Title: Arts Jamaica
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00101459/00001
 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: April 1982
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: VID00001
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

Full Text


A visual arts quarterly


Vol. 1 No. 1, April, 1982

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The C :.,j-,-..T Lesson by Albert Huie, 1938, oil on board. 20" X 24". Wallace Campbell Collection.

Arts Jamaica has been made possible through the kind assistance of the following: Jamaica Citizen's Bank, the Jamaica National Export Corporation,
Lenn Happ Supermarket, Mutual Life Assurance ("mpany, the Pan Jamaican Investment Trust Ltd., and the Royal Bank Jamaica Ltd.

_ _~~~~~_~~

Lrts amaica

Arts Jamaica is published Quarterly
by Arts Jamaica Ltd.,
C/o Central Administration,
Cultural Training Centre,
2 Arthur Wint Drive, Kingston 5,
Jamaica, West Indies.

Managing Committee:
Editor: Suzanne Francis Hinds
Associate Editor: Felicity Garrard
Design & Production Consultant: Shirley Maynier Burke
Production Assistants: Tina Matkovic Spiro
Samere Tansley
Graphic Artist: Mbala
Secretary: Lynn Curtis
Treasurer: Pat Page
Lithographed in Jamaica by Lithographic Printers Ltd.
Colour Separation by Tell Precision Company Ltd.
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 seek to analyse and celebrate that
which is already recognized as having greatness, while
remamnng open to new ideas and encouraging potential
wherever it is found.
SArts Jamaica Limited


The visual arts in Jamaica have
burgeoned over the past four or five
decades, but little has been done to
systematically record, analyse or
celebrate its development. ARTS
JAMAICA is born with just this aim in
We begin with a focus on an
acknowledged local master, Albert Huie.
His charming study pictured on our cover
- which you might like to frame and
keep has a story all its own, apart from
being an unusually perceptive portrait
from an artist best known for his
landscapes. We tell the story below.
Inside, you will find an in-depth look at
Jamaica's landscape tradition, of which
Huie is an integral part, as well as a look
into the local Galleries, news, views,
reviews and information. It is an exciting
and timely package which, with your
support, we hope to publish on a
quarterly basis. Your response will be
In the meantime, we offer special
thanks to our sponsors The Jamaica
Citizen's Bank, the Jamaica National
Export Corporation, Lenn Happ
Supermarket, the Mutual Life Company,
Pan Jamaican, and the Royal Bank Ja.
Ltd. as well as to advertisers and

Message from the Hon.
Ed. Bartlett Minister of
State for Culture in the
Office of the Prime

The appearance of this magazine "Arts
Jamaica", at this particular stage in the
development of the arts in Jamaica, is a
very welcome addition to the arts scene.
A publication of this nature will
introduce an extra dimension to a field
that has not been very well served in

terms of providing information to
Jamaica, and indeed for the rest of the
world, about a very important area of our
cultural life the visual arts. The aim of
the magazine is "to give comprehensive
regular reports on the artists, the
exhibitions, the past, present and future
of Jamaican art."
This should not only keep us informed
and up to. date, but stimulate a wider
interest in the visual arts throughout the
Jamaican society. It will not only provide
exhibition space for, and profiles of,
well-established practitioners of the

visual arts, but it will also give much
needed recognition to those struggling to
find a niche in the arts world, as well as to
new-comers to the field.
We congratulate the publishers on
their courage in launching this magazine,
we look forward to every issue, and we
wish them all success in their venture.

Ed. Bartlett
Minister of State
Office of the Prime Minister

We invite reader response in the form
of letters or information on Jamaican
art happenings at home and abroad.
Please address all correspondence to:
The Editor, Arts Jamaica Ltd., c/o
2 Arthur Wint Drive, Kingston 5,

National Gallery News

The National Gallery of Jamaica is
preparing to move out of stately Devon
House, into a modern structure on the
Kingston Mall, in downtown Kingston.
The move is being viewed with mixed
feelings: on the one hand, Devon House
is centrally located in a historical
complex devoted to art and craft; on the
other, it is a frail wooden structure with
space to show no more than 70 of the
some 500 works in the National
Collection at any one time.
The National Gallery was established
at Devon House in 1974 as a short or
medium term measure until new wings
could be built to house the collection.
The Great House was then to be restored
to its former glory as a fine example of
19th Century Colonial architecture.
Economic realities militated against the
construction of the addition or of a new
National Gallery, so the Collection is now
to be moved to safer quarters, while
Devon House will revert to Things
Jamaican, its owner and previous
"It's supposed to be a temporary move"
Curator, David Boxer said. "The idea is
that a new National Gallery will be built
in say the next five years time." In the
meantime, the Collection will take up
new and far more spacious though less
gracious quarters in the Roy West
Building, a large basic structure located

With the Compliments of

on the Kingston Mall between Ocean
Towers and the Urban Development
Corporation (UDC) Building.
"We will be the major facility in the
building, although at the moment this
might change it is expected that
Central Administration and Accounts,
the Afro-Caribbean Institute, and
Publications Departments of the Institute
of Jamaica will be in the building as well"
Boxer said in February. "It looks as if we
will be occupying the entire top floor of
the building which will give us twice as
much space as we have at the moment."
At Devon House, the Gallery occupies
some 11,000 square feet, including offices
and storerooms. The top floor of the Roy
West Building measures some 23,000
square feet, and the intention is to use as
much of this area as possible for
exhibition rooms.
The National Gallery Curator is full of
plans, though he points out that the
extent to which these are fulfilled will
depend on the decrees of the architects.
What is envisioned is that visitors to the
new National Gallery, scheduled to open
soon, will be able to purchase a major
catalogue of the permanent collection,
some half of which will be on show at any
one time. The Catalogue, now being
prepared, would serve a three to four
year function, and would underpin the
smaller catalogues normally published to

coincide with temporary exhibitions.
"The Catalogue would not be exactly a
room to room guide, but would follow the
same path" Boxer said. "It would have
chapters the Formative Years,
Jamaican Painting in the 40's, John
Dunkley, and so on, with extended
biographies. We have just started
working on that and we are hoping it will
be ready for the opening."
The launching of the new Gallery is
also to be enhanced by the concurrent
opening of the first exhibition at the new
site a showing of the Larry Wirth Kapo
(Mallica Reynolds) Collection which
Boxer describes as "absolutely stunning".
The collection includes some 40 major
sculptures, as well as paintings, and is
rated one of the two or three finest Kapo
collections anywhere. Asked about
rumours that negotiations are under way
to purchase the collection the Curator
declined to comment at this time.
The new Gallery will have a pre-20th
Century section, where works by
itinerant artists, such as Kidd and
Belisario, can be displayed. The bulk of
the space will be taken up by the 20th
Century collection, which really dates
from 1922 when Edna Manley arrived in
Jamaica and which traces the develop-
ment of local art to the present day. A
small Caribbean section including some
Haitian and other Caribbean works is also

