Front Cover
 Table of Contents
 National Gallery news
 Studio talk
 Jamaica School of Art
 In review
 News and information
 Back Cover

Title: Arts Jamaica
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00101459/00004
 Material Information
Title: Arts Jamaica
Physical Description: v. : ill. ; 28-44 cm.
Language: English
Publisher: Arts Jamaica Ltd.
Place of Publication: Kingston, Jamaica, West Indies
Kingston, Jamaica, West Indies
Publication Date: March 1983
Copyright Date: 1982
Frequency: quarterly
Subject: Art, Jamaican -- Periodicals -- 20th century   ( lcsh )
Genre: periodical   ( marcgt )
Spatial Coverage: Jamaica
Dates or Sequential Designation: Vol. 1, no. 1 (Apr. 1982)-
Numbering Peculiarities: Some issues combined.
General Note: Title from cover.
 Record Information
Bibliographic ID: UF00101459
Volume ID: VID00004
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 11269244
lccn - 86644045

Table of Contents
    Front Cover
        Front Cover
    Table of Contents
        Table of Contents
    National Gallery news
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
    Studio talk
        Page 12
    Jamaica School of Art
        Page 13
    In review
        Page 14
        Page 15
    News and information
        Page 16
        Page 17
    Back Cover
        Page 18
Full Text

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Ls amaica

Arts Jamaica is published quarterly by Arts Jamaica. P.O. Box 79, Kingston 8.

Managing Editor
Production Assistant
Financial Controller
Text Editor

Peter King
Margaret Bernal
Tina Matkovic-Spiro
Carol McDonald
T-Squares Inc.
Leighton Ashley
Horace Rousseau
Jane Issa
Janet James
Gloria Forsythe
Suzanne Francis Hinds

The Managing Committee, composed of journalists, artists, and art lovers,
wishes to stress that Arts Jamaica is conceived as a publication dedicated
to all that is excellent in the visual arts of Jamaica. The magazine will
aim to analyse and celebrate those things and persons already recognized
as having greatness, while remaining open to new Ideas and encouraging
potential wherever it Is found.

Arts Jamaica No. 4 has embarked
upon the year 1983 in a mood of con-
fident optimism. This year, which within
8 days of its inception had produced a
major exhibition, has kept up this exhi-
larating pace, averaging an art opening,
every five days. On inspection, the as-
tonishing quantity of shows, has happily
been sustained with a matching measure
of quality indeed cause for relieved
optimism, for the two are by no means
always concomitant.
Inspired by this vibrancy, Arts Jamaica
is pursuing its interest in documenting the
histories of our artists especially the
pioneers and in establishing fruitful
links with our young people in the
schools and art-lovers regionally and in-
1983 is the year of Jamaica's 21st
anniversary and we take in this issue,
special note of the natural beauty of our
environment, and of the continuing
stimulus this provides on the creative
imagination of our artists. This dynamic
is explored, in an initial way, in our
theme -"Flora, Fauna and the Fantastic".



2-3 FOCUS Remembering The Teachers

4-9 INSIGHT Flora, Fauna and the Fantastic

10-11 FORUM What the Children are Saying

12 STUDIO TALK Assessing Acrylic


14-15 IN REVIEW The Editors Review


Cover illustration: "Profile" by Colin Garland. Oil on hardboard 24V" x 19"
Collection: The artist on extended loan to the National Gallery. Photo: Tell Precision Company.

The Publication of Arts Jamaica has been made possible through the kind assistance of the following companies and organizations: The
Jamaica National Export Corporation, Lenn Happ Supermarket, Mutual Life Assurance Company, The Pan Jamaican Investment Trust Ltd.,
The Royal Bank Jamaica Ltd. and the Jamaica Citizens Bank.
O Arts Jamaica All rights reserved.

m_ .. .L-1c .e.n.- 1ro

National Gallery News

All photography, unless otherwise credited is by Keith Morrison.

The sentiments of local artists and
art-lovers who have been bearing glad
witness to the recent upsurge in the arts,
must surely have reached a new "high"
on the morning of March 27. Then, the
venue was the cool cloistered interior
of the National Gallery the occasion
was the opening of the ten new galleries
which house its permanent collection of
20th century Jamaican art. The mood
was quiet euphoria!
Approximately 208 works of painting
and sculpture make up this exhibition
entitled "Jamaican Art 1922-1982". The
works are arranged in a mix of chrono-
logical and thematic groupings through-
out ten galleries.
The Early Intuitives Dunkley (1891-
1947) and the Millers (David Miller Snr.
1872-1969 and David Miller Tr. 1903-
1977) lead off; from a small womb-like
gallery, these three pioneers set a fine
tone, of integrity of vision and dedication
to what was then a "strange and singular

Clerk (an intensely private artist who
seldom exhibited his work), Michael
Lester, Ralph Campbell, Gloria Escoffery
and Dorothy Henriques-Wells are to be
also found represented within this gallery.
Gallery V, covering the period 1960-
1982, deals with the Later Works of the
Pioneers; here, as expected, one can muse
over a Pottinger, a Marriot, a Paboosingh,
an Escoffery as well as the wide-
ranging works by Edna Manley and
Albert Huie.
The three subsequent galleries are
thematically determined. Realist and
Symbol Trends 1960-1982, is devoted
to works by Barrington Watson, Rich-
mond Barthe, Bloomfield, MacMillian,
Gonzales, and Trevor Burroughs; in
Abstract and Expressionist Trends 1960-
1982 appear works by Hyde, Boxer,
Rodney, Hope Brooks and Milton George
among others. Within the small gallery
on Surrealist Trends 1960-1982, are
soaring "messengers" of fantasy from
the work thus entitled by Tina Matkovic-
Spiro, through to others by Tansley,

saint and Lester Hoilett.
The opening of these collections now
brings the National Gallery up to a com-
pliment of 12 galleries joining the
Larry Wirth collection of works by Kapo,
and the Art and Dance exhibition. There
are now only two galleries left to be
opened these are large ones and will be
devoted to the pre-twentieth century
collection, and the international gallery
of non-Jamaican art.

All works of Jamaican sculpture and
painting selected by the Smithsonian
Institute Travelling Exhibition Service,
as part of a special summer '83 show,
are now in place at headquarters in
Washington D.C. Work on the catalogue
is nearing completion and this path-
breaking exhibition is scheduled for an
opening in the flag-flanked head office
of the International Development Bank
in August.

