Arts Jamaica is published quarterly by Arts Jamaica, P.O. Box 79, Kingston 8.
T. Squares Inc.
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 is delighted at the advent
of the Christmas season our second
in publication and in this issue we
express our delight by bringing to our
readership several innovative features.
This volume is a double one combin-
ing the September and December '83
issues and comprises 28 pages an
increased size will be main-
tained throughout '84. Importantly too
- this marks the advent of inside colour
in our publication a feature which,
judging from our readers frequent re-
quests, will be most heartily welcomed
Recognizing this need and despite cost
factors, Arts Jamaica is committed to
steadily increasing its colour content -
and thereby doing justice to Jamaica's
heritage of glowing artworks.
Our colour centre-spread an Arts
Jamaica calendar pull-out features a
trio of works from the much-lauded
Smithsonian Exhibition; we present too
- in deference to the season a varied
interpretation by our creative, spirits, of
their "Visionings of Peace and Love".
Arts Jamaica wishes to sincerely
thank, in this Christmas issue, our ad-
vertisers whose continued support speaks
of a shared belief in the ability of art to
enhance our understanding of, and com-
munication with, each other and to
enrich, and bring joy to the beholder. In
the spirit of Watson's prophet, on our
cover, offering the sweet rose of peace -
we wish our friends a serene and joyful
(c) Arts Jamaica. All rights reserved.
Arts Jamaica thanks Messers Keith
Morrison, Garth Morgan, and John Blake
for their photographic contributions to
this issue. Special thanks is also rendered
to the National Gallery of Jamaica, and
the Smithsonian Institution Travelling
Exhibition services for their permission
and use, of photographic material and
colour seperations used herein.
1 NATIONAL GALLERY NEWS
2- 7 INSIGHT "Ralph Campbell, the
Persistent Pioneer" by Kaye
8 10 FORUM "Art an Integral Part
of Child Development" by Kerida
11 17 IN REVIEW -"Jamaican Art 1922
1982" works and comments
from Smithsonian's travelling exhi-
BOOK REVIEW "Earth Testa-
ment" George Campbell/Edna
18- 21 CORPORATE COLLECTIONS -
Introducing The Royal Bank Col-
lection by Laura Tanna
22 23 FOCUS "Visionings of Peace and
Love" a colourspread on a sea-
24 JAMAICA SCHOOL OF ART
25 STUDIO TALK Stanley Barnes
on caring for works on canvas
26 27 JAMAICAN ARTISTS ABROAD -
Susanne Francis-Hinds introduces
Barbara Walker, and Gloria Escoffery
recounts an art-vacation
Cover: "Malachi The Prophet" by
Osmond Watson oil on canvas 1968
- 8" x 9" collection: Colin Garland.
Colour Separation: Tell Precision Ltd.
28 NEWS AND INFORMATION
National Gallery News
The Annual National Exhibition
Installed at the moment is the annual
national exhibition in which the gallery
presents most of the choice pieces from
major solo and group exhibitions which
have taken place in the past year along
with new pieces from a cross section of
specially invited artists.
"Male and Female Created he them"
was a special exhibition which expressed "Adam and Eve" by
the theme of male female relationships William Rhule 1981
through a host of iconographies . oil on hardboard -
adolescence, courtship, marriage, and 5Y x 7 collection.
sexual union. Deryck Roberts/Exhibition
Planned to take place by the end of Male and Female.
1983, the installation of the international
galleries at the National' Gallery will see
an emphasis placed on works of art from PROFESSIONAL STAFF EXCHANGE
the Caribbean. Comprising of a small The travelling exhibition 'Jamaica
selection of works on paper, paintings 1922-1982 sponsored by S.I.T.E.S.
and sculpture, the galleries will bring to (Smithsonian Institution Travelling Exhi-
full complement the National Gallery, bition Services) is now fully on the
,- bition Services) is now fully on the
marking the close of a busy 1983. road. One of the benefits of this show is
So far among gifts and extended loans an exchange programme with the
So far among gifts and extended loans museum of the National Centre of Afro-
to the Gallery from overseas, are in-
Scluded American Artists, Boston Mass., Through
from Federal Republic of West this international partnership of museums
Germany, "fguren fragment" a exchange Mrs. Harriet Forte Kennedy,
paper mache 1979 work by Jurgen Registrar/Curator there, recently com-
Brodwalf. pleted a residency of six weeks in the
.... from the British Council, a paint- National Gallery's Admin. Section, assist-
ing by Graham Sutherland (3 year loan). ing with registration of the National
... a new work from Canada on loan Gallery's collection.
from the Canadian Council.
"Woman in White" by Judy
MacMillan oil on canvas -
25"x 25" 1983 collection:
the artist/Annual Exhibition.
S' of St. Nelson
by Nelson Cooper -
oil on canvas -
34"x 30" 19,3 -
collection the artist
^-v-^ i .' >a
."~i:; .s 4--I
This programme was designed to foster
a spirit of kinship, and a flow of cultural
information between American and
foreign institutions. This year, 1983, 6
foreign institutions were selected, with
the National Gallery of Jamaica being
among them. Rosalie Smith McCrea
Assistant Curator/Education continued
the partnership in October at the
National Centre of Afro American
artists in Boston. She delivered a
lecture on Jamaican art at the Boston
Museum of Fine Arts.
3 T r
*1 I A
- RALPH CAMPBELL, THE PERSISTENT PIONEER
Ralph Campbell, born in Kingston,
Jamaica in 1921, developed an interest
in art at an early early age. One of his
earliest retained memories was of a large
colourful billboard, which caught his
attention as in short pants, he rode the
tram car with his mother along a much
frequented route ...
"Ever since I can remember, I was
interested in Art .... my mother would
take me out, on Sundays for a ride on the
tram car which in those days travelled
very slowly; I used to look in admiration
on the huge billboards at that time
advertising cigarettes like Three Dogs,
Needle Points, Rough Rider, etc ....
As I went to Primary School my taste
for drawing grew and one dear Franciscan
nun by the name of Sister Michaelina
would hold my hand with the pencil and
guide it upon the page of my drawing
book... All the people around our yard
would look in admiration and give me
encouragement to keep on drawing . "
His need to draw constantly inter-
ferred with his shoemaking, cabinet
making and building careers. "Mass
Eddie" Thomas recommended that he
give up shoemaking and try painting. He
became apprenticed to Drysdale's Com-
mercial Studio where his art education
began informally as an apprentice. Mr.
Drysdale introduced him to the use of
paint, and he advanced rapidly in this
career path to workshop manager, sales-
man and artist.
His first taste of academic art came
through an acquaintance Lloyd Pitterson,
who was studying with Rhoda Jackson.
Lloyd took Ralph out to the "Rum
Stores" to paint. The year was 1940,
and this excursion represented the first
time that Ralph was going to draw from
nature. "It seems the painting was a
success" Ralph modestly proclaimed.
The late Frank Hill, impressed with
the efforts of Campbell and Lloyd
Pitterson, recommended that they visit
Mrs. Edna Manley. She in turn was im-
pressed enough to buy their paintings and
told them that she was going to start
classes soon. Ralph was one of the first
students at the Institute Gallery, in 1940.
He remembers producing as his first
attempt a 2%" drawing on newsprint
of the model Sammy. Ralph Campbell
was on his way and never looked back.
Sv '. '.'''.'.-"
:I i, ; ..... .. ..O
"Ecce Homo" by Ralph Campbell 1955 oil on canvas 35"x 27"- Collec-
tion Mr. Robert Verity.
By the end of the year he started to something very special, with the po-
paint on his own. He remembers investing tential to take charge of its own
in a book on water colours. The first destiny".1
paintings which he produced included in 1943, Ralph was awarded a Certificate
Lady in Red, Evening over the Slum of Merit and the Institute of Jamaica
Yard and Fleet Street. He sought for National Award, and 1944 his "Self
inspiration in the things and places with Portrait 1944" brought him to the
which he was familiar. He, and others attention of the Jamaican Art World.
of the Institute group, like Huie and In the 1940's Mrs. Manley had taken a
Pottinger were pioneers who,... "young West Indian artist's collection"
"started to look at this country with on tour. "Evening over the slum yard"
new eyes and to put on canvas ... all was televised and shown on BBC. In 1945
the pride and dignity and strength, as Ralph was acclaimed as the 'Outstanding
well as sheer physical beauty, of a Painter of the Year'.
black nation suddenly seeing itself as "Hard work, talent and those early
moments of recognition led to a -
British Council Scholarshipto study at
Goldsmith's in 1951".2
Another later fellowship took him to the
Chicago School of Interior Design.