envisaged, as well as some four rooms for
the regular temporary exhibitions.
Boxer expects that such problems as
the salt content of the air around the new
building can be solved through the
introduction of special filters in the air
conditioning system and the use of a
double door at the entrance to minimize
the amount of air moving in. Nor does he
expect security to be a problem, noting
that the building has no record of
vandalism and that round the clock
security is normal. practice for the
National Gallery.
"The major problem is to get people to
go down there, to start thinking of 'down
there' as the National Gallery" he said,
"but I think that we should be able to
overcome that.
"Things like this are needed downtown
to help to revive the City of Kingston" he
added. "Kingston, apart from the
waterfront area, really is a mess, and you
have to develop it and move it up to link
it with New Kingston. It's very necessary
that institutions like this are moved down
into Kingston so that the people down
there have something to be proud of."


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The Counting Lesson is one of Albert
Huie's earliest paintings, and the first to
receive international acclaim. Executed
in 1938, when the artist was 17 years old,
the piece was bought by International
Business Machines (IBM) President,
Thomas Watson specifically for showing
at the 1939 New York-Chicago World's
Fair exhibition of art from 79 countries.
"In fact that painting created such a
sensation" Huie said in an interview, "I'm
not sure if it was the painting or because I
was so young. It was one which should
have received an award it was selected
among the top ten from 79 countries of
the world represented each by two
paintings. One of the first medals I ever
received was for that" he added. "I was to
have got a money award too, but World
War Two came and the Fair went
bankrupt." The picture, along with others
from the exhibition remained in the
Watson family for several years and then
turned up at the Sachs Gallery in New
York in late 1980. It was purchased by
Jamaican art collector Wallace
The subject of the painting is Ivy

Manning, a young Jamaican girl whose
aunt worked in the Huie household. "I
just got her to do that little gesture with
her fingers" Huie said. "I had been
looking in a book at a piece by one of the
old Masters, might be an English painter,
and this was called the Music Lesson, and
I decided there and then that I would do
something that would include that word
'lesson'; and I just got the girl to pose and
count with her fingers, and I called it the
Counting Lesson."
Huie, who was born in Falmouth on
December 31, 1920, said he had always
wanted to paint, even as a small child
when he applied crude charcoal sketches
to the walls of the family home. He
moved to Kingston in his mid-teens,
feeling that this was the fount of
opportunity, and painted on ware for a
living until he was encouraged to
concentrate on his own artistic
development. Around this time, in 1937,
he met the Secretary of the Institute of
Jamaica, H.D. Molesworth, who arranged
for him to have his first lessons from a
professional artist tuition which
helped prepare Huie for the 1938 Jamaica

Art Society all-island exhibition in which
he received his first major recognition, an
Award -of Merit. It was to be the first of
many such honours, and those first
lessons were followed by other classes
over the years both in Jamaica, at the
Ontario College of Art in Toronto,
Canada, and at Camberwell and the
Leicester College of Art in England.
Perhaps best known for his landscapes,
Huie said he had really begun as a painter
of people, and that he was still equally
involved with both types of subject.
"People think of me as a landscape
painter, but I'm really an all-rounder" he
said. "Landscape should be painted, of
course, because it is not just a question of
recording places, but it's a statement of
what one sees in ones own environment."
Huie said he had developed a style of
landscape painting for survival, because
people tended to buy landscapes, but that
this area had become a source of great
fulfillment. "There is a lot of mood in a
landscape painting, just as much as you
find in a painting of people" he added.
Huie's first landscape, which is also in
the Wallace Campbell Collection, was

painted in 1941. It shows a view of the St.
Andrew hills from Drumblair, which was
then a large property owned by the
Manley family.
Edna Manley, who came to Jamaica in
1922 as wife of lawyer and politician
Norman Manley, was one of the two
people who, according to Huie, most
influenced him. The other was H. D.
Molesworth. As for inspiration for his
truly impressive output of paintings and
woodcuts over the years, Huie
acknowledges no particular person or
school of art. "If anything is my true
inspiration, it's the country itself" he said.
"You don't realize it so much here, but
you just have to go away to know. It is a
small country with a vast variety of
scenes and faces which it is almost
impossible to exhaust."
Huie still does most of his painting in
Jamaica sometimes working on as
many as two dozen pieces, on and off,
within the same period of time but he
also lives and works in New York,
Toronto and Pennsylvania.


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Head of a Negro Boy by an Unknown Artist, Watercolour circa 1830, 15 X 13' National Gallery Collection.
Photo: B. St. Juste

The National Gallery has had several
exciting additions to its permanent
collection over the past year.
A batch of 22 works by Osmond
Watson was recently purchased, includ-
ing the Gallery's first examples of his
sculpture a piece in the round, two
masks and a bas-relief. The pieces will be
added to 20 other Watsons, dating back
to the 1950's, together making what
Curator David Boxer calls the finest
Osmond Watson collection in existence.
The Gallery also purchased, and is
seeking a donor for, a major work by
Karl Parboosingh, 'Flight into Egypt',
whose stark, abstract style has been
envisaged making a striking impression
on visitors entering the lobby area.
Another acquisition, for which a donor
was later found, is the 'Portrait of a Negro
Boy' a 19th Century watercolour
purchased from the Bolivar Gallery by
the Victoria Mutual Building Society for
the National Collection. Assistant
Curator, Rosalie McCrea describes the
work as one of the finest watercolours of
the period, expressed in translucent
brown skin tones against a muted
grey-green background. She suggests that
the artist, whose identity is unknown,
could have been a trained watercolourist
- perhaps a topographical painter in the
British Caribbean militia, or an itinerant
artist from Europe or North America
travelling around the Caribbean in the
19th Century.
David Boxer goes further, admitting to
a hunch that the painting could be the
work of Isaac Mendez Belisario, an
Italian Jew, born in England who
travelled to Jamaica and did several
cartoon works as well as landscapes and
Boxer also notes as an interesting
though inconclusive similarity that
Belisario, like the artist of the portrait in
question, did not like to sign his name.
The National Gallery has an