Cuban Scenery,-John Dunkley Mixed Media on Cardboard. 13" x 49". Collection Cassie Dunkley -on
extended loan to the National Gallery.

calling". The collection then moves to
The Twenties and Thirties, with a small
collection of works by Edna Manley,
Koren de Harootian, Alvin Marriot and
Carl Abrahams; likewise small, the 1940's
Gallery displays works by Huie, Henry
Daley, David Pottinger and Vera Cum-
The Fifties Gallery IV is the largest
of the group; here are to be found works
by the artist-writers Roger Mais and
Nambo Roy; the latter is represented by
1 painting and 3 sculptures, and is a
much-welcomed presence, as this long-
exiled native son, from Accompong,
is somewhat of a "unknown", particu-
larly among younger audiences. Leslie
::- w. ..,
With the Compliments of



Laura Facey, Patrick, Osmond Watson,
Boxer and of course Colin Garland; this
year 1983 represents for this artist,
as for Jamaica a twenty first celebra-
tion (Garland came to live in Jamaica
in 1962).
The two remaining galleries The Later
Intuitives, are "testaments" to the rich
visions and skills of Jamaica's self-
taught artists. In the larger gallery the
"ancient memories" of Kapo, Brother
Brown, William Joseph, Albert Artwell,
Leon Maxwell and Hylton Nembhard
prevail. Within the serenity of small
gallery, order and bonhomie shine out
from the works of Sidney McLaren,
William Rhule, "Doc" Williamson, Tous-



The challenge now before the National
Gallery is to live up to its name, and
the high standards it has set for itself; to
devise and execute such imaginative and
attractive programmes, that this "house
of treasures" will be kept full of wonder-
ing audiences of schoolchildren from
Seaside Primary, Portland, teachers from
West Indies College, Mandeville, tourists
from Copenhagen, Jamaicans from all
over the island and all its various walks
of life.
The commitment to excellence, and
to brave and sensitive innovation is
an imperative!


Ivy Jeffery-Smith Edna DaCosta
Many of the early teachers of 20th
century Jamaica remain unsung; their
sustained quiet efforts, encouraging
young wondering students to see and
record the lovely flora around them un-
hailed, undocumented. Yet surely the
present vibrancy of Jamaican Art must
give pause to reflect on an earlier job well
done, a craft lovingly, sensitively trans-
mitted Indeed this latterday outpou-
ing is perhaps its own best statement of
honour and thanks.
To past students of Wolmers Girls
School, the names of Ivy Jeffery-Smith

(one of a trio of irrespressible Jeffery-
Smith sisters) and Edna DaCosta -
assume memorable proportions.
"Ivy Jeffery-Smith's vitality and joy
of living was infectious. To many genera-
tions of Wolmers girls, the world became
a fascinating place, even the world
bounded by Marescaux Road to the East,
and Mico to the North. Whether it was
the sacred lignum vitae trees whose
foliage was used for days of special
celebration, or the modest Jamaican
buttercup which covered the Race
Course to the South with its carpet of
yellow, Miss Jeffery-Smith wanted her
students to see. See the patterns in

Bird of Paradise by Dorothy Photograph A mador Packer
Henriques-Wells Watercolour -
2 1981. Collection the Artist.

nature, in the thumbergia, in the plum-
bago, in the hibiscus, in the scarlet cordia,
in every flower on the school ground.
"If only I could make a child see", this
was Ivy Jeffery-Smith's greatest wish.
Seemingly simple questions such as
"Child, where is the growth?", had a
deep far-reaching objective: teaching the
child to observe the character of things;
teaching the student to see.
For many a sensitive child, double
periods in the art room became synono-
mous with a happy day, for Ivy-Jeffery-
Smith had the gift of friendship, which
enabled her students to relax and become
themselves and at the same time set them
free to use whatever talents they pos-
Miss Jeffery-Smith now ninety-two
lives at the Bishop Gibson Home in
Kingston. She survived the fire of 1982
which destroyed Durham House, the
family house in Spanish Town. In a
recent interview she was heard to lament
- "Not a thing was left All gone!" But
the deep vision with which she saw and
delightedly shared with so many of her
students is her very present testament -
ever growing, in everwidening circles."
Nora Strudwick

"During my time at Wolmers Girls'
School (1936-1943) The Art Room at the
North-western end of the compound was
presided over by Miss Ivy Jeffery-Smith.
A lady of great charm with a direct
forthright manner, she tried to instill
a love of beauty, discipline and integrity
in all her pupils.
I can see her now with her long-
legged stride, her glasses on a chain
around her neck, traversing the campus
on her way to the Art Room, laden with
materials for her pupils from her old
'struggle-buggy' of a car parked in the
school parking lot.
She was a woman before her time -
and yet a woman of the times.
"Ms. Edna DaCosta, my watercolour
teacher was a character to reckon with. A
lady of tall stature and ample propor-
tions, she was always smartly dressed
and had a booming voice and overpower-
ing manner. You could not put a foot
wrong in her class each stroke had to be
the right one wash on wash. If you
did well, she loved you if a thing was
badly done, her famous words were -
"Atrocious". And yet her bark was
always worse than her bite."
Dorothy Henriques-Wells

"Miss Jeffery-Smith was a product of the
"Girl Guide" system; she was a great pro-
ponement of "doing the right thing"
and "good sportsmanship". She practiced
what she preached with such an abiding
(and occasionally impish) humour, that
even viewing these precepts in their
historical perspective as precepts rather
than practices of colonial acculturation
- one still has to acknowledge their value
in character-building.
The art room was never an ordeal for
those who were not artistically gifted;
but she was insistent that each pupil
work to their potential. In retrospect, her
evaluation of the depiction of the
Jamaican peasant as well as her insistence
on courtesy to the schools domestic staff
indicated not only a charitable outlook
but the forward vision which charac-
terises the true artist."

Shirley Maynair-Burke

"In an era of great personalities and
dynamic women, Edna DaCosta stood
out from all the rest, as possible the
most unforgettable character who ever
taught art in Jamaica.
Her methods were unorthodox; she
seemed to specialize in bullying her
pupils and she never demonstrated how

Rice and Peas by Nora Strudwich. A
classroom exercise set by Miss Jeffery-
Smith in the 1950's.

to draw But she had the ability to
inspire her students perhaps the best
quality in teaching by the sheer force
of her personality. Her love of life, the
way she bulldozed through obstacles,
the way she almost physically com-
pelled a higher standard one of the
abilities still missed and needed so
much in Jamaica.
I remember Aunty Edna... "
Judy McMillian

16 -0

K 3

With the ComIplimert tB i


Horse 1978 by Edna
Manley. 17V2" x
23'/2". Pencil on
Paper. Collection
the artist.


Mrs. Edna Manley has been involved
in the struggle and the development of
Jamaican art since she first set foot on
the island in 1922, coming home to the
land her mother had left years before.
An artist and sculptor, she struggled
for the acceptance of art rooted in the
land and the people of Jamaica, en-
couraged others in the self-same search,
and taught at the Jamaica School of
Art which was established to embody
their aspirations.
Mrs. Manley's achievements have been
legion, drawing on strengths developed
since her birth in 1900.
Speaking on the roots of her work,
she has said: "I think I have become
conscious of the fact that I have been
influenced not by what I see but by
what I feel. I think it's why I'm not a
portrait artist. I don't look at a face and
want to reproduce it. I think I more
want to get the feel of the person. And I
think I have a bit of a streak of mysticism
in that I've always been interested in
things like the Creation. The Bible has
inspired me a lot. But I also think that I
have been inspired by people in relation
to the earth people and the mountains,
people against the mountains and people
on the mountains. I always think a
sculptor should live in a mountainous
country. They almost always do because
that is God's sculpture right there all the
time and it keeps you in touch with
something more elemental."