Campbell's London experience taught
him that a painting was something more
than in photograph. It also taught him
much about the European masters. He
was particularly impressed with the
works of Constable, Turner, Matisse
While at Goldsmiths he met an African
student whose main ambition was to
learn everything so that he could go back
and teach his people. Campbell much
impressed adopted this philosophy. When
he returned to Jamaica not only did he
fulfill the legal requirements of teaching
for one year but he continued throughout
his long career, (over four decades) to
teach; having only recently retired from
his post at Tivoli Gardens High School 'Mona and Mountains" by Ralph Campbell 1981 oil on canvas
(Comprehensive). In 1982 this school 30" r 24". Collection: the artist.
presented an exhibition and auction of
art works contributed by outstanding
Jamaican artists in honour of Ralph
Campbell, to thank him 'tangibly for his
eight years of dedicated service' to the
school. Throughout his career as a
teacher, Campbell has taught many young
people the skill of painting. In this he
carries on a tradition from which he
T -has benefitted. Discussing his attitude to
teaching Campbell explains simply 'I
,.love teaching, and children'.
Campbell is one of the first Jamaican
teachers of art in this country. In this
respect he can be seen as a pioneer. As a
Jamaican artist using Jamaican themes
and breaking with the art traditions of
the colonial era he can also be seen as a
pioneer. This pioneering spirit led to
his founding of the Jamaica Artist &
Craftsmen League. He was its president
for two years. He was also a vice presi-
dent of the Jamaica Art & Craft Teachers
Association of which he is a founding
He was instrumental in setting up the
first Festival exhibition held when
Jamaica achieved independence in 1962.
He recalls with some amusement how he
and fellow artist Albert Huie, hurriedly
A l. gathered together the works of a handful
of artists to mount their first Festival
Ralph Campbell Self Portrait 1976 Art exhibition 21 years ago.
Campbell has over the years success-
fully competed in the Festival Arts
exhibition as well aS having officiated as
a judge. His pioneering efforts in Festival
as well as his continued involvement
and participation in Festival must have
weighed as heavily in his favour as his
many years of consistent performance,
production and service as artist, when the
Jamaica Festival Fine Arts Committee
were deciding to single out for special
honour a Jamaican artist of merit. In
1982 Ralph Campbell became the first
recipient of the Jamaican Festival Fine
Arts Award. It was yet another first for
Campbell, who in 1955 received the
Tercentenary Award and in 1974 became
the first Fellow of the National Gallery.
The awards and honours which this artist
has received span a forty year period, and
it is an interesting fact that he has re-
ceived at least one award in each decade.
In 1943 he received the Certificate of
Merit from the Institute of Jamaica. This
was followed in 1945 by his being
acclaimed as the outstanding painter of
"Rustic House" by Ralph Campbell 19
tion the artist.
With the Compliments of
"Road to Gordon Town" by Ralph Campbell 1957 oil on canvas -
20% x 24" collection: National Gallery.
The tercenteniary award was made in
1955 followed by a prize in the Jamaica
National Competition in the 60's. During
the 70's he gained several festival medals
.. as well as the National Gallery Fellow-
Sp:i ship, the Order of Distinction 1976 and
the Silver Musgrave medal in 1977. In
1980 he was awarded the Centenary
Medal, Institute of Jamaica; as well as the
.. SFestival Fine Arts Award 1982, he
received an award from the Kiwanis
Ralph Campbell has received no less
than 15 awards and honours from 1940
to 1983. These range from the club level
to the national level. From the public
records available it would appear that he
has gained more awards than any other
Jamaican artist at this time. The quality
of these awards is not in doubt. He is one
of the six who have received the
Order of Distinction, one of the nine who
have been awarded the Silver Musgrave
Medal, one of the five who have received
a National Gallery Fellowship, and one of
five who have been awarded a Centenary
Si What this list of awards points to is the
-;.," durability of Campbell's talents. He has
'83 oil on canvas 4" x 4". Collec- indeed 'stayed the course'. During this
S12-4 Constant Spring Road
ga ton 10.
time he has been variously described as a
genius, a magician; as well as a slap dash,
hit or miss artist, an uneven talent. Where
is the essential Campbell in all this? Per-
haps a little bit of each. Norman Rae
writing for the Gleaner in the 70's said
'The artist is a man of sufficient per-
sonality that we endure a number of
shoddy works, some hasty or tongue-
in-cheek, because of the pleasure that
the occasional picture or passage
within a picture gives us' Writing
under the caption 'Problem pictures'
the Gleaner's art critic, discussing
Campbell's scenes of August Town,
Mona or Gordon Town which 'per-
fectly capture the mood and time of
day' described him as 'something of a
magician in his genre'. Later this same
article describes Campbell as a 'quite
pierce tive portrait painter'.
Apart from painting landscapes, and
portrait studies, Campbell also uses
religious themes. In fact he claims that his
subject matter ranges from the religious
to the erotic. His Ecce Homo has been
described as 'the most moving work of
this (Jamaican religious paintings) cate-
gory.3 His Judgement 1974 is another
"School Girl"by Ralph Campbell 1954 oil on canvas collection: The National
"Seated Girl" by Ralph
Campbell 1974 oil on
canvas- collection: The
fine example of Campbell's religious
paintings. It is a part of the National
Gallery's permanent collection. On show
in the National Gallery are three other
works of Campbell's two of which, the
Sea of Gallilee and Road to Gordon
Town are also part of the current exhibi-
tion of the Gallery's collection.
Campbell claims that he works by
intuition. He works chiefly by the way-
side, seeking inspiration in the things and
places with which he is familiar.
Campbell's reputation as a painter of
landscapes and city scenes is high. He has
the ability to capture an atmospheric
quality in his paintings. Colour is a strong
element in his work, he relies on it much
more than line to create form. Dynamic
brush work, slashing and energetic forms
combined with lively colours create
works of long lasting importance.
Form, light, well observed colour con-
trasts and colour harmonies, as well as
intimate knowledge of old houses and
I : -.' 4 ', 4
AN IO Mc4~TSBC*TN
their receeding perspectives work
together in his work to create a strongly
drawn atmospheric image.
It has been said that what in fact
Campbell produces are street portrait,
where intensely alive presence can be felt
Campbell is one of the forty-one
Jamaican artists whose works are on a
two year tour of North American mu-
seums under the aegis of the Smithsonian
Institution Travelling Exhibition Services.
Campbell's works have been exhibited
in England, Germany, the U.S.A.,
Canada, Cuba, the British speaking
Caribbean as well as in Jamaica. He
has held several one man exhibitions, four
two person and two three person shows,
as well as having participated in numerous
group exhibitions. He has exhibited with
Hector Whistler, the British portrait
painter who lived in Jamaica for eight
years, as well as Gloria Escoffery, Lloyd
van Pitterson, Alexander Cooper, Cleve-
land Morgan, and Osmond Watson, to
name a few.
Campbell paints to please himself. He
makes that absolutely clear''I have no re-
grets over anything which I have put on
canvas. I paint because I must, I have to,
when my paint brush is in my hand that
is the only time I feel really free".
Freedom is cherished, and he loves the
reflection of freedom in his work.
Artist, teacher, pioneer of the modern
art movement of Jamaica, Ralph
Cambell is a selfless, humble being who
loves his work and lives for it.
1. Smith, Jean A very special experi-
ence. Jamaica Journal No. 46. 1982.
2. Rothschild, Peggy Art in Jamaica.
International Fellowship Project, M.A.
Thesis. Spring/Summer 1979.
3. Art in Sunday Magazine January
Kaye Anderson, a '83 graduate of the
JSA, is also a fiction writer. She has con-
tributed recently to Focus '83, and exhi-
bited in several local shows.
Ralph Campbell 1983 The artist at work.
ART AN INTEGRAL PART OF
It is disheartening to think about the
amount of untapped artistic and creative
potential we have submerged within our
nation's youth. One has to see it with
ones own eyes to believe it.
Imagine yourself being surrounded by
a roomful of 150 to 200 children of ages
ranging from four to fifteen all hungry to
produce some tangible form of self
expression. It is initially an overwhelm-
ing experience! Having worked for three
summers in charge of the Art & Crafts
segment of the Summer programme at
the Kingston and St. Andrew Parish
library, I have had the fortunate ex-
perience of observing some of the
artistic potential and creative excite-
ment of our Jamaican children.
