Galleries, Libraries, Archives, and Museums (GLAM) have long been regarded as neutral spaces of preservation and display. Yet historically, they have functioned as instruments of power, deciding whose stories are told, whose histories and herstories are preserved, and whose voices are amplified. In SA, this legacy is inseparable from colonial and apartheid frameworks that systematically excluded Black artists from institutional visibility. It is within this context that “The Pathway to Education Lies Between Thorns,” a travelling exhibition of works by Peter E. Clarke (1929–2014), presently showing at the Unisa Art Gallery, should be understood. Conceived in 2023 by Chepape Makgato as his inaugural curatorial project following the appointment as Chief Curator of the William Humphreys Art Gallery (WHAG), the exhibition is both a reflection and a reckoning. The theme is associated with navigating a broken or challenging educational system, aiming for a better future despite present, painful struggles. It is best described through the Northern Sotho adage: Kodumela moepathuse, ga go lehumo le le tšwago kgauswi,” literally meaning the queen termite digger should work hard as there is no wealth that comes easily. However, figuratively, it means no gain without pain.
In the context of the theme for the exhibition, it means for a person to attain something, they will have to work hard for it. In other words, achieving education is often a painful journey filled with hardship, inequality, and obstacles – particularly for children in rural areas walking long distances to school. This represents a “no pain, no gain” reality where gaining knowledge requires overcoming significant physical, social, or emotional “thorns” (hardships). The exhibition highlights that education is not equally accessible; for some, the journey is surrounded by structural challenges, such as poverty or lack of resources. In the artistic vision of Clarke, he often illustrated children passing through rough landscapes to reach school, suggesting that despite the harshness of the journey, they are dedicated to their goal.
For Makgato, taking on this project was no small task. It required engaging deeply with a collection shaped by decades of selective acquisition practices. When WHAG was established in 1952, it did not envision Black artists as part of its narrative. There was no institutional obligation to represent African voices. The consequences of this exclusion are evident: Black artists only began to enter the collection meaningfully in the 1980s, largely through their own persistence and commitment to art as a viable career. To this day, many learners are still struggling to access art education at elementary and higher education.
The earlier acquisition of works by Gerard Sekoto and Peter E. Clarke in 1962 stands as an exception rather than the norm. Clarke’s inclusion in a predominantly white institution at the age of 33 speaks volumes about his resilience and artistic conviction. Today, WHAG holds a body of his work accumulated over nearly six decades, with the last acquisition made in 2013, just a year before his passing. Notably, this was Artist Portrait (1953), a poignant reminder of the artist’s enduring presence within the institution.
Our conversation reveals that the current exhibition at Unisa Art Gallery is not just about celebrating Clarke’s legacy. It is about interrogating the institutional journey that made his recognition possible and the many others who were overlooked. It is about acknowledging the role of sustained professional support and the importance of institutional transformation.
The travelling nature of the exhibition from WHAG to Springs Art Gallery and now to the Unisa Art Gallery, signals a deliberate shift in curatorial practice. It reflects a commitment to taking art beyond the confines of traditional museum spaces and into communities and educational environments where it can foster dialogue, healing, and critical engagement. At its core, this project is guided by a simple yet urgent principle: art is for everyone. This calls for GLAM sector to move beyond being repositories of objects and become active participants in society, thereby bridging historical divides, expanding access, and reimagining their role in a democratic SA.
Taking GLAM to the people, and bringing people to GLAM, is not just a slogan. It is a necessary act of redress for cultural and heritage institutions.