i 1

K 1


An introduction to Flora, Fauna and the
Fantastic in Jamaican painting and sculp-
"In 1792, in a natural cave near the
summit of a mountain called Spots, in
Carpenters Mountain in the Parish of
Vere in the island of Jamaica" a surveyor
found a remarkable figure carved in
wood. This figure, one of three found by
the surveyor, came to be known as the
"Bird Man". It resides, like so many of
other peoples autochthonous treasures, in
the British Museum. A copy is on exhibit
at the White Marl museum.
Discovered fully three centuries after
Columbus stumbled upon the "New
World", the sculpture is believed to re-
present an Arawak diety. It was obviously
carved before the European arrival,
which not only effectively disturbed

Bird Man-Wood.
Arawak Indian -
Jamaica 34%". The
British Museum.

autochthonous creativity for ever after and
obscured the meaning of the new found
relics, but also introduced an altogether
new cultural strain. The new inhabitant
would later replace "Bird Man" et al with
images from their own complex cosmo-
From what is known of the belief
system of the original inhabitants, (de-
rived from very fragile evidence, and as-
sumption based on slightly more secure
knowledge about other peoples) the
"Bird Man" is presumed to represent a
"zemi". However that statement is less
simple than it sounds because zemis
are much more complicated phenomenon
than our own Europeanised belief
systems have accustomed us to deal with.
(Among Caribbean visual artists, Tri-
nidadian Leroy Clarke is the most explicit
in his exploration of a pre-European
cosmology and the relationship between
contemporary Caribbean man and his
Dr. Jerome Handler, in an article
published in the Jamaica Journal (March
1978 Vol. 11 No. 3, 4). attempts to ex-
plain zemis.
"Briefly, according to Rouse, the
Taino* believed that spirits or souls
existed in their own bodies as well as
in some trees, rocks and other natural
phenomenon: on the
Other hand deHostos
maintained that "every
object, being, process and
phenomenon was supposed to possess a
spirit". Men could acquire supernatural
power by controlling "the spirits of
nature and of their ancestors"; they did
so by symbolizing the spirits in various
forms, and by constructing "idols...as
places for the spirits to reside." These
symbols and idols were called zemis.
The zemis represented a wide range of
phenomenon: "the spirits of men,
animals, rain, wind, vegetable growth,
water and plants." The name was also
"apparently applied to gods, symbols of
the dieties, idols, bones of skulls of
the dead, or anything supposed to have
magic power."
Zemis were "highly regarded because
of the powers they were thought to give
to their owners," and because of the
powers they held over the universe and
its various dimensions."

'Savacou' by Ronald Moody -1964. Approx-
8'x 51/2: Gift to Medical Research Council and
U.W.I. by Prof. Cochrane.

The theory that a figure half-human,
half-animal or of a human being with the
mask of an animal represents a belief
in the dual nature of man is a rather
simplified belief based on so-called
"sophisticated" and "civilized" philoso-
phies. It explores dual nal:ure as well as
man's relationship with nature and the
supernatural...with his gods.
Belief systems in many pre-colonial
societies were similarly complex, and
remnants of them persist in today's
In Jamaica today, a belief system in
which the metaphysical overlays the
physical certainly exists. In fact, at least

With the Compliments of



Sonia Mills

two such systems exist the traditional
and the Rastafarian. When a phenomenon
from such a system is presented in paint,
clay, wood, stone brass...and presented
to a Europeanised eye, it is interpreted
as fantasy. Surrealism.
Of course, Europe's own sub-cultures
have turned out their Heironymus Bosch
and their Marc Chagall..as well as their
own revolutionary drop-out son of
gentry, William Blake. Henri Rousseau,
because of his "tropical experience" and
images is firmly categorised as a "pri-
mitive". Of course there is a distinction
to be made between the fantasies of
mystics and visionaries and more worldly,
pagan, hedonistic fantasies.
Apart from renditions of the "peace-
able kingdom" which appear in the art of
many Rastafarian artists, and also in the
art of many of our more devout painters,
the realistic, not the fantastic is the order
of modern Jamaican art.
Encircled by Nature both bountiful
and varied, the island's artists have it
seems only to look around to find a
theme. In the 1940's, Daley, reckoning
with a life of engulfing deprivation -
came again and again to stand below
his trees, engrossed by the contorted
solidity of the trunks, the defiant up-
thrust of branches. And in this decade,
Eric Smith, originally a painter of por-
traits, remains however most faithful
to the profusion, colours and textures
of the island's flowers reproducing

Bouquet 1983 by Eric Smith. Oil on Canvas. Collection the Artist.

on dreamy, thickcrusted canvases, bou-
quets which never fade. Between these
two painters there are many other simi-
larly preoccupied artists like Eugene
Hyde with his explorations of the sun-
flower, croton, heliconia Ronald
Moody, with his defiant Carib bird-
god "Savacou" Hope Brooks with her

"The Peaceable Kingdom" Br. Everald Brown. 26" x 34'/''- oil on canvas c. 1970. Private Col-

detailed through-the-microscope view of
plant and animal life.
The most consistent and prolific
Jamaican painters of flora, fauna and
fantasy, are John Dunkley and Colin
Garland; each paints a different uni-
verse and reveals an individual and very
personal imaginative system.
Dunkley's fantasies are created mostly
with people absent; in Garland's fantasies
flora and fauna of all kinds (human or
humanoid creatures included) interact
or ignore each other on the canvas.
Dunkley's fantasy is a fantasy of
Garland's also mood-filled it is true,
is a fantasy of formal flora-and-fauna-
Modern black images on a medical
tapestry. Rasta in Venice or Byzantium.
Coconut trees and hummingbirds in
The viewer is drawn into Dunkley's
canvases, wanders into his pastures and
down the long and lonely roads to the
edge of beyond, tiptoeing past dark
truncated trees, gently skirting cobwebs,
magnetically drawn into the search. The
search for...
Unfamiliar as are his exotic creatures


and even more exotic plants, Dunkley's
fantasies have a familiar texture. The
texture is of morality plays, and panto-
mime, and Anancy sneaking out of the
King's island, and woodland, and rolling
calf, and mermaid in the pond, and
"follow me home, a 'fraid." It's our
universe... the sombre, subconscious as-
pect of an apparently sun-filled, brightly
tropical world. Garland's bright can-
vases and clear drawings, on the other
hand, are to be observed from the gal-
lery floor. Alice through painted canvas.
The magic is at one remove avail-
able to be observed, even scrutinised. But
there is no place in the canvas for the
viewer. The invitation is to examine
closely, the tiny, impeccably executed /
details, and then to stand back and look
again at the whole fantasy. Where
Dunkley is sombre, Garland is wry...
though the baleful eyes and sorrowful
mouths of his women betray an under-
lying and pervasive sombreness. (For the
most part, the "real" people in his paint-
ings are women.) In Dunkley's can-
vases, the flora menaces; in Garland's it
is the fauna that brood, the shells that
hold the secret.