The period July to August has always
been a busy, hectic and exciting one in
the Junior department of the Kingston
and St. Andrew Parish Library since the
inception of the Annual Summer Pro-
gramme for Children in 1972. Other
Branch Libraries in the Corporate Area
(Duhaney Park, Glasspole Avenue,
Golden Spring, Harbour View, Port
Royal, Trench Town, Highholborn St.
and Tivoli Gardens) also conduct summer
programmes, but on a smaller scale.
Summer programmes are also conducted
at Parish and Branch Libraries throughout
Objectives and Structure
The objectives of the Summer Pro-
grammes have been to foster a love of
good literature, increase cultural aware-
ness and provide meaningful creative
occupation for children during the
holidays. Added to this are all the bene-
fits gained from having children of
varied age groups working together, such
as development of personality, self ex-
pression and team spirit. The interest of
both sexes, as well as the differences in
age are taken into consideration when
planning the programme. Enrolment is
free of charge.
Originally the activities for this pro-
gramme were scheduled to last from
10.00 a.m. to 1.00 p.m. but it soon
became obvious that the enthusiasm
of both staff and children extended
beyond the hours scheduled. Participa-
tion in activities has therefore con-
Noel, an avid supporter of the library summer programme, proudly displays
the section of his wooden ship in which he has just drilled port holes.
tinued to 5.00 p.m. when the Junior
Attendance during the programme has
always been good with an average daily
attendance of over one hundred and
fifty children. One day in 1981 showed
a record attendance of three hundred and
thirty three children! The high
attendance level at the Main Library's
programme has always necessitated the
simultaneous presentation of a number
of activities suited for the various age
groups. Apart from the Art & Crafts
programme there is also story hour,
music appreciation, dancing, drama,
games, quizzes, spelling bees and reading
In 1981, for the first time, seven
members of staff were employed to
work specifically in the Summer Pro-
grammes on a full time basis. This signi-
ficantly raised the standard of the pro-
gramme as there were specialists to
manage each area of activity. We had
the privilege of having student from the
Jamaica School of Art, Mr. Delroy
McDowell who contributed much to the
dynamism of the Fine Arts section of the
Funding for programmes is provided
by the Kingston and St. Andrew Parish
Library and is supplemented by money
raised through film shows, coffee
mornings and walkathons organized by
members of staff.
A prize giving ceremony to commend
outstanding participants and an exhibi.
tion of Art and Craft marks the culmina-
tion of each year's programme. In 1981
three hundred dollars was collected
from the sale of exhibits. These proceeds
went towards the financing of the fol-
lowing year's programme.
Making A Start
With the Junior Library packed to
capacity daily, the first lesson I learnt
at the Summer Programme was that if I
was to attempt to satisfy the hunger of so
many enthusiastic minds and hands,
home-work would be inevitable. If, for
instance, styrofoam printing was to be
the activity for Wednesday morning,
Tuesday night would have to be re-
served for preparing sixty cardboard
frames, sixty styrofoam plates and sixty
egg box palettes. But after this often-
tiring preparation was over, I could reap
the satisfying reward of seeing children
immersed in activity and coming up with
really original designs and refreshing
For some activities it was possible to
involve the children in the actual pre-
paration of the project. After overcoming
the reluctance of the library groundsman
we were able to collect the outer layers of
the banana tree trunks and cut them into
strips for place mats.
Withte Compliments of
..., THE SHELL COMPANY (W.I.) LTD.
.. .. : ,-.~ _
In preparation for bamboo work, I
"kidnapped" a few children to help with
the choosing and gathering of bamboo
from a bamboo walk in St. Thomas.
During one week we became involved
in the collection of seeds, sticks, shells
and sand for collage making. I distinctly
remember the thrill and enjoyment it
gave me when my high school art teacher
sent me out with a razor blade in search
of cocoa and banana stems for printing
and I will never forget the sense of pride
and accomplishment I gained from
wearing something I had printed from
my own stem collection.
Encouraging Teamwork and
One evening at the summer pro-
gramme, after the Library had closed its
doors for the day, a statement a child
made reaffirmed my conviction of the sig-
nificance of giving a child the responsi-
bility for the very resources that go
into the making of an artistic produc-
tion. One of the usual "stragglers"
seemingly unable to put down the pill
boxes, felt scraps and wire he was using
to make a miniature lion, said, "But
Miss, if a so we can tek dry up dry up
nutting mek something, by the time
Summer Programme done we could
rich!" This concept of providing a child
with the confidence to acknowledge that
he has within himself the power and
ability to produce any finished product,
is one that I feel should be used not only
in the art class, but in every other subject
And what of teamwork and coopera-
tion? If we are going to teach our child-
ren skills or encourage their talents, why
not at the same time inculcate good
sense of values in them? Some of the
art and craft activities at the Summer
Programme were individual projects. We
saw the need for children to feel they
had made something of their own that
they could take home to show off to
their parents and friends. But some of the
activities were geared towards having
the children work together in groups in
order to contribute to a final group pro-
ject. For example during "bamboo
weeks" we had children working on
bamboo vases, ashtrays or mugs to take
home for themselves. However each day
the children were expected, to con-
tribute a few sand papered rings and rods
for the bamboo curtain which even-
tually was twisted and hung in the
library. Another group project, and a
favourite of the children, was the putting
together of an immense "jig saw" picture.
One square cut from a large line drawing
of seaside scenery, was given to each
Art and Craft Coordinator, Kerida Scott, demonstrates how to prepare bamboo strips for
With the Compliments of
child, whose responsibility it became to
colour the square, making sure that the
colour and lines of their square were
continuous, with those of the squares
surrounding it. The level of coopera-
tion in this project was commendable.
The finished product was breathtaking.
Obstacles to be Overcome
But there were the good times, and the
One of the main problems of
the Summer Programme was that there
were often so many children at one
time vying for use of the limited pairs
of scissors, tubes of Pattex, packets of
crayons and other such materials. Some-
times this would give me the feeling
that we were close approaching the point
of diminishing returns. I could sense the
difficulty for the children to put their
creative impulse on hold while they
waited their turn in line for a pair of
Another problem arising from over-
crowding and understaffing was that
the nature of the student-teacher inter-
action became unavoidably more imper-
sonal. I made concerted efforts during
my time at the Summer Programme to
acknowledge the children as individuals
and to respect the pieces of work they
created. I tried to take time to criticise
the pieces of work that children kept
bringing to me, as if treading carefully
to ensure they were on the right track.
Anyone could see the children were
desperate for some positive feedback
on their progression. But they needed
more than the patronizing, "That's
beautiful" or, "its lovely" evasion that
teachers often resort to in overcrowded
situations. They needed to see a realistic
interest in their creation and a genuine
appraisal of their work. One way I found
of giving recognition to the children's
capabilities, was to ask them to give
their assistance to those who were having
difficulty. This feeling of having self
worth and being trusted to help their
own peers, seemed to give the children
In addition to the problems of a low
teacher-child ratio at the programme,
there was also the problem with physical
surroundings. The children's library was
naturally full of books and furniture
which were too valuable to be splashed
Coluate IDalmoli Cc. Jamaica
with paint, glue, wax or water. At the
same time, Art is an expression which
happens to be incompatible with bound-
aries and restrictions. In order to give
the children some of the leeway they
needed to explore their media and ex-
press themselves freely, it became our
routine to inundate bookshelves, tables,
chairs, floors and even walls with news-
paper to protect Library property from
Innovation and Reward
Also, to create a more relaxed atmos-
phere and encourage spontanity, we
would borrow the Library record player
and play music during our actitivities. I
leart that apart from creating an en-
vironment conducive to artistic expres-
sion, music could be very well incor-
porated in the actual projects themselves.
During one lesson, for instance, I put on
a fast record and asked the children to
respond to it by painting what the
music made them feel. I altered the
speed of the record and played other
records asking them questions such as,
"What kinds of lines or shapes does
this music suggest to you?" "What
colours do you think about while lis-
tening to this record?" My questions
were answered on paper with some very
In view of the unavailability of certain
items and the exhorbitant cost of
materials, one of the most important
strengths of the programme was our
relentless emphasis on the use of indi-
genous Jamaican materials which nature
has provided us free of cost.