acquisitions policy relating to works
purchased with government funds, which
states that only works relating to Jamaica
may be considered; and within this
context the Curator and staff have
worked to fill gaps in the collection
inherited from the Institute of Jamaica
when the Gallery was established as a
separate body in 1974. However the
policy also directs that any gift to the
collection may he accepted so long as it is
Several of the works donated to the
Gallery over recent months have not
been outright gifts, but have been placed
on permanent loan a technicality
allowing the donor to retain titular
ownership of the work, but giving total
control to the Gallery for all time. It was
under such a clause that the major Colin
Garland triptych, 'In the Beautiful
Caribbean', was given to the Gallery by
the Royal Bank Ja. Ltd. in 1981, and the
Eugene Hyde triptych 'Man, Woman and
Child' presented to the Gallery in January
1982 by the Jamaica Citizen's Bank.
The Hyde triptych, done in 1978 two
years before the artist died, is expressed
in black with small sections of blue and
crimson, a contrast to his previous
emphasis on colour and drawing. In all
three panels, there is a presence of line
and a minimum amount of texture on
matte surface, with little incident except
at close range.
Three pieces of work by Leslie Clerk, a
Jamaican best known in the 1950's and
1960's, recently entered the collection for
the first time on loan, along with a
sculpture by his daughter, Dorothy
Payne. The Gallery also received, as an
outright donation, a Clerk painting, and a
1940's portrait of a boy done in Jamaica
by British painter John Wood who lived
and worked here in the 1940's.
Another outright gift, from the
Workers Bank, was Barrington Watson's
'Three Women in Conversation.'

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Sonia Mills

White River View by Albert Huie, 1976. oil on hardboard, 11 '' X 17% Collection: Dr, and Mrs. Archie Hudson-Phillips.
Photo Keith Morrison

astonishing volume of Huie's landscapes
crowd the mind's eye. And each one,
whatever the resonances, unmistakably
Yet, together in his studio, or at the
National Gallery's superb retrospective in
1979, the range and subtle diversity is
overwhelming. "Who says I am a
landscape painter", asks Huie. (Who
indeed?) "I have painted landscapes, but
I really began as a portrait painter, and I
am equally interested in figure painting."
And then, only a few minutes later: "I
love landscape painting. I LOVE
landscape painting. As a matter of fact,
you sort of feel that you go into the
landscape." Or, as Dunkley is reported to
have said: "When I do a painting, I am
taking a walk."
"Total immersion: this is the ultimate
reason why the love of nature has been
for so long accepted as a religion. It is a
means by which we can lose our identity
in the whole and gain thereby a more
intense consciousness of being."
(Kenneth Clarke) For Jamaican artists,
even those at the farthest remove from

the landscape tradition, the landscape
seems inescapable. And-this, in spite of a
lingering feeling in some quarters that
only untrained painters "do landscapes".
"Bunkum!" Huie says.
And in truth a Barrington Watson
has done his "Orange Park".
And Judy MacMillan is now immersed
in the Jamaican landscape.
In Huie's words: "A landscape has as
much mood and as much character as a
portrait has. I agree that people who have
consistently painted landscape have a
very deep involvement with the land. But
even if you start very superficially you
become very involved. A landscape is not
just a question of painting a stone or a
tree or a waterfall. All these things are
there, but they are there plus something
else. You can look in a landscape and
you get a general impression of things
seen, but there is always something in a
landscape that strikes you most of all.
Sometimes there is just one object, and
sometimes it is the whole mood of the


Extrapolations on a conversation with

It's not a lofty word. Nor arty.
Apt, it is. As Huie is wont to be.
Looking back over forty-odd years,
Huie explains the Jamaican reality. "To
be a painter, and to select to be a painter,
and to survive the way I have survived as
a painter, meant that I had to be a
practical person. And I am a very
practical person.
"Landscape painting wasn't my first
choice. Landscape painting came as a
means of survival. "I started as a portrait
painter. My first effort as a landscape
painter was incorporated in an early
portrait, and I was asked by the person
who had commissioned the portrait
whether I would do landscape."
Sidney McLaren has also told the story
of practicabilityy' in his own words:
"Many times I tried to work and failed to
obtain same.....this condition went on for
many years until I got fed up. I decided to
make a job for myself." And so came the
"houses, trees, fencing" (and people) of
McLaren's most celebrated works.
The foreign, 'topographical' (as David
Boxer calls them) artists of earlier
centuries, were the precursors of a not
dissimilar 'practical' persuasion. For
Robertson, or Hakewill or Kidd, as for
Huie, there was a buying public for
landscape painting.
But when that has been said, there is
still outstanding one important con-
sideration. A consideration which is even
more important in relation to those artists
who did not find so ready a buying public.
What remains is the artist's inspiration..as
Kenneth Clarke describes it, "the first
spontaneous delight in nature, upon
which all landscape painting depends."
The European tradition of landscape
painting was born out of an 18th century
obsession to portray Nature as innocent
and harmonious, in contrast to the
"squalor and brutality" of Europe in that
In Jamaica, still, "where every prospect
pleases ......", rare are the villainous
aspects that are ever allowed to enter the
painted landscape. But for the
sombreness, the surrealist and perhaps
slightly menacing quality of Dunkley's

Jerboa by John Dunkley, mixed media on plywood,28Vi' X 14"/

Albert Hule on painting the Jamaican

masterworks, (which are themselves a
fusion of the observed landscape and the
landscape of the inner eye ) a 'Jamaican
landscape' usually portrays variations of
bucolic bliss or countrified city.
Infrequent hurricanes and earthquakes
pass from memory. There is no menace
perceived in the Jamaican canvas of
Nature. Our mountains sometimes
brood...but not for long. Soon they are
joyful together, once again. Our rivers
smile and sparkle, our ocean laps at the
Our trees, in portrait, are "Sweet
Oranges" (Kapo), "ballerina" coconuts
(according to Huie), flamboyant hill-
scapes, magnificent poincianas, or
massive, stalwart, solid, brave "Cotton
Tree"(s), such as Daley's. Rare is the
"Lonely Road" (Dunkley). Even if
unpeopled countryside abound. And
solitary trees. Edna Manley speaks of
Daley's passion for trees, which he
imbued with "an almost human quality."
But then, as Huie says: "Our trees are
as individualistic as the people. If you
want to realise how individualistic our
trees are in Jamaica, compare our trees to
the trees that you commonly see on the
North American continent. You will see
acres and acres and acres of organised
trees. You go on the Spanish Town Road,
as if you are approaching Spanish Town,
and see how many trees are alike."
Even of the coconut tree, that much
stultified subject of every passionate-
blue bright-orange-hotel-fence-painter,
Huie says: "I believe why people paint
the coconut tree so much, is that the
coconut tree lends itself to art. The
coconut tree is the ballerina of our
Nature...our natural scene. That is a tree
that one could spend a lifetime
If we look back with Huie, and pick up
the Jamaican tradition in landscape
painting at say, the end of the thirties,
there can be little argument that the
Albert Huie-Ralph Campbell tradition
dominates. The concentration on Huie in
this article is therefore in no way
intended to belittle the Campbell
However, the consistency and sheer

