Some time in late 2018, the National Gallery of Jamaica decided to cancel the Jamaica Biennial, of which two editions had been held, in 2014 and 2017. The Jamaica Biennial was the re-conceptualized successor to the National Biennial and, before that, the Annual National Exhibitions. While still hamstrung by the expectations and entitlements that had been generated by its predecessors, the Jamaica Biennial was widely recognized as groundbreaking and poised for further developments that would be beneficial to the Jamaican and Caribbean art worlds. The exhibition was opened up to the Caribbean and Caribbean diaspora, it was shown at multiple locations in Kingston and Montego Bay, and it included special projects that invited a more in-depth look at some of the featured artists, instead of the customary one or two works.
The idea (and for the sake of disclosure, it was a project I directed) was that the Jamaica Biennial would become a fully curated exhibition, with a changing cast of guest curators, although I had hoped that there would still be a call for submissions, so that the inclusion of new artists would be encouraged. I strongly felt that the “invited for life” system that had existed since the 1980s was elitist and counterproductive to the inclusive development and exposure of Jamaican art, and needed to be abandoned. This was however resisted by the board, who were concerned about the fallout from prominent and well-connected artists, as there had been some such rumblings. Whether there should have been another exhibition to accommodate these “legacy artists” was a matter for discussion, although I was doubtful that this would reduce the pressure, as being included in the Biennial would no doubt still be regarded as an entitlement by many of these artists.
Already in 2018, I had expressed concern at the National Gallery of Jamaica’s failure to make any public statements on this reversal in its exhibition programme, when it came to my attention that only the “invited list” artists had been invited to a meeting to discuss the way forward, instead of having a public forum with the entire artistic community. In my view, this discussion, which was furthermore attended by only about ten artists, illustrates the extent to which the National Gallery continues to feel beholden to a particular cohort of “inner circle” artists, and a particular social cohort, as it is widely recognized that the invited artist list is uncomfortably aligned with Jamaica’s class and power hierarchies.