DOCSLIB.ORG

Download Artspark Resource on Ronald Moody

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Artspark Resource on Ronald Moody ArtSpark ignite ideas and imagine Discover ‘Male Standing Figure - The Priest’ a wood figurine from 1939 by the artist Ronald Moody. This is one of 14,000+ works of art from the Government Art Collection which are displayed in UK Government buildings in over 130 countries; that is nearly every capital city around the world! Ready to find out more? Ronald Moody (1910–1984) Read online, download or ‘pick and mix’ ‘Male Standing Figure – The Priest’ 1939 any activities that you like. Try them at wood figurine home, at school or with friends. palisandre (rosewood) ©️ Estate of the Artist You don’t have to do them all in one go! Look out for this icon for 10-minute quick 10 and easy activities… 10 facts about... Ronald Moody * Ronald Moody was described as ‘the most remained hidden in a friend’s studio until * Moody was deeply interested in the important Black artist in London of the Moody organised its return to London cultures indigenous to the Caribbean. His interwar decades’ by art writer, in 1949. 1963 commissioned sculpture for the Jean Fisher. * Moody’s career as a sculptor owes a lot to University of the West Indies in Jamaica, * His wood carvings, inspired by the human chance. Turning left instead of right one was inspired by West Indian folklore form, were not realistic. Simplified forms, day in 1928 at the British Museum (BM), stories on the origins of the world. they may have held symbolic meaning. he walked into the Egyptian Room. He * After his death, Moody’s niece Cynthia, * Arriving in London from Jamaica in 1923, later described the moment: ‘… a sudden a film-maker and editor, devotedly Moody originally studied dentistry - a revelation came to me and I felt that documented and promoted her uncle’s career he followed alongside being an sculpture was my real medium.’ work, securing his reputation in the art artist until the 1970s. Lacking funds and * The BM was an important space for many world. Cynthia Moody obituary. time for art college, he began sculpting people of African and Asian heritage in * The Moody Crater on Mercury is named in with plasticine, then dental plaster. By London at that time. Its famous Reading Moody’s honour. 1930, he had produced striking works, Rooms were used by Black activists but having to earn a living, grudgingly set including Marcus Garvey and Claude up his dental practice. For three years, McKay. In 1931 Ronald’s brother, Harold, he worked by day in his surgery dashing founded The League of Coloured Peoples home to sculpt at night. in London to combat racial discrimination. * Moody carved ‘Male Standing Figure - * In London after 1941, Moody lacked The Priest’ while living in Paris. A year studio and tools, and suitable wood was after the Second World War began he difficult to find. Friends scavenged a fled just before Paris fell to the Nazis, railway sleeper, an oak beam from a cider travelling through occupied France, press and a slender piece of golden oak across the Pyrénées into Spain, arriving in for him - all were later transformed into England in October 1941. The sculpture sculptures. 02 Say what you see Tree story Sculptures are made by adding, moulding, Imagine the journey of this sculpture. Carved or removing material: from a rosewood tree (perhaps grown in Brazil, India or Madagascar), it was hidden - How was this one made? in Paris, before arriving in London. Since the Rosewood is a very hard, precious wood Collection bought it in 1950 it’s been shown also used for making guitar fretboards, in many different Government buildings. Starter questions marimbas, black chess pieces and furniture. Your turn: write a travel diary from to help explore - What does the choice of rosewood the point of view of the sculpture as suggest about this sculpture? the artwork it moves around the world. Moody made this sculpture in 1939 - What else happened that year? Think about the title: 10 - Is the Priest a specific person? - Why do you think Moody chose this title? Musical inspiration Does size matter? In 1934, Moody created his first wood - Measure out the space that this sculpture sculpture, called ‘Wohin’ after a song of that occupies (height: 75cm, width: 27cm) name by the famous Austrian composer, - Is it smaller or larger than life? Franz Schubert. - What effect does this have? How do you think being a dentist Your turn: doodle a tune influenced Moody as a sculptor? - Find any piece of music you enjoy. - Think about materials he used, his - Listen to it carefully as you doodle. anatomical knowledge and daily routine. - Give the doodle the same title as the Remember his chance discovery at the piece of music. British Museum? - Display the drawing with the title. - When