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UNPACKING CAPE TOWN’S COLLECTING CULTURE
A conversation with Collections’ Manager, Brett ScottCollecting is the engine behind any art scene. Without it, even the most lively creative communities couldn’t sustain themselves. In Cape Town, collecting looks different to other major art capitals. Rather than large institutions setting the pace, such as the Tate in London or perhaps the Met in New York, it’s individual collectors and private initiatives that largely shape the market.
At the same time, the city’s strong cultural infrastructure - from galleries to project spaces - has made it a key entry point into wider African art communities. And while international interest continues to grow, there’s a clear push to strengthen local collecting from within.
To understand this ecosystem, The Uptick spoke to Brett Scott, Collections Manager at the Norval Foundation and advisor to private collectors, about what drives collecting in Cape Town - and why it matters.
I think what stands out to me is that Cape Town has a robust infrastructure that supports the local art market. It provides an environment where the artistic community can build, experiment and grow. This community includes a vibrant mix of artists, curators, writers, critics, galleries, project spaces, museums, private institutions, and collectors. The infrastructure allows Cape Town to be one of the major artistic hubs in Africa. This reputation attracts a lot of international interest and visitors and acts as a gateway for African art to reach an international audience. So, I think Cape Town’s role is one of supporter and facilitator, which offers access to the wider African art market. I think that it plays this role alongside other hubs such as Accra, Nairobi and Marrakesh.
What makes the city a compelling place for collectors, both private and institutional?
Access to various elements of the art community is a big reason. Collectors can meet and interac with artists, galleries, curators and institutions in a variety of environments. There is also easy access to Johannesburg, which plays a vital role in the South African art market.
Kaloki Nyamai Ithokoo masuiluni at the Norval Foundation
How would you describe the attitude of local collectors here in Cape Town towards acquiring
works?
I think that local collectors take their responsibility of supporting the local ecosystem seriously. I think that as the interest in African art has grown, it has become important to ensure that art doesn’t consistently leave the continent to collections in the US, UK and EU. It is vital to have local representation in local collections, which can be shared with future generations. I don’t think that South Africa has a collecting culture in the same way that, say, Europe or the US has, so it takes time to develop that culture. Local collectors want to collect works that represent them, their stories, culture and heritage. It's great to see.
How do private collections differ from museum collections in Cape Town?
I think the glaring difference is budget. For this, I am classifying Zeitz MOCAA and Norval as private collections, as they were both started using substantial private collections. So, private collections have access to a wider range of artworks to collect compared to museums. Due to this, private collectors are also more active collectors than museums.
What responsibilities do private collectors have in shaping the visibility of South African art?
They have a big responsibility to support the visibility of South African art through their patronage. There are a few ways to do this, but I think that a fundamental way is to make the artworks in their collection available for loans. This can be both local and international loans. Local loans are important because, as we have discussed in your previous question, local museums don’t necessarily have the budgets to be active in the market. Therefore, they rely on the generosity of local collectors to put on ambitious and impactful exhibitions. At an international level, it is important to continually showcase South African art to an international audience. Loans from private collectors play a big role in that. A good example of that is the current Paris Noir exhibition at Centre Pompidou. The main featured image for that exhibition is Self-portrait, 1947, by Gerard Sekoto. That work is on loan from a South African private collector.
Gerard Sekoto, Self-portrait, 1947. The Kilbourn Collection. © Estate of Gerard Sekoto. Photo © Kristian Tobin Photography
For collectors starting out, what role do institutions such as Norval, Zeitz MOCAA, and Iziko play in contextualising SA art compared to galleries in Cape Town?
In a Western context, museums usually play the role of validator of cultural significance. So, an artist who has a solo exhibition at MoMA or Tate Modern is seen to have made it, it can be the pinnacle in an artist's career. I think in South Africa and Cape Town, that is probably a bit different. Public institutions in South Africa lack government support, so they have limited capacity to acquire works or put on extensive/expansive exhibitions. On the other hand, Private institutions, such as Zeitz MOCAA or Norval, have a limited history and are still developing their individual identities. This limited track record means it is not as straightforward to look to those institutions as a validator of cultural significance. As such, galleries inevitably end up playing this role in South Africa. Galleries like Everard Read (est. 1913), Goodman Gallery (est. 1966) and Stevenson (est. 2003) have long track records and are incredible repositories of knowledge. The one caveat is that they are commercial entities, so you always need to look at them through that lens, but the artists they have worked with, the exhibitions they have produced and the books they have published are immense. They are amazing resources for collectors when they start out.
Can you share an artwork/s from a public and collection that you think has changed the way people engage with South African art?
