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

Title: Arts Jamaica
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00101459/00002
 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: August 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: VID00002
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 11269244
lccn - 86644045

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




T b f 7,

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Jrts amaica


Arts Jamaica is published Quarterly by Arts Jamaica Ltd.


Consultant/Managing Editor
Assistant Managing Editor
Art Editor

Peter King
Shirley Maynier-Burke
Margaret Bernal
Suzanne Francis-Hinds
Felicity Garrard

Production Assistant

Tina Matkovic Spiro
Dennis Ranston
Lynn Curtis
Pat Page

The Managing Committee, composed of journalists, artists and art lovers, wishes to stress that Arts Jamaica is conceived as a publication dedi-
cated 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.


Welcome to the second issue of Arts
Our readers will note our change of
format, due to technicalities associ-
ated with the size of our original issue.
However we have increased the
number of pages to more than
compensate for the change. We hope
you will be pleased with the result.
On this occasion, we have taken
advantage of the interest generated by
the Mutual Life Gallery's 13 Women
show and the Women's Exhibition at

the Upstairs Downstairs Gallery in
June, to focus on the subject of
Women and Art in Jamaica. We take a
special look at the undisputed mother
of Jamaican art, Edna Manley, and
then do a further, in-depth examina-
tion of how women and art have
inter-related. The development of
children's art is also considered, in a
separate article.
Our regular features such as the
quarterly review, a look at what
exhibitions are planned for the next

three months, news from the School of
Art, Studio Talk, and an update on
happenings at the National Gallery,
are all to be found inside.
To close, a word of thanks to all
those who have supported this new
venture Arts Jamaica. We feel it is a
milestone, and we ask you to stay with
us on the journey to record and
document and celebrate Jamaica's rich
artistic heritage.




FOCUS Edna Manley Suzanne Francis-Hinds
INSIGHT Women and Art Jean Smith
FORUM Children's Images Hope Wheeler
STUDIO TALK Preparing a
low cost painting surface Samere Tansley
IN REVIEW The Editor's Review

Cover illustration: "Mother and Child" by Seya Parboosingh. 1976, Mixed media on canvas, 52"x 40".
Collection: Mr. and Mrs. F. McGilchrist.

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

All photography including cover by Keith Morrison. Institute of Jamaica, except where otherwise indicated.

Lithographed in Jamaica by Lithographic Printers Ltd.

C) Arts Jamaica Ltd. All rights reserved.

National Gallery News

The relocation of the National
Gallery from its Devon House site to
the Roy West Building in downtown
Kingston has been re-scheduled, and is
now expected to take place in
September or October. The move was
originally scheduled for May or June.
According to Curator David Boxer,
there was a hold-up in terms of
expenditure and in the settlement of
the tender for work required to
convert the building from a concrete
monolith into a Gallery with offices
and showrooms. This has now been
settled, and interior work was
scheduled to get underway by the end
of May.

The National Exhibition, an
unbroken tradition in Jamaica since
1938, is being held early this year, in
late August rather than September or
October as is more usual, and will
probably be the last art exhibition held
by the National Gallery in its present
quarters at Devon House.
The National Exhibition will be in a
transitional stage this year, with the
show being a mix of the usual juried
exhibition and a curated show. Dr.
David Boxer indicated that the
National Exhibition is presently too
similar to the Festival Exhibition
which was revived in 1981, and said
the Gallery would probably aim for an
exhibition which was largely curated
and which represented the National
Gallery view of the development of
local art over the previous year.

The National Gallery wants to
develop a Caribbean image.
The re-located Gallery is to have a
Caribbean room, and it is felt that
once the permanent regional exhibi-
tion is established, donations may be
forthcoming to swell the present, fairly
meagre, regional collection.

With the Compliments of

The National Gallery acquisitions
policy rules that no money can be
spent on non-Jamaican art except
where the artist is resident and
working in the island. But Gallery
officials are, nonetheless, eager to
augment the Caribbean collection.
Discussions are currently underway
with the Venezuelan government to
try and get some work from that
country, including a piece of kinetic
sculpture, a form which changes
according to the light in which it is
placed, and which is popular in that
South American country. Work is also
underway aimed at curating an
exhibition of Bahamian work, next
year, as part of a Caribbean series.
There is some interesting work being
done in the Bahamas, and some
Bahamian artists have agreed to place
some of their works on extended loan
to the National Gallery for the
Caribbean room.
There are already a couple of
Guyanese and Trinidadian works in
the permanent collection, and though
there is presently no Barbadian
representation, contacts have been
established and it is felt that pieces
should be available for exhibition.
There are no works in the collection
by Cuban artists, but some information

on this country is available, and access
might be arranged. The Gallery does,
however, have the best Haitian
collection at its disposal on permanent
loan, and a few pieces might be placed
on display.
Gallery officials said that the policy
would probably be to look at one
country in depth for a period and then
move on.

The Larry Wirth Collection of 65
works by Mallica Reynolds, Kapo,
should open with the new National
Gallery during National Heritage
Week. The collection, of 48 sculptures
and 17 paintings, is said to be the finest
Kapo collection in existence, the other
major collection of work by the
intuitive artist belonging to John
Pringle, in London, England.
In an effort to keep the Wirth
Collection in Jamaica, negotiations are
at an advanced stage, with the aim
being acquisition of the collection for
the National Gallery. $450,000 has
been allocated to the purchase under
the 1982/83 budget.

"All Women are Five Women" by Mallica Reynolds Kapo) c. 195. Cedar. height IT'
Collection: National Gallery of Jamaica.





