Ania Freer describes herself as “an Australian/Jamaican filmmaker and creative story-teller.” She operates and curates an online gallery and Instagram platform, Goat Curry Gallery, which features work by the Jamaican craft producers she works with as well as her documentaries on the subject. Goat Curry Gallery is a self-funded project and proceeds from sales go fully to the artists, while visitors can donate towards the film projects – a subtle but pointed non-profit alternative to the hyper-capitalist frenzy around art and its markets in this Art Basel Miami Beach silly season.
And this commitment to ethical and equitable engagement is part of what I like about Ania Freer’s current curatorial project, All That Don’t Leave, which is on view at New Local Space (NLS) in Kingston until December 7. The exhibition features work and filmed oral histories of seven Jamaican craft producers: Racquel Brown, a basket maker from Robins Bay, St Mary; Alexander “Bamboo King” Dempster, from Anotto Bay, St Mary, who creates fantastic creatures from bamboo roots; Jennifer “Eighty” Stewartfrom Downtown Kingston, who makes crochet garments; Kemel Leeford Rankine, a sign painter from Holland Bamboo, St Elizabeth; Jeffett “Georgie” Strachan, a woodcarver from Treasure Beach, St Elizabeth, who works in Lignumvitae; Cecil “Bingy” Smith, who makes calabash hats in Annotto Bay, St Mary; and Albert “St John” Phipps from Port Antonio, who makes bead curtains from natural and recycled materials (please do watch the linked videos on the artists, as they are excellent and essential to understanding this project). The works on view are for sale, at fair and reasonable prices, with 100 % of the proceeds going to the artists.
All That Don’t Leave, and the accompanying essay, is the inaugural product of the NLS Curatorial/Writing Intensive, a mentoring programme for young art writers and curators that is funded in part by the Prince Claus Next Generation Partnership, a major grant NLS has recently obtained. As part of this programme, Freer had access to an advisory panel of experienced curators and writers to develop her project, which crucially included Raphael Fonseca, curator, Museum of Contemporary Art, Niterói, Brazil; and Rosanna McLaughlin, art editor, The White Review (who was herself in residence at NLS some time ago).
All That Don’t Leave is the second exhibition shown in the newly expanded exhibition and project space at NLS, a much-needed addition to Kingston’s deficient art infrastructure – the first was the recent T’Waunii Sinclair exhibition, which was a major, very provocative breakthrough for this young artist. Sinclair’s exhibition concluded his artist’s residency at NLS, which was also part funded by Prins Claus Fund and supported by a panel of mentors. These sort of intelligent, ideas- and conversation-driven projects are exactly what is needed to move beyond the numbing malaise that appears to have overtaken the Jamaican art world, and its future certainly looks brighter as a result.
This is part two of a two-part post. The first part can be found here.
Taking a closer look at the NGJ Summer Exhibition reveals a few pleasant surprises but also pulls the exhibition’s weaknesses and failings into sharper perspective.
Perhaps the most outstanding work in the exhibition is Lucille Junkere’s The Yoruba Blues from Abeokuta Nigeria to Abeokuta Jamaica, which consists of a set of patterned embroidery stitch samples on handmade paper dyed with natural indigo. It is a sophisticated and visually stunning example of research-based artistic practice that delves sensitively but knowingly into the transatlantic cultural connections between Africa and the Caribbean. And I will agree with the curator’s essay that there is a triumph of textile and fiber arts of sorts, as another outstanding work in the exhibition is Katrina Coombs’ Golden Flow, a handwoven red and gold draped scarf form, which transforms the exhibition space allocated to it into a beautifully articulated, quasi-architectural form, making a simple but powerful statement.
Norma Rodney Harrack has contributed two exquisitely beautiful sculptural vase forms, which are among her most remarkable works in recent years. Laura Facey is another artist who understands that artists should only submit their best to a NGJ exhibition. There is debate about the politics of her continued engagement with the slavery and plantation history, and the imagery used in the process, but I will leave that for another time, as there is no doubt that Heart of a Man(Inspired by Henry Blake’s “Black Man Hung By the Ribs” and a seed from the Barringtonia Tree) is an exceptional work, formally and technically, but also because of its historical and art-historical references and powerful emotional impact.