I can sincerely say that each group of
children attending the programmes left
with a heightened perception and aware-
ness, not only of the rich resources
we have around us, but also of ways to
go about welding support from the
community. What better way of teaching
children from predominantly deprived
backgrounds that they can become
masters of their own environment?
Kerida Scott is now administrative
assistant in the Planning Unit at the
Ministry of Education.
A little girl admires the
cork and cardboard
roosters mosaic and sil-
houette pictures and
still-life paintings which
make up part of the
End of Programme Ex- .
MATERIALS USED & PROJECTS
Vases, cups, necklaces, ashtrays,
pencil holders, bottle rack.
Piggy bank, bowls, badges, hairpin.
Egg box work
Waste paper basket, caterpillars, frogs,
rabbit and other figurines.
* Cigarette & Match Box Work
Dolls house, Doll furniture, odds and
* Fircones and Cotton Reels
* Tie Dye
* String Art
* Papier Mache
* Paper Flower Making
* Costume & prop making for end of
programme for play.
Painting And The Poem
- B .bond
The much-awaited "Jamaican Art -
1922-1982" curated by the National
Gallery's David Boxer and coordinated
for SITES by Vera Hyatt attracted
reviews in leading Washington papers and
the respected magazine, Americas.
In Review takes this opportunity to
present with excerpts of some of the
review comments, a selection of works
from this exhibition....
Jamaica's Ambassador to the U.S.A.,
Hon. Keith Johnson declares open
"Jamaican Art 1922-1982" at the IDB
Gallery, Washington, on June 27, 1983.
Scheduled to tour galleries throughout
the U.S.A. over the next 2 years this
exhibition is the most major display of
local art to be mounted overseas.
Ambassador Johnson stands before
Colin Garland's "End of an Empire";
beside his is Vera Hyatt, Registrar/
Exhibition Coordinator, SITES
(Smithsonian Institution Travelling Exhi-
bition Service); Knowlson gift, IDB, and
David Boxer, Curator/Director of
Jamaica's National Gallery.
Comprising 76 paintings and sculp-
tures, this show was mounted in the busy
downtown Washington Gallery of the
IDB, as part of SITES "outreach" pro-
gramme, which locates its exhibitions in
venues of easy public access.
"Fresh, vibrant and powerful, the show
is a rare treat. "
Veronica Gould Stoddart
.. .."Best of the painters is Albert
Huie, whose landscape compositions have
a Cezannesque light and a particular
energy all their own. Particularly his early
works, such as "The Record's House"
from 1943 and "Crop Time" from 1955,
have an attractive immediacy."
Jane Addams Allen
House" by Albert
1920) 1943 -
Oil on Canvas -
35 x 26% -
Arts Jamaica gratefully acknowledges the
cooperation and permission of the
National Gallery of Jamaica and the
Smithsonian Institution Travelling Exhi-
bition Service in the presentation of the
photographic material in this In Review
section" and on page 28.
TANGERINE PLACE, KINGSTON
With the Compliments of
Frame Centre Ltd. and Gallery
LITTLE PUB, OCHO RIOS
"Banana Plantation" by John Dunkley (1891-1947) c 1945 Mixed media on
board 35" x 23/2" collection National Gallery.
S. "greatest of the Jamaican "intui-
tives" is unquestionably Dunkley, a sailor
turned barber who painted in his spare
time. His paintings have been compared,
not unreasonably with those of Giorgio
de Chirico Dunkley's works have that
same dreamlike quality that takes you
out of time. But his subject matter is
more akin to the exotic forests of Henri
2 Rousseau. Using strange subtle colours
With the Compliments of
and imaginary vegetation, Dunkley
creates fantasy landscape populated by
quiet animals and crisscrossed by deep
and silent paths. A sawn-off log is a
Jane Addams Allen
RAfPHrQI- &, ..
SUP PLIES L.TiD.
I R WPIN. IlMr. A4Nn D.AliuiDrV0111 iS -
"The Beadseller" by Edna Manley (born
1900) 1922 Bronze ht: 17" -
collection National Gallery.
.... "Edna Manley, born in 1900, was
a gifted artist who created an important
work during her first few months on
the island . . This bronze piece "The
Beadseller" combining sharp Cubist
planes, an art deco sense of style and an
authentic Jamaican subject makes a
fitting beginning to the exhibition".
S -- ,, "
The Washington Post.
' .. -
. ."Whether intuitive or main-
stream, Jamaica's artists share an in-
tense humanism and genuinely indi-
genous expression. Clinton Brown's
"Morant Bay Rebellion, 1975, is an
instructive portrayal by an untrained
artist . .. formal or untrained, both
streams are presented not as separate
entities but as cross currents, inte-
grated by the intense humanism and un-
mistakably native expression that marks
Veronica Gould Stoddart
- "Morant Bay Rebellion" by Clinton
Brown (born 1954) 1975 oil on
canvas 38" x 44%" let by Olympia
International Art Centre and Hotel.
"Babu" by William Joseph
1981- Wood Ht. 13"
Collection: Deryck Robe
"The sculpture of the two
Millers. . is also fascinating.
It is a pity that only one work
"Talisman", by the elder Miller
could be included, because
his work seems to have a lively
and unusual iconography. This
little four-faced figure with its
head dress of trees, its giant
fingtered hand and its lively
staWnce has an uncanny presence
hialj African, half surreal."
Jane Addams Allen
"Talisman" by David Miller Sr.
(1872- 1969)- c. 1940 -
Wood Ht: 26" collection
". . totemic wooden figures, somewhat
pre-Columbian in character, carved in the
last two years by William Joseph."
"Hope Gardens" by Sidney McLaren 1976 enamel on board
"Laws Street" by Ralph Campbell 1968 oil on board 392 x 52% collection: Facey/Boswell Trust.
S M T W T F S S T W T F S
1 2 3 4 5 6 7 1 2 3 4
8 9 10 11 12 13 14 5 6 7 8 9 10 11
1516 17 18 19 20 21 12 13 14 15 16 17 18
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2930 31 26 27 28 29
SM T W T F S T T F S
1 2 3 1 2 3 4 5 6 7
4 5 6 7 8 9 10 8 9 10 11 12 13 14
1112 13 14 15 16 17 15 16 17 18 19 20 21
1819 20 21 22 23 24 22 23 24 25 26 27 28
25 26 27 28 29 30 31 29 30
SM T W T F S S M TW T F S
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6 7 8 9 10 11 12 3 4 5 6 7 8 9
1314 15 16 17 18 19 10 11 12 13 14 15 16
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27 28 29 30 31 24 25 26 27 28 29 30
S M T W T F S S MT W T F S
1 2 3 4 5 6 7 1 2 3 4
8 9 10 11 12 13 14 5 6 7 8 9 10 11
1516 17 18 19 20 21 12 13 14 15 16 17 18
22 23 24 25 26 27 28 19 20 21 22 23 24 25
29 30 31 26 27 28 29 30 31
SM T W T F S S M T W T F
1 12345 6
2 3 4 5 6 7 8 7 8 9 10 11 12 13
9 10 11 12 13 14 15 14 15 16 17 18 19 20
16 17 18 19 20 21 22 21 22 23 24 25 26 27
2324 25 26 27 28 29 28 29 3031
SM T W T F S S M TWT F S
12 3 1
4 5 6 7 8 9 10 2 3 4 5 6 7 8
11 12 13 14 15 16 17 9 10 11 12 13 14 15
18 19 20 21 22 23 24 16 17 18 19 20 21 22
25 26 27 28 29 30 232425 26 27 28 29
Arts Jamaica thanks the National Gallery and the
Smithsonian Institution Travelling Exhibition Services
(SITES) for the Colour Separation on this page.
In Review Local
On the local scene there was a notice-
able upswing in the number of art exhi-
bitions which, after the July record of
10 openings had settled to a steady
average of 5 per month. Among these,
there were 4 major group shows, ranging
down from the overwhelming 180 -
new works in the National Gallery's
November Annual Exhibition.
Among the lively wealth of critique
and comment shared on these occasions
there was the plea, by Henry Fowler
at the Mutual Life Gallery opening of
the June Bellew show which Arts Jamaica
would like most heartily to support and
"I want," Mr. Fowler said, "to launch
a public appeal this evening to the
National Gallery, or the National Library
to organize with the co-operation of all
galleries and artists, that a permanent
record be maintained in future of the
names and addresses of the fortunate
owners at the time of their purchase.
