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ART of the CARIBBEAN ‘A Wonderful Set of Images Which Helps to Re-Define the Boundaries of the Caribbean for a British Onlooker
PartGOODWILL 1 — Caribbean TEACHING art history GUIDE — the essential teaching resource for craft, design and culture LIST OF CONTENTS ART OF THE CARIBBEAN ‘A wonderful set of images which helps to re-define the boundaries of the Caribbean for a British onlooker. The visual art is supported by concise and effective background material, both historical and textual’. Dr. Paul Dash, Department of Education, Goldsmith’s College. LIST OF CONTENTS PART 3 This set explores Caribbean culture Looking at the pictures and its arresting visual art Unknown Taino Artist, Jamaica, Avian Figure Introduction Isaac Mendes Belisario, Jamaica, House John Canoe Map of the Caribbean Georges Liautaud, Haiti, Le Major Jonc Time-line Annalee Davis, Barbados, This Land of Mine: Past, Present and Future John Dunkley, Jamaica, Banana Plantation Wifredo Lam, Cuba, The Chair PART 1 Raul Martinez, Cuba, Cuba Caribbean art history Edna Manley, England/Jamaica, The Voice Colonial Cuba Unknown Djuka Artist, Suriname, Apinti Drum Cuban art since1902 Everald Brown, Jamaica, Instrument for Four People Stanley Greaves Caribbean Man No. 2 Colonial Saint-Domingue Aubrey Williams, Guyana/England, Shostakovich 3rd Symphony Cecil Baugh, Jamaica, Global Vase with Egyptian blue running glaze Haitian art since 1811 Stephanie Correia, Guyana, Tuma 1 Dutch West-Indian colonies Philip Moore, Guyana, Bat and Ball Fantasy British West Indies Ronald Moody, Jamaica/England, Midonz (Goddess of Transmutation) English-speaking Caribbean: Jamaica, Stanley Greaves, Guyana/Barbados, Caribbean Man No. 2 Barbados, Guyana, Trinidad, Wilson Bigaud, Haiti, Zombies Ras Aykem-i Ramsay, Barbados, Moses For easy navigation blue signals a link to a Caribbean-born artists in Britain Pen Cayetano, Belize, A Belizean History: Triumph of Unity relevant page. -
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Between a Promise and a Trench: Citizenship, Vulnerability, and Climate Change in Guyana Sarah E. Vaughn Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Sarah E. Vaughn All rights reserved ABSTRACT Between a Promise and a Trench: Citizenship, Vulnerability, and Climate Change in Guyana Sarah E. Vaughn Between a Promise and a Trench examines how science is constituted as a strategic practice and site through which citizens make claims about racial democracy in Guyana. It shows how government policymaking around climate adaptation--which drew upon the recommendations of outside actors, including the Intergovernmental Panel on Climate Change (IPCC), the United Nations (UN), and various NGOs and international scientific networks-- profoundly disrupted the country's delicate racial-ethnic balance. A contribution to the burgeoning anthropology on the social and political impact of climate change, the dissertation also speaks to current debates over race and citizenship, the complex relationship between expertise and democracy, and the competing post-colonial claims of Indo-, Afro-, and Amerindian Guyanese to land and self-determination. The dissertation is based on seventeen months of fieldwork and archival research conducted between, 2009-11 in coastal Guyana. It brings together three conflicting perspectives: of engineers, who drew upon datasets and models about flooding and construction of canals around IPCC and UN climate data; the state officials, who sought to reduce vulnerability to flood hazards through land evictions; and of Indo-, Afro-, and Amerindian Guyanese farmers and squatters who were evicted as a result of post-2005 engineering projects. -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Artist of the People's World (Pt 1) Publ¡Shed: Sunday I Novembor 18,2007
Iamaica Gleaner Online Artist of the people's world (Pt 1) publ¡shed: Sunday I Novembor 18,2007 Cooper Alexander Cooper is an artist living and working at Cooper's Hill, St. Andrew. Today, he drscusse s his work with Jonathan Greenland, executive director of the National Gallery. You are famous as a painter of the Jamaican people, is this important to you? I do like the grassroots. I like to draw my people in their settings: Their settings in terms of the homes that they live in, the lifestyles that they lead and their attire. When I started I I found this the most interesting material and l'm still doing it. I like to portray my people in their natural setting, for example, a Jamaican market scene is always a high- ' , colourful visual spectacle. For the past three years I have been painting old Jamaican churches. How do you go about making your paintings? Most of the subjects are outdoors and look to be painted from life. Well, I would say they are painted from life in the sense they are based on observation at the scene. Some of these events like carnival and festival I am always present at them. I can stand to one side and observe the colour and the pageantry and then almost paint from memory. A good example is one of the first works I did - it won the first prize at the lnstitute of Jamaica in 1962. lt is a painting of Port Royal and now it is at the NationalGallery. I got 100 pounds for it. -