Noteworthy and interesting work was also contributed by Amy Laskin, Carol Crichton, Camille Chedda, Shoshanna Weinberger, Winston Patrick, Richard Nattoo, Rani Carson, Esther Chin, Claudia Porges Byer and Ania Freer – as the names I have mentioned thus far illustrate, women appear to have outperformed the men in this exhibition. And it was good to see recent graduates of the Edna Manley College such as Jordan Harrison, Tiana Anglin, and Nadine Hall, especially since younger, contemporary artists are not very well represented in the exhibition.
On the other side of the spectrum, the photography entries are particularly disappointing and only a few transcend the club photography level, which is unfortunate since Jamaica has produced quite a few outstanding modern and contemporary photographers. I have to ask what a box set with reproductions of photographs Albert Chong produced more than twenty years ago is doing in this exhibition and must conclude that he is simply taking his invited artist status for granted. I am also non-plussed by the two bizarre mixed-media heads by Hasani Claxton, as I fail to see any artistic merit or interest, or the patently amateurish textile collage by Bernard Hoyes, which is not consistent with the standard of work this quite well-established artist is known for. In both instances, it appears that it was the subject, rather than the quality of the work itself, that caused it to be selected by the judges: the issues of black female anger in Claxton’s work and the reference to Sparrow in Hoyes’. But in both instances, the work is simply not good enough.
This is the first of a two-part post on the National Gallery of Jamaica Summer Exhibition. Part 2, which takes a closer look at the exhibition itself, can be found here.
Having worked in curatorial positions in a museum context, at the National Gallery of Jamaica (NGJ), for the better part of my thirty-five years in Jamaica, I understand all too well how protective curators tend to be of the projects they work on, as I have been there myself on many occasions. The NGJ staff works very hard, and is highly committed, and that has always been one of the institution’s greatest assets. What they do involves long hours of challenging work, sacrificing personal time and work-life balance, and engaging deeply with the material on view. The resulting protectiveness is not unlike how most artists feel about their own work and that certainly deserves our respect.
So when I read the curatorial essay by the lead curator, Monique Barnett-Davidson, of the inaugural NGJ Summer Exhibition, which opened on July 28, I know perfectly well where she is coming from. Her determination to serve as an advocate for the art works and the artists in the exhibition she curated is commendable and shared by most curators, and is in fact part of the professional ethics attached to the field. Nonetheless, I also have reason to be concerned about the overly defensive, legitimizing tone of the essay, which appears to leave no room for any critical engagement. The coyly dismissive references to “vitriol” and the “big, bad critic” and cryptic declarations such as “I do not believe that this is the moment for maintaining demarcations based on opinions of achievement” do not bode well in that regard. If a curatorial project is to be successful, there must be room for healthy and diverse critical engagement, from within and without, and this should be welcomed and even solicited rather than feared, resisted or dismissed.
Perhaps the defensiveness of the essay is unconsciously pre-emptive, and really an implied acknowledgement that there are, in fact, serious problems with the exhibition, for the Summer Exhibition is not even close to the level that we ought to expect from the NGJ, as Jamaica’s national art museum. My expectations were admittedly not very high, given the self-limiting manner in which the exhibition was framed, but I am still shocked at its plodding, uninspiring, and dramatically uneven quality. There are some outstanding and interesting works, but the bulk of the exhibition ranges from disappointingly average to, in several instances, totally inappropriate for the NGJ. And I am not the only one to have these views, which are shared by far more observers than the NGJ may care to acknowledge.
Kimani Beckford – Today I Ask Yesterday about Tomorrow ((2019) – courtesy of the artist, all rights reserved
Kimani Beckford – Affirmation (2018) – courtesy of the artist, all rights reserved
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 BlackMasculinity (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).
Kimani Beckford – Portrait of Silveta Clarke (2019) – courtesy of the artist, all rights reserved
Kimani Beckford – Forever as I Am (2019) – courtesy of the artist, all rights reserved
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.