With the Compliments of


According to Andre Malraux (The
Voices of Silence): "It is certainly true
that when a conventional landscape-
painter decides to paint a landscape
which strikes him as 'pretty', he is
deferring to a convention prior to his
painting. Yet at the same time a master
landscape-painter in addition to just
enjoying landscapes, paints them because
they aroused in him a creatively "fertile"
emotion. They are not merely 'good
subjects', they are sources of exaltation."
Presumably, when Huie says "I adore
looking at Nature", it is not the adoration
of a botanist, content to observe and
analyse; the urge is to enter and conquer.
Or at least subdue, render.
Huie himself speaks of "always feeling
great animation in a landscape. You can
feel it for example in Van Gogh. You
look at something and it means
something to you. And not only in an
ordinary way, but in an extraordinary
way, and in a sense it determines what
you do with your tree, or what you do
with a leaf, or what you do with just
grounds. In addition," he says, "Jamaica
is one of the fascinating places in the
world for landscape painting. It is almost
as if this country was designed and laid
out by an artist. But there are also some
funny things that happen in the Jamaican
landscape, which are very challenging to
an artist. For instance, if you look
generally at an English landscape, you
see a logical sequence in the landscape.
You will see close, middle distance and
distance...to infinity.
"You are not always able to interpret
this in the Jamaican landscape in the
'same sense. For instance, stay on Mona
campus and look over the hills of St.
Andrew. Look at what is close to you,
depending on the time of the day that you
are observing this thing and look at your
mountains in the distance. When the sun
strikes the mountains at a certain time,
you are able visually to touch the
mountains, and yet the middle distance,
which is not as far from you as your
mountains, seems to vanish into infinity.
"If you study in Europe where the thing
works out, in general, in this peculiar sort
of logical sequence, it is not always easy
to apply the same sort of training to what
you see in Jamaica. So when you come to
Jamaica you have to retrain yourself to
approach, to understand and to depict
the landscape to meet the peculiar
problems that this country creates."

For Huie, the Jamaican landscape is
challenging and inexhaustible.
"Once upon a time I had to be with
people....always. Now I can go on
painting landscape and almost feel as if I
am with people. I can go into the wild
country of St. Thomas, and feel that I am
dealing with young children that you
can't tame." Illustrating the feeling that
he has caught on canvas, the artist
explains: "You see how windswept. You
see how wild. You can depict the kind of
country it is. It has a lot of St. Thomas in
it...that sort of incorrigible quality that
you get in the people of St. Thomas. It's
there in the landscape. Compare that
with St. Andrew. You see...it's sort of
Then...there is the light.
"That extraordinarily brilliant light in
the month of November...almost silver,
it's so bright, so clean, so striking. Then in
other seasons, there is a sort of muddy
quality, in a place like the Port
Henderson area of St. Catherine. What I
call the sulphur light."
As has been said of some of Cezanne's
later landscapes, some of Huie's present
paintings manifest a greater freedom and
lyricism than his earlier works. Although
he continues to render the magnificence
of the Jamaican landscape as the eye sees
it, he seems more and more to be
portraying atmospheric effects, depicting
moods. His palette, always pervaded with
blue (denoting sky, air, mountains, light)
fuses the flashes of reds, made subtle, and
golden yellows, oranges.
Though the light patterns, which he
remains the master at creating, are
constantly present, the compositions are
strongly connected to the 'spiral' of trees,
and the interior-internal vitality of leaves
and branches. To finding the 'heart' of
the tree. To exploring more and more
"whole ideas that come in a flash". For
example, in a landscape like "Morning,
noon, and afternoon", a landscape
composition with figures, "representing
different moods which I have felt, say in
St. Thomas in the region of the Roselle
Huie will deny that he owes the
primary inspiration (for his landscapes) to
any source but Jamaican nature, as
admiring as he is of many Impressionists
and Post-Impressionists. "I have develop-
ed my technique purely, Purely,
PURELY by observation. It is not just
impressionistic, sometimes it is quite

The Sea IV
by Hope Brooks.
alabaster dust and
paint on canvas,
30 X 30".

Crucifixion by Mallica Reynolds IKapo), 1967, oil on hardboard. 221 X 22'' Private Collection.

abstract, in as much as people are limited
in their concept of what is abstract.
Because you can see patterns in
At what point does an abstracted
landscape cease to be a 'landscape'?
Even Eugene Hyde's "Crotons",
abstracted to a flurry of colour, are still
instantly recognisable, because nowhere
else in Jamaican nature do those
colours occur. Yet, they are no longer
crotons, but perhaps a symbol of a
Jamaican vitality for which we continue
to yearn.
The post-Huie-Campbell generation
has frequently turned to much more
abstract landscapes. Although Huie has
often said that he feels his own
development could lead him further and
further into a more abstract realm, it is
barely thinkable that the Huie of myriad
Roselles, and Port Hendersons, and the
Hills of St. Andrew, could resurface in
pictures akin to the cool abstractions of
Hope Brooks, or the "simplified and
abstracted observed landscapes" (Boxer)
of George Rodney. Observing the
Jamaican landscape-painter observing
the landscape the question arises....
Whither post-Huie Huie?
Whose are the pictures that will paint
the further development of the landscape
tradition in Jamaica. Where, from among
a community of individualists, "as
different as the trees along the Spanish
Town Road", will the next thread of
progression come? For the more overtly

intuitive artists who paint their own
paths, the question scarcely arises.
According to Malraux, "every painter of
genius feels that trying to write (use
words) about his art is completely
futile....The painter does not necessarily
want to change the world, nor to seek to
justify God's (Nature's) ways to man. He
wants to challenge existing pictures with
pictures that do not yet exist."
For Huie, as for Kapo, the canvas
responds most eloquently.
And, as follows the night the day, the
artist's voice of silence inspires long
interviews and volumes of criticisms and
What often results is a literal, and
sometimes metaphorical "retitling of the
work" by others than the artist. But the
dialectic will continue.
And along the way, every now and
then.... a benchmark. A paean of praise
so pure as to be unmistakable.
Among what David Boxer describes as
Kapo's "cumulative landscapes", per-
sonal landscapes that are at the same
time quintessentially Jamaican, is the
"Crucifixion Cross". "In landscape
painting", Constable said, "clouds are the
chief organ of sentiment." In the
"Crucifixion", Kapo's redemptive vision
of clouds raises the silent voice to a
crescendo of exaltation.
Huie's harmonious landscapes too,
may well be a manifestation of the artist's
personal search for peace.