Visual Art As a Window for Studying the Caribbean Compiled and Introduced by Peter B
Visual Art as a Window for Studying the Caribbean Compiled and introduced by Peter B. Jordens Curaçao: August 26, 2012 The present document is a compilation of 20 reviews and 36 images1 of the visual-art exhiBition Caribbean: Crossroads of the World that is Being held Between June 12, 2012 and January 6, 2013 at three cooperating museums in New York City, USA. The remarkaBle fact that Crossroads has (to date) merited no fewer than 20 fairly formal art reviews in various US newspapers and on art weBlogs can Be explained By the terms of praise in which the reviews descriBe the exhiBition: “likely the most expansive art event of the summer (p. 20 of this compilation), the summer’s BlockBuster exhiBition (p. 21), the big art event of the summer in New York (p. 15), immense (p. 34), Big, varied (p. 21), diverse (p. 10), comprehensive (p. 20), amBitious (pp. 19, 21, 22, 33, 34), impressive (p. 21), remarkaBle (p. 21), not one to miss (p. 30), wholly different and very rewarding (p. 33), satisfying (pp. 21, 33), visual feast (p. 25), Bonanza (p. 25), rare triumph (p. 21), significant (p. 13), unprecedented (p. 10), groundbreaking (pp. 13, 23), a game changer (p. 13), a landmark exhiBition (p. 13), will define all other suBsequent CariBBean surveys for years to come (p. 22).” Crossroads is the most recent tangiBle expression of an increase in interest in and recognition of CariBBean art in the CariBBean diaspora, in particular the USA and to less extent Western Europe. This increase is likely the confluence of such factors as: (1) the consolidation of CariBBean immigrant communities in North America and Europe, (2) the creative originality of artists of CariBBean heritage, (3) these artists’ greater moBility and presence in the diaspora in the context of gloBalization, especially transnational migration, travel and information flows,2 and (4) the politics of multiculturalism and of postcolonial studies. -
Meeting Denis – a Mind Engaged —— a Tribute to Denis Williams (1923–1998)1
Meeting Denis – A Mind Engaged —— A Tribute to Denis Williams (1923–1998)1 STANLEY GREAVES Y FIRST ‘MEETING’ with Denis Williams took place in the British Guiana Museum of the 1940s – destroyed by fire M in 1945, rebuilt before Independence in 1966, and renamed the Guyana Museum. This ‘meeting’ took the form of looking at a small oil painting of a boy. On Saturday mornings I ran errands to Stabroek market for my mother, Priscilla. The museum was equidistant between my home and the market. A visit to my favourite exhibits before doing the errands provided much pleasure. Of particular interest was the small art gallery, where I enjoyed looking at a few paintings and engravings be- cause of my own efforts in drawing. Assuming he was a schoolboy like myself, my identification with the portrait was total. I visited it every time and often wondered what kind of a person the artist Denis Williams was, a question destined to be answered in full about twenty-eight years later. In the intervening period I did learn something about him. I had be- come a member of the Working People’s Art Class (WPAC), which had been founded by Edward Rupert Burrowes in 1948, the same year in which I joined. It was from Burrowes, “Erb” to most of us privately, that I learnt Williams had been a member of the Guyanese Art Group founded in 1931 under the name of the British Guiana Arts and Crafts Society. He 1 My acknowledgements to Elfrieda Bissember, Director and Curator of the National Collection, Guyana; to Robert Cummings, Head of the Burrowes School of Art in Guyana, for providing dates I did not have; to Anne Walmsley, UK, Caribbean researcher, and to Therese Hadchity of Zemicon Gallery, Barbados. -
Art of a New Nation