For me, Jane Alexander's The Butcher Boys in the Iziko South African National Gallery collection had a big impact on how I engage with South African art. I was quite young, maybe 8 years old, when I first saw it on display. I was terrified by it, but also super intrigued about how this was in a museum space. And it kind of piqued a curiosity for me from a young age about art and museums. Private collections are a bit more difficult because the works aren’t accessible to the public. But the large collection of video works in the Emile Stipp Collection is something that I think has encouraged other collectors to explore the role of new media works in private collections. I think the New Church Museum was also a pioneer in establishing a private museum space in Cape Town, long before Zeitz and Norval established their presence
I think the cost of purchasing artworks can be a challenge. The competitiveness of the Rand against the Dollar, Pound and Euro means that local galleries will usually price their artworks in USD, GBP or EUR to ensure convenience and competitiveness on the international stage. However, because theZAR can fluctuate quite a bit, it means that a work priced at $10,000 can cost substantially more in ZAR terms from one month to the next. This unpredictability can be a challenge.
How does collecting in Cape Town compare to other African or global art hubs?
I think that there is a larger pool of local collectors in Cape Town than in other African hubs. This also includes international collectors who either live in Cape Town permanently or own homes here. Cape Town has a cosmopolitan collector base, which I think benefits the art market. I also think that collectors have a wide variety of galleries to visit and collect from. Cape Town has a fantastic selection of galleries, which I think sets it apart from other African hubs.
Can you share your insight into how international interest towards art from South Africa has
shifted in recent years? Are there any specific acquisition examples that reflect this?
I am not sure if there has necessarily been a big shift; I just think that international interest has continued to grow and is driven by the work that all the galleries are doing on the international scene. This is mostly seen in the number of South African galleries which are showcasing at international fairs. Constitently, you will find at least three or four galleries from South Africa at the big international
fairs. Added to this, galleries have also opened permanent spaces in international art hubs such as Goodman Gallery in London and New York and Stevenson in Amsterdam. One area which will be
interesting to watch is the growing recognition of historically important artists of colour from South Africa. I mentioned the Paris Noir exhibition earlier, which is one example; the High Museum in
Atlanta is showcasing the work of Ezrom Legae this year, and another is the exhibition of Ernes Cole’s photographs at Goodman Gallery. So I think that overdue interest will continue to grow.
Police and Passes iii, circa 1965, Estate Edition printed 2020 © Ernest Cole, Courtesy of Ernest Cole Family Trust
Are there misconceptions about collecting South African and/or African art that need to be challenged?
I think the idea of what African art is is starting to change. I think everyone, when I say everyone, I am mostly referring to people outside of Africa, has a very specific idea of what African art is or what it should be. However, I think that as more people visit artistic hubs across Africa and as galleries from Africa show works on the international stage, people are starting to see the incredible depth of artistic production from Africa. There is a diversity in materials, subject matter and conceptual investigations, which shows the continual evolution of African creativity.
How do you see the future of private and museum collections evolving in the city?
I hope that local collections and museums continue to support the local art market as much as possible. It appears that the international interest in African art is starting to subside, and if thi continues, then it is up to the local collector base to continue to support and showcase the talent we have in the city.
What trends or artists are shaping the next generation of collectors?
I think that the next generation of collectors is more willing to collect outside of the traditional brick-and-mortar gallery channels. There is a willingness to engage with artists on social media and online platforms like Latitudes or Artsy. That opens up more opportunities for artists and collectors which weren’t available 10 years ago. Included in this is the increasing frequency of artists working with a variety of galleries and platforms. Traditionally, artists would sign on to be represented by a gallery and only show with that gallery. I think there is more flexibility now, and it allows artists to explore different opportunities.
What advice would you give to new collectors looking to start in Cape Town?
See as much art as you can. Visit galleries, project spaces, museums and private museums to see
what they are exhibiting. It is a great place to start to contextualise the local art scene, and it also helps to develop your own taste. And when you are in these spaces, ask questions. I think that these
spaces can be quite intimidating, but feel free to ask questions and learn as much as you can. Visit the graduate shows at Michaelis, Ruth Prowse, Cape Town Creative Academy and other academic
institutions. Make the most of resources such as the Art School Africa Summer Workshop Series and their Collectors Club. Visit the Cape Town Art Fair in February, it is a brilliant snapshot of the local art market and a great place to see lots of art.
If you could add one artwork to any Cape Town collection today, what would it be and why?
A drawing or painting by Ernest Mancoba. I love his work, and I think he is sorely underrepresented in collections. He is recognised as one of South Africa’s first modern artists. Due to Apartheid, he lived mostly in exile in Denmark, but due to his skin colour and Eurocentrism, he was never fully accepted into the CoBrA circle where he worked and socialised. His work has been difficult to study and exhibit because it has been scattered between Europe and South Africa, and there are scarce
reproductions and archival materials.
Ernest Mancoba, XYZ, courtesy of Stevenson Gallery
www.brettscott.art