Village Scene
by Ralph Campbell.
Wallace Campbell Collection
Photo B St Juste

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I I :


To Come

A major exhibition of Jamaican art is
to take to the road next year under the
auspices of the U.S.A.'s prestigious
Smithsonian Institute.
Some 75 to 80 works by thirty local
painters and sculptors representing the
Jamaican School from 1922 to the present
day, will leave the island towards the end
of this year, going to the Smithsonian in
Washington for minor restoration before
being mounted at the Corcoran Museum
which is rated as the best of Washington's
traditional museums.
The exhibition will open at the
Corcoran in the spring of 1983 with all the
attendant trappings of a major catalogue,
posters and publicity, and will remain
there for six to eight weeks before
moving on under the auspices of the
Smithsonian Institute's Travelling Exhibi-
tion Service (SITES) for a period of about
two years. The show, which is now being
marketed, will be offered to eligible
museums in North America, Canada, and
Europe under the SITES International
Exhibitions Series.
National Gallery Curator David Boxer,
who has also been named Curator of the
exhibition by the Smithsonian, is
interested in seeing the show mounted in
Amsterdam where the Director of the
State Museum of Amsterdam has already
indicated some interest in Brussels,
and in England. "I am very anxious that
this exhibition should go to major
museums" he said. "It's going to be a high
security exhibition because of the value
involved, which means that only very
creditable institutions will be eligible to
take the exhibition at all. Boston has
shown interest, Ottawa, a couple of
museums in New York" he added. "I'm
sure it's going to be a very positive move
not just for Jamaican art but for Jamaica
in general."
A formal request from the Smithsonian
to the Jamaican Ambassador in
Washington that Jamaica should submit
an exhibition proposal, came early in
1981, after about a year of quiet

negotiation, and this was followed in
September by the submission of a design
for an exhibition of 103 works.
The National Gallery Curator heard
towards the end of January, 1982 that the
proposal had been accepted, but that
some reduction would be necessary
largely due to budgetary considerations.
The Smithsonian also asked that local
musical instruments fashioned by Everald
Brown, and which were originally
included in the proposal, should be
dropped since they would not travel well.
Describing the proposed show, Boxer
said: "It's a broad historical survey
showing all the different trends which
have developed here in Jamaica. There's
a good strong intuitive section dealing
with Kapo and so on, because this is quite
frankly the art that excites foreigners. I'm
sure they're thrilled to see our
post-Impressionist style artists and our
academic artists but the new, vital art of
the intuitives is something refreshing and
new to them. They want to see it."
It is Kapo who will be represented by
the most works in the exhibition, with the
maximum of four works in both the
painting and sculpture sections. Other
major contributors will include Sidney
McLaren, Parboosingh, Edna Manley
and Carl Abrahams, but there will also be
works by a younger cadre of painters and
sculptors in the generation of Hope
Brooks, Kay Sullivan, Fitz Harrack and
Christopher Gonzalez. Boxer said that
fully half of the some 30 artists whose
works are scheduled for inclusion in the
exhibition will be represented by only
one work, in a show which he hopes to
divide into 50 paintings and 30 sculptures.
"It's simply got to be outstanding,
superb, so we're looking for the very
best" he said. But at the same time I have
to be very careful because I can't send
too many masterpieces out of the
National Gallery. I have to have them in
our new building to show. So we've
drawn heavily on private collectors and I
must say that those we have approached

have been very co-operative they've all
agreed that 'Yes, this is a very important
thing for Jamaica.'
"I know it's hard to ask anybody to give
up a work for two and half years,



travelling all over the world" he added.
"But collectors also realize that it's a
pivotal show, and to have a couple of
their pieces in the show enhances both
the work and their collection."

Samere Tansley


Whether in drawing, watercolour, or
printmaking, most artists at some time
make use of paper as the base for their
However, paper is fragile, and if the
artist and owner are concerned with the
piece lasting for any length of time,
certain precautionary measures should
be taken. To begin with, the paper is best
made from cotton or linen rag. Paper
made from wood is of a low quality,
witness the case of newsprint, which is
made entirely from wood pulp -
newspapers quickly yellow and go brittle
with age.
When an art work is completed, it
should first be placed in a window mat
board, preferably taped lightly to a
second mat at the back, then framed
under glass.
The frame must be sealed at the back
to protect the picture from dust, dirt and
insects. This is most effectively done
using a board, tacks, and lastly gummed
brown-paper tape around the edges.
Non-reflective glass is not advisable
because it must be placed directly on the
drawing for best results, while there

ought always to be a breathing space
between work and glass.
Pastel drawings should always be
placed in a thick mat so as to avoid the
colours coming into contact with the
glass. Unframed drawings should be
kept flat, after being matted and
separated by tissue paper or glossy
coated paper in the case of pastels. They
should be stored in a sealed portfolio, a
tightly fitted drawer, or a thick, well
sealed plastic bag.
On no account should drawings be dry
mounted or glued down, as there is a
danger of the glue or backing material
staining the paper.
Once the paper is framed, there are
three main dangers strong light,
humidity, and insect damage. Light is
obviously necessary for viewing art
works, but too much light can cause
damage. Ultra-violet rays present in
sunlight, and even fluorescent light to a
lesser extent, can cause deterioration of
the paper and fade the colours.
Watercolours, for instance, should never
be hung in direct sunlight as this will
accelerate the fading process. In

