The young Jamaican painter Kimani Beckford currently has a solo-exhibition tour project, titled Affirmation. The exhibition is shown at two venues: its inaugural display was held at the Jamaica Conference Centre in Kingston, in space that is used for art exhibitions by the Jamaica Cultural Development Commission (JCDC), and has now closed. The second leg of it will be shown at National Gallery West in Montego Bay, where it is scheduled to open on May 19. This review is based on the Kingston edition of the exhibition but I also raise a few issues that are relevant to the upcoming Montego Bay showing.
The Affirmation exhibition project is supported by the inaugural Dean Collection TDC20 St(art) Ups Artist Grants, of which Kimani Beckford was one of twenty awardees and the only Jamaican. The US-based Dean Collection was founded by Kasseem “Swizz Beatz” Dean and Alicia Keys and is, as the TDC20 website states, “a contemporary, family art collection focused on the support of living artists.” The grants are available by competitive application to artists globally and serve to support young and emerging artists in organizing a solo exhibition, irrespective of themes, genres or media (and I understand that in the future, it may be available to a larger number of artists). Other than providing funding support and lending its name to the venture, and of course making sure that the artists deliver on their commitments, the Dean Collection is not involved in the resulting exhibitions, which are the sole responsibility of the awardees and no commissions are charged. It is an exemplary, development-focused patronage model that surely warrants emulation in the Jamaican context, where such initiatives are sorely needed as there is still nothing that has taken the place of the now defunct but influential Mutual Gallery Super-Plus Under-Forty Artist of the Year Awards.
Kimani Beckford is a 2011 graduate of the Edna Manley College and he has distinguished himself since then, among others being the co-winner, with Camille Chedda, of the inaugural Dawn Scott Memorial Award in the 2014 Jamaica Biennial. He has exhibited regularly at the National Gallery of Jamaica (NGJ), in the 2012, 2014, and 2017 biennials, and in the Digital exhibition in 2016. His international exposure to date includes Icons: Ideals of Black Masculinity (2018) at Xavier University in New Orleans, and Jamaican Pulse: Art and Politics from Jamaica and the Diaspora (2016) at the Royal West of England Academy in Bristol. While he has also worked in other media (his contribution to Digital was a video installation), he is first and foremost a painter and one of a strong cohort of contemporary figurative painters who have emerged from the Edna Manley College in recent years, which includes Michael Elliott, Phillip Thomas, Alicia Brown, and Greg Bailey (the reception and politics of figurative painting in Jamaica’s contemporary art scene is one of the subjects I will be discussing in a forthcoming interview with Phillip Thomas).
Affirmation is Kimani Beckford’s first solo exhibition, which is an important step for any young artist, and it is the first exhibition in which he has shown a significant body of work. The exhibition consists of thirty new paintings, made for this exhibition and over an intensive work period of five months, and only the earliest painting in the exhibition, Affirmation, from which the exhibition also takes its title and concept, is dated 2018. The exhibition is accompanied by a small catalogue publication with various texts, including an extended artist’s statement.