"Sunflower" Eugene Hyde. c. 1965 31/2 x
tion: Beth Hyde.
In an interview with Tina Matkovic Spiro
(Gleaner, April 2, 1980), herself a
painter of flora fantastic and compelling,
Garland explains his feeling about
people, particularly the "little people"
that appear so often in his work, and does
not explain his fantasies, so often des-
cribed as symbolic.
"TIMS: ......several of your paintings are
painted from the point of view
of miniature person or insect,
seeing the world from ground
level. Where does this image
come from?
C.G.: ...People are little, really. Little
in scale to the universe. I first
noticed it when I crossed the
Pacific. One felt completely
insignificant. There you were,
a little speck on the ocean. If
you fell off the ship, nobody
would ever find you could
ever find you."

"TMS: Can you explain what the re-
current images of dreamy wo-
men, shells and flowers mean
to you?
C.G.: I'd say it was based on the
Italian Madonna, and I have
paganized her a lot. The Greeks
first had Venus, then she turned
into Demeter, then the Romans
came along and she became the
Madonna. In Haiti she is Azuli,
the Goddess of love. The whole
creative force goes through the
woman. She is the one who
produces de baby dem. And I
think everyone must love or hate
their mothers, or both.
I like shells. I don't really under-
stand my own symbols, I put
them in because I: think they
relate to the painting. The
shells and flowers also symbo-
lize fertility and growth and


they are beautiful things. Every-
thing is beautiful, really."

beast in compelling imagery.
Perhaps it is not at all strange that it is
variegated human fauna that dominates
Jamaican art. In the 'peaceable kingdom'
genre the lion lies with the lamb, but
except in the Court of Jah it is not the
lion that usually stalks the fantastic
forests of Jamaican imagination. The
fauna of the "Land we Love" are
humans, birds, insects, small creatures,
assorted mystical serpents and turtles
(carved by the two Millers for example).
The origin of the term 'fauna' relates to
a rural deity, (a goddess moreover, and
goatlike), but most modern-day
Jamaicans would find it very difficult to
dress our dieties in the guise of goat, cow,
donkey, mule or dawg. Even our once-
popular demon, the rolling calf has been
exorcised by modernisation. With the
exception of horses, our larger animal life
hold no magic for Jamaicans.
Edna Manley more than any other
Jamaican artist has added magic and
mysticism to the horse, and Osmond
Watson's horsehead, and his "Masque-
rades" return us fleetingly to the era of
the mask the mask as link between
the human and the supernatural, God and
In a sense the Rastafarian locks too are
a mask...a leonine mask that transforms
human into "dread", and transforms
the lion into a Rastafarian vision of
"Peace and Love".
In the absence of ritual, it requires a high
degree of personal conviction (or
courage) to expose one's individual
heaven or hell for all the world to see.
And yet, in personal visions of the fan-
tastic, there is something of all of us.

Humming Bird by John Dunkley Mixed Media on plywood 13" x 10". Collection
Norman Rae.

Must all fantasy be symbolic?
Surely, depending on your belief system
some "fantasy" is real. And even if a
painting is a fable, creating a fabulous,
fantastic landscape, inhabited by fantastic
fauna of the artist's choice, the result is
itself an act of creation, not merely story-
To what end?
Who knows?
To fill a need for visions of ideal environ-
ments... Gardens of Paradise, Woodlands
of Hell?
Or something quite other.
For example, Samere Tansley's Ama-

zonian Jamaican women dominating,
spawning, transmitting are beyond
symbol. They are essence. They are a
fusion of flora/fauna in a fantastic vision
of the life-force of Jamaica. Azuli.
And the portraiture, in the late sixties/
early seventies, by Ras Daniel Heartman,
(now in a period of fallow in the hills)
- is recalled; his absorption with the
faces of the street, the Rastaman, wearing
his ten-controversial "locks". Working
with his 8B pencil, Heartman sought out
the leonine entangled within the locks-
man, juxtaposing the faces of man and



"Westmoreland Dawn"
by Tina Mathovic-Spiro.
1979 -182 x 22'/ -
Watercolour with dry mount.
Photo: Norman McGrath.
Collection: the Artist.

"The Creatrix" Samere Tansley, 1978- 60"x 48" -Acrylic on canvas. Collection:
The Artist.

~I h-~


Sonia Mills is
a journalist,
specialist who
writes widely
for media both
local and

Clytemnestra by Colin Garland 23/ x 30" -
Oil on Canvas Collection the Artist.





r; 2E! r"

In Review

For the local art aficinado, a simple
arithmetical exercise provides an imme-
diate remarkable ratio 1:5. For the
first hundred days of 1983, there has
been a new art exhibition opening every
five days.
Volume aside, there are several more
in-depth observations which present
themselves concerning these shows.
As expected they offered a profusion
of styles and media to their audience,
whether of eclectic or exclusive taste.
Gonzalez (Mutual Life) turned amo-
rously to watercolour; Patrick (Bolivar)
tamed, with equal ardour, wood and
bronze to his will; Collins (Mutual Life)
eschewed ceramic for whimsical oil;
Watson (Gallery Barrington) maintained

glowing faith with his medium; "Doc"
Williamson (Harmony Hall) honed ala-
baster to its essence in fauna; Escoffery
(Upstairs/Downstairs) returned with
works in oil, gouache and watercolour;
and Dance (National Gallery) utilized
multi-media to explore the impetus
given one art form by another.
Of interest too was the fact that 6
of the artists exhibiting, were Jamaicans
residing temporarily or permanently
abroad; (Foster England, Patrick -
Holland, Henriques-Wells Senegal,
Hoyes U.S.A. Gonzalez U.S.A.,
Collins Brazil). Both the exposure
to the wide-ranging streams of their res-
pective current art worlds, and their
impulse for continued linking, at

"home-root" level, can be viewed as a
potentially strengthening experience.
Such artists are especially well-placed
to act as conduits of the international,
the contemporary and to facilitate
local attitudes which are informed and
Beth Hyde, in opening the Hoyes exhi-
bition, was very much aware of this po-
tential declaring that the stimulating
exhibition . "shows how very many
ways we can explore and experiment
rather than being satisfied to stay safely
with something that works!"
Of interest here too, was the fact that
two exhibitions were held by foreign
artists (Scholes, Upstairs/Downstairs-
Baber National Gallery). Both artists
coincidentally worked in watercolour.
Of the 20 art exhibitions, five were
held outside of Kingston, ranging from
Tryall, Hanover to Harmony Hall,
St. Ann. Hopefully this is an indicator
of an all-island vigour in the arts, and
a demand by our rural audiences.
The opening ceremonies of these art
exhibitions afforded a special oppor-
tunity for comment and reflections; often
the audience was introduced to the artist,
with details of personal history, artistic
development and current preoccupations
- Often too the occasion was used to
make general or specific statements on
the current state of the arts. Tributes
were paid, resolutions moved.
In an attempt to bring an even wider
audience to share in the spirit of these
occasions, and in their messages In
Review offers a selection of opening
remarks by the officiating speakers.
Although it is immediately acknow-
ledged that because of number not all the
shows can be discussed, it is felt that
some attempt should be made to record
such occasions and their often invaluable
information. Perhaps too, this might
prompt others to attempt to document
these occasions in a more comprehensive
and consistent way.

"Love Communion" Christopher Gonzalez. 1982- Watercolour 21" x 29". Collection:
The Artist.