has something unexpected happened to you? 03 ‘Found’ materials Finding figures ‘Found’ materials were important in Moody’s work (see ‘10 Facts’). and faces in the Take a look at his sculptures, ‘Vision’ and everyday ‘Anima’ (right). Think about how the found material (a dark oak beam of a cider press) might have inspired Moody to carve out the sculptures. - Did he ‘see’ figures and faces in the wood grain, or in the shape of the beam? ‘Pareidolia’ is the name given for finding figures and faces (amongst other things) in the everyday world around us. Enjoy these photographs of figures and faces people have found in the everyday world. Your turn: find faces and figures - Take a walk, looking with fresh eyes at the everyday world around you - buildings, ‘Vision & Anima’ 1943–44 cars, trees and clouds. ©️ Cynthia Moody, The Artist´s Collection, - Can you discover faces or figures in the Bristol, England shapes and patterns around you? Windows Photo: ©️ VADS (African and Asian Visual Artists Archive) and doors on houses looking like eyes and mouths. Clouds shaped like animals. When you spot something, take a photo. - Show it to someone. Can they spot the same thing? - If you don’t have a camera, walk with a partner, pointing out things you spot together. 04 ‘Savacou’ is a sculpture by Moody inspired In 2014, the UK’s Met Office began naming by West Indian creation mythology - storms alphabetically. This makes them Moody’s mythical stories featuring the moon and sun, stars easier to talk about. Each season, popular and weather types. He created two birds, names are chosen from public suggestions menagerie ‘Savacou’ and ‘Couroumon’, representing and names reflecting the culture and different weather gods or stars. In the diversity of Britain and Ireland. myths, Couroumon controlled tides and caused heavy waves which upset canoes, Your turn: make a storm creature and Savacou controlled thunder and Use the Met Office storm names to collage a strong winds. fantastical storm creature of your own. Here’s part of a letter that Moody wrote - What will it look like? in 1964 to Professor A. L. Cochrane, who - How will it move? had invited him to make ‘Savacou’: - Will it speak or make a noise? ‘On Friday afternoon, August 21st, - Will it have feathers or fur? Wings or legs? Savacou, covered in cellophane, arrived Scales or a beak? for his installation on the sacred lawn of the Commonwealth Institute to the - Give it some powers: what can it do? clicking and mewing of innumerable - Now imagine where to display your cameras. (I am not sure that he approved creature - outside a famous building? of his new-fangled, modern covering!) It In a garden? How big or small will it be, was brilliant and hot and, after he was compared to its surroundings? divested of his ‘alien’ covering, shone in - Cut out your creature, and collage it onto all his glory, arrogant, self-confident and a new setting which can be drawn or spurning his surroundings…’ painted, or a photograph of a place. Tate Gallery Archive TGA ref# 956/2/2/13/78 Sketch of ‘Savacou’ on two legs 1963 ©️ The Estate of Ronald Moody Photo ©️ Tate Image released under Creative Commons CC-BY-NC-ND 3.0 (Unported) 05 The phoenix, or the goose that lay the Carry on with this idea: weathervanes golden egg, are two examples of Weathervanes, often on roofs or church Mythical birds mythical birds. spires, show the direction of the wind. But why do they often feature birds? The answer Your turn: make a mythical bird is a mixture of meteorology and mythology! Choose a mythical bird, reading the story Weathervanes were important across and discovering the culture it comes from. Europe for weather forecasting, and in the - What elements are the birds 9th century AD the Pope declared that every associated with? Where are they church must have one featuring a cockerel, found? as a reminder of St Peter’s denial of Christ. They became known as ‘weathercocks’. - How can you recognise your bird? Discover more about weathervanes - What are its magical qualities? The artist Maggi Hambling chose to make - Make your bird out of scrap materials her weathervane, the 3-metre high ‘Brixton - pipe cleaners and tissue paper, or Heron’, when she was commissioned plasticine and scrap paper. to celebrate Lambeth Council’s local Developing the idea regeneration project. One-time Brixton This ‘Clangers’ - inspired bird is welded resident herself, Hambling said, ‘…one of from scrap metal. the things I always loved was the diverse community in Brixton. So that’s why I - Can you (carefully!) experiment with immediately thought of a weathervane everyday metal objects such as old because it reflects the many directions from cutlery and wire coat hangers to make which the town’s residents have come.’ a metal bird? You can ask someone to help you construct your bird.