The International Reggae Poster Contest, which was launched in 2011, was the brainchild of the Jamaican poster artist and designer Michael Thompson “Freestylee”. His vision was quite specific and went beyond his obvious desire to celebrate the international cultural impact of reggae through a poster competition. He saw it as a platform to promote the establishment of what he had named a Reggae Hall of Fame, a high-profile reggae museum on the Kingston Waterfront that would pay tribute to the greats of the genre and for which he had even envisaged the architect, Frank Gehry. It was a romantic vision, which was quite different from the more scholarly and didactic Jamaica Music Museum that was being development by the Jamaican government, and Thompson was obviously mindful of the immense cultural and urban renewal effect of Gehry’s Guggenheim Bilbao. He also conceived the contest as a fundraiser to support the Alpha Boys School, in tribute to that school’s seminal role in the development of Jamaican music, and supported the school in various other ways, among others contributing its distinctive new logo.
The National Gallery of Jamaica, after the cancellation of the Jamaica 50 exhibition it had originally planned, agreed to show the 100 best of the inaugural competition, along with poster designs on the same subject by the jurors, under the title World-a-Reggae, which was held from September 30 to November 10, 2012. What better way to celebrate Jamaica 50 than to highlight the global impact of reggae culture, we thought? It was certainly remarkable that the competition had attracted a total of 1142 entries by 678 designers from 80 countries and included interesting designs. The exhibition was well received and concluded with a fundraising auction of the exhibited posters, with the proceeds going to Alpha.
Despite the spirit of goodwill that surrounded the project, there were some rumblings from the start and it was clear that the project did not resonate equally well with all, locally. Local designers appeared to be uninterested and there were very few Jamaican submissions of which only one made it in the top 100, by the illustrator Taj Francis, who took the fifth place. And some of the local architects were not amused at the idea that Frank Gehry might design a high-profile Jamaican museum, as this letter to the editorillustrates. The National Gallery of Jamaica, which I headed at the time, took the position that the project was worthwhile but declined to host the competition exhibition annually, as we were pressured to do; instead, we offered to include a smaller selection of the best posters in the Jamaica Biennial but this offer was not pursued by the organizers.
Since then, the contest has been held annually, although the organizers have recently announced that it will now become a biennial event, and the associated exhibitions have been shown in various parts of the world. Michael Thompson passed away unexpectedly in 2016 but the project was continued by his Greek business partner, Maria Papaefstathiou (the co-founder of the contest). The exhibition in 2017 returned to Jamaica, and the posters from the 2017 and 2018 contests were shown at the Sangster International Airport in Montego Bay, with which Papaefstathiou had developed an active working relationship (several Freestylee reggae posters are now featured as murals in the airport). The 2018 exhibition is now also on view at the National Gallery of Jamaica, where the exhibition has thus returned after five years and, if the last-moment notifications are anything to go by, this appears to have been arranged at short notice to coincide with Reggae Month. The exhibition will on view there until May 26, 2019.
In the local media, the International Reggae Poster Contest has been regularly covered by Richard Johnson of the Observer and most of these reports have included lamentations about the lack of Jamaican participation and success in the contest. On January 9, 2018, for instance, or three weeks before the deadline of the 2018 competition an article appeared under the header No Jamaican Entries: Local Participation Missing from Reggae Poster Contest. In it, Papaefstathiou is quoted as saying: “I am very disappointed with the lack of posters from Jamaica. I hope until the last minute there will be some submissions. Actually, I will take the opportunity of this article, and I will urge them to participate. This contest is about their country and their music. It’s a shame to see posters from all over the world and not from reggae’s own land.” The article concludes with similar wording as I had noted in previous articles by Johnson on the subject: “No Jamaican has ever won the contest. In the first two years Jamaican artists fared reasonably well. In year one (2012), Taj Francis placed fifth, with the eventual winner being Alon Braier from Israel. In year two, Rohan Mitchell copped fourth position to Balazs Pakodi of the United Kingdom who took the top spot. Since then, Jamaican artists have failed to fall within the top 100 entries to the competition.”