Marguerite Curtin


The Institute of Jamaica was as quiet
as a tomb at 10:30 on the Friday morn-
ing in November when my two friends
and I visited the 1977 Annual National
Exhibition of Art in Primary Schools.
From brightly coloured pictures, vigorous
figures welcomed us, while mobiles lent
a festive air. They seemed to be shouting
to us to hurry. Entering the exhibition
area, it took me a few minutes to make
the necessary mental and visual adjust-
ment. It was Patrick Walker's painting
that first arrested my attention. A man in
a red cap with a sack over his back moved
towards a thick wood. The strong line of
the trees facinated me; the lone figure
aroused my curiosity. Next, Beverly
Batiste's blue-green painting of lush
foliage and sea beckoned to me. It was
haunting and evocative and I found my-
self gazing into Portland. My eye moved
on to the painting of other children from
Windsor Forest Primary. Yes, there was
the beloved sea an accepted part of
their daily lives. The happy ship of Evon
Brown steamed across a blue sea. Without
affectation the children of Portland
were speaking about their beautiful
It did not surprise me that this exhibi-
tion had the features and universality
common to Child Art. What did surprise
me was the fact that I was about to set
out on a new, fresh journey through
Jamaica. Without self-consciousness, the
Jamaican child was sharing his love and
interest in his environment. Seeing
through his eyes, I moved on to St. Mary.
Banana leaves waved in thick profusion
in the picture by Arlene Campbell and
Glynette Livingstone. But among them
was Audrey Morris' 'Worker in my
community' who sat sewing a large floral
garment which almost enveloped her. At
her side was her sewing-machine while
above her head hung a neat row of
finished garments.
One could sympathize with the
organizers of the exhibition. What
pictures should they omit? What should
they select? For here were so many un-
seen artists speaking not asking to be
chosen or marked, or recognized, simply
asking to be allowed to speak ... I craned
my neck to see the names of children
and the titles of their works. When these

On the farm with Father by Glenford Clarke. Seaside Primary -1977.

were not discernible, I felt cheated. I
was missing something. But then, in-
advertently, this may be part of the
children's message; as adults we may be
missing something...
It was the attendant's slightly sur-
prised expression that made me realize
that I was on my knees, determined to
see four-year-old Rowan Fletcher's
picture of his family. In large shoes, they
all looked back at me. Still kneeling on
the cool tiles my eyes moved on to Der-
rick Mignott's painting of 'The Last Sup-
per'. Three figures floated in the air but it
was as formal as the work of any classical
master; there were the disciples in the
garb of the traditional Sunday School
picture and then suddenly the formality
had vanished. I found myself looking at
two little stripe-robed disciples; one sit-
ting with his leg dangling from his chair,
not able to reach the floor ... He seemed
to be squirming or fidgeting slightly.
Was it the artist himself at an adult's
table? I shall treasure the memory of this
'Last Supper'.
I moved on to Christiana and felt the
colour and excitement of a Jamaican
market-day. Just when I thought that I
had arrived at the other end of the scene,
the picture joined another one and to
my surprise, there I was in another
section of the market. One the outskirts
of the scene, a frieze of pretty clothes


hung from a rack above my head. A
picture nearby called to me. Energetic
swimmers were having a marvellous
outing at the sea. For children in the
inland town of Christiana, this must have
been a special occasion, not like the
children in Portland whose sea is always
there, a part of their everyday life.
Sometimes my friends and I viewed
the pictures together but invariably
different pictures attracted each of us.
Spontaneously, however, we would
return to share a 'discovery'. I would have
missed Peter Brotherton's brightly-
coloured animal farm, entitled 'Rufus
Resolution', as well as the blue bird of a
Grade 2 child from Port Maria Primary
had it not been for my friend who called
my attention to them. Again, my appre-
ciation of the work of an anonymous
artist from Springfield School resulted
from my other friends' delight in this
painting. A little red-roofed house
nestled among the mountains while in the
foreground a single white duck stood by
a calm pond.
The unrestricted, strong line of several
six-year-olds compelled me to stop
and admire. Many were in wax crayon.
They spoke of their families and their
animals. My favourite was Raymond
Walker's picture 'At Home with my
Parents' It was his laden breadfruit
tree that first caught my eye. its brittle

branches were done in green marker and
the distinctive leaves were plainly recog-
nizable. A lady in pretty clothes stood in
the foreground while a male figure was
chopping some foliage with a cutlass. In
the background was a house with a
peaked roof, as pretty as a fairy-tale
castle; its colours rivalled only the artist's
kite which flew happily among the
branches of the breadfruit tree.
A group of brightly dressed spectators
in Garrie Dixon's picture drew me to the
spot. For a moment I thought that I had
come to the scene of an accident an
overturned car perhaps. The realization
dawned. I had wandered into a funeral
gathering and had joined the other
onlookers, some of whom were in a
nearby tree. What I had been looking at
was actually an aerial view of a coffin!
Participating in the ceremony were the
grave-diggers and a black-robed clergy-
man. But we were the spectators.

Shell scape 1977 by Ronald (9 yrs.) Nigel (9 yrs.) Henry (11 yrs.), Rennock Lodge
5. Shells on Hardboard.

The Story of Hansel and Gretel 1977 by Mark McIntosh 10 yrs. Grade 4 Dunrobin Primary

Gene Manning's night-scene tells the
story of a thief being caught on a roof
top. It conveys excitement and adventure
not violence. For although the helicopter
appears hovering in several pictures,
over Bull Bay and Kingston, the theme
of violence is not a pre-occupation of
the child-artists of this exhibition.

Rather, it is part of the landscape as in
Neil Burke's 'My District', which was a
favourite theme. We were more than half-
way through our lone viewing when a
group of khaki-clad school-boys entered
with their teacher. To the outsider it was
obvious that a good, easy relationship
existed between the young teacher and

her students. As they moved from exhibit
to exhibit, she pointed out colour, line,
movement, texture ... but, equally
important, she listened. She listened to
their explanation and interpretation of
the work of their peers. I would have
missed seven-year-old Carlene Williams'
collage of the crab, had I not turned in
time to see one boy's natural response
to it. Unaware that anyone was watching,
his shoulders, arms and hands interpreted
the mood and movement of Carlene's
It was this incident that brought
home to me an important truth what
the National Exhibition of Art in Primary
Schools may be all about that here
was a vast number of unknown human
beings speaking to their unknown peers;
interacting about the important, universal
things of life in this island in our world;
making statements to their own genera-
tion about many things that we adults
have overlooked or dismissed as of no
consequence. Hopefully their genera-
tion will not outgrow the wisdom of

Marguerite Curtin an artist herself works
with the National Trust and has edited
a series of teaching aids for schools.

Reproduced, courtesy of Torch, Publica-
tions Branch, Ministry of Education
(Vol 26 No. 2).