Load more

Recommended publications
  • Decolonising Knowledge
    DECOLONISING KNOWLEDGE Expand the Black Experience in Britain’s heritage “Drawing on his personal web site Chronicleworld.org and digital and print collection, the author challenges the nation’s information guardians to “detoxify” their knowledge portals” Thomas L Blair Commentaries on the Chronicleworld.org Users value the Thomas L Blair digital collection for its support of “below the radar” unreported communities. Here is what they have to say: Social scientists and researchers at professional associations, such as SOSIG and the UK Intute Science, Engineering and Technology, applaud the Chronicleworld.org web site’s “essays, articles and information about the black urban experience that invite interaction”. Black History Month archived Bernie Grant, Militant Parliamentarian (1944-2000) from the Chronicleworld.org Online journalists at the New York Times on the Web nominate THE CHRONICLE: www.chronicleworld.org as “A biting, well-written zine about black life in Britain” and a useful reference in the Arts, Music and Popular Culture, Technology and Knowledge Networks. Enquirers to UK Directory at ukdirectory.co.uk value the Chronicleworld.org under the headings Race Relations Organisations promoting racial equality, anti- racism and multiculturalism. Library”Govt & Society”Policies & Issues”Race Relations The 100 Great Black Britons www.100greatblackbritons.com cites “Chronicle World - Changing Black Britain as a major resource Magazine addressing the concerns of Black Britons includes a newsgroup and articles on topical events as well as careers, business and the arts. www.chronicleworld.org” Editors at the British TV Channel 4 - Black and Asian History Map call the www.chronicleworld.org “a comprehensive site full of information on the black British presence plus news, current affairs and a rich archive of material”.
    [Show full text]
  • Black Internationalism and African and Caribbean
    BLACK INTERNATIONALISM AND AFRICAN AND CARIBBEAN INTELLECTUALS IN LONDON, 1919-1950 By MARC MATERA A Dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Professor Bonnie G. Smith And approved by _______________________ _______________________ _______________________ _______________________ New Brunswick, New Jersey May 2008 ABSTRACT OF THE DISSERTATION Black Internationalism and African and Caribbean Intellectuals in London, 1919-1950 By MARC MATERA Dissertation Director: Bonnie G. Smith During the three decades between the end of World War I and 1950, African and West Indian scholars, professionals, university students, artists, and political activists in London forged new conceptions of community, reshaped public debates about the nature and goals of British colonialism, and prepared the way for a revolutionary and self-consciously modern African culture. Black intellectuals formed organizations that became homes away from home and centers of cultural mixture and intellectual debate, and launched publications that served as new means of voicing social commentary and political dissent. These black associations developed within an atmosphere characterized by a variety of internationalisms, including pan-ethnic movements, feminism, communism, and the socialist internationalism ascendant within the British Left after World War I. The intellectual and political context of London and the types of sociability that these groups fostered gave rise to a range of black internationalist activity and new regional imaginaries in the form of a West Indian Federation and a United West Africa that shaped the goals of anticolonialism before 1950.
