ABSTRACT In the 1960s, during the years in which apartheid was to become fully entrenched in South Africa and black Africans relegated to second-class citizen status, there was an apparently paradoxical growth of interest in art circles in the art of black Africans. Two major players in the Johannesburg art market who acquired large collections of historical African art and promoted contemporary forms said to be African in quality are identified as having fuelled this interest. This article traces the founding of both the Günther Gallery and the Totem Meneghelli Gallery and the influence they exerted on the artists they exhibited and on other emerging galleries in Johannesburg—such as Gallery 101 (later the Pelmama Gallery)—in their constructions of particular African themes and aesthetics in the 1960s and early 1970s. The fact that many of the gallerists involved in this Africa-philia were immigrants from Europe is examined in relation to the apparent paradox noted at the outset and to the politics of race in the South African context and of “primitivism” in the wider art world.

中文翻译：

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1960 年代在约翰内斯堡推广“非洲艺术”和非洲现代主义

摘要 在 1960 年代，种族隔离在南非变得根深蒂固，非洲黑人沦为二等公民，艺术圈对非洲黑人艺术的兴趣明显自相矛盾地增长。约翰内斯堡艺术市场的两个主要参与者获得了大量非洲历史艺术收藏品并推广了据称具有非洲品质的当代形式，这被认为激发了这种兴趣。这篇文章追溯了 Günther Gallery 和 Totem Meneghelli Gallery 的成立，以及它们对他们展出的艺术家和约翰内斯堡的其他新兴画廊——例如 101 画廊（后来的 Pelmama 画廊）——在他们对特定非洲人的建设中所产生的影响。 1960 年代和 1970 年代初期的主题和美学。