Studio Talk

Samere Tansley

Perhaps the most important innovation
in the field of Art in the Twentieth Cen-
tury is the introduction of synthetic paint
media. Acrylic paint was developed to
make available to artists a paint that
could look like oil, or any other paint,
but be free of their various drawbacks.
Although it has by no means re-
placed the traditional media, its intro-
duction is considered by some to be as
revolutionary as that of oil paint during
the Rennaissance.
Acrylic paint has attracted the atten-
tion of artists for many reasons but
mainly because it is fast-drying, water-
soluble when wet, and permanent and
water-resistant when dry. It is non toxic,
economical and convenient to use and,
unlike oil paint, it can be used on a
wide range of supports without any
elaborate preparation; canvas, in fact,
need not be primed at all although most
artists prefer the feel of painting on a
primed surface. For oil paint the canvas
must be glue-sized and primed to pre-
vent the paint sinking and to prevent
the oil from reaching the canvas and
rotting it.
The application of acrylic is far less
technical than oil, as it can be applied in
thin and thick sequences without fear
of crackling or yellowing with age. This
is because it dries as a non-porous film
much like glass and is unaffected by paint
layers below. The high elasticity
permits maximum flexibility with the
expansion and contraction of the paint
layers. Oil paint, on the other hand, when
completely dry (in 10 to 15 years) is
a brittle film that will crack, if rigid rules
of application are not followed.
The consistency of acrylic is somewhat
thinner than oil's which is why it has
been used extensively by artists painting
in a hard edge or other sharply focused
styles. To achieve an impasto effect, the
acrylic gel medium is mixed with the
paint or the canvas is built up beforehand
with the Gel and or acrylic modelling
paste. The main disadvantage of acrylic
paint is its rapid drying time, for the
artist wanting to blend colours on the
canvas, as one does with oils. But this
problem is overcome by adding the Re-
tarder and is compensated for by the fact
that the artist is able to overpaint, glaze
and use scumbling techniques almost
2 immediately.

When the painting is finished, if the
artist has used sufficient medium while
painting (either matte or gloss), the paint-
ing surface can be washed when neces-
sary. The artist should test the painting
by rubbing the dry painting with a damp
cloth; if any colour comes off, a coat
or two of varnish is necessary. For easy
transportation the painting can be taken
off the stretcher and rolled without
fear of cracking. Care must be taken,
however, not to store two paintings
face to face, as small particles will adhere
to the other when pulled apart. This can
be avoided by separating them with a soft
piece of cloth.
Acrylic paint can also be used as a
silkscreen ink; and, when mixed with the
medium as a silk-screen Block Out. The
medium is good as a fixative for charcoal
and is an excellent glue for collage.
Some believe that the weakness of
acrylic is its versatility in that it lacks a
strong character of its own, which the
traditional media have mainly because of
their limitations. Watercolour, for

w 7 Queen Ras I 1978 -
Kapo (Mallachi Reynolds
S '. 22" x 17'/". Private Col-

example, unable to be applied in thick
impasto, has become known for its deli-
cate transparent washes. There is also a
tendency for acrylic to have a 'plastic'
quality if it is not handled well; but then
oil paint, too requires practice and skill
on the part of the artist, if it is not to
look 'muddy'. In fact, in the hands of
most artists, it is impossible to tell when
acrylic has been used rather than oil.
Unfortunately, because oil has much a
long tradition, the relative newness of
acrylic paint makes some people wary of
it, even though some of the best artists
in Jamaica use nothing else. Acrylic is
a product of the Twentieth Century and,
as far as we know, is the most perma-
nent paint on the market. So, even
though its not wise for the artist to
accept new materials just to be 'up to
date', acrylic does offer greater ver-
satility than the traditional media, and
its use tends to initiate experimentation
and provides the artist with the possi-
bility of producing new and exciting

Whether in oil or acrylic there is a striking resemblance between the
treatment of woman as Mother Earth in the Kapo (above) and

Samere Tansley an
artist, teaches at
The Jamaica School
-1 A -


Jamaica School of Art


The Jamaica School of Arts opened in
1983 on a cheerful optimistic note with
an address by Mrs. Avis Henriques, Chair-
man of the School's Board. She en-
couraged students, tutors and the admi-
nistrators, to keep on working towards
high standards and a disciplined approach
to work. The students showed great
appreciation for her visit, as this was the
first time she had ever addressed the
School. They felt that she cared enough
about them to take the time out of her
busy schedule, to speak to them.

The Roots Festival which was both a
money making and artistic venture, was
enthusiastically supported by the stu-
dents and the public. The Concert, which
was a part of the Roots Festival festivi-
ties, was a tremendous success with its
fantastic show of multi-talented students
in the Art School.
The School was visited by The Hon.
Ed. Bartlett Minister of Culture and he
was taken on a tour of all eight (8) de-
partments of the School by the Acting
Director of the School Mrs. Linnette M.
Wilks and the Director of Studies Mrs.
Hope Thomas-Wheeler. He was happy to
be "tuned in" to the Artistic achieve-
ments in the areas of indigenous dyes,
and local clays.

The School has been lucky to attract
the attention of visiting Lecturers
through the offices of the USAID and the
Cultural Attache Mr. Alfred Head in
particular. The first lecture was given
by Mrs. Rosalind Jeffreys from the Me-
tropolitan Museum, who proved to be a
most dynamic and informative speaker.
The students were spellbound as she
informed them of the exciting move-
ments taking place in Black Art in the
United States.
The Great Canadian Watercolourist
Graham Scholes gave a slide show and
talk to third and fourth year Painting
Students. Mr. Scholes was so pleased
with Jamaica and its people that he felt
he could not resist the invitation to visit
the School, although exhausted from
his heavy schedule. Dr. Sydney Kaplans
gave a lecture called "Black Images in
Nineteen Century American Art" which
the School had been looking forward to.

The Carreras Group of Companies
(Printing Division) gave the School
some attention by awarding a Scholarship
to the very talented Graphic student
- Lambert Wallace and the Media Associa-
tion and the Advertising Agencies Asso-
ciation also granted the sum of Five

Jim by Kay Anderson 18" x
S14" 1983 Oil on Canvas.
Collection the Artist-one in a
S series of Portraits of JSA
,4 Staff for Graduation Pro-
ject 1983.

Thousand Five Hundred Dollars to the
Graphic Design Department. The paint-
ing Department also came in for its share
of attention from the Ikebana Group,
as they awarded a two year Scholarship
valued at One Thousand Dollars per year,
to Miss Sonia Wilson. She was selected
for the Scholarship because of her serious
and disciplined attitude to work.

The tutors of the Jamaica School of
Art have been invited to mount an Ex-
hibition in Trinidad at the Ikon Gallery,
which is owned and operated by Dr.
Isaiah Boodhoo. The Staff finds the
invitation very exciting and are arranging
to take part as they feel a strong
commitment to fastening inter-regional
exchanges such as this.
At the beginning of the Easter Term
the School introduced a Fashion Design
Course, within the Textile Department.
The School has had many requests for a
Course such as this, both on a full-time
Diploma Level, as well as in the part-
time Evening Institute. If registration is
any indication, this course should be suc-
. ,-' :j

With the Compliments of


In Review

The opening of the National Gallery's
second exhibition Art and Dance was
an occasion for pride in the gallery itself
- in the possibilities it afforded to the
documentors/presenters of the nation's
art collection. Utilizing foyer, entrance
hall, nook, wall, the height and
breadth of its building on towering or
intimate scale assistant curator McRae
devised a display which sought to arrest
- for the moment of the audience's
scrutiny at least Dance, the Epheneral
Henry Fowler describing artists as "the
unacknowledged legislators of the
world", predicted:
"When the history of Jamaica in the
twentieth century comes to be written
objectively, it will be recognized that
it was the Art movements in Dance,
Plastic Art, Poetry, Literature, Theatre,
and Music which gave direction, strength,
vigour to the National Movement, and
succoured and maintained that spirit
even in the periods when the economic
and political outlook seemed dismal,
and purpose, direction and will seemed
to be lost or at any rate failing.