    [Show full text]
  • Eddie Chambers, Spring 2015. Visual Arts of the English
    Eddie Chambers, Spring 2015. Visual Arts of the English-speaking Caribbean (class ARH 345M, LAS 327, AFR 374F M-W-F 3:00 to 4:00 2.204 Office hours, Mondays, 1:00 – 3:00 pm Consistently framed, in some quarters, as little more than a holiday destination, the Caribbean is in actuality one of the world’s most fascinating and complex regions. The countries of the Caribbean, at once united and divided by the great expanse of the Caribbean Sea, are home to a wide range of religions, cultures, nationalities, ‘races’, and peoples. Whilst Spanish- speaking Cuba and French-speaking Haiti are in some ways the artistic giants of the region, equal stature can be attached to the biggest English- speaking island of the Caribbean, Jamaica. Together with its neighbors such as Trinidad and Tobago, Barbados, and Guyana, the English-speaking Caribbean has produced much of the most dynamic art to come out of the region during the course of the 20th century. This class will look at the work of a fascinating group of modern and contemporary Caribbean artists. The history of the region is a compelling and fascinating one, embracing as it does a variety of factors including the trans-Atlantic slave trade, 20th century patterns of migration and travel, and ‘New World’ sensibilities. This class will examine the work of a range of Caribbean artists whose practice came to the fore over the course of the 20th century, from the 1920s right up to the present time. Artists to be studied include practitioners such as Edna Manley, Barrington Watson, Albert Chong, and artists with substantial links to the Caribbean such as Jean-Michel Basquiat.
    [Show full text]
  • Writin' and Soundin' a Transnational Caribbean Experience
    Spring 2013 Dubbin’ the Literary Canon: Writin’ and Soundin’ A Transnational Caribbean Experience Warren Harding Candidate for Honors Africana Studies Africana Studies Honors Committee: Meredith Gadsby, Chair Gordon Gill Caroline Jackson Smith 2 ABSTRACT In the mid-1970s, a collective of Jamaican poets from Kingston to London began to use reggae as a foundational aesthetic to their poetry. Inspired by the rise of reggae music and the work of the Caribbean Artists Movement based London from 1966 to 1972, these artists took it upon themselves to continue the dialogue on Caribbean cultural production. This research will explore the ways in which dub poetry created an expressive space for Jamaican artists to complicate discussions of migration and colonialism in the transnational Caribbean experience. In order to do so, this research engages historical, ethnomusicological, and literary theories to develop a framework to analyze dub poetry. It will primarily pose the question, how did these dub poets expand the archives of Caribbean national production? This paper will suggest that by facilitating a dialogue among Jamaicans located between London and Kingston, dub poetry expanded the archives for Caribbean cultural production. In this expansion, dub poetry’s simultaneous combination of literary and sound genius not only repositioned geographical boundaries of Jamaican identity but also grounded the intersecting spaces of the written, spoken, recorded, and performed word. 3 Table of Contents Introduction………………………………………………………………………...4-9 Theories,
    [Show full text]
  • Dental Historian About Ronald Moody and His Brothers
    Dental Historian 2021 66(1) 67 - 74 Ronald Clive Moody (1900- 1984), dentist and leading black sculptor, and his brothers Stanley Gelbier and Helen Nield Introduction pure science. Compulsory subjects were English, elementary mathematics, a language other than This story began on 12th April 2020 whilst English and one from history, physical science, watching an Antiques Road Show on BBC TV. geography, natural science, Latin, Greek, Hebrew, Someone brought along a wood carving. The expert French or Italian. Student candidates also needed mentioned that the sculptor, Ronald Moody, was a to pass exams in elementary physics and chemistry dentist. We needed to know more. Our research provided by or recognized by the medical licensing taught us not only about this gifted man but also bodies, including the Colleges of Surgeons. about his very talented family. Once these educational requirements were Ronald Clive Moody LDSRCS gained (probably some in Jamaica before coming Ronald was born in Kingston, Jamaica on 12 to London), Ronald could register as a dental August 1900. His parents were Christina Emmeline student. He was then required to engage in four Ellis and Charles Ernest Moody, a druggist and years of professional study and two of mechanical chemist. His siblings were brothers Harold, Charles, dentistry. Many students started their studies with Ludlow and Lockley and sister Elise. Ronald was a two to three years pupilage with a registered educated at the all-male Calabar College, practitioner to learn mechanical dentistry. established by the Jamaica Baptist Union in 1912 Following such a bona fide apprenticeship ‘after’ for the children of Baptist ministers and poor black registration, one year counted as one of the four families.