Victorian times, frames for watercolours
were often made with a curtain that could
be rolled up for viewing. So avoid
hanging paintings opposite to windows or
in other areas where the light is
particularly strong.
Another danger is excessive humidity
- defined as over 70 percent which
causes mould and mildew growth. In
Jamaica, the humidity level is rarely
below 70 percent, is usually mearer 80
percent, and can be as high as 90 percent.
Mould growth on paper shows itself as
rusty patches called foxingg'. Mould also
feeds on the binding in pastels, and loves
certain colours of poster paint. If it does
appear, opening the frame to sunlight for
one hour should kill the mould.
Humidity can obviously be reduced
with air-conditioning, but it is always wise
to avoid hanging the work on a damp
wall, and to hold the bottom edge of the
frame away from the wall by fixing two
small pieces of wood to the lower
corners. Clean the frame regularly, as
dust contains mould spores. It is
important to remember to keep the paper
from direct contact with the glass so as to

avoid the possibility of moisture
condensation and, eventually, of mildew.
Works hung in coastal locations
require special care, because the high salt
content of sea air increases its relative
moisture level and thereby accelerates
paper deterioration.
A third danger is insects, and a regular
check is advisable as roaches like to lay
eggs at the back of the frame, and may
also eat the gummed brown paper seal.
Woodworms and termites appear not to
restrict their field of attack to wood, but
rather to eat anything made of cellulose.
Framed work can be sprayed or dusted
with insecticide on the outside, at the
back, for extra protection. As an added
precaution, the frame could be opened
every five years to confirm that the
drawing is not suffering internal attack
from hidden insects.
A little care and attention now will
help preserve your valuable piece of art
work for the enjoyment of future

With the Compliments oj

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Studio Talk

Museums of art will not make a country an art country. But where
there is the art spirit there will be precious works to fill museums.
Better still, there will be the happiness that is in the making.

Robert Henri
"The Art Spirit" 1923.

~IC~~L~L~r ~h ~R --rt 1

IT ~I U ~r 1

News and Information

Fellefty Ganrrd

For art lovers, collectors, or simply
people interested in the visual history of
any nation, art galleries are a major port
of call.
Those wishing to gain an insight into
the development of local art over the
years a development generally dated
from 1922- must make as their first stop
the National Gallery of Jamaica, an
offshoot of the Institute of Jamaica which
was established in 1879 to promote
literature, culture and the arts.
The National Gallery is presently
located at Devon House, a 19th Century
great house which stands, surrounded by
gardens, at the corner of Waterloo and
Hope Roads in Kingston. The Gallery
was placed there in 1974, the year of its
separation from the Institute, but Devon
House belongs to Things Jamaican a
Government craft agency and Prime
Minister Edward Seaga has said that
re-location is immiment.
The National Gallery, with its
permanent collection of some 500
paintings, drawings and sculptures, is to
move downtown, to the Roy West
Building on the Kingston Mall. The
removal is expected to take place in May
or June.
The Gallery is open Monday -
Saturday from 9:00 a.m. 5:00 p.m. and
the permanent collection is often
supplemented with regular exhibitions of
works by Jamaican and foreign artists.
Exhibitions scheduled for the rest of 1982
are a showing of the Larry Wirth
Collection of 65 paintings and sculptures
by Mallica Reynolds, "Kapo"; the Annual
National Exhibition; and a multi-media
exhibition celebrating the close col-
laboration between art and dance, which
is timed to coincide with the 20th
Anniversary of the National Dance
Theatre Company (NDTC).
For people who like to keep right up to
date with movements in the local art
scene, or for serious collectors, there are
also a number of privately owned art
galleries which exhibit their own
collections, or provide facilities for
individuals or groups of artists who wish
to put their work before the public eye.
There are several such galleries scattered
throughout Kingston and some along the
island's North Coast, many of them also
offering art-related services.
The Bolivar Bookshop and Gallery is
located at ld Grove Road, Kingston 10,
and has a subsidiary, Bolivar Fine Arts, in
Montego Bay.

The gallery, which is owned and
managed by Hugh Dunphy, was opened
in 1966, and has since been involved in
exhibiting and selling good Jamaican art,
as well as retailing antique prints and
maps, framing drawings and paintings,
and selling books. Works of art are shown
in a two storied building opening off a
cool plant-filled courtyard, Monday -
Friday from 8:30 a.m. 4:30 p.m., and
Saturday from 9:00 a.m. 1:00 p.m.
Bolivar Fine Arts, is located in the
Westgate Shopping Centre, Montego
Bay, and concentrates on the retailing
and framing aspects of the business,
rather than the exhibiting of art works.
Down the road from the Bolivar, at 5
Union Square, Kingston 5, the Gallery
Barrington provides a showcase for the
works of one of the island's foremost
artists, Barrington Watson. The oils,
watercolours and drawings, along with
occasional works by other artists, are on
show Tuesday Friday from 11:00 a.m.
to 6:00 p.m.
The John Peartree Gallery is a small,
intimate showroom, founded by Eugene
Hyde, an artist lauded as the father of
modernist art in Jamaica whose career
was cut short by his tragic death in 1980.
The gallery, whose exhibitions in a
variety of media often lay emphasis on
the avant garde, is presently located at 3
Haughton Avenue, Kingston 10. How-
ever, Manageress Beth Hyde has said that
the gallery and its adjacent printer are
scheduled to move this year to another
address in the same area. Prior to the
move, from March 14 onwards, an
exhibition of paintings and drawings by
Richard Fatta is on the agenda.
The Mutual Life Gallery, situated in
the Mutual Life Building, 2 Oxford Road,
Kingston 10, is the headquarters of
Jamaica's Artists and Craftsmans Guild.
The parquet-floored, well lit gallery,
which was made available to the Guild by
the Mutual Life Assurance Company,
presently opens from 10:30 a.m. to 4:30
p.m. Monday Friday, but there are
plans to extend these hours to 9:00 a.m.
- 5:00 p.m. Upcoming exhibitions
currently include a showing of drawings
and watercolours by Byron Bowden,
March 25 April 16; Stanley Barnes,
March 28 April 16; and Lloyd Walcott,
May 18 June 4.
The Mutual Life Gallery re-opened on
February 28 under the new management
of Jamaican businesswoman Pat Ramsay.
The inaugural exhibition of works by 13