Mask and Dancer by Osmond Watson (Many Rivers t
Oil on Canvas 40" x 36". Wallace Campbell Collectic
The Dance is an ephemeral Art we
all treasure great moments as we have
watched performance of the NDTC -
4 moments vibrant with emotion of joy

of sorrow of sheer lyrical beauty -
of poignant passion of exultation of
grief but these moments however
brilliant, moving, and impressive, are
transitory as a flash of lightning and
leave us only a longering memory.
The artists in this Exhibition give
performance to the Dance. Inspired by
the Dance, they leave a record which
future ages shall see. Some, like Edna
Manley, capture the essential spirit of
a dance; some like Huie, sense the swirl-
ing movement; some like Osmond
Watson, the colourful pictoral effect;
some like Stanley Barnes, turn to abstract
IMMORTALITY that is our theme.
The Artists here represented give immor-
tality to the Ephemeral Dance. As long
as Jamaica lasts their Art shall last.
Generations yet unborn will never have
seen Rex Nettleford and his magnificent
Troupe of Dancers, will continue through
the ages to gain inspiration from them.
In the timeless mists of the future they
will look back at these inspired pioneers
and as they think of twenty golden,
glittering years of soul-searching experi-
ment and hazardous, exacting adventure,
and they will be inspired!"

The Winston Patrick Exhi-
bition of sculpture in wood
and bronze, opened in January
in Kingston. Commenting on
this occasion, Dr. David Boxer,
Director/Curator of the National
Gallery, spoke of Patrick's virt-
"In collecting his work, I am
attracted not only by his
vision, but by his uncompromi-
sing integrity what I can only
call his virtuosity.
Virtuosity, for virtuosity's
sake, is the credo of many
lesser artists but, with this
artist virtuosity is never dis-
S played for its own sake. It is
Utilized to consistently elucidate
his aesthetic. And what is
that aesthetic. Essentially it is
o Cross). grounded in surrealism and
surrealism is the common thread
that links what appears to be the div-
ergent tendencies of Patrick's figuarative
appears to be abstract works.
The Figuarative works are clearly

declining in importar.e in Patrick's work.
He is becoming a truly abstract artist.
Since the mid-seventies a development
which clearly marks Patrick as his own
man has been supplanting his biomorphic
style It is what I call Patrick's illu-
The illusionism involves a conscious
ironic interplay with a concept the
twentieth century maxim which has
dominated the thinking of so many 20th
century artists Truth to Material. No
artist in the medium of wood no artist
anywhere makes us as intensely aware
of the texual possibilities of the parti-
cular wood that he is using for a
particular piece. A sort of translucency -
of almost looking into the wood is
revealed after countless hours of coaxing
the textures to breath, to live.

"Seated figures" Winston Patrick -Bronze -
Yet, and here enters the irony of
Patrick's work; the paradox of imagery
versus the material's potential for
revealing that imagery; for the essential
motifs record or bring to mind things
that we do not expect in wood, forms
bulge and move underneath a skin of
cloth or flesh as in his well known Chock-
Full-of-Nuts; Two forms that could be

With the Compliments of


leaves caress each other.
Floor Piece is the epitome of this
aesthetic two sheets of wood lie to-
gether, the edges turn up a rope-like
form lies across the smooth flat surface.
The art of assemblage is evoked but it
is an illusion. We are left in bewilderment,
in wonder. This is wood. A single piece of
wood. Two discrete and contrasting
forms united in one block of wood.
This I feel is the essence of Patrick's
current work Wood remains wood,
intensely wood yet, surrealistically,
evokes some other material; and more
often than not what is evoked is the
feeling of human flesh. A curious cool
eroticism emerges which in the final
analysis can be seen as a metaphor for
the artist's passionate love affair, with his
favourite material Wood!

In Februaryan exhibition of water-
colours by Dorothy Henriques-Wells
opened at the Mutual Life Gallery an
occasion of welcoming back one of
Jamaica fine watercolour artists, now in
temporary residence in Senegal. Well
known for her watercolours particularly
of plants, captured in free brush strokes
at the height of their existence, Dorothy
Wells' show was as she said, a confirma-
tory statement that "proficiency in
watercolour comes with years of
dedication, and practice it's like
beautiful handwriting".
The Hon. Don Mills, speaking at the
opening of this exhibition, addressed
the question of commitment to high
standards of performance and the sus-
tained, painful application which is a
prerequisite for such excellence, and
recognition he commented ..
"Nature has been lavish to Jamaica; a
land of
the .
such ,

downtown Kingston. Will the presence of
it there serve to uplift the spirits of all
and help to re-establish our appreciation
of beauty and order?
We expect of our artist vitality, per-
ception, creativity, discipline and in-
tegrity and we subject the artists and
their work, to rigorous reappraisal and
criticism. But are these qualities upheld
and prized in other areas of our
national life and in our social attitudes?"

Intuitives II opened in March at
Harmony Hall and featured works by
8 self-taught artists.
Discussing their works and their
"primary source of energy which is
unique, original, autochthonous that is
springing from the very soul itself" -
Senator the Hon. Ossie Harding urged
appraisal of these works within the con-
text of the environment which produced
"The works of Kapo are best under-
stood within the social and religious
world of Revivalism.
The isolation and close contact to the
Earth and Nature so typical of most of
our peasant farmers reveals itself in the
elemental expressions of human and
animal forms of William Joseph.
In Everald Brown's work, we find the
art expressing the religiosity at the heart
of Jamaica, with its own iconography and
mystical overtones, presented in exciting
Artwell's "visual narratives" are cha-
racterised by a refreshingly clear orna-
mental lines, some times superimposed
on a Biblical landscape while the
world of Zion, peopled by countless
children addre w mv.ar.-

We, living here, go to an extraordi- delight ly
nary amount of trouble hen we Art .is -
can afford it to beautify our homes. It may r-
is therefore hard to undetftand the dirt f y b eart
and the chaos which is' to be found in of r but ti c
parts of Kingston, and to juxtapose it evidence to th t
with this beauty.oThere have een, I do ti
of aesthetic c tu
acknowledge, some brave attempts to the
,- from the Il
beautify some parts there are other parts, that are pathetio.c '
The National Gallery hasileWn-focated

"Before The Storm" by Ray-
mond Watson Yoke 39" -
Private Collection.