Such a record would be simple to arrange
and invaluable to organizers of retro-
spective exhibition's, art historians and
the art-loving community."
Arts Jamaica feels that this is crucial
groundwork for the proper documenta-
tion and dissemination of information
on Jamaican art; ideally, this should be
accompanied by a photographic record of
the artwork. It is only with this collective
consistent attention that the efforts of
our artists will become accessible to an
ever-widening public, and especially, to
"Young Boy" by Roger Mais -
1951 oil on Masonite 12"x16 "
Collection Wallace Campbell from
Roger Mais Retrospective, at
Gallery Barrington. 3
"Mento Band in
Concert" Owen Jolly
oil on canvas -
53" x 36 1/5" -
1983. Prize winning
entry in Upstairs/
Downstairs Arts 21
Thursday, September 29, 1983 saw a
very special celebration taking place in
Kingston a celebration entered into
with pride and unabashed emotion by
the art lovers in attendance. For the
occasion observed was the launched of
George Campbell's second and much-
awaited volume of poetry "Earth Testa-
ment" and Edna Manley's companion
series of drawings.
Pamela O'Gorman spoke on this
occasion of the contribution of this poet
and this artist to the creative store of
art and literature of their country -
'Earth Testament' is a celebration -
a celebration of life, of love, of nature, of
colour, movement, sound and gesture.
Above all, it is a celebration of faith
rooted deep in the belief that, as day
follows night, sun follows moon, light
follows darkness, so life must follow
This seems a far cry from "First
Poems". And it is, in that the voice that
was dominant at that time was that of
an angry, militant man, a poet who was
fighting for men's minds, seeking to
change thinking patterns, to open eyes -
and perhaps the very impact of his voice,
at a time when it was most needed yet
dimly understood, served to obscure the
essential George Campbell.
But I believe the real poet has always
been there. The compassion that lay at
the heart of protest, the passion that
made so many of the early love poems
so memorable, the immense capacity for
love without which, it is said, one can-
not be a poet all were to be discerned
in that first collection and even more so
in the 1982 edition. "Earth Testament"
is a departure only in the extent to
which the voice of the poet is un-
trammeled by any concerns other than
purely poetic ones. Poetry has been
left free to inhabit its own world, as it
At the end of the poem "Earth Testa-
ment", George Campbell gives his own
answer to those who would question
Prouder than politics
Grander than philosophy
Greater than science
Deeper than theology
Simple as Reality -
The preciousness of Life!
To; i: ;
"EARTH TESTAMENT" GEORGE CAMPBELL/EDNA MANLEY
"The Orb" by
The poet has triumphed. And at a
time when we need it most, his voice
draws us into the quiet intimacy of the
"All I can offer is:
The simplicity of faith
Hope and dreams
Art's rich poverty of love".
Edna Manley has contributed six
superb drawings to this book, each one
associated with the dominant themes of
These should not be regarded as
illustrations. Rather they are what she
calls "a quiet accompaniment" that
catches the mood of selections of poems.
But while she calls them a quiet accom-
paniment and one can sense the res-
traint, the conscious effort to stand back
and allow the poems to speak for them-
selves in effect they are an illumina-
tion: a light which throws the poet's
theme into greater relief simply, I
think, because her poetic vision and that
of George Campbell are so closely
matched. In Edna Manley's work we
AW:~b~ ACT? X3..
find so many of the same motifs as in
George Campbell's night, the moon,
dawn, the horse, human love transcenden-
talized it would be impossible to dis-
cern the extent to which each has in-
fluenced the other.
I hope I will not be misinterpreted if
I say that one might call this a marriage
of spirits. In fact, a line of George's
poem "Beauty" describes this artistic
alliance most aptly:
"We struck some chord we alone
If I might extend the metaphor, the
harmony is deep, pure and resonant. You
will return again and again to these
drawings and every time you do so you
will discover something more in "Earth
The 30's needed George Campbell and
Edna Manley. Let me go so far as to say
that the 80's need them just as much. For
in a world of hatred and brutality, of
greed and cynicism we need that vision
of love, rebirth and renewal that they
have given us so generously and so
inimitably in this book."
A"'. r R -... -" -r :. .-'"" ,' '"'"l"' -.' "
rporaE ROYAL BANK COLLECTION OF
Corporate Collections JAMAICA ART
Laura Tanna, holds a doctorate in African
languages and literature and writes regu-
larly on folklore and art.
The Royal Bank Jamaica art collection
now comprises 125 works, an impressive
number considering that the corpora-
tion's acquisition of art only began in
earnest three years ago. Says Chairman
and Managing Director, Ronald Sasso:
"I think it came about as a result of our
overall planning, and our desire to be-
come involved, not just as a banking
institution lending money and taking
deposits, but as a large corporate insti-
tution that wanted to become involved in
the cultural activities of the country,
wanted to help to develop the arts and
crafts and talents of the people, because
we felt that banking was something much
deeper than just making money."
Sasso sees marketing manager, Lorna
Lee, as the prime mover behind the
bank's recent acquisition of art. Loma's
responsibilities are to develop the bank's
image, our public relations, and how we
can ensure greater awareness and an
interest in what is happening socially.
In the corporate search for an involve-
ment, Lorna was an instigator in develop-
ing the art collection."
"With very strong backing from Mr.
Sasso," she injects.
In the early stages, when the bank
was just awakening to the possibilities
of investing in art, Susan Alexander was
very helpful and was even asked to do a
work of art for the bank, the only paint-
ing ever actually commissioned. "New
Day Festival 1977", a triptych oil on
canvas now hangs in the reception area
of the head office on Knutsford Blvd.
As Sasso, Lee, and the planning team
developed their knowledge of art, they
brought in other artists and critics for
advice, relying increasingly on David
Boxer, the Curator of the National
Gallery. "We use David Boxer as our
sounding board", says Sasso, adding, "We
don't buy junk. We buy the best." He
goes on to explain: "Because art is a
sensitive thing, if you don't buy it
when you see it, you lose it and there's
just no time for us to see something and
like it and say we're going to take it to
the board and have a decision on it.
There has to be a smart decision made
The board has thus budgeted a certain
amount and given their chairman the
authority to make acquisitions quickly.
"If we go over the allotted fund, we go
back for further approval," explains
The Royal Bank's interest in art goes
back a long way. A former president of
the Royal Bank of Canada some sorty
years ago decided to invest in art, bought
works from all the countries where the
bank was represented and filled the
bank's archives in Montreal with these
acquisitions. When James Muir retired,
the Board of Directors in Montreal de-
cided to send the art to the bank's
branches, and the Jamaican branch
inherited seven Robertson prints done
"Sonata for Lovers" by
Osmond Watson 1970
- oil on canvas 24" x
29%" Collection: The
With the Compliments of.
JAMAICA NATIONAL EXPORT CORPORATION
8 WATERLOO ROAD, KINGSTON 10.
TELEPHONE: 92-61680-5, 6120. TELEX: 2124
Wall." The bank is proud of having one
of Albert Huie's early paintings from
The Royal Bank collection includes
Snot only paintings, but sculpture and
g ,r ceramics as well, with artists like Kay
Sullivan, Cecil Baugh and David Dunn
Collection: The Royal Bank.
in 1792. "They're one of the original interesting little story because they
twenty colour sets and are very valuable," placed a great sentimental value on
says Ms. Lee. those Robertsons."
"When the Royal Bank of Canada The Royal Bank Jamaica now aims
sold their assets to the Royal Bank at acquiring a wide cross section of the
Jamaica in 1971," remembers Sasso, top artists in Jamaica, although they do.
"the only assets that they would not sell not exclude unknown artists of promise.
were those seven prints. They were so Says Lee: "We're trying to develop a
insistent that they weren't going to sell true Jamaican collection, including new
them that they instructed us to inscribe artists."
on the back of the pictures that they It would appear that literally every
were the property of the Royal Bank of artist of repute in Jamaica is represented
Canada. We persuaded them, when we in the collection. The oldest piece is an "Girl Sitting on Wall" by John Dunkley
started our collection, that it was a shame Osmond Watson, "Sonata for Lovers"; 1945 16!12 x 38Y2 oil on hardboard -
that they should be owned by the Royal other important paintings include Colin collection: The Royal Bank.