women artists was opened by Joan
Sandler, educator of the Metropolitan
Museum. New York, with remarks by
Hon. Ed Bartlett and Ivy Baxter.
In downtown Kingston, the Upstairs
Downstairs Gallery at 108 Harbour
Street, opens from 9:00 a.m. 4:00 p.m.
and provides spacious exhibition facilities
on three levels. Owned by Neville and
Susan Alexander, Upstairs Downstairs
aims to be a source of enjoyment to the
viewer and education to the young artist,
as well as a commercial outlet. The
gallery is a converted furniture
showroom which opened in late 1980
despite concerns expressed about its
location in downtown Kingston, and
which has since been voted a success.
Exhibitions scheduled up to mid-year are
a Young Talent Show in March, an
exhibition of paintings and drawings by
Alexander Cooper in April, a Fitz
Harrack retrospective (sculpture) New
pastels by Susan Alexander in June. The
gallery's mezzanine floor is permanently
assigned to arts and crafts items created
by inmates at the Spanish Town Prison.
A long way uptown, nestling under the
St. Andrew hills, the Olympia
International Art Centre offers a standing
exhibition including works by Albert
Huie, George Rodney, David Pottinger.
Kapo, Colin Garland, Karl Parboosingh,
Carl Abrahams, Ralph Campbell, Eugene
Hyde, Edna Manley, and owner-operator
A.D. Scott. Also notable is the large,
dramatic mural by Barrington Watson
which encircles the entire top level of the
gallery and the portrait busts of Jamaica's
National Heroes by Alvin Marriot. The
Centre, which is located at 33 University
Crescent, Kingston 6, was opened in
1972, with the idea of one large gallery
for Jamaican art and 18 smaller rooms
showing art from countries represented
in Jamaica at ambassadorial level. The
rooms which were to have housed the
national exhibitions have since been
rented out as apartments in order to
finance the centre, but Mr. Scott still
hopes to realize his dream one day. The
Olympia Centre opens Monday to Friday,
from 10:00 a.m. noon, and from 2:00
p.m. 5:00 p.m.
The latest on Kingston's list of
exhibition facilities is the Frame Centre,
at 10 Tangerine Place, Kingston 10.
Started as a framing business in 1972, the
gallery has grown with owner Guy
McIntosh's increasing interest in the
work passing through his hands. He now

has his own collection including works by
Carl Abrahams, George Rodney, Barry
Watson, Osmond Watson, Milton
George, Phanel Toussaint and Susan
Shirley, and also holds exhibitions to
show work by up and coming artists.
Frame Centre posses a small, but
excellently lit and laid out exhibition
area, with a raised, carpeted podium for
displaying ceramics.
Outside Kingston, the majority of art
galleries are to be found in Montego Bay,
and mixed art and craft facilities have
sprung up in several tourist-oriented
locations along the north coast.
In Montego Bay, the Budhal Gallery
features Jamaican art, particularly that
originating in the town and its environs.
Other showrooms located in north
coast city are the Gallery Makonde, at
the Half Moon Club, and the Gallery of
West Indian Art, in Church Street, which
represents the work of intuitive painter,
Albert Artwell.
Further along the coast, just outside
Ocho Rios. Harmony Hall is a newly
restored 19th Century great house
converted by owner, Annabella Ogden to
include an art gallery featuring a
permanent display of works by major
Jamaican artists, as well as antique prints
and craft items.
Other, less well known facilities are the
Gallery Joe lames at Rio Bueno,
Trelawny. Gallery Gammlca at the
Plantation Inn. near Ocho Rios, and the
Umojo Art Gallery in Mandeville. A
new showplace, the Designers Gallery, is
being established at the Trident Hotel
near Port Antonio by Patrice Wymore
Flynn, widow of American actor Errol
Flynn. Regular exhibitions of works in all
media are planned for later in the year.

What Happening at the Jamaica School of Art

The Jamaica School of Art has been a
focus of activity for artists and aspiring
artists throughout Jamaica and much
of the Caribbean since its inception in
Those who were not involved with the
founding of the School then part of the
Junior Centre of the Institute of Jamaica
- have become associated with its
activities as friends or tutors, while a
greater part of the younger generation of
local artists have passed through its gates
as students.
The School blossomed over the years,
becoming an institution in 1961 with a
full-time four year Diploma course in the
departments of Painting, Sculpture,
Graphics and Ceramics. In 1969, a
Certificate course was introduced and in
1972 and 1974, the Textiles, Jewellery,

and Art Education departments respect-
ively were added. In 1973, the Diploma
and Certificate Courses of the School
were granted recognition by the Ministry
of Education, and the School recognized
as a tertiary institution. A teachers
in-service training programme was also
instituted, in 1977, in an effort to meet
the need for qualified art teachers in the
public education system.
The School presently has 240 full-time,
and 400 part-time students, and 42
members of staff including senior
administrative staff. Students have access
to nine studio rooms for drawing,
painting, textiles and jewellery, three
sculpture studios, one art education
studio, a ceramics department with kiln,
storage and studio space, and a graphics
department with facilities for photo-

graphy, fine arts and offset printing. The
School of Art is now one of four colleges
within the Cultural Training Centre -
others dealing with Drama, Dance and
Music. The Centre was established in
1976, and is the only institution of its kind
in the English-speaking Caribbean.
The School of Art aims to develop
aesthetic awareness, to train art
educators and administrators, supply
proficient artist craftsmen for the craft
industries of the region, produce artists of
high technical skill to work in the field of
communications, and carry out research
into indigenous materials for the
ceramics, textiles and jewellery ih-
Consistent with the philosophy of the
School, a Studio Course was introduced
in the present academic year for students

who did not qualify for Diploma or
Certificate courses. The rationale for this
move is that training opportunities should
be provided for self employment or
employment in the craft industry. A
decision was also taken, in response to
numerous requests, to offer a fifth year.
post-graduate course in the Department
of Jewellery a decision implemented
through the assistance of Peter Hauffe,
Jewellery Designer and Production
Advisor to the Jamaica National Export
The Painting and Art Education
departments respectively also benefited
in the current academic year from the
appointments as tutor of Cecil
Cooper and Stephen Brook.

With t e -Compliments of



E sso

In Review_


The vitality of the Jamaican art scene is
.one of its most promising features, and
bodes well for the cdntiiiitng growth and
recognition of the visual arts in a country
better known for its folk music, dance,
and craft.
Even as the accepted masters Huie,
S Abrahams, Watson, Manley, Kapo -
continue to explore new ideas or
re-examine well tried and proven ones, a
strong coterie of painters, sculptors, and
graphic artists is carving out and
consolidating its own place in the sun,
and a burgeoning younger generation -
packed with School of Art graduates is
pushing at the gates.
The continued outpouring of work on
all fronts has been evident in the several
exhibitions on view during the closing
months of 1981 and early 1982. The
Mutual Life Gallery recently presented
two shows highlighting Art School
graduates a technically competent
series of graphics and paintings by Lloyd
Robinson and Desmond MacFarlane
titled 'Vareations', and a very pro-
fessional exhibition of sculpture,
drawings and oil paintings by Errol Lewis
and Basil Watson. More established
artists showing their works singly towards
year-end included Thomas Bucknor with
intuitive works on themes of love, slavery
and nature, and the increasingly popular
painter Patrick Waldemar.
Recent months have also seen two
general exhibitions with contributions by
a variety of well and lesser known artists.
The National Gallery's small 'Mother and
Child' exhibition originally mounted
for Christmas 1981 but extended for some
months was the setting for works on
the theme by well known painters Edna
Manley, Christopher Gonzalez,
Barrington Watson, David Boxer,
Osmond Watson, Seya Parboosingh,
Mallica Reynolds (Kapo), Milton George