    [Show full text]
  • Black British Art History Some Considerations
    New Directions in Black British Art History Some Considerations Eddie Chambers ime was, or at least time might have been, when the writing or assembling of black British art histories was a relatively uncom- Tplicated matter. Historically (and we are now per- haps able to speak of such a thing), the curating or creating of black British art histories were for the most part centered on correcting or addressing the systemic absences of such artists. This making vis- ible of marginalized, excluded, or not widely known histories was what characterized the first substantial attempt at chronicling a black British history: the 1989–90 exhibition The Other Story: Asian, African, and Caribbean Artists in Post-War Britain.1 Given the historical tenuousness of black artists in British art history, this endeavor was a landmark exhibi- tion, conceived and curated by Rasheed Araeen and organized by Hayward Gallery and Southbank Centre, London. Araeen also did pretty much all of the catalogue’s heavy lifting, providing its major chapters. A measure of the importance of The Other Story can be gauged if and when we consider that, Journal of Contemporary African Art • 45 • November 2019 8 • Nka DOI 10.1215/10757163-7916820 © 2019 by Nka Publications Downloaded from http://read.dukeupress.edu/nka/article-pdf/2019/45/8/710839/20190008.pdf by guest on 26 September 2021 Catalogue cover for the exhibition Transforming the Crown: African, Asian, and Caribbean Artists in Britain 1966–1996, presented by the Caribbean Cultural Center African Diaspora Institute, New York, and shown across three venues between October 14, 1997, and March 15 1998: Studio Museum in Harlem, Bronx Museum of the Arts, and Caribbean Cultural Center African Diaspora Institute.
    [Show full text]
  • Ethnic Diversity in the Making of Britain
    DOCUMENT RESUME ED 429 155 UD 032 881 AUTHOR Frow, Mayerlene TITLE Roots of the Future: Ethnic Diversity in the Making of Britain. INSTITUTION Commission for Racial Equality, London (England). ISBN ISBN-1-85442-179-4 PUB DATE 1997-03-00 NOTE 138p.; For the companion "education pack", see UD 032 882. Photographs may not reproduce clearly. AVAILABLE FROM Central Books, 99 Wallis Road, London E95LN, England, United Kingdom (9.95 British pounds). PUB TYPE Books (010) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; *Ethnicity; Foreign Countries; History; *Immigrants; Immigration; Instructional Materials; Multicultural Education; *Racial Differences; *Social Change; Urban Areas IDENTIFIERS *Great Britain ABSTRACT The aim of this book is to show that Britain has benefited enormously from immigration and ethnic diversity throughout history. The first part of the book, "Immigrants Past and Present," gives an account of the role played by a few of the migrant communities who came to Britain and settled before the end of World War II. The contributions they have made and the difficulties they have faced are outlined. The second part of the book, "The Contributions of Britain's Ethnic Minorities," focuses on the 50 years since the end of World War II through a selection of "snapshots" of key areas of society where immigration and ethnic diversity have enriched life in Britain. The final section, "Roots of the Future," emphasizes the importance of recognizing ethnic diversity in planning for Britain's future. A list of key dates in British history is included. (Contains 77 references.)(SLD) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • Tam Joseph Is in Many Ways a Fiendishly Enigmatic
    Tam Joseph is in many ways a fiendishly enigmatic figure, never quite in step – indeed, most often, out of step - with the dominant trends and sensibilities of the British art world. By stubbornly refusing to be typecast (and refusing - with equal fortitude - to jump on any bandwagon that might be passing) Joseph has, possibly, ended up in the curious and unenviable position of having his work known by reputation, rather than by the quantity and frequency of his opportunities to exhibit. It is my belief however, that a number of works by Joseph - produced from the early 1980s through to the mid 1990s – merit him being accorded the status of one of the most important artists of his generation. Joseph was born in Dominica, in the Caribbean, in 1947. He came to London at the age of eight, eventually going on to fractious, unsatisfactory periods of study at London art colleges in the late 1960s. He has though, since the beginning of the 1970s, maintained and developed his practice as a painter and sculptor, supplemented by periods of work as a graphic artist. Joseph’s age is one of the most important reasons as to why he is very much his own man, his own painter. His age makes him, on the one hand, too young to be linked to major figures of Caribbean and African art who made London their home in the decades immediately following the end of World War Two. For example, Ronald Moody had been born in 1900, Aubrey Williams had been born in 1926, Frank Bowling had been born in 1936 and Uzo Egonu had been born in 1931.