Edna Manley is the undisputed
mother of Jamaican art.
Individual pieces of her work have
been centres of controversy at
different periods over the years,
criticized for style, for subject, for
intent or perceived intent; but her
light shines on through, tempered by
personal and national developments,
inspired by the mountains and the
people of Jamaica.
Edna Manley is overwhelmingly a
sculptor, dealing in hard wood or
stone, plaster or ciment fondu,
moulding or chiselling the material
until it yields under her hand and gives
back the form and the feeling which
she has perceived within the mass.
At her most mystic, she is also a
painter, using full blues and greens, or
more translucent tones to represent
the heavens and the earth, the winds
and rushing water, and the elemental
spirits which inhabit them.
Where, then, are the roots of' this
artist; where and what is she coming
Her mother was a Jamaican, Ellie
Shearer, who married a Wesleyan

g Mrs. Edna Manley at
work in her studio.
Photo: Brian St. Juste.

clergyman, Harvey Swithenbank, and
moved to England there to raise
nine children the fifth of whom, Edna,
was born on February 29th, 1900. It
was a rare enough birthdate for a
spirited, highly individualistic child,
whose interest in art showed up in
early animal studies.
She was 14 when she met her
Jamaican cousin, scholar and athlete
Norman Manley, who was to become
her husband and close companion.
In 1921, they were married, and in
1922 they sailed for home she said
later: "When I came to Jamaica, I just
was totally and absolutely inspired.
Don't forget that my mother was
Jamaican, and I'd grown up with the
most nostalgic stories of Jamaica. I
just felt I'd come home."
She came, a strong personality, alive
to the vibrations of her new country,
trained as an artist and sculptor.
But artistic acceptance did not
come easily.
"I was using a lot of distortion in my
form, abstraction of form without
being an abstract artist" Mrs. Manley
explained. "And then they all said,
'Why do you do those big bellied

women, why must you do Negroes,
why must you do coloured people'
they would say. . and I'm talking to a
coloured person, a black person who's
telling me that."
The great bulk of Mrs. Manley's
work is sculpture, although her early
bent was towards drawing.
"Anybody taking up sculpture
knows that they are taking up hard,
grinding work when I finish in my
studio, I'm a rag, I'm wet. . Painting
doesn't test you in that terrible way -
the physical strain of it, the long hours.
Edna Manley's artistic development
touches on, interfaces with, and
sometimes reflects Jamaica's national
awakening as well as her own personal
Her early work in Jamaica showed
rapid growth and change moving
from the elegantly cubist Beadseller of
1922, to the massy, voluptuous forms
of the mid-20's, and on to the slimmer
though still curvaceous forms of the
late 1920's and early 30's typified by
"Eve", the 1929 mahogany carving of
the strong, proud woman glancing
behind her.
Affected by the intense nationalism
and inter-linked social unrest of the
1930's Mrs. Manley began to move
from more traditional themes to pieces
which reflected the activity and feeling
around her activity which
culminated in a national strike, and in
the rise to prominence of labour
leader Alexander Bustamante and
lawyer /politician Norman Manley.
In 1937, Edna Manley held her first
solo exhibition in Jamaica a show
which proved to be pivotal in local art
development. One piece in particular,
"Negro Aroused", symbolized the
yearnings of the black masses of
Jamaica, and was so well received that
it was purchased by public sub-
scription as the basis of a National Art
The show and the public's response
were elements prompting the in-
ception of an annual National
Exhibition, an unbroken tradition
begun in 1938, and the introduction of
art classes which eventually evolved
into the Jamaica School of Art.

With the Compliments of


Suzanne Francis Hinds

In the 1940's, the achievement of
self government prompted Mrs.
Manley to a series titled "The Dying
God", but she was also increasingly
involved with nature the hills at the
Manley's hilltop retreat, Nomdmi, the
moon and sky, water. Mysticism was a
strong factor in the conception of the
companion pieces "Moon" (1943),
cool and lovely with the full orbs of the
eyes cast towards heaven, and "Horse
of the Morning" (1944), a spirited
carving in Guatemalan redwood which
recaptures her longtime love of
In the 1950's and 1960's Norman
Manley's public duties left his wife less
time for art. Her work now was mostly
commissioned, one major piece being
the statue of Paul Bogle which stands
before the Morant Bay courthouse,
scene of the Morant Bay Rebellion
which Bogle led in 1865.
Nature and animals were also
themes explored at this period.
But this fairly placid time came to
an end in 1969 with the illness and
death of Norman Manley.
Edna Manley took to the hills and
there, alone, worked out her passion
and her fear and her longing in
carvings which broke completely from
the smooth sophistication of the past.
Four rapidly executed carvings -
Angel (1970), The Phoenix (1971),
Adios (1971) and Woman (1971) have
agitated surfaces which reflect the
artist's state of mind. Then she found
the strength and solace which she
"Mountain Women" (1971), a
new look at the three ages of
humanity superimposed on the
mountain terrain was, she said "my
return to the world after that period of
intense grief." But she was not quite
through, because 1972 saw "The
Faun", a symbol of fears faced alone,
and 1974 saw "Journey", a shadowed,
cavernous, hollow piece speaking of
loss and death.
It was her last carving.
Since then, the artist's materials
have been clay, cement fibreglass,
bronze. For themes, she has drawn on

"Horse of the Morning'" 1943.
The Hon. Michael Manley an
the mountains, on happy times
remembered, on the culture and on
the people of Jamaica especially the
women, the old women in their role as
mother, ancestor, keeper of the home
and hearth, keeper of wisdom. But the
images are not, the artist insists,
maternal, though she accepts that they
may represent a woman's point of

r !

