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Rousings - Progressive Jamaican Art the National Gallery of the Cayman Islands Curated Rousings – Progressive Jamaican Art with the Kind Assistance of Dr

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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. He is presently associate professor of art and photography at the University of Colorado at Boulder. Albert Chong’s photographs are included in collections public and private, national and international. The three main bodies of his photographic work include the I-Trait series, The Still Life’s, and the Thrones for the Ancestors. Other aspects of his work include mixed media sculptural installations, video, book works and objects. His works have been widely exhibited nationally and internationally in venues such as the Ansel Adams Centre for photography in San Francisco, Africus: The First Johannesburg Biennial, South Africa, The Cleveland My use of the throne relates to Museum of Art, the Havana Biennial in Cuba and the belief that spiritual entities Centre For Fine Arts in Miami. He is the recipient of can be seated, deifi ed, honoured several art fellowships, including the 1998 Guggenheim with offerings or sacrifi ces— treated not unlike earthly royalty. fellowship in photography, a 1998 Pollock/Krasner grant from the Pollock Krasner Foundation and a Thrones therefore serve as the 1992 National Endowment for the Arts fellowship in portal for connection with the photography. spirit world, and for my connection with my own past. From http://spot.colorado.edu/~chonga …Albert Chong back to page one > > but these bodies… (detail) Charles Campbell was Oil on paper on canvas born in 1970, and has 30 H x 120 W (inches), 2002 both Jamaican and Canadian nationalities. The ocean with its infi nite capacity (seduction), the sky with its infi nite He graduated from space (imagination), both present themselves as a possible escape, Goldsmiths College of as an alternative to our daily entanglements. And the idea of escape the University of London carries with it the ideas we are escaping. The middle passage, its with an MA in Fine Art, from familiar representation, an inverted fi gure (self-portrait), a self-portrait; Concordia University in Montréal, cumulatively these efface and carry each other’s meanings. Conceptual Québec, with a BFA, Major Studio Art. and formal associations make these discreet images guilty of indiscretions. Or maybe it is the sky and the (falling) fi gure that should Campbell has exhibited at Grosvenor go together, and the ocean can stand in for the ships themselves (or Galleries, Life of Jamaica Centre, Gallery vice versa). Or maybe… Stornaway, and with the Exhibits USA National Touring Exhibition, Soon Come Even while recognising that the meanings we confer on an image are - The Art of Contemporary Jamaica. mutable we still insist on conferring meaning, and to confer meaning Campbell has shown at Identities Artists is also to make an investment in it. Weight is added to an image, a personal connection or a social construction. Weight holds of Latin America and the Caribbean, IADB, meaning and image together, and even as these change, leaves its impression. These weighted images form relationships and in Paris in 1999; The Annual National in exploring these relationships we explore our social and psychological investments. My painting over the past few years Exhibition of The National Gallery of has been intended to examine these relationships. By correlating an inclination to use a certain image, the associations it Jamaica numerous times; La Tercera Bienal takes on, as it is manifest, and the resonance it achieves in a fi nished work, the psychological phenomenon connected with an de la Pintura, Museo de Arte Moderno, image is mapped. It is a crude process, proceeding intuitively, measured by sensibility and interfered with by conventions, but Santo Domingo, in 1996, and has more a process I nevertheless put my faith in. recently been Editor and Assistant Curator at the Billis Front exhibition in London, Of late the images have been both historically and personally loaded: slave ship diagrams, plantation maps, self-portraits, England, the Curator of The Carnival of and a few images culled from the periphery of the art historical canon. In using these dual dialogue is created. A hermetic Destruction, Xchanges Gallery in Victoria, BC dialogue, me speaking to myself using a codifi ed personal iconography, and a public dialogue – the painting/viewer dialogue in 2003. Charles has also participated in – making use of accessible imagery that works with the viewers own associations. These two in turn interact and create the numerous international artist programmes possibility of exploring public/private relationships with respect to specifi c associations brought about by a painting. and scholarships, including the Visiting Artist Programme at Gasworks Studios, London, And I am grounded between the weightless realms of sea and sky. and Xayamaca International Artists’ Workshop in Buff Bay, Jamaica. …Charles Campbell back to page one > > back to page one Christopher St. Aubyn Irons was Ride on Atrocities > > born in 1973 in Portland, Jamaica. Mixed media sculpture He studied at the Edna Manley (Pig skull, fi breglass, plaster bandage, metal, wire mesh, oil paint) College of the Visual & Performing 46 H x 40 W x 30 L (inches), 2003 Arts, receiving a technical certifi cate and undertaking postgraduate Marcus Garvey our fi rst national hero says that there will be a time when the Black man will be worse than the study in 1999. Irons has received White man. In my country the laws that are supposed to defend and protect the citizen have been a thorn in scholarships from the Bolivar & Student the back of the less privileged. The rider displays a sense of Don Manship with the face of death. It shows the Council, the MultiCare Foundation, and political interest of the state (money, power and class). The head is a skull and in one hand a gun, while the other Ronald Moody. His Awards include Wray & has a hammer of authority. The object that is being ridden has an animal body with a human head. This shows Nephew-Spirit of Jamaica Competition (First Prize), how intimidated some people are of the security Dean’s List at the Edna Manley College in his second and political system. One government leader year (most outstanding student of that year), and says the law is not a shackle; it is a tool of social recognition in the 50th Anniversary Book of the Edna engineering. Manley College, for the outstanding achievement of being named among the top fi fty artists to emerge from Whenever people rise up against anything, the the college, the Commonwealth Award of 2003, winner powers that be use military might to suppress the of the Judges Award for the under-forty artist of the people. There are numerous deaths, the infl uence year in Jamaica. Irons also exhibited in the Young Talent of politicians and politics cause atrocities to be exhibition of 2002 at the National Gallery of Jamaica. carried out by the police. A former Prime Minister once said to shoot fi rst and ask questions later. A Exhibitions include the group Annual National Exhibition leader once said blood for blood, fi re for fi re. at the National Gallery of Jamaica in 1998, and a Young Generation exhibition of the Mutual Life Gallery, Journalists are sometimes bribed or even play Jamaica, and solo shows at the Yusuff Grillo Art Gallery- a political role and support the party that is in Yaba College of Technology, the Nimbus Art Centre and power. The young men that are often killed in the Pendulum Gallery, all in Lagos, Nigeria, in 2003. gunfi ghts are very poor. How did they come by the guns that value hundreds of thousands of Irons has had his work published in Caribbean Beat dollars? How did they come by them? Many years magazine, Skywriting’s, and has work in the following ago a tack of guns and ammunition was seized collections: Channels Television, Nigeria, at the which belonged to a minister. University of the West Indies, Mona Campus, Jamaica, as well as the National Gallery of Jamaica. …Christopher Irons Born in 1946 in St Black Wall (detail) Andrew, Jamaica, Installation Dr.
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