Late last month, on December 28 to be precise, I visited what is now branded as the AfricaMuseum in Tervuren, a suburb of Brussels. My visit, during a family vacation to Belgium, came just a few weeks after the museum had reopened, after being closed for about five years for extensive renovations. The 86 million USD renovation involved: the expansion of the building with a new Visitor Centre (a futurist glass pavilion) and a connecting underground passage; the restoration of the main building; the re-curation of the permanent exhibitions and reinterpretation of the collections; as well as several contemporary art commissions. Because of its origins in the most troubled part of Belgium’s colonial history, and the exceptional African collections it holds, the renovated museum has found itself at the epicenter of the recent debates about restitution and the decolonization of museums. On the eve of its official re-opening on December 8, the French daily Le Soir published an interviewwith the then President of the Democratic Republic of Congo (DRC), Joseph Kabila, in which he announced that there would be formal demands for the return of art works and other objects from the AfricaMuseum, and that a new national museum was being constructed in Kinshasa, with funding and technical assistance from the Korean government. Guido Gryseels, the present Director of the AfricaMuseum, indicated that the museum would consider such requests.
The AfricaMuseum’s full and proper name is the Royal Museum for Central Africa and it has been one of the most controversial museums in Western Europe, because of its direct association with the most questionable and violent part of Belgium’s colonial history, namely King Leopold II’s Congo Free State (1885-1908). During this episode, Leopold II ruled the Congo area as the absolute monarch of a personal fiefdom and he enabled and personally profited from the economic exploitation of this populous, naturally rich part of Africa, at the expense of severe human rights abuses, which included widespread forced labor and atrocities against the local population. As many as 10 million Congolese, or about half of the estimated population, perished as a direct or indirect result, and there were also many documented instances of physical abuse and torture, such as the infamous hand amputations of members of communities that did not produce their rubber tapping quota. International outrage grew and in 1908 the territory became a Belgian colony, overseen by the Belgian parliament and known as the Belgian Congo, until Independence in 1960.
The AfricaMuseum, which has been described by Gryseels as “the last colonial museum,” has its origins in 1897 as a propagandist showcase of Leopold II’s Congo Free State, which was presented as part of the colonial section of the Brussels World Exhibition that year. Further adding to the problematic foundations of the museum, this colonial display notoriously also featured a “human zoo” at the same royal domain where the original museum building, then called the Palace of the Colonies, is located. This zoo took the form of a staged “African village,” for which 257 Congolese persons were brought to Belgium, seven of whom died as a result of the ordeal.
The present, larger museum building, which is located in the same park, dates from 1904 and was constructed to accommodate the rapid expansion of the museum collections. Today, the AfricaMuseum holds one of the world’s most prized collections of Central African art, as well as significant natural history, history and ethnography collections, most of it pertaining to what is now the DRC, Rwanda, and Burundi. The collection comprises some 180,000 artifacts, many of them rare and quite extraordinary. Save for some changes in the late 1950s, the permanent exhibitions had changed very little since the museum’s establishment and, as Gryseels has acknowledged, the old museum could itself be regarded as a museum artifact, that embodied a particular way of thinking about museums, the state, and colonialism. This way of thinking has been a foundational and controversial part of the history of the modern museum, hence the ongoing debates about decolonizing the museum. The recent renovation is a major intervention and the first one such in the museum’s history. One section, the popular “Crocodile Hall,” which is part of the natural history exhibitions, was restored to its original condition in the new museum installation, where it contributes, along with dramatically redesigned and updated sections, to the new, critical dialogues the museum seeks to provoke about its collections and its own history.Read More »
I had initially decided not to review the National Gallery of Jamaica (NGJ)’s Beyond Fashionexhibition, which opened on September 30.
There were several reasons for that decision. One is that I have written quite a bit about the NGJ, recently, and felt that I needed to step back for a bit. I can hardly be accused of being dispassionate about the subject, given my recently ended history of some thirty-four years of association with the organization. Not that critics need to be dispassionate, that is a major misconception: good criticism, while it needs to be fair and well-informed, must be passionate, opinionated and, where necessary, contrary. Without that, criticism would be quite redundant. But to be as close as I still am to the subject comes with certain challenges, among others that what I have to say, whether it has merit or not, may be dismissed a priori by some as “sour grapes.” At the same time, however, I am also uniquely placed to talk about some of the issues arising from the current exhibition, as a curator and art historian of some experience here in the Caribbean, and I have not seen any published reviews or commentaries, other than the usual social reporting. So I’ve decided to post my comments after all, despite my misgivings, and I do hope that what I have to say will be regarded on its own merit.
