, as industry gossip seems to believe. She joins the esteemed company of late Pat Senior who took the helm at aged in 1977 (age 33), Christopher Till who was appointed to the post in 1983 (age 32), Nel Erasmus (aged 36 at the start of her tenure) and more recently, Clive Kelner, who was appointed at 36 in 2004..

Undeterred by industry skepticism, Murdoch points out that the same critical analyses dogged her appointment as CEO of the Joburg Art Bank, an organization she has managed for 3 years, from its inception. It is significant to note that during this period, Murdoch had to navigate the institution through some very tough times, with operating funding cut off suddenly in year three due to factors beyond her control, despite the original business plan to the contrary. “It was either shut up shop or do other things to survive the period.” Says Murdoch.

The Bank’s strategy of taking on projects and diversifying their core tasks, although much criticized and misunderstood by the industry, has seen the Art Bank generate operational budget that now ensures its return to its core function this year.

It is this sort of challenging experience that will stand her in good stead for the task ahead of filling the shoes, with her six 5 feet, left by previous Chief Curator, Clive Kellner.

“Clive did a great job. He has done so much to re-vitalise JAG, having inherited an organization that was fraught with challenges, both internal and external” she says.
“When Clive took over, that part of town was a no go area, which presents a real problem if you are in the business of attracting visitors to a public facility.”

On a more personal note, Murdoch will surely encounter some real challenges balancing her career as a practicing visual artist and that of Chief Curator of arguably the country’s foremost museum, and the biggest gallery on the sub-continent. She won’t be the first senior art manager to pursue a career as an artist in tandem, but she will certainly be the most watched one, for the moment. Murdoch is unequivocal however, citing her foremost goal in life is to ultimately only make art. However like all artists, “there are bills to pay and life to be lived until one can sustain oneself with art making alone.”

“ I faced that choice early on” says Murdoch.” I could either work in an unrelated industry, or work where my knowledge and experience lies.”


Murdoch, who does not take up the position until the 1 April is hesitant to give any specific plans she has, citing her desire to get to grips with the detail of the institution before committing herself publicly. She does however believe that the role of a museum goes beyond the local scope. “It has a significant role in terms of how the South African art industry is viewed internationally and we should continue to engage in opportunities around leveraging JAG on an international platform”

She expands on this by adding that while the role of the museum is to accumulate and safeguard South African heritage through its acquisition policies, a less exploited role of the Museum should also be to showcase international artists to a local audience, and hopes to consider bringing key artist’s to exhibit in South Africa. (This is however said with the disclaimer that at present Murdoch is not in possession of the budget nor detailed existing policies of the Museum in this regard).

In the meantime, South Africa’s art industry is watching with interest to see if Murdoch’s love affair with JAG will become a successful marriage.


Additional: For public interest


The Johannesburg Art Gallery operates in the following manner:


Operational:
It falls under the City of Johannesburg, with the director of Art Culture and Heritage Services as its Director. This position is currently held by Stephen Sack. Operating budgets are allocated by the city, and expenditure is approved by the COJ on the recommendation of the Chief Curator.


Exhibitions:
There is a Curatorial staff of 4
Chief Curator, Curator: Contemporary Collections, Curator: Historical collections, Curator: Southern African Traditional African Art.

Exhibitions are motivated by the Curator concerned and approved by the Chief Curator in consultation with the Curator concerned.


Acquisitions:
An acquisitions committee, made up of the Chief Curator, the three curators listed above, independent members of the public (from all walks of life, from art professionals to others) and the gallery’s Registrar.

The acquisitions committee is independent of the City and draws its main funds from the Angle American Centenary Trust Fund.

Works bequeathed by individuals or organizations must also be approved by the acquisitions committee.

Additional project funding generated by sponsorships and The Friends activities are handled on a case by case basis.