Bank of Canada and as a gift to us, as a Garland's "Big People, Little People",
gesture, they said: 'Well, we won't sell Barrington Watson's "Prayer Meeting",
them. We'll give them to you." It's an and John Dunkley's "Girl Sitting On A
w letion the. . .
in 9 y re o
tetcoor,-~;. 5i sesadaevr aubl, lcdagetsntmna au n
say M. ee toseRoersos.
The almost 700 bank employees are
able to view the paintings as they are
hung throughout the various branches,
although the most valuable works tend
to remain in the more secure head office.
Employee involvement in the collection
is limited to the extent that Mr. Sasso
remarks: I don't think they feel that it's
theirs, but I think they're proud of it."
Ms. Lee says: "They're very interested,
because when I take pieces to a branch,
they say: 'Put that over here,' or 'I don't
like that one. Can we have a landscape?'
A lot of artists go into the branch net
work and a branch employee will call
and say, 'An artist came in here with a
painting which I like. Could you come
and have a look at it.' So the employee
reaction has been positive."
The concept of corporate art collect-
ions is obviously multifaceted, with art
as an appreciable and moveable asset
being a major factor in any business
decision to invest. The Royal Bank
collection of Jamaican Art is considered
a very valuable asset by the bank, valued z
at close to a million dollars Jamaican
now. This means individual paintings
are revalued every year for insurance
purposes, based on evaluation by art
experts such as the curator of the Na- "The Bride" by Milton George 1982 18"x 24" oil on canvas collection: T
tional Gallery. Royal Bank.
"In the Beautiful Caribbean"by Colin Garland 1974 oil on canvas Triptych, each panel 48x 30 collection:
The Royal Bank.
With the Compliments of
THE JAMAICA TELEPHONE COMPANY LIMITED
"Horizon Series No. 5" by Karl Craig 1983 54" x 48" oil and oil on pastel on canvas Collection:
But the bank's investment in art is
by no means entirely mercenary. "We
want to help to develop the Jamaican
art form," explains Lorna Lee. "We
encourage artists by buying their works.
I don't think we should just stay with
those whom we consider to be masters,
because there are young, upcoming
artists whose work is really good, like
William Rhule or Glenwood Lawrence.
Every year we go to the Art School and
have a look at the graduating class from
whom we have bought pieces. We have
even bought a few just from people
walking in off the street; some of the
work is quite good."
Independent of the collection, as one
of the "Friends of the School of Art",
the Royal Bank has given scholarships to
individual students and made contribu-
tions to the School.
Another way in which the Royal
Bank has helped to develop Jamaican
art is by making works from their col-
lection available for exhibition. Theirs
was the first corporate collection to
be shown publicly during an exhibition
at the National Gallery in 1981. Their
most expensive acquisition, the Colin
Garland triptych "In The Beautiful
Caribbean" is on indefinite loan to the
National Gallery, while other paintings
have gone abroad, most recently a
Barrington Watson from his Pocomania
series which was sent to the Smithso-
nian exhibition in Washington D.C.
In an unusual twist too often art
is viewed as a luxury the Board of the
Royal Bank soon hopes to use the art
collection to generate funds for The
Royal Bank Foundation which has the
two-fold objectives of recognizing out-
standing achievement in education,
health, culture, science and of giving
grants to groups working in these fields.
Says Sasso: "We like to take the assets
that the Foundation has and spread it
amongst as many people, in as many
different projects, in as wide a field as
nonsihle into the rural arts so that when
we give to these projects, its benefit-
ting several hundreds of people, like the
Gordon Town Health Clinic that is going
to service 9,000 people or the Laws
Street trade training centre that's going
to benefit a whole sector of the under-
privileged in society.
"We have a project that has passed
the bank board where The Royal Bank
Foundation has made a proposal to the
bank to do restricted reproductions of
our better pieces and sell them on a
restricted basis, as limited editions. All
profits would be for the Foundation and
then feed back through it into culture,
and art and skills training. We just have
to wait for the new copyright laws to be
Thus the Royal Bank Collection of
Jamaican Art is more than a business
investment, more than a public relations
plan, it is a valuable asset in Jamaica's
social and cultural development.
Visionings of Peace and Love
"Diamond Wedding" by
John Dunkley c 1940 -
Mixed Media on Canvas -
15% x 19% Collection:
Arts Jamaica thanks the Carreras Group
of Companies Print Division for their
kind permission for the use of the above
photographic material taken from the
exhibition "Male and Female Created
He Them" generously supported by
"Silent Night" by Mallica
Reynolds (Kapo) 1979 oil
on canvas 33 x 29 collec-
tion: National Gallery.
__-4~4~ ~ C~I.
"The Woman of the
Crucificion" by Fitz Harrack
- 1977/78 Yoke Wood -
Ht: 37" collection: the artist.
n~e ,.., crkC~?9
I i~ ~~ ~
-. - .
t ~ :4 4~.~
"Tranquillity" by Keith Curwin oil on canvas 39%"x 462" -
collection: the artist.
Henry Daley -
1943 oil on
board 26"x 20"
- collection: Pansy
a b i
"Family by Alvin Marriott 1962 2:
Mahogany 164"x 11" collection: Olympia
Jamaica School of Art
The Director of the JSA, Hope
Brooks, is back at her desk after a year-
long fellowship at the Maryland Institute
College of Art in the U.S.A. As part of
an intensive course, combining studio
work, course work and original research
towards the M.A./Art Education, Hope
developed a course evaluation outline for
Describing the enthusiastic interest
displayed in the development within
J.S.A., by Dr. Leslie King-Hammond,
Dean of Graduate Studies at the Mary-
land Institute and faculty there, Hope
was able to confirm that positive forward
steps had been taken towards securing
accreditation for J.S.A., with the Insti-
Other Staff Visits
The infatigable Mrs. Linnette Wilks
who also returned to the School, after
attending a seminar on Executive Manage-
ment Development programme in Wash-
ington D.C., U.S.A. Sponsored and
hosted by the National Endowment
For the Arts in U.S.A.
While away in the United States of
America, Mrs. Linnette Wilks explored
the possibility of formal linkages between
the Jamaica School of Art and some
American Colleges and Universities. This
initial linkage involves Student and
Faculty Exchange programmes between
Jamaica School of Art, Howard Univer-
sity and Massachusetts College of Art.
These, the school forsee as exchange
of ideas and development for Faculty and
Students between the Colleges involved
in the programme. The most important
development being the obtaining of accre-
ditation of our programmes by the
United States Universities and Colleges.
There has been preliminary discussion
on the above issues with the following
United States Institutions and all indica-
tions are that they will go through suc-
Massachusetts College of Art -
Maryland Institute College of Art
Museum School of Fine Art.
Contact was also made with the Junior
Children Art Carnival in New York.
They are interested in looking at the
J.S.A. programmes and exploring how
"Darts"by Hope Wheeler
best we could help each other.
June Bellew, and Samere Tansley
tutors in the Painting Department
mounted exhibitions recently.
The Annual Roots Festival '83 opens
to the general public in December and
will include an open day for the Maxfield
Park Children's Home, Art Sale, Sports
and a closing fete and concert.
The Summer Industry Attachment
Training Scheme launched by Graphics
Department in June 1983 has been
described by the Advertising Agencies as
very successful. Reports reaching the
School indicate a new 'dynamic student'
from the Department of Graphics.
The National Development Founda-
tion Tools for Training has donated
an Offset Printing Machine to the Gra-
phics Department, for use by Staff and
Colour World, one of the leading
Photo Studios in Jamaica, has awarded a
Scholarship to a Third Year Graphics
Student, Mr. Steve Johnson, to enable
him to complete his course in Graphic
Design. This scholarship covers materials
and other incidental expenses. Mr.
Johnson will work during the Summer
Holidays with Colour World Limited,
to learn and gain Industrial experience
before he graduates in June 1985.
"Sago Palm" (Metroxylon sagu) by
June Bellew 1983 one of series
commissioned for Wallace Campbell col-
lection 8B pencil on Bristol paper.
CARING FOR YOUR WORKS ON
Mindful of the value, both sentimen-
tal and financial, which art lovers attach
to their individual pieces or collections,
Arts Jamaica put some frequently-aired
queries about maintenance to Stanley
Barnes, Restorer based at the National
A.J. One frequently notices small white
spots appearing on the surface of
canvasses; what are these, and is
there anything that can be done
S.B. Well, first let me ask you to be
more specific; can you identify
these spots because questions like
these cannot be answered without a
proper inspection of alien white
spots. They could be any of the
things insects deposit (minute balls
of faeces, urine, eggs etc.) or
housepaint or vapour from the
various sprays used around the
house or watermarks. The first
thing to do is to identify these
marks, and then most of them
can be removed manually by means
of a scapular or sharp instrument.