Attendance at the opening event on September 30 was spectacular, and comparable only to other major exhibition openings like the Barrington Watson retrospective in 2012 and the Jamaica Biennial in 2017. There were, as the NGJ has acknowledged in the media, two major factors that contributed to the high attendance. One is Kingston Creative‘s monthly Art Walk, a recent initiative that piggy-backs on the NGJ’s Last Sundays programme (which has itself been in existence since 2012), and is gathering significant momentum, in terms of participation and public visibility. The second was the Quiltperformance (which has been an annual, much-anticipated Last Sundays feature since 2015). Quilt is a performing arts troupe based at Taylor Hall at UWI-Mona and comes with a large and enthusiastic fan base, which was very visibly (and audibly) present on September 30. The crowd in attendance was mesmerized by the Quilt performance, which took place in the central gallery area, and rightly so, as it was excellent. What happened on September 30, which was also refreshing because of the function’s informality, is a good illustration of the sort of synergies that can bring new, more socially diverse and larger audiences to museums. So I wholeheartedly applaud all the parties involved, the NGJ crucially included, and I do hope that these shared initiatives will continue to grow and thrive.
When the dust has settled, however, what matters most about museum exhibitions is what they choose to exhibit, how they do so, what they communicate to whom in the process, the contribution they make to cultural scholarship, and for exhibitions of contemporary art, also what kind of impact they may have on the artistic field in which they intervene. The NGJ is a national art museum and as my academic mentor, the great Ivan Karp used to insist, museums are, fundamentally, institutions of public scholarship. They are expected to be leading producers and communicators of new knowledge about art, culture, society and science, depending on their mandate, and to do so with savvy about the research, engagement and educational processes involved, and about the social dynamics that surround all of this. And let us acknowledge this here: the NGJ is, by local circumstance, the sole major producer of art-historical and other art-related knowledge in Jamaica, and that comes with special responsibilities. And that is where I have problems with some of the NGJ’s recent exhibitions (and I have written about that previously, for instance in my review of The Art of Jamaican Sculpture at National Gallery West.)
I have no problem with the art and artists on view in Beyond Fashion and that too is a pattern in some of the other NGJ exhibitions I have commented on recently: the art selected is excellent in and of itself, but the curation, supporting research, and concept leave to be desired. Beyond Fashion has several sublime moments: Jessica Ogden’s A Dozen Dresses is one such (and actually features 11 dresses, with the “self” being the 12th dress), as is The Girl and the Magpie’s living necklace (which needs to be misted and kept alive by visitors). And Jasmine Thomas-Girvan’s stunning, thematically and technically sophisticated work never disappoints (although it has been shown very often in recent exhibitions at the NGJ). Ayana Rivière’s simple but powerful installation provides another arresting moment, and refers to the social politics of the trade in second-hand clothing by presenting three bales of such clothing on a blue tarpaulin, indexing the street-side markets where such items are often sold.
I was also delighted, although initially confused, to see the name of Seymour Lewis among the credited artists. I know Mr Lewis as the NGJ’s very talented exhibition installation officer, who works major magic for every exhibition staged at the gallery with his fabrications, many of which require his own design input and significant collaboration with the featured artists and curators. I wondered for a moment whether there was another creative side to Mr Lewis I was not aware of but when I did not see anything in the exhibition or the accompanying texts or labels that indicated for what exactly he was being credited, I decided to ask him myself. He explained that he had designed and produced the (very beautiful) raw pine backdrop walls and platforms that punctuate the exhibition and significantly add to its overall aesthetic and visual cohesion. I am glad that this was recognized by listing him among the artists, which is where he certainly deserves to be, for what he does is art, but a bit of explanation and credit in the exhibition itself would have been even better.