Guatemala Redwood. height 5/". Collecrion
d Mrs. Manley.
Mrs. Manley's involvement with
Jamaican art from its very start gives
her a very special viewpoint from
which to assess the development of the
genre over the years.
She feels that local art is in an
interim passage.
"There's no doubt that the art that
was born in '36, '37, '38, '40 was
obviously swept in and burst out of a

With the Compliments of



desire to throw off colonialism, to
throw off English influence, I say
English specifically. So that for the
first time the whole effort was the
search for the Jamaican image and
that carried the whole movement
forward for 10, or 15, 20 years. And
then the young set that are now
growing up in the art school,
sometimes they had teachers from
abroad, sometimes our people had
gone abroad and, as inevitably
happens, they wanted to start
experimenting, they didn't want to be
tied down to any particular idol, an
image that was an idol, and they began
to break out and to do abstract work.
Naturally the strong racialist and
nationalist people criticized them. We
have to get through that patch."
She said it was necessary to give
those experimenting a chance to get
on their feet, after which it would be
fair to come in and ask what had been
attempted, what achieved, what
sacrificed, and how the resultant work
related to the images surrounding the
artist. If it was given a chance, she
added, and allowance was made for
the abstractions, it would probably be
found that certain underlying basics
relating to the local scene did remain.
How does she view the development


of her own work over the years?
"I think I have become conscious of
the fact that I have been influenced
not by what I see but by what I feel"
she said, after a hesitation. "In other
words I think it's why I'm not a
portrait artist I don't look at a face
and want to reproduce it. I think I
more want to get the feel of the
person, and I think I have a bit of a
streak of mysticism in that I've always
been interested in things like the
creation... I think the Bible has in-
spired me a lot. I'm working on Jacob
and the Angel now. But I also think of
people in relation to the earth I
always think a sculptor should live in a
mountainous country. They almost
always do because that is God's
sculpture right there all the time and it
keeps you in touch with something
more elemental.
On the other side of the coin, Mrs.
Manley also indicated that she often
suffered depression over her work. "So
many carvings of mine have been
rescued from the dump heap" she said.
"One of the best carvings I ever did -
the "Horse of the Morning" and I
have in my diary 'I've failed, I wish I
hadn't failed'. I was in despair when I
finished it."
But she also felt that she was,

The Drummer -
Charcoal on
g hardboard,
23%"x 26%".
Private Collection.

"Strike", 1938. Bronze, height 19". Collection:
Myers, Fletcher and Gordon.

working better as she got older, in that
she was more sure of what she wanted
to achieve.
"You don't flounder, you wrestle,..."
she said. "You know your strength
you know what you want, and you're
prepared to have a terrific fight over
Recently, Mrs. Manley said, she had
been doing a lot of small pieces, but
she was only just beginning.
"I really feel that each one is my
last, so if I get to another one, let me
do this. There's a deadline, in other
words, now, and I think it's a challenge
to work harder" she said.
Did she know what she wanted to do
"If I did" she said, "I wouldn't tell
you. You see, it's like a thing with
tremendous pressure, steam, inside
you. You let out one little hole and all
the steam is going out. I'm keeping the
steam in."
journalist. She studied International Relations
and then Journalism in the United Kingdom, and
has worked on a broad range of subjects for
local and regional media houses.

With the Compliments of




"I wonder why we don't love
Not some people way on the other side of the world
With strange customs and habits
Not some folk from whom we were sold hundreds of years ago
But people who look like us, who think like us
Who want to love us. . Why don't we love them ....
I've a mind to build a new world.
Want to play?" NIKKI GIOVANNI

I am an unabashed fan of Nikki
Giovanni. She can take a few simple
words and wrap up all the problems,
complexes, torment and frustrations of
Black People. She also does
magnificent justice to the richness, the
passion, the textured, singing soul of
these same people. In short, for me,
she creates a rich tapestry of the
culture that I know is mine, and makes
me prouder of this heritage. These
might well have been the thoughts of
the woman who has done most to
influence Jamaican Art and to channel
it to what it is today. For it is difficult
to assess the development of the Art
Movement without a point to which
everything relates rather like B.C.
and A.D. For most of us, this point was
1935, the year of 'Negro Aroused', and
the period immediately preceding the
events of 1939 which started us on the
road to nationhood. And the woman,
of course, is the towering figure of
Edna Manley.
This article seeks to express an idea
of the ways in which women have
reacted to the major changes sweeping
the country over the past fifty years, to
give a few instances of women
involved in Art, and whose influence
had been far-reaching in terms of the
new society that was evolving, or who
had themselves, as artists, produced
significant works reflecting some of
these changes. The record is critically
important in a society where some 50
per cent believe that everything
started in the forties. However the
early thirties saw many developments,
including the formation of the
Manchester Group of Watercolour
Painters, started by Harold Jackson.

"Negro Aroused" by Edna Manley, 1935. Mahogany, height 20". Collection: National
Gallery of Jamaica. Photo: Derek Jones.

His niece Rhoda Jackson who was a
prominent member of the group,
produced murals among other forms,
and her work is still very much in
evidence in the embroidery of
organizations like Allsides workroom
with the familiar scenes of Jamaican
rural life. Two outstanding women in
that group, Frances Cundall and Lily
Perkins, started painting the Jamaican
countryside, and the flowers and birds
of the country. Lily Perkins was
awarded a Silver Musgrave Medal only
a few years ago for her faithful

documentation of the flora and fauna
of Jamaica. This group was important
in that it aroused interest in the natural
beauty of the countryside, and
highlighted the grace and humour of
the Jamaican country people. Even
earlier, the still lives of Helen Wood
served as illustrations for the Natural
History Department of the Institute of
Jamaica. Ivy and May Jeffry-Smith
too, were among the early teachers of
art and executors of lovingly described
rural scenery and flora.
Then, in 1935, Jamaican art had a


With the Compliments of


Jean Smith


"Washing in the River", by Rhoda Jackson, 1945. Oil on hardboard. 17% x 23%1"
Collection: National Gallery of Jamaica.