Pgs062-066_ART 05/19/06 5:34 PM Page 63 f art would people create while throwing off f What kind o ive hundred years of slavery, colonialism, and oppression? Jamaicans only began to discover their English father and a Jamaican mother, true culture in 1922, dawn of the Jamai- Edna had married Norman Washington can Art Movement, when they began to Manley in 1921. depict real people living real lives in real Her sculptures captured the rhythm Jdignity, for the first time. Neither the of the markets and the songs of the Taino natives, nor the Spanish who con- plantations. They displayed the phy- quered them, had left much in the way "Negro Aroused" ver. iii 1982, siques and gestures of real Jamaicans. from a private collection exhibited at of art. Jamaica’s planters, leaders of an Gallery, Edna Manley College With heads up in hope, or down in English colony from 1670 to 1962, did CofAGE the Visual and Performing Arts, anger, works like “Negro Aroused” commission some art from Europe. So with the Edna Manley Foundation, (1935), “The Prophet” (1936), and “To- churches, graveyards, and squares host- morrow” (1939) became icons of the February 27 to March 2, 2006. ed fine neoclassical sculptures. Trav- new social order. Other pioneers of the elogues displayed genteel English watercolors. Hobbyists Jamaican Art Movement included Karl Parboosingh, made picturesque landscapes and florals. Albert Huie, Carl Abrahams, Barrington Watson, Mallica But where were all the bright colors and traditional “Kapo” Reynolds, Michael Lester, and Cecil Baugh. wood carvings of the Africans? Even though 95 percent of Extrovert Karl Parboosingh, born 1923 in St. -
Haptic Tactility: How Design Processes Can Remediate Identities Past and Present
Haptic tactility: how design processes can remediate identities past and present Marcia Swaby A thesis in fulfilment of the requirements for the degree of Master of Philosophy School of Art and Design Faculty of Art and Design January 2018 I PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet I Surname or Family name: Swaby First name: Marcia Other name/s: Annette I Abbreviation for degree as given in the University calendar: MPhil School:.School of Art and Design Faculty: Faculty of Art and Design Title: Haptic tactility: how design processes can remediate I identities past and present Abstract 350 words maximum: (PLEASE TYPE) There is little known of the prehistory of the Caribbean and the Taino people- the firstinhabitants of the region. From the island of Jamaica, significantTaino artefacts are currently held in storage in the British Museum. This project explores how one 'brings to life' their identities, and how this may engage with contemporary jewellery and object making practices. The project has wider implications forminority communities- particularly for those subjugated by western imperialism from the end of the fifteenth Century to the late nineteenth century and, arguably, formany up to and including the various independence movements fo11owingWorld War Two. This period has contributed to the many factors that create an invisibility of black artists and their contributions to a wider art history. In addressing the significant problem of 'invisibility', the aim of this thesis is to investigate how contemporary jewellery and object making processes, methods and outcomes can act as catalysts forre-integrating fragmented and dispersed relationships. -
Jamaica Journal Index with Abstracts 1990 – 2008
Jamaica Journal Index with abstracts 1990 – 2008 Compiled by : Cheryl Kean and Karlene Robinson University of the West Indies, Mona. Preface Coverage The purpose of this index is to articles that have been published in the Jamaica Journal since 1997. It covers the following issues:- Vol 23 no. 1 (1990) to Volume 31 nos. 1 & 2 (2008). All articles, book reviews, poems and short stories are included in the index. Arrangement The index is arranged in two sections. The first section is a general List of abstracts arranged alphabetically by the first named author or title. This is a list of all articles that are included in this index with an abstract provided for each article with the exception of book reviews, stories and poems. All entries are numbered. The second section is an Author and keyword list. The number that is listed beside each term corresponds to the number that is given to each entry in the general list of abstracts. Library of Congress Subject Headings were used to generate the list of keywords for all the entries in the index with the exception of a few cases where no appropriate terms existed to capture the subject material. List of Abstrtacts 1. The Altamont DaCosta Institute. Jamaica Journal 2000; 27(1):Back cover. Abstract: This article presents a brief biography of Altamont DaCosta, former mayor and custos of Kingston. The Institute was the former dwelling house of Mr. DaCosta and was willed to the people of Jamaica in 1935. 2. The Calabash tree (crescentia cujete). Jamaica Journal 2008; 31(1-2):Back cover. -
Jamaica National Heritage Trust (JNHT), Jamaica Archive and Gordon, Ms