    [Show full text]
  • Jean Fisher, 'The Other Story and the Past Imperfect', Tate Papers, No. 12
    Tate Papers Issue 12 2009: Jean Fisher http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/fisher... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The Other Story and the Past Imperfect Jean Fisher Little could be more antithetical than the premises of the two most contentious European exhibitions of 1989, Magiciens de la Terre at the Centre Georges Pompidou and La Villette, Paris, and The Other Story in London’s Hayward Gallery. A mix of Western gallery art and folkloric art from the global elsewhere, Magiciens , curated by museum director Jean-Hubert Martin, pursued the anthropological notion of pre-modern cultural ‘authenticity’ in which intercultural aesthetic borrowing by the non-European was perceived as illegitimate ‘contamination’; whilst The Other Story , curated by the artist Rasheed Araeen , sought to demonstrate and legitimise the suppressed history of a modernist aesthetic among British visual artists of African, Caribbean and Asian ancestry.1 If Magiciens was instrumental in drawing global cultures into the orbit of Western institutions, initiating a ‘postmodern’ wave of neo-imperial ‘explorations’ of the exotic, the somewhat ironically titled The Other Story was understood internationally, if not domestically, as a major breakthrough in ‘de-imperialising’ the institutional mind. Couched as a ‘celebration of achievement’, Araeen’s catalogue text leaves us in no doubt that the absence of Black and Asian artists from the history of British modernism and national patrimony could only be attributed to racist discrimination. Guy Brett’s catalogue essay suggested this exclusion was symptomatic of a wider malaise in the British art establishment, which he describes as ‘an antiquated and still basically beaux-arts model’ that consistently failed to recognise the experimental and transnational in its midst.
    [Show full text]
  • BILL SCHWARZ Caribbean Migration to Britain Brought Many New Things – New Musics, New Foods, New Styles
    Studies in imperialism ‘This is a fine collection and its significance lies in several areas. West Indian intellectuals were important actors in the drama that was to change the face of Britain, both because they adopted and reformulated British ideas about culture, and because they brought with them important cultural texts, including novels, poems and essays.’ Simon Gikandi, University of Michigan BILL SCHWARZ Caribbean migration to Britain brought many new things – new musics, new foods, new styles. It brought new ways of thinking too. This lively, innovative book explores the intellectual ideas which the West Indians brought with them to Britain. It shows that for more than a century West Indians living in Britain developed a dazzling intellectual critique of the codes of Imperial Britain. This is the first comprehensive discussion of the major Caribbean thinkers who came to live in twentieth-century Britain. Chapters discuss the influence of, amongst others, C. L. R. James, Una Marson, George Lamming, Jean Rhys, Claude McKay and V. S. Naipaul. The contributors to this fascinating volume draw from many different disciplines to bring alive the thought and personalities of the figures they discuss, providing a dramatic picture of intellectual developments in Britain from which we can still learn much. A lucid introduction argues that the recovery of this Caribbean past, on the home-territory of Britain itself, reveals much about the prospects of multiracial Britain. Written in an accessible manner, undergraduates and general readers interested in relations between the Caribbean and Britain, imperial history, literature, cultural and black studies will all find much of interest SCHWARZ in this collection.