"The Old Woman" by Gloria Escoffery. 1955. Oil on hardboard, 233/ x 48".
Collection: National Gallery of Jamaica.

watershed year, the high point of
which was Edna Manley's 'Negro
Aroused'. A new nation was looking at
itself, with a new vision of the
possibilities that existed. This work
coincided with the beginning of the
whole political awareness that was
sweeping the country. Later, Edna
Manley began the art classes at the
Institute of Jamaica which were to
culminate in the establishment of the

Jamaica School of Art. Artists like
Linda Edwards and Corah Hamilton
were part of an enthusiastic group
which was beginning to glimpse the
stirring of the soul of a people
suddenly conscious of themselves not
as interesting exotica, the manner in
which they had largely been portrayed
up to this time, but as real, and
beautiful people. Their work displayed
a delight in this transformed vision.

This was a time in Jamaica when there
was an expansion and heightening of
consciousness; writers who were the
first contributors to Focus were busy
putting into words the new feelings of
the day the poet George Campbell
was probably shaking a large part of
the society to its roots with lines like
"Say, is my skin beautiful, soft as
velvet. As deep as the blackness of a
weeping night."
This was a society where Edna
Manley had been asked why she drew
black people, with their thick lips and
strange noses. And people say we
didn't have a revolution! This new rush
of ideas was turning the old settled
world of Jamaica upside down. Out of
this ferment came two women who
also proved important in the world of
Art. Vera Moody, recently returned
from England, a talented musician,
married to a black Jamaican doctor,
and Vera Bell, a writer who forced us
to look back at our past with her
"Ancestor on the Auction Block" -
these two formidable women were at
various times Secretary/Admini-
strator of the Jamaica School of Art,
and brought to the task a complete
understanding of the sap that was
rising in so many of the young creative
people caught up in the tremendous
changes taking place. In a way,
because of their own particular
disciplines which were music and
writing, they highlight the great
interaction that was taking place with
the whole creative movement at the
time; and their presence at the School,
with their understanding of the whole
self-government movement, undoubt-
edly played an important part in
shaping the path which the School
would take over the years.
The forties saw the artists gaining
confidence in this new interpretation
of the Jamaican man and women, and
willing to put on canvas the poverty of
the ghetto rather than just the beauty
of the beaches. Gloria Escoffery, a
Jamaica Scholar, did the unheard
thing and turned her back on the
standard professions for persons of her
intellect Medicine and the Law. She
returned to Jamaica as an artist, with a

With the Compliments of


"Mayal" by Kay Sullivan, 1977. Bronze
resin, height 43". Collection: Dr. Kenneth
sensitive eye for the Jamaican
countryside, shedding a different kind
of light on many aspects of life in deep
rural Jamaica. She made a very strong
statement in those days, and she has
continued to chronicle Jamaican
country life with meticulous integrity,
and in ways where one can see the fine
mind behind the brush. Her work
shows an understanding of the human
being behind the face, which gives to
the works an intellectual authority that
puts them into a class quite outside the
several other painters who have tried
to capture the same scenes. What we
see in her interpretation of Jamaica is
an empathy with the country people
who are her people, for it was in the

heart of St. Ann that she had her own
The fifties saw the emergence of
someone who was to become one of
the best known women artists in the
country. Seya Parboosingh married
Karl in the United States and moved
with him to Jamaica. She is in a way
the original "private person" and her
work follows through with this aspect
of her character. Consequently, while
she is seen as a major Jamaican artist,
with important pieces in the National
Gallery, she in a way stands outside
the ferment and changes that have
always been a part of the whole
creative scene here. She could as
easily have produced her paintings in
Pennsylvania, where she was born, or
in the Lebanon, where she traces her
ancestral roots, although her striking
juxtaposition of colour has a very
tropical flavour. Her work is, however,
of major importance in terms of
Jamaican Women Artists. But aside
from her work, it is important to see
her integration into the Jamaican
society, through her marriage with
Karl, as an indication of the shape that
the society was taking in, terms of its
multiracial character. Forty years
before, when Edna Manley herself
came to Jamaica, this kind of marriage
was a source of constant explanation
and conversation. By the time the
Parboosinghs arrived, people like
Edna Manley had thrown creative
Jamaicans of every colour into a huge
melting pot; the society had reached a
stage where it is unlikely that anyone
ever gave a conscious thought to the
racial difference between these two
artists. The lingering evil of colonial
shade class divisions had no place
within the creative group.
Another woman who adopted
Jamaica as her home through marriage
at about the same time as Seya

