Esther Mahlangu: Leaving Her Mark
Learn about South African artist Esther Mahlangu, her installation at the National Museum of Women in the Arts, and her influence on American artist Sonya Clark.
Esther Mahlangu at the National Museum of Women in the Arts (1994)National Museum of Women in the Arts
Esther Mahlangu (b. 1935, Mpumalanga, South Africa)
Esther Mahlangu is an internationally celebrated muralist whose colorful work covers canvases, walls, and even cars. Known for bright, abstract compositions, she roots her large-scale painting in Ndebele artistic practices.
Esther Mahlangu working on National Museum of Women in the Arts mural (1994)National Museum of Women in the Arts
In South Ndebele culture, women paint the exterior walls of houses with bold lines and geometric shapes to show care, loyalty, and respect for their homes. This craft is shared matrilineally. Mahlangu learned the art of mural painting from her mother and grandmother at age 10.
Mahlangu’s paintings feature vibrant hues of pink, blue, green, and purple, bordered by thick black-and-white lines, which echo design elements found in beaded Ndebele jewelry and clothing.
Esther Mahlangu working on National Museum of Women in the Arts mural (1994) by Esther MahlanguNational Museum of Women in the Arts
Mahlangu at the National Museum of Women in the Arts
In the summer of 1994, Mahlangu visited Washington, DC, to create a mural in celebration of NMWA's newly acquired addition, the Elizabeth A. Kasser Wing (which opened to the public in 1997). NMWA was the first institution in the United States to commission a mural by the artist.
Esther Mahlangu and her son working on National Museum of Women in the Arts mural (1994)National Museum of Women in the Arts
Working outside with her son and a team of assistants from South Africa and the US, she transformed a three-story wall, now the exterior of the Museum Shop and annex, with vividly colored, geometric Ndebele patterns.
"Esther Mahlangu, South African Muralist: The BMW Art Car and Related Works" Installation (1994) by Esther MahlanguNational Museum of Women in the Arts
The mural served as the centerpiece for the exhibition Esther Mahlangu, South African Muralist: The BMW Art Car and Related Works (September 15 to November 13, 1994), which displayed framed paintings by the artist, photographs of her working, and beaded objects.
BMW Art Car
The exhibition also featured Mahlangu’s Art Car, a BMW 525i she painted with her signature colorful and geometric forms. BMW’s project started in 1975 when racecar driver Hervé Poulin invited Alexander Calder to paint his BMW racecar, sparking an ongoing collaboration with 20 artists.
Helmut Panke visits "Esther Mahlangu, South African Muralist: The BMW Art Car and Related Works" (1994)National Museum of Women in the Arts
Mahlangu, who participated in 1991, was the first woman and first African artist invited to create an Art Car. NMWA's 1994 exhibition, organized in partnership with BMW, was attended by many notable visitors, including then BMW Chairman and CEO Dr. Helmut Panke.
"Ndebele art is naturally grandiose in form and only needed the concept of motion added," Mahlangu said of the collaboration.
Dr. Maya Angelou at NMWA Esther Mahlangu Exhibition Opening Reception (1994)National Museum of Women in the Arts
Poet and activist Dr. Maya Angelou delivered remarks in front of the newly painted mural for the exhibition opening in September 1994.
Nelson Mandela visits the National Museum of Women in the Arts (1994)National Museum of Women in the Arts
During his first trip to the US as President of South Africa, Nelson Mandela visited NMWA with the museum’s founder, Wilhelmina Cole Holladay, to view Mahlangu’s work.
"Sonya Clark: Tatter, Bristle, and Mend" Installation (2021) by Kevin AllenNational Museum of Women in the Arts
Esther Mahlangu and Sonya Clark
Mahlangu served as inspiration for many artists, including Sonya Clark (b. 1967). Clark transforms everyday materials, such as human hair, plastic combs, and glass beads, into works that probe identity and visibility, appraise the force of the Africa Diaspora, and redress history.
Esther Mahlangu’s Touch (2015) by Sonya ClarkNational Museum of Women in the Arts
Esther Mahlangu’s Touch
In 2014, Mahlangu painted two murals for the Virginia Museum of Fine Arts (VMFA) in Richmond. Clark, then a professor and chair of the craft/material studies department at Virginia Commonwealth University, challenged her students to respond with a collaborative beaded piece.
While Mahlangu painted at the VMFA, Clark photographed her at work, an image which was recreated in small glass beads by Clark and her students using techniques inspired by Ubhule women of South Africa.
Esther Mahlangu’s Touch (back) (2015) by Sonya ClarkNational Museum of Women in the Arts
The work, Esther Mahlangu’s Touch (2015), is composed of 16 squares; each of Clark’s 15 students completed one square and signed the back of the artwork.
Esther Mahlangu’s Touch (detail) (2015) by Sonya ClarkNational Museum of Women in the Arts
Clark herself contributed the final piece, featuring Mahlangu with a paintbrush in hand.
"Esther Mahlangu's Touch" in "Sonya Clark: Tatter, Bristle, and Mend" Exhibition (2021) by Sancha McBurnieNational Museum of Women in the Arts
Esther Mahlangu’s Touch was displayed for over a year alongside Mahlangu’s murals at the VMFA. The work was later shown at NMWA in the exhibition Sonya Clark: Tatter, Bristle, and Mend in 2021, and it is now part of NMWA’s collection.
Like mural painting, beadwork holds special significance in Ndebele culture, particularly in women’s jewelry, body ornaments, and clothing. Beaded pieces are used in traditional ceremonies and rites of passage. Mahlangu wears thick beaded bracelets, anklets, and neck adornments.
"Esther Mahlangu's Touch" in "Sonya Clark: Tatter, Bristle, and Mend" Exhibition (2021) by Kevin AllenNational Museum of Women in the Arts
Glass beads are an important part of Clark’s practice as well. She is interested in the material’s use in ornamentation, religion, trade, and play. Beads are a symbol for community, channeling her ancestors, a quest for connection, and a celebration of creativity.
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