If these spots have penetrated the
canvas or paint pigment however,
you should take this canvas to a
competent restorer and have it
A.J. I regularly dust my paintings while
housecleaning. Is there anything
wrong with this?
S.B. Yes and no. Paintings are generally
executed on canvasses, hardboard
or other durable material. Each
painting carries its own surface
texture according to the artist's
style or method of application of
paint. Therefore if one uses a cloth,
chamois or brush all these can act
as an abrasive which will frequent
dusting, will wear away a painting's
distinctive texture. Also if a brush
is used instead of removing dust
you will in fact be engraining it
further into the pigment texture,
and this will create a patina.
A.J. Since I am not encouraged to use
a cloth or brush to clean paintings,
what do you suggest?
S.B. The ideal method for removing dust
and dirt from the surface of most
canvasses is with the aid of a
vacuum cleaner (the household
type will do) held six inches away
from the surface; in that way dust
will be lifted off without damaging
your artwork. If dirt is engrained
however a cotton swab rolled on
a piece of stick, and treated with
a commercial cleaner (obtainable
from an art supply store here)
should do the job. For exceptional,
or difficult cases, the services of
a professional restorer is recom-
A.J. I have noticed that the canvas of
some of my paintings sags. Is there
anything I can do to adjust or
allieviate the problem?
S.B. This is a question that I have been
asked repeatedly. I have also had
the follow-up question as to whe-
ther drenching the back of the
canvas with water will correct the
problem! Let me outline some
of the reasons for canvas warping.
a) Uneven tension in the stretch-
ing of the canvas.
b) Badly made stretches.
c) Poor quality of the canvas -
i.e. badly primed, or substi-
tute materials -
d) poor framing which impedes
the free flow of the canvas
When these problems arise, it is
best to seek professional help be-
cause the canvas must be removed
from its stretcher. The canvas is
affixed to the stretcher by means
of staple tacks or glue and these
materials can render the edge of the
canvas fragile or subject to damage
if removal is attempted.
I must also caution against
drenching, since this will only
make the situation worse; although
the canvas will become initially
taut in the long-term the canvas
will rot and the paint surface will
In the next issue, common problems
of caring for works in wood, will be dis-
Restorer Stanley Barnes at work on Ralph Campbell's "Road to Gordon Town"
... : -L, _... .- :.. .. -. ,,. '
"- i. .-' , .. .
Tvrth 4#tos Shopong Centre,. 25Y2 Constahtt Sprlng Road
Jamaican Artists Abroad
Mindful of the numbers of our artists,
abroad for sojourns of varying durations
while they pursue studies, or fulfill per-
sonal obligations 'Arts Jamaica' intro-
duces this first of a series of columns, in
attempt to lessen the distance, the con-
tact, between artist and homeland.
Susanne Francis-Hinds brings us news
from West Germany ....
Barbara Walker is one of Jamaica's
young artists who currently lives and
works abroad. Resident in Cologne, West
Germany, Walker has shown exhibitions
of her work in Cologne and Koblenz,
West Germany, and in London, UK. Her
range encompasses pastels, oils, tempera,
mixed media, and graphics in pencil,
chalk, and ink, as well as sculpture.
Born in 1954, Walker completed her
secondary education in Jamaica before
attending the Ecole des Beaux Arts in
Walker became intrigued with the
nude, and with form, during her studies,
turning away from landscape and still
life. She has commented that from a
beginning of life-like depictions, she
simplified more and more, eventually
arriving at abstract compositions of
form. Today, she said, 'Man' is her
principal theme as she tries to express
her fascination for the human being in
each of her works.
"I will continue to work on this in-
exhaustible theme" she said. "Despite
all the problems that occur daily, Man
Speaking of Walker's work during
an exhibition at the Landesmuseum
Koblenz, Dorothee Dennert said: "She
has the gift of rendering a certain
moment in a movement, giving the
essentials of the position with sparingly
used strokes .... During her studies the
artist devoted much time to sculpture.
Many of the sketches of nudes can be
seen as the preparatory stages for three
"Barbara Walker's work radiates
strength and tenderness simultaneously"
she added. "They shine with warmth and
"Age" by Barbara Walker 1982 ink on paper 6"x 6" collection: the artist
HIGHLIGHTS OF A NORTH
by a peripatetic Jamaican artist mad
Washington meant primarily a chance
to dilate with pride at the Smithsonian
sponsored show of Jamaican Art 1922-
1982. (See article in Jamaica Journal
Vol. 16 No. 4.)
Also a whirl around some of the Art
Galleries of the Smithsonian. Missed
Hirshhorn sculpture museum; but took
in "Five Surrealists from the Menil
Collection", an impressive sampling of
works by Giorgie de Chirice, Max Ernst,
Rene Magritte, Yves Tanguy and Victor
Brauner. Query: is Magritte, exponent
of rational reflections on human com-
munication, quite at home in this com-
pany? For days after seeing this show I
was interpreting the world of late twen-
tieth century media mensterdam in
terms suggested by Magritte's ingenious
riddles. To pursue this subject further,
see: Magritte; Suzi Gablik; New York
Surrealists and Surrealism; Gaetan
Pican; Skira Rizzeli (A comprehensive,
well illustrated historical survey).
Max Ernst; edited by David Larkin
Ballentine Books. (One in a fascinating
series under the same editorship including
Dali and also a number of illustrators of
children's books such as Dulac, Kay
Nielsen, Detmold, Rackham). These
are rarely seen in bookshops now; lucky,
if like me, you caught some of them
on the wing.
To relate all these exponents of fan-
tasia to the local scene: How does our
concept "intuitive" relate to the sophis-
ticated phenomenon of surrealism and
where do we place Garland? Friday Kahlo
is shown to have successfully brought
off a marriage of Mexican naive and
modern surrealism; at least she exploited
the patronage of the European surrealists;
but, as a Mexican imbued with the social
realism and revolutionary fervour of
husband Diego Rivera, she thought them
"I detest Surrealism. To me it seems
-a decadent manifestation of bourgeois
art. A deviation from the true art that the
people hope for from the artist." But
then, most, scintillating, brave, unforgett-
able Frida, what is "true art"? The
story of Frida's life, illustrated by period
photographs and many reproductions of
her works, is perceptively and frankly
told in a new biography titled Frida, by
Hayden Herrera; Harper & Row. Don't
At the Metropolitan (now, so Time
Magazine informs us, dazzling the eye
with Manets) behold a summer season
of delight for Anglophiles. A fat catalogue
with text by Graham Reynolds reminds
me of the generous collection chosen to
represent "Constable's England." On the
spot I was struck by the animated, in-
volved, articulate response of American
viewers doing the rounds and following
every pointer to the way Constable went
abhnut tulrning his brilliant skptche.s into
"King playing with
Queen" by Max Ernst
sometimes rather laboured masterpieces. brow of the most commanding hill top, treal Beaux Arts; also, at the Ontario
How international by contrast and yet as a tribute to tradition, one looks out Museum of Fine Arts, a magnificent
equally English was the art of contem- at or into a view framed by five ionic family collection of Inuit art which sent
porary Henry Moore simultaneously columns. The large format catalogue, me searching for more in Montreal and
shown at the "Met" in a magnificent with excellent colour photos by David Ottawa; also a revisit to the Canadian
retrospective titled "Henry Moore, Sixty Finn, is not just a handsome coffee "Group of Seven" at Kleinberg; Take
Years of His art". Handsome commem- table but a valuable source of reference home treasures from Canada include:
orative catalogue with introduction by on modern sculpture. the well documented and colour illus-
William S. Lieberman published by Postscript: Next time I -visit' I'd like treated Brandtner catalogue; "Grasp Tight
Thames and Hudson should not be to see our young sculpters Patrick and the Old Ways", an illuminating introduc-
missed, though a poor substitute for the Gonzales and others, represented at tion to the Klamer collection; and Le
actual event of the show. the Storm King! If we had such an open Sculpture des Esquimaux du Canada,
Here I did catch up with the Hirshhorn air site, even a park, would vandals not definitive text by George Swinten; les
draped figure of 1952, leonine and grand be counted on to wreck the works in editions la press; 1967 (second edition).