A.D. Scott, speaking at Christopher
Gonzales showing of recent watercolour
raised the issue of artistic freedom -
"An artist, to hit the ball beyond the
boundary of congenital superficiality
must maintain his freedom of style and
autonomy of action, freedom not in the
sense of doing whatever he likes but
freedom arising from discipline. And
discipline, not in the sense of conformity
- but associated with learning and
effort to conquer uncharted heights.
Man is becoming increasing deper-
sonalized subjected to the power of
science which is not, in itself, concerned
with the gZtqn of values.
E frc&our present ex-

such as love,
aba r of Doc sacrifice, a creativity are
right, definite forms necessary for r survival then we
at any detail, and should be paying greater attention to
those activities of man that have to do
as such these work with the humanities.
ice, to other works Perhaps it is for these considerations,
certainly no evidence that works of art coming down through
f these works bear the ages have become humanity's
ive force of Jamaica, most sacred heritage."
Lde, an outpouring
rich, unique, auto-

A "Guitar" by Brother Everald Brown 1983. Private Collection 1

News and Information

Arts Jamaica joins in the congratula-
tions to Frame Centre Ltd. Gallery and
its energetic Director Guy McIntosh on
the opening of Frame Center Ocho Rios
a sophisticated new Gallery located
at the Little Pub, Ocho Rios. It is a tri-
bute both to the vibrancy of the local art
scene and to Guy's optimism and com-
mitment, that this showplace for fine
art comes into being along an increasingly
art seeking north coast.
Wishes for success and sustained high
standards go out to this venture.

On May 31st at 6 p.m. Prime Minister
Edward Seaga will open an exhibition of
pottery by Cecil Baugh and former
students of his who are all now profes-
sional potters working in Jamaica. The

It was gratifying to note than an in-
creased number of 1983 calendars are
carrying the message that "art's the
thing"! At least five local companies
chose this long-term prime space for a
celebration of the work of the artistic
eye. J Wray and Nephew selected
5 of Dawn Scott's intricate batiks, from
her Christmas Harmony Hall show;
Carreras Group Ltd. chose to mark this
year, their 21st anniversary with an
elegant calendar featuring 3 paintings
done in 1982 by Carl Abrahams,
Osmond Watson and George Rodney;
Life of Jamaica's offering was in water-
colour two landscapes by Jerry
Dunlop. Meanwhile Victoria Mutual
Building Society, in bold bright format
portrayed a vignette of 4 local situations,
utilizing for this purpose, works by
Heather Sutherland-Wade, Susan
Alexander, George Rodney and Sharon
Chacko. Bata's contribution, a single
colour reproduction depicting a street
scene, bore the inimitable brush strokes
of Ralph Campbell. Arts Jamaica is
heartned at the choice of these com-
panies, sharing the belief that .... "a
thing of beauty is a joy forever..."

exhibition arranged by the Cecil Baugh
Pottery Project will include the unveiling
of a Barrington Watson portrait of the
master potter; this portrait will be in-
corporated in the permanent Cecil
Baugh collection which is now being
painstakingly put together. The Scientific
Research Council will also be participat-
ing in the event with a booth displaying
industrial uses for ceramics in Jamaica.
This very special exhibition will run from
June 1 4 at the Olympia Gallery, near
Cataloging and photographing of
Baugh's works for the forthcoming book
on his life and work is continuing
steadily. Collectors of his work are re-
minded of the outstanding invitation
to send information/photographs to:
The Cecil Baugh Project
23 Norbrook Mews, Kingston 8,

March 26, 1983 marked the inaugural
meeting of the Jamaica School of Art's
Alumni Association, bringing together a
good number of graduates interested in
developing an organisation which would
further and protect their interests now
that they are outside the shelter of the
An executive committee was elected
headed by Cecil Cooper, Chairman and
Fitzroy Harrack, Vice Chairman; main
aims and objectives of the association
were identified and discussed. The asso-
ciation set itself their first task that of
finding a permanent site suitable both
for meetings and exhibitions. Interested
prospective members and others can
contact the Alumni through:
JSA Alumni
Jamaica School of Art
2 Arthur Wint Drive, Kingston 5.

"Woman and roosters" by Dawn Scott. Batik 1982.



Kingston Mall.
Mon. Sat. 10.00 am. 5 p.m.
April/June Art and Dance and Ten Galleries
of Permanent Collection.
ID Grove Road, Kingston 10.
Mon. Iri. 8.30 a.m. -4.30 p.m.
Saturday 9 a.m. 1 p.m.
April Antique Watercolours of Jamaica by
Rev. J.C. Matthews.
April 27/May David Pottinger and Zaccky
Tangerine Place, Kingston 10.
Monday Friday 9 a.m. 5 p.m.
April/June In-house collection on display.
70 Hope Road, No. 3 Mountbatten Court,
Kingston 6.
Monday Friday 9 a.m. 5 p.m.
Saturday 9 a.m. 12 noon.
April Jan Watson Paintings.
Spanish Court. New Kingston.
Monday Friday 9 a.m. 5 p.m.
2 Oxford Road, Kingston 5.
April 6-15 Janet Collins.
April 24th May 6th Photographs C.P. Club.
May 13th 20th Carl Abrahams book
launching and retrospective exhibition.
May 29th June 17th Albert Huie.
UWI Mona 9 a.m. 4 p.m.
June Group show. Cheryl Daley, Sandie
Donaldson, Pet Archer.
33 University Crescent, Kingston 7, Mona.
Monday Friday 10 a.m. 12 noon.
Saturday 2 p.m. 5 p.m.
April June Olympia Collection.

108 Harbour Street, Kingston.
Monday Iriday 9 a.m. 4 p.m.
April Group shows continues.
May Bryan McFarlane.
1 Mannings Hill Road.
Monday -Saturday 10 a.m. 4 p.m.
April/June Eric Smith.
Westgate Shopping Centre, Montego Bay.
Montcgo Bay.
Montego Bay.
Orange Street, Montego Bay.

Plantation Inn, Ocho Rios.
Ocho Rios.
April Stanley Barnes
Rio Bueno, Trelawny.
Mandeville, Manchester.
Brown's Town, St. Ann.
Tel: 0975-2268. Viewing by appointment.
Trident Hotel, Port Antonio.
Port Antonio.
Monday Saturday 9.00 4. p.m.
May Gloria Escoffery.
Little Pub, Ocho Rios.




"I am compelled to express sincere con-
gratulations to the founders of Arts
Jamaica. Anyone with art related interest
must get a warm feeling to see a publica-
tion which is devoted to those unique
beings who express their thoughts in
form, colour, space etc. No doubt the
concept has enough tentacles to spread
to affect areas outside of Kingston. The
new format is more convenient and the
information provided since your incep-
tion has been invaluable."
Ted Williams
2 Market Street, Montego Bay.

"I must say how appreciative I am
after scanning through the pages of your
magazine, the contents of which have
been so inspiring. I am happy for the
interest you and your associates are
taking in the Arts and look forward to
seeing you in my gallery when I will
be doing my bit. Keep up the good
Lawrence Edwards
Chapelton P.O.


.... ."but how haltingly one begins to
see the signatures of things the sigil left
by the master mason, nature."

Lawerence Durrell

"By contemplating the forms existing in
the heavens, we come to understand time
and its changing demands."

Trigram "Pi/Grace"
The I Ching Book of Changes

t ,"I could find faith, abandoning despair
for all time's unfullfilled, unblossomed hopes
S watching the long green patience of a tree ... "
Vivian Virtue "I Have seen March"



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