Parboosingh was Susan Alexander.
Quite different in temperament to
Seya, Alexander's work reflects her
own very different view of the
Jamaican scene as she sees it. Her
documentation of several works in the
repertoire of Jamaica's National
Dance Theatre Company is a useful
contribution to that particular art
There is, in fact, a hardworking
group of artists who though born
overseas, are strongly identified with
Jamaica by their commitment and
idiom. Among these artists we find
Tina Matkovic, Samere Tansley,
Susan Shirley and Rachael Fearing.
Local artists working in the same
artistic era includes batik artist Dawn
Scott, Sharon Chacko who is a new
arrival also working in batik, along
with Petrona Morrison, Hope Wheeler
and Judy Salmon.
Few Jamaican women have been
lured into the field of sculpture despite
the constant presence of Edna Manley
in the Art Movement. Anna Hendricks
and Dorothy Payne produced some
interesting work in the fifties. The
seventies saw the return home of Kay
Sullivan, who, like Alexander, has
been seduced by the National Dance
Theatre Company with her 'Mayal'.
She has produced varying works
including a brilliant head of the great
Jamaican intuitive artist, Kapo. Here
again, her work will be of great
historical value in terms of recording
with a brilliant sense of movement, the
ginnalship of the Mayal Man, the
resignation of the Market Woman, the
cheekiness of Star Boy, and the
enormous charisma of Kapo, the
Kay Sullivan is a product of the 70s.
So too is Judy McMillan, who proudly
acknowledges the influence on her
work of Albert Huie, an artist who
"saw his land in the morning, and Oh,
but she was fair."'This was not the
Jamaica seen as a tropical paradise by
an enchanted foreigner. This was a
country that had given birth to Albert
Huie, and he painted it as his own.
Hope Brooks, the painter, and Norma

* Jamaica" by M. G. Smith

With the Compliments of



"Papaya No. 1 "by Hope Bro
Mixed media, string, mode
paste on hardboard. 35 x
Collection: Evon Williams

:I i 1!-

"Sun Figures" by Norma Harrack, 1980. Height 7". Private Collection.

Harrack, the potter, handle textures
and earth tones with an assurance and
an ease that must be the result of
having, as their inspiration, a
repertoire of Jamaican art, produced
out of the pangs of national birth.
These had a kind of soul that had been
absent in much of the decorative work
produced by other artists with no
sense of belonging to this country.
What we also find in younger artists
are references to the African and
Arawak parts of our past. Harrack's
pots are characterized in many
instances by a Jamaican iconography,
a heritage from her predecessors, and
make full use of new resource material
on the African connection which is
now available in the Institute of
Jamaica. So she produces pots of great
beauty decorated with integrity by a
young Jamaican artist sure of her own
culture. And McMillan's portrayal of a
Rastafarian is the work of one
Jamaican paying tribute to a Jamaican
In an interesting way, too, old
books. long-standing crafts are coming into
llung their own with this recent pride in
ourselves. The yabbas of Ma Lou, one
of the last of the great craftswomen of
this old African artform, are suddenly
gracing the homes of people who no
longer feel that something must be
imported to be worthwhile. Ma Lou is
an interesting dimension of the whole
new development in Art. Here is a
woman who has been "doing her
thing" all her life, and having to
depend on the clientele of those who
still found it necessary to cook in clay
pots. Suddenly with our new ability to
enjoy all of our cultural heritage, her
pots have been upgraded out of the
kitchens and into the dining and living
rooms of the nation and they are an
example of the kind of transformation
that has taken place in the psyche of
the Jamaican woman.
But to get back to Nikki Giovanni.
Or to Edna Manley, who whether she
knew it or not must have been saying
to herself in the ferment of the early
30s .... "I've a mind to build a new
world." This was a rebel who had
come out of the swinging London of

With the Compliments of


the 20s, to a Jamaica that was bound
up with class-consciousness, and it
would have been the line of least
resistance to have become a part of
that society. She had two things going "
for her (and in the long run, for us, her
beneficiaries) her own tremendous
creative talent, and a husband who
was determined that she would not
become another verandah housewife.
In a way, although she came
from England, albeit with Jamaican
connections, she reinforced, through
her work the image of the strong
Jamaican Mother Earth burden-
bearer, and gave her a significance and
standing which she had long merited.
I have a problem dealing with
women in Art as distinct from men,
because I really do believe that it is
one human race. However, the woman
as artist has displayed, with what are
seen as her peculiarly feminine traits, "Stella Maris" by Tina Matkovic, 1979. Watercolour, 18x 25/2". Collection: The Artist.
an attention to detail, in for example, Photo: Norman McGrath, New York.
the Great Houses of a Prudence
Lovell; and the importance of keeping
records, so evident in the works of
Susan Alexander and Kay Sullivan.
But then, we also get the intellectual
analysis of the profound questions in
the society as posed by Edna Manley .
in her works like Man Child and the
Ancestor; and her mature acceptance
of the larger questions of life and
death in The Angel and Woman. The
fact is that Edna Manley, who happens
to be a woman, is the nexus from v
which the whole Jamaican Art
Movement dates itself. This fact, more P1-
than any other, gives to the Jamaican
woman, as an Artist, a very special
significance in history in terms of Art
in Jamaica. For it is largely in answer
to her invitation to build a new world
that the artists, both men and women,
agreed to play.

"Untitled" by Dawn Scott, 1982. Batik, 10x 20". Collection: Margaret Bernal. (Detail.)

JEAN SMITH is a Cultural Administrator who
has worked with UNESCO in Jamaica, and on
the Government's Cultural Desk from 1975
when only minimal financial attention was given
to the arts, to a point where there was a
flourishing tertiary arts institution.