but a little cramped here. Most regal is double quick time? A sad comment Ironically for Montreal, this was available
my favourite of all, the Tate Gallery on our civility, only in the French edition because the
King and Queen. The "Met" had done English edition was sold out!
its best with available space, contriving TORONTO, MONTREAL, Museum bookshops in cosmopolitan
serpentine approaches and surprise vistas OTTAWA centres like Washington, New York,
obtained by using different levels. How- Shortage of space obliges me to Ottawa, and yes definitely, Toronto, are
r, r r r breeze over a Saturday afternoon guided the best places to browse for art books.
ever, a better site for seeing Henry
a te Stor ig n tour of chic Toronto galleries including Art departments of the large bookshops
Moores is at the Storm King Art Centre,
a unique open air sculpture museum set one preview of a show by two young are often disappointing. For ideas on
in acres o rollin u artists; also in Montreal, a retrospective aesthetics, and for sheer delight, I must
in 300 acres of rolling but carefully titled "the Brave New World of Fritz end by mentioning three finds: Cesare
landscaped farm land somewhere above Brandtner" celebrating the artistic Ripa Baroque and Rocooco Pictorial Ima-
West Point in the Hudson River Valley. pioneering of a Canadian of German gery; Edward A. Maser. The Language
Here is a chance to see just about every origin who startled Canadians in the of Images; edited by W.J.T. Mitchell;
sculptor in the modern pantheon placed late nineteen twenties when he brought University of Chicago Press. The Port-
to advantage in relation to the open Bauhaus modernism to Winnipeg; also a folios of Ansel Adams; Introduction by
spaces, trees and other works. On the show of Cartier photographs at Mon- John Szarkowski; Little Brown and Co. 27
.-:,. - ..*- *; -, .. .-' ^" :l -f -,. .- --, ii
,,' *- *-,' '" '. , g .,', ,' "" "^ ^,. 'a.. ,--
News and Information
London exhibition of Jamaican Art
features Nambo Roy
The works of little known Jamaican
sculptor and painter the Accompong-
born Nambo Roy, were predominant
among those exhibited in the Remem-
brance Exhibition organized by the
Jamaican High Commission and the Com-
monwealth Institute, in London recently.
Of the 138 works by the "familiars",
Abrahams, Campbell, Dunkley, Paboo-
Singhs, McLaren, Escoffery Nambo
Roy's 31 sculptures and 25 paintings and
drawings brought his poignant and home-
centered visionings to the attention of
Londoners. Arts Jamaica sincerely hopes
that the same opportunity will, in the
next year, be afforded to us here.
Word has it that our Jamaican
stamps already well-known for their
beauty will soon display artworks by
four celebrated Jamaican artists now
deceased. Works by McLaren, Parboosingh
Dunkley and Daley have been selected to
appear on our local stamp issue in the
very near future another for the fine
OUT-OF-TOWN ART SHOWS
The rural galleries, especially those in
the Ocho Rios area have been main-
taining their steady and devoted attention
to carrying the "art message" to out-of-
town audiences. Harmony Hall has a
busy winter season; currently their large
2nd anniversary show is on display, with
"Annunciation" by Nam-
bo Roy c 1956 Ivory
- 22" lent by Guy Mon-
works by nine familiar artists. On De-
cember 11th the Graham Davis show will
open, while early in the new year a 5-man
show will include works by Norma
Harrack, Tina Spiro and Lisa Remeny.
Harmony Hall also has available full
colour posters from 6 shows, and a
series of charming art cards.
Frame Centre Gallery at the Little
Pub complex also continues to augment
the art offerings with a varied treasure-
trove of works by local artists in their
in-house show; while at the St. Ann's
Bay Gallery, the adventurous proprie-
tors display much-needed alliance with
the young generation of painters with
exhibitions, among others, of J.S.A.
graduate, works and forthcoming shows
by Larrie Brown (his first in January) and
Jan Watson (in February).
Congratulations are due to these
P.O. Box 79,
"Arts Jamaica" a quarterly magazine of the Visual Arts celebrating and sharing our
profound artistic heritage with an ever-widening public.
Subscription rates (inclusive of postage, handling)
4 issues J$25.00 / US$20.00.
Back copies available on request.
(Please print cheques and money orders to be made payable to: Arts Jamaica,
P.O. Box 79, Kingston 8.)
Mon. Sat.: 10.00 a.m. -5.00 p.m.
OCTOBER "Male and Female Created He
NOVEMBER Annual National Exhibition.
DECEMBER Opening of International Gal-
BOLIVAR BOOKSHOP AND GALLERY
1D Grove Road, Kingston 10.
Mon. Fri. 8.30 a.m. 4.30 p.m.
Saturday 9.00 a.m -1.00 p.m.
OCTOBER DECEMBER Bolivar Collec-
Tangerine Place, Kingston 10.
Mon. Fr. 9.00 a.m. 5.00 p.m.
OCTOBER Richard Fatta.
NOVEMBER Arthur Coppedge.
DECEMBER Samere Tansley.
70 Hope Rd., No. 3 Mountbatten Court.
Mon. -Fri 10.00 a.m. -6.00 p.m.
Saturday 9.30 a.m. 12.30 p.m.
OCTOBER Barrington Watson major
DECEMBER Drawings and watercolours by
Spanish Court, New Kingston.
Monday -Friday. 9.30 a.m. -5.00 p.m.
Saturday 9.30 a.m. 1.00 p.m.
MUTUAL LIFE GALLERY
2 Oxford Road, Kingston 5.
Mon. Fri 10.00 a.m. 5.00p.m.
October June Bellew.
NOVEMBER -Karl (Gerry) Craig.
DECEMBER Richard Von White. Christ-
mas Craft Show.
33 University Cresc., Kingston 7.
Mon. Frli 10.00 a.m. 12 noon; 2.00 p.m.
- 5.00 p.m.
OCTOBER DECEMBER Olympia Collec-
108 Harbour Street, Kingston.
Mon- Fri. 9.00 a.m. 4.00 p.m.
OCTOBER 21 years of Jamaican Art.
NOVEMBER Prisoners Development Week
December- Group Exhibition.
THE GARDEN GALLERY
1 Mannings Hill Road.
Mon. Sat 9. 00 am. 4. 00 p.m.
OCTOBER DECEMBER Eric Smith.
GALLERIES OUTSIDE OF KINGSTON
GALLERY OF WEST INDIAN ART
Half-Moon Hotel, Montego Bay.
Tel: (809) 953-2211
THE ROUND HOUSE GALLERY
2 Orange Street, Montego Bay.
GALLERY JOE JAMES
Rio Bueno, Trelawny
Plantation Inn, Ocho Rios.
GLORIA ESCOFFERY'S GALLERY
Brown's Town. Tel: 0975-2268.
Viewing by appointment.
ST. ANN'S BAY GALLERY
Mon. -Fri. 9.00 a.m. 4.00 p.m.
FRAME CENTRE GALLERY
Little Pub, Ocho Rios.
Mon. Fri 10.00 a.m. 6.00 p.m.
Saturday 10.00 a.m. 2.00 p.m.
THE DESIGNERS GALLERY
Trident Hotel, Port Antonio.
HERB ROSE'S GALLERY
UJOMO ART GALLERY
ON ZEN PAINTING
"A person who really knows how to
read this picture-writing feels through the
semblance of calm the mighty tension of
the world-process, of things rising up and
sinking away, appearing and vanishing;
how everything that has become vibrates
in the flux of Becoming an Unbecoming
- evanescent, yet absolute."
The Method of Zen
National Hero returns to Montego Bay
"Sam Sharpe" by Kay Sullivan the latest public sculpture to be unveiled -
now presides over the square which bears his name in Montego Bay. One of a
grouping of 5 life-size statues, cast in bronze in Jamaica Sam Sharpe is
depicted, bible in hand addressing a wrapt audience. (Grouping photographed in
For any information concerning the life
and work of Sidney McLaren, and es-
pecially details of the where about of his
artwork in private collection I would
be most grateful.
P.O. Box 79, Kingston 8.
"THE ENVIRONMENT AND ART IN
1. Drawings made in Jamaica for Sloane's
Natural History of Jamaica 1907-
1925), not his Catalogue of Plants in
the Island of Jamaica, were by the
Rev. Mr. Moore.
2. The naturalist, Dr. Anthony Robinson,
wrote of the Island's macaws.
3. Marianne North's exhibition at Kew
was in 1882 and not in 1982!.
.. . .