AtlAs of CulturAl HeritAge AND iNfrAstruCture of tHe Americas JAMAICA luis Alberto moreno President Board of trustees Honourable General Coordinator liliana melo de sada olivia grange m. P. Alfonso Castellanos Ribot ChairPerson of the Board Minister ● ● ● national liaison Trustees mr. robert martin Marcela Diez teresa Aguirre lanari de Bulgheroni PerManent seCretary ● sandra Arosemena de Parra ● national teaM Adriana Cisneros de griffin senator Warren Newby Desmin Sutherland-Leslie (Coordinator) gonzalo Córdoba mallarino Halcyee Anderson Andrés faucher Minister of state marcello Hallake Shemicka Crawford enrique V. iglesias ● Christine martínez V-s de Holzer ProGraMMers eric l. motley, PhD A Alfonso Flores (Coordinator) rodolfo Paiz Andrade Eduardo González López marina ramírez steinvorth directories Alba M. Denisse Morales Álvarez Julia salvi ● Ana maría sosa de Brillembourg Diego de la torre editorial Coordination ● Alfonso Castellanos Ribot sari Bermúdez ● Ceo editorial desiGn raúl Jaime Zorrilla Juan Arroyo and Luz María Zamitiz dePuty Ceo Editorial Sestante, S.A. de C.V. Atlas of Cultural Heritage and Printed and made in Mexico Infrastructure of the Americas: Jamaica isBN (colection:) 978-607-00-4877-7 Primera edición, 2011 isBN (Jamaica Atlas) 978-607-00-4910-1 first edition, 2011 © C. r. inter American Culture and Development foundation, ministry of Youth, sports and Culture, Jamaica. Acknowledgements Institute of Jamaica on behalf of the Cultural Atlas team, we would like to thank the following organisations provided fundamental information the following persons were instrumental in the creation minister olivia grange, m.P. minister of Youth, sports and Culture and support that enabled the publication of the Atlas: of the Atlas: for partnering with the inter-American Cultural foundation (iCDf) to facilitate the creation of the Atlas of Cultural Heritage institute of Jamaica (IOJ), National library of Jamaica (NlJ), ms. -
On-Line Magazine
Guyana Cultural Association of New York Inc.on-line Magazine Mar. 28 2015 Vol. 5 Issue 3 TM FOLLOWING IN THE FOOTSTEPS OF STRONG & TALENTED GUYANESE WOMEN I am Charisse Guyana Cultural Association of New York Inc. on-line Magazine LETTER FROM THE EDITOR or those who experienced it, this was easily one of the harshest winters IN THIS ISSUE 2 in North America. And inasmuch as we welcomed spring just a few days PAGE 3-4: Happy Easter ago, the temperatures linger determinedly at cold instead of warming. PAGE 5 - 10: Happy Phagwah F PAGE 11-14: Burrowes School Did Mother Nature have it in for us this time around or is this merely a change 40th anniversary in weather patterns to which we will ultimately become accustomed. PAGE 15-22:Celebrating Guyanese In complicity with the weather is the plethora of sadness and turmoil con- Women fronting our world: horrific deaths and tragic losses abound, not the least of PAGE - 23 - 25: Steelband in Guyana PAGE 26- 28: Maestro Fresh Wes which was the recent airline disaster. It forces us to acknowledge with grati- PAGE 30 - 31”: Guyana National Sound tude, much of what is generally taken for granted. PAGE 32:: Sigma Alpha tragedy But here we are nevertheless, anticipating the “crispness” of the new season PAGE 33 - 34: Dis Time Nah Lang Time PAGE 37: Cultures Endure and the accompanying burst of color. And as we await, we also look forward to our “Spring Renewal”, a season of hope and promise. Gail A. Nunes- On this month’s cover, our beaming Charisse is the epitome of that promise. -
Summer 2021 7/24/2021-7/25/2021 LOT # LOT
Summer 2021 7/24/2021-7/25/2021 LOT # LOT # 1 Chinese 14K Gold Figural Dragon on Stand 3 8 pcs. Meiji Japanese Silver Tea Set, Iris Decorat Chinese 14K gold (tested) figural dragon, Asian Export Sterling Silver Tea Service with depicted standing with raised head. Fitted with high relief iris decorations, eight (8) pieces. a conforming hardwood stand. 2" H x 3 1/2" W. ARTHUR & BOND, STERLING, and 73.3 grams. Provenance: the estate of Camille YOKOHAMA stamped to underside of bases. Gift, Nashville, Tennessee by descent from Sara Includes a kettle on stand, coffee pot, teapot, tea Joan Wilde (1923-2014), Colorado Springs, caddy, covered sugar bowl, creamer, CO. Mrs. Wilde and her husband, Lt. Col. Adna double-handled waste bowl, and a pair of sugar Godfrey Wilde (1920-2008) traveled tongs. Also includes an International Silver extensively throughout Asia as part of his career Company burner. Pieces ranging in size from 9 as an officer with the U.S. Army. Condition: 3/4" H x 8" W to 1" H x 5" L. 116.60 total troy Overall very good condition. 2,400.00 - ounces. Meiji Period. Provenance: private 2,600.00 Chattanooga collection. Consignor's Quantity: 1 grandparents acquired this set and the Arthur & Bond teacups also in this auction (see lot #3) while traveling in Asia in the early 1900s. Condition: All items in overall very good condition. Handles slightly loose to teapots. 2 Asian Export Silver Cocktail Set, incl. Shaker, Be 4,800.00 - 5,200.00 Japanese export silver cocktail set, comprised of Quantity: 1 one (1) shaker, eight (8) beaker style liqueur cups, and one (1) tray with wooden center insert and silver rim, 14 items total.