With the Compliments.of. GORE BROS. LIMITED


Children 's

Art in

Children should be allowed to draw
as a vital part of their personal
development. "Child Art" is the
expressive work of a child aged 18
months to thirteen years which has
been untouched by an adult and which
is motivated by the imagination of the
child. It is far more conceptual than it
is perceptual.
We in Jamaica have little tolerance
or understanding of child psychology,
and so our children are actively
prevented from putting too much
emphasis on art. Instead they are
made to devote most of their time to
Mathematics and English as these are
the key subjects of the Common
Entrance Examination. Indeed, there
were some notable Preparatory
schools in the early sixties where Art
was used as a filler subject until such
time as something more "productive"
was found to do. Middle and upper
class families insisted on their children
becoming lawyers and doctors, and
certainly not artists! To many parents
Art could never be a respectable
profession and the child would most
certainly die poor if he became an
artist, and so for his own good and
more so for the good of the parents
Art was beaten out of him and
replaced with good solid extra lessons
in scientific subjects.
The method of teaching the little
Art which appeared on the curriculum
of some preparatory schools in the
sixties was to be deplored and was in
many respects pitiful. The teacher
copied some rather dull object onto
the blackboard. This was in turn
copied by the pupils. Of course the
subject matter was often badly drawn,
and this did not help matters either.
Even in the so-called enlightened High
Schools Art was and still is treated as a
poor cousin to the other subjects. The
supposedly bright children are not
encouraged to do Art but the "dull"

Vaz Preparatory School, Jamaica. Group work
Pascoe 3/2; Niclo Crooks 3'/2.

child is dumped in the Art Room with
the hope that he might do better with
his hands rather than his brain. This is
a completely erroneous idea as the
artistic child uses both hands and
However, there have always been
dedicated and sensitive people
working behind the scenes, receiving
no praise or thanks from the public.
These people, who loved children, and
understood the child's need for self
expression through Art, set up a
Saturday morning children's Art class,
through the Junior Centre of the
Institute of Jamaica. We should be
eternally grateful to these people,
because many of the practicing artists
in Jamaica today had their first
creative experience at the Junior
Centre Art class.
With the advent of the School's
National Exhibition, put on by the
Institute of Jamaica, there at last grew
some pride in Art work as children's
art was shown to the public for the first
time. Unhappily, though, the emphasis

by: Daniel Chin 4; Rohan Johnson 312; Karen

was placed more on the prestige of the
participating school and not so much
on the Art itself.
Today the Preparatory Schools,
Primary Schools and National Schools
exhibitions form the only outlets for
exposure of children's Art work, but
they are on display for much too short
a time to be able to educate the public
about Child Art. We still hear the
question asked by an unenlightened
adult, "What is that?", the child
replying "A donkey", and then comes
the answer "But that doesn't look like
a donkey at all."
It is a terrible indictment on us that
we have not yet established a gallery
for children Art. We sit idly by as year
after year we allow beautiful pieces of
children's Art work td be relegated to
the trash can.
The Art curriculum in most schools
pays only lip service to creative
expression and there is now a growing
tendency to separate Art from Craft. If
we truly understand children's Art
there can be no separation of the two.

With the Compliments of


Hope Wheeler

Mona Preparatory School, Jamaica. Group Work, average age 11 years. Karen Richards.
Monique Downer and Andre Gayle.

Surely making a pot requires the same
quality of imagination and creativity as
the painted picture and should mean
the same to the child. The pot,
however, has a real value, and can be
sold. This means that a great deal of
pressure is placed on the teacher to
produce items such as these for sale.
This attitude tolls the death knell for
Child. Art because the teacher
invariably has to assist in the making
of the products, the creative output is
stopped in its infancy and the whole
essence of what Child Art means is


To understand why Child Art is so
important we must look at what Art
does for the child. We cannot begin to
understand or document the untold
damage that is done to a child who is
not allowed to scribble or to draw. The

need for an emotional outlet is vital to
the well being of a child, and if this
outlet is not provided through art and
play a scarred individual will develop.
I once witnessed an example of this at
one of my Art classes, when pent up
emotions surfaced. I had given out
paper and lovely large crayons, and
then I told the class to draw either
their best friend or their mother. The
child under discussion gave no
outward indication of troubles at
home. He was well brought up, bright
and alert, however this was the first
time he had ever been to an Art class.
He sat in his own corner drawing, but
after about half an hour began to laugh
hysterically. I thought that something
was amusing him so I moved over to
share the joke. I was very disturbed at
what I saw. The person he had drawn
had eyes not only on the face but also
carefully drawn eyes on every finger of
both hands and both feet. The mouth
was a grinning mask with rows of
carefully drawn teeth. The overall
picture was grotesque. I could scarcely

look at it without realising that this
was a picture of someone he hated.
When I asked who it was that he was
drawing, he said that it was Mummy.
He went on giggling hysterically,
which sounded much nearer to crying
than it did to laughter. I had no idea
until afterwards that "Mummy" was a
domineering, over-protective, watch-
ful and suspicious woman who
dictated his every move. What the
child could not say in words was
expressed in picture form. As a trained
teacher I saw the implication and
never permitted the mother to see the
drawing. I made it possible, though,
for him to spend longer hours in the
Art Room, away from the watchful
eyes of "Mummy".
So it is that Art helps to solve some
of the deep seated psychological
problems which can arise to hinder
development and learning. It helps the
child to make pictorial statements
about his world when there is no
language to use or when language and
communication is forbidden. The
teaching of Art is not necessarily to
produce artists, but to develop
creative sensitive adults who will make
a worthwhile contribution to the world
in which they live. If children cannot
create, they will destroy, and we see
grave evidence in Jamaica today of our
children's hostility to their environ-
ment, a sure sign of creativity turned
to destruction.
HOPE WHEELER is Director of Studies at the
Jamaica School of Art. She is an art teacher and
artist in her own right.


"Kitty". Texture Printing. Group Work by 8 year
olds. Unit Class for the Deaf, St. Ilugh s Prep.

*All illustrations from June, 1982 Exhibition at Institute of Jamaica.

With the Compliments of .


