Sam Nhlengethwa calls on young talent to showcase their art with the world

Sam Nhlengethwa strongly believes that now more than ever the world is ready for home-grown artwork and young artists should continue to carry that with pride.

The 70-year-old legendary artist's career spans over five decades with key pieces now on full display at the Radisson Red Hotel in Rosebank.

The hotel’s art deco-inspired interiors are bold and spirited thanks to a selection of artwork from Nhlengethwa.

“The collaboration came through the Goodman Gallery and Radisson Red, and I didn’t hesitate to say yes,” Nhlengethwa said.   

“And we had a meeting and then it was explained to me about showing my works that will be showcased in billboard scale, and I didn't hesitate to tell them that I’ll participate in the showcase.”

Situated on the corner of Jellicoe Avenue and Oxford Road in northern Johannesburg, the Radisson Red Hotel makes for an ideal city escape with picturesque views and the perfect hangout for urban city dwellers.

The hotel's art installations offer residency to the best of African artists from Zanele Muholi to Marlene Steyn and Prince Gyasi.

“It felt good to have my work showcased outside the gallery or museum space. I’ve never been on a hotel level. It’s amazing,” he said.   

Nhlengethwa's body of work reflects SA's sociopolitical history and Johannesburg's ever-evolving culture through street life, jazz musicians, fashion and interiors.

“The first one is from my previous exhibition at the Goodman Gallery as the Art Meets Fashion showcase. A lady is leaning on the piano and the title of the artwork is The Grand Piano. I’ve always loved the grand piano. The second one is of course the tapestry of Miles Davis, it's mind blowing. Trendy, marvellous dresser and a great musician. In my collection of vinyls, I believe I have more Miles Davis than any other musician.”

Nhlengethwa’s artwork will be exhibited at the Radisson Red until January 2026.

Nhlengethwa was born in a satellite town of Payneville, Springs, on the East Rand. He later relocated to Ratanda township in Heidelberg, some 50km southeast of Joburg.

In his early years, Nhlengethwa was a studio set designer for the SABC but continued to practise his art part-time. 

“I didn’t fold my arms and say, because I’ve got a monthly income, I should fold my arms and not practise my art. I involved myself in solo and group exhibitions,” he said. 

In 1982, Nhlengethwa participated in his first collective exhibition and gained his footing in the art world.

“I remember my first group was at the FUBA (Federated Union of Black Artists) gallery; they accommodated us and gave us the platform to enter the art world,” he said.

He recalls selling his first couple of paintings.

“It was a great feeling; remember, I'm a boy from the township. No one believed that one could be a professional artist. Selling pieces motivated me and I took myself seriously. The person who bought the art must see me grow and mature in this practice,” he said.

“The strongest tool that anyone can have is discipline. I was on that path of being a disciplined artist.” 

Nhlengethwa shared his outlook on the current climate of art locally and globally.

“The future of SA art is great. I am encouraged to see more young black art collectors with pieces by Sam Nhlengethwa or David Koloane,” he said.

“The young upcoming artists, when I was their age, things were not like how they are now. The field is ready for them, they [must] just take themselves seriously and do the practice.

“The world has been waiting for South Africans to share the platform with them. It excites me to witness how the global world is welcoming and witnessing SA art and artists. We are like ambassadors of our country. Our government should pay attention to our practice as well.”