Suzanne Francis-Hinds

and Stanley Barnes.
The 1st Anniversary Exhibition of the
Upstairs Downstairs Gallery in down-
town Kingston during December and
January, produced a large showing
including Edna Manley's mystic draw-
ings, the watercolour offerings of
Anthony Wilson, Michael HoShing,
Heather Sutherland-Wade and Susan
Shirley, the paintings of Osmond Watson,
Petrona Morrison, Eloise Hendricks, Eric
Cadien, George Rodney and Susan
Alexander, and the sculpture and
carvings of Lawrence Edwards, Bruce
Allen, Austin Campbell, Tyrone Napier
and Kay Sullivan.
In January and February, the National
Gallery hung works by foremost local
modernists, including several works by
the late Eugene Hyde. The works were
originally hung to complement the
Jamaica Citizens Bank's presentation to
the Gallery, on permanent loan, of a
Hyde Triptych depicting Man, Woman
and Child as abstract iconography. Hyde,
who is hailed as Jamaica's father of
abstract art, is to be the subject of a
major Retrospective at a later date.
Recent months have also seen local art
bolstered by contributions from foreign-
born artists witness the meticulous ink
and watercolour drawings of architect-
ural and historical subjects by Prudence
Lovell who had a solo exhibition at the
Bolivar Gallery; the richly painted
fantasies of Colin Garland, the nature
studies in oil exhibited by Tina Matkovic,
the pen andwash works of Susan Shirley,
and others.
Art from abroad had its place on the
local art scene, with an exhibition of
works by U.S. artist Jim Dine -
printmaker and key figure in the
Anglo-American 'Pop' movement of the
1960's along with others like Andy
Warhol and Jasper Johns.

Madonna and Child by Osmond Watson, 1980, oil on canvas,
13'/2' X 8% National Gallery Collection.
Jamaican art too went abroad, to the
Jamaican High Commission in Ottawa,
the Canadian capital. The work chosen
for showing represented five major
aspects of local art the realist,
surrealist, expressionist, abstract and
intuitive modes, and contained works
completed since 1974. Of the established
artists with a leaning towards portrayal of
physical reality landscape, figures,
social scenes the exhibition included
works by Albert Huie, Ralph Campbell,
David Pottinger, Barrington Watson and

Carl Abrahams, while more cosmopolitan
influences were represented in pieces by
David Boxer, Hope Brooks, Eric Cadien
and the late Eugene Hyde, all of whom
studied abroad.
From Jamaica's intuitive school, there
were works by Sidney McLaren, Albert
Artwell, Kapo, and the up and coming
William Rhule. Other contributors to the
exhibition were Milton George, George
Rodney, Seva Parboosingb. Everald
Brown, Jamaica's grand old lady of art
Edna Manley, and Festival Gold Medal
winner for painting in 1981, Colin
Garland. The works represented a fine
sampling of local art, and reportedly
attracted considerable and largely
favourable interest.
The exhibition activity over the past
few months was, in fact, a fair reflection
of the happenings in the art scene
throughout 1981 a year which saw the
return of the Festival exhibition, to great
acclaim, as well as a technically good
though rather unexciting National
Exhibition, a Cecil Baugh Retrospective,
and one-man shows by artists such as
Garland, Boxer, Osmond Watson and
Herbert Rose. There were also pottery
exhibitions by Gene Pearson, whose
work shows strong sculptural tendencies,
and Jag Mehta whose pieces range in
mood from the primeval to the
There has sometimes appeared to be a
tendency by artists to opt for the safe,
tried and proven path to success, rather
than striking out to explore new frontiers
of feeling and expression; but increasing
technical strength even in the face of
on-again, off-again shortages, accom-
panied by the continued outpouring of
new talent mediocre as well as
potentially excellent should assure the

O Reaching for greater

heights in sales and service.

Progress, development and integrity.
These are only some of the principles -
which have made Henkel Chemicals
(Caribbean) Limited a company of which
Jamaica can be proud and one of the most _1 '
successful and respected in Caribbean
business circles.
Constantly reaching for new heights, we
also strive to maintain the highest stand-
a,,J r.a r rl,,,..' 0 811. .,:u,. ,,,r d ,,C i,
pa'OO~l(..I.* l8.r.d 0.a.l -ii..T.: l e.r wrol
quality and consumer satisfaction.
The ever-growing success of our products
is due, in part, to our having easy access
to some of the most up-to-date research
and technical facilities available from Henkel International, one of the largest producers of deter-
gents and cleaners in the world.
The foremost goal of Henkel Chemicals (Caribbean) Limited is to constantly reach for new and
greater heights in performance for the benefit of the nation.

n ere exists in tne private sector a reservoir ot experience,
of skill, of know-how and determination....f we are serious
we can make Jamaica a great exporting nation.
With such resolve displayed by the management of Henkel,
the Company is committed to improving its export
performance to help meet this challenge and maintain
its role as one of Jamaica's leading exporters.
Since 1977, Henkel has achieved significant export growth
with the value of Henkel's exports mainly to Caribbean
Countries increasing four-fold.
For Henkel and Jamaica, the way to economic
expansion is through exports and Henkel
is determined to blaze new trails and
S' reach greater heights thereby
significantly increasing the
country's foreign
i exchange earnings.

Henkel Chemicals (Caribbean) Ltd.
36 Red Hills Road, Kingston 10 Telephone: 92-64455

. .




We are ready for you Are you
reads lor us? This is where you
000 put sour investment cash 0
1 6! ^lor a regular income or -
j.M =' capital growth on your .
= investment. For corpo-
rate organizations
Si the ideal invest-
C aJpJ itl^d--- 3 menl foryour pension in
L funds or straight l I
V I n1estment purposes. 'Un p n
S__ Ge us a call and check I n-
S it out Buy now every
rm I eek our prices grow -
Fu nd Houeier because there II dlwa s he
Ilucluallons In thevalue of the undemrlnR
i securities n each lund -
Unit Values and yields may go down ..
as well as up and there is no ~ lA U
assurance of continuous growth. JAMAICA
Yield Capital Growth 7.76% UNIT TRUST
Yield Income Fund 6.61% J SERVICES

Buy units now! Keep your money growing!
Trustees Bank of Nova Scotia Trust Company Limited




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