Studio Talk Samere Tansley

Preparing a low

cost painting


The surface on which an artist
paints is very important in determining
the 'finish' on the painting and the life
of the work. A poorly primed canvas
can result in- dulled colours; a ground
that is too non-absorbent and brittle
provides a poor 'tooth' for oil painting
and leads to early cracking.
Several different grounds may be
used by artists, but good quality
unprimed artists' canvas is, not
available in Jamaica. The com-
mercially primed variety is often of an
inferior quality and poorly prepared -
if it is to be used, test the edge of the
canvas by bending it; the primer
should be flexible and should not
develop long cracks. Many artists,
however, prefer to prime their own
canvases so as to be involved in the
entire process, being able to build up
the surface or smooth it down with
sandpaper as they wish. Unfortunately
the materials used for constructing the
traditional oil painting ground, rabbit
skin glue and white lead, are difficult
to get in Jamaica, although the
commercial Acrylic Gesso used for
acrylic painting and by some artists for
oil painting can usually be found.
One ground which is made entirely

from items normally available locally
utilizes plyboard, calico, white powder
paint, plaster filler, and Ponal glue.
This ground is suitable for oil or
acrylic, is economical and long lasting,
and allows the artist to experiment in
creating different surface textures
according to need. The ground
produced with these materials does,
however, give a firm painting support,
and some artists may miss the spring
that one gets from painting on
stretched canvas.
The base for the ground is -inch or
6--inch plyboard cut to the desired
size, to which is glued a piece of
well-washed calico or cotton sheeting
cut with 1-inch surplus all around
and beveling the corners as in Dia.A.
Use Ponal glue diluted half and half
with water.
If the board is bigger than two feet
square, it is advisable to brace the
back with 1" x 2" strips to keep it rigid;
see Dia.B. These should be glued onto
the back after the cloth has been glued
and streched on the board. Tacks
should be avoided in this process. It is
not really practical to make the
paintings bigger than 4" x 5" because
of the weight, unless it is to be erected
in a permanent position.
When the glue is dry, apply a
mixture comprising one part plaster
filler and one part white powder paint
mixed to a thick, paint-like
consistency with one part Ponal and
one part water. Two or three thinly
applied coats are preferable to one
thick one. The white powder paint is

0DA. A

not an essential ingredient, but it does
give the ground the brilliant white
surface which most artists prefer.
The surface produced will be highly
textured, and can be built up in certain
areas or left with the same all over
effect. For a more even surface, the
plaster should be sieved through a fine
strainer, and the ground can be sanded
between coats for a very smooth
It should be recalled that the 'finish'
on an acrylic painting very much
depends on the amount of matt or
gloss medium used in the painting or
on the final varnish, rather than on the
ground as in an oil painting. With oil
painting, the ground must be
glue-sized to protect the canvas from
the paint or it will rot the fibres; and
the primer should be low in oil content
or it may lead to cracks in the finished
painting. The preparation of this
ground fulfills the stipulations needed
for painting in oils, as the Ponal and
the plaster contain no oils, and the
Ponal protects the cloth from the oil
paint. For acrylic, it gives the artist a
flexible ground which facilitates
experimentation in creating a surface
to suit individual needs.

SAMERE TANSLEY is a painter. She was born
in England and has been resident in Jamaica
since 1970. After teaching Art at Camperdown
High School for ten years, she is now teaching
part-time at the Jamaica School of Art.

01A. B

rts amaica



The Devotional Image in Jamaican Art

Jamaica School of Art

Classes of


The Jamaica School of Art
graduated its Class of '82 in July, after
staging an exhibition in which the
entire class participated representing
the eight Departments of painting,
sculpture, ceramics, graphic design,
jewellery, art education, and the two
areas of textile, print and weaving.
The exhibition was limited to a
week, June 27 July 4, because the
studios were needed to accommodate
the Ministry of Education's In-Service
training programme.
The several calls on the space
available indicate that the Cultural
Training Centre, within which the art
school is located, has reached the
stage of urgently needing its planned
phase three expansion, involving a
gallery, library, and performing area.
Each year, the graduating class has
attempted to improve on the final

"Pin Safety "by Everol Robinson, 1982. Oil on canvas, 28x .6". Fourth Year student,

Clovis is a 1982 Graduate from the
Jamaica School of A rt.

exhibition mounted the previous year,
and the Class of '82 was no exception
in the mounting of the show or the
preparation of its content. The two
major areas covered have been
painting and graphic design, the latter
being a popular major due to the job
opportunities available in the field.
The graphic design department did
suffer some difficulty during the past
academic year due to the resignation
of the tutor and the need to find a
replacement but this difficulty has now
been resolved with the appointment of
Martin Lambourne from England and
Isaac Dodoo from Ghana, both on two
year contracts. An appeal to the

various media and advertising
associations for assistance yielded a
good response and some financial
assistance has now been pledged to
help the Department.
The Acting Director and Director of
Studies, Hope Brooks, will be away at
the Maryland Institute College of Art
in Washington, USA, for a year during
which time the duties will be shared by
two senior members of the academic
and the administrative staff.
HOPE BROOKS is Acting Director of the
Jamaica School of Art, and an artist in her own
right. Born in Kingston and educated at
Wolmers Girls School, she later attended the
Edinburgh College of Art.