    [Show full text]
  • The 'Othering'
    The ‘othering’ of Africa and its diasporas in Western museum practices Carol Ann Dixon Thesis submitted for the degree of Doctor of Philosophy Department of Geography University of Sheffield August 2016 ii Abstract This thesis examines how curatorial approaches to the display and interpretation of artworks and cultural objects from the African continent, as well as works by diasporan artists of African descent, have changed over time in Western museums and galleries – focusing on histories and geographies of acquisition, collection development, exhibition assemblage, narrative interpretation and other curatorial practices. With particular reference to the culture sectors in Britain and France it investigates how and why exhibits with African provenance have been ‘othered’ in both ethnographic and fine art contexts, drawing on fieldwork undertaken at four case study institutions: the British Museum, Tate, the Musée du Quai Branly – Jacques Chirac, and the Centre Georges Pompidou, Paris. Through the application of qualitative research methods – including walk-through reviews of permanent holdings on display, archive-based surveys of past exhibitions, visual analysis of selected exhibits, and semi-structured interviews with curators and other creative professionals – questions are addressed in relation to the nature and extent of othering, the impacts of Self/Other binarism, and amelioration strategies to improve museum and gallery experiences for more diverse audiences. As prior scholarship in this field has tended to concentrate on colonial-era
    [Show full text]
  • Rousings - Progressive Jamaican Art the National Gallery of the Cayman Islands Curated Rousings – Progressive Jamaican Art with the Kind Assistance of Dr
    Rousings - Progressive Jamaican Art The National Gallery of the Cayman Islands curated Rousings – Progressive Jamaican Art with the kind assistance of Dr. David Boxer, Director Emeritus of the National Gallery of Jamaica, and Hope Brooks, Dean of the Visual Arts of the Edna Manley College of the Visual and Performing Arts. Whilst very respectful of the intuitive, untrained artists, the representational woodcarvings, and landscapes that are also Jamaican art, it was time to focus on, and curate an exhibition that will leave viewers worldwide aware of the intense depth and breadth that is Jamaican art. Rousings encompasses many mediums and art forms: sculpture, drawing, painting, textiles, ceramics, installation mixed media, and photography, by eighteen talented artists: Albert Chong, Charles Campbell, Omari Ra, Christopher Irons, David Boxer, Petrona Morrison, David Pinto, Hope Brooks, Prudence Lovell, Khalil Deane, Laura Facey, Ritula Frankel, Laura Hamilton, Margaret Chen, Nicholas Morris, Nakazzi Hutchinson, Winsom, and Natalie Butler. The goal is to maximize the dissemination of knowledge on the contemporary art of Jamaica throughout the world. Rousings underscores the fact that we are producing just as exciting work in the so-called artistic ‘periphery’ of the Caribbean region, as is being produced in the cities of the Western world. Nancy Barnard Curator National Gallery of the Cayman Islands click artist name to jump > Born in Kingston, Jamaica of African and Chinese ancestry, Albert Chong is Throne for the Keeper the last of nine children of merchant of the Boneyard parents. He left Jamaica in 1977 to Installation permanently reside in the United 46 H x 39 W (inches) States and attended the School of 2003 (from a 1991 version) Visual Arts in New York, graduating with honours.
    [Show full text]