With the Compliments of


Hope Brooks

In Review

A significant number of artists
presently working in Jamaica are
women, and two group exhibitions
presented in 1982 have certainly
emphasized this fact the Thirteen
Women show at the Mutual Life
Gallery in March, and the exhibition
of work by 20 women artists, mounted
at the Upstairs Downstairs Gallery in
celebration of Susan Alexander's 30th
anniversary of her life in Jamaica. .
Group shows are a fact of life in a
country where the costs of framing
and sometimes even exhibiting work
are prohibitive. One solution, arrived
at in the Mutual Life women's show
and in Alexander Cooper's solo
exhibition at the Upstairs Downstairs
in May/June, has been to have the .
costs underwritten wholly or partially :
by some organization. Certainly more
financial support for artists whether
in terms of tax relief of some form, "Flower Sisters" by Susan Alexander, 1982. Oil on canvas, 40 x 50".
subsidized materials, cheaper framing Collection: The Artist. Photo: Garth Morgan.
facilities, or help in reducing the cost
of mounting exhibitions would
further enliven the exhibition scene.
At present, financial restrictions are
added to questions of time and
inspiration to limit many artists to a
solo exhibition perhaps every two or
three years.
However there is another aspect to ,
the proliferation of women's exhibi-
tions. Undoubtedly they do focus \
attention on the range, talent and
strength, as well as the large number of
women working in the arts. But it can
surely be argued that the emphasis is .,
to be on the word 'artist' rather than. t!
the word 'woman'. It is to be hoped
that the need for a women's liberation
movement in art, which is undeniably .
still valid in several so-called advanced
societies, is not a major requirement in
a matriarchal society whose artistic
birth was midwifed by Edna Manley. L
There is an argument advanced by ,
Eleanor Munroe in a book titled ,
"Originals, American Women Artists", '
that women artists as a group do have
some special inspirations and experi- l ,
ences in common. .
It is interesting, though, to explore
the individualities as well as the "Passtime" Yy Alexander Cooper. 1982. Mixed media on canvas, 20 x 24". Private Collection.


With the Compliments of

The Jamaica National Export Corporation
8 Waterloo Road, Kingston 10, Jamaica

Tel: 92-61680-5, 61200-3

Telex: 2124

The Editor

commonalities, and it is to be hoped
that some of Jamaica's women artists
will find it possible to hang their own
shows in the near future.
For the past quarter, the solo
exhibitions have been male
dominated, with those by Alexander
Cooper, Colin Garland and Roy Reid
being of particular interest.
Cooper, at the Upstairs Downstairs
Gallery, had a show marked by variety
in technique, medium and execution,
from subtle pastel city scenes -
winter in Toronto, autumn in New
York, a rainy day in Kingston -
through mixed media interpretations
of children's art, to oil paintings and
Garland, at the Bolivar Gallery, in
his first show for some time, showed
an increased sense of colour, and
rather less dependence on the small,
curiously placed animals which have
marked several of his works. But it was
an uneven show, soaring in places, less
outstanding in others.
Roy Reid, one of Jamaica's better
known intuitive painters and one
famous for his dry, almost macabre
humour in some pieces as much as for
a painful portrayal of agony or
depression in others, appears to be
undergoing a period of change. His
show at the Bolivar concentrated on
nature, flowers and flowing water,
continuing an exploration of these
themes, notice of which was given in a
1981 exhibition at the Pegasus Hotel.
Eugene Hyde was featured in
the last exhibition by the John
Peartree Gallery at its Haughton Road
location. Hyde, who died tragically of
drowning, had put together a series of
works called 'The Casualties' which
form most of the body of the
exhibition, and which deals with man's
inhumanity to man as seen in local
events of the late 1970's. The theme is
bound up with glowing aesthetic
experience showing a complex
response of condemnation, tragic
empathy and aesthetic beauty.
Other solo exhibitors included
Stanley Barnes, whose portraits and
mixed media Ancestral Linkage series

were meticulously executed, Lloyd
Walcott, whose paintings do not seem
to achieve the standard of his
drawings; and Richard Fatta, Byron
Bowden, Thomas Bucknor, and Van
Pittersen who exhibited a series of
scenic prints.
A cross section of young talent went
on show at the Upstairs Downstairs
Gallery in April, showing a broad
range of ability, ideas and interpreta-
tions in pencil, paint, pastel, mixed
media, ceramics and sculpture. Best,
overall, were the sculpture pieces by
Errol Lewis, Allyn Constable, and
Bruce Allen who also had some strong
paintings on show. There were also

several pleasant works by artists such
as Gerald Jackson, Michael HoShing
and Eloise Hendricks, and ceramicist
David Dunn.
Outstanding among group shows
was the Watson family exhibition at
the Gallery Barrington in early May. It
is indeed remarkable to find a family
of such individual and cumulative
talent as variously displayed by the
patriarch, Barrington Watson and his
children: Jan, whose individualistic
use of colour is employed largely in
scenes and flower studies, Basil and
Raymond who are sculptors, and their
wives Karen and Donna who are


Mural Art in Jamaica

-" *_ __ LV_
"The Embrace" by Eugene Hyde. 1978. Acrylic, ink wash and pencil
on canvas. 40 x 63". Collection: Beth Hyde.

News and Information


An interesting collaboration
between art and academia is taking
place at the University of the West
Indies' Institute of Social and
Economic Research, which is publish-
ing research findings from its three
year 'Women In the Caribbean'
project. The cover of each of its seven
multi-disciplinary publications, ranging
from Women and the Law through the
Facts and Figures About Women in
the Caribbean, will feature a work by a
Caribbean woman artist. The series
also incorporates, as its logo, the Edna
Manley sculpture titled 'The Message',
which is in the collection of the
Commonwealth Institute in London.


Gallery Barrington, the art exhibi-
tion centre opened by Barry Watson in
1974 at Union Square near Cross
Roads in Kingston, closed its doors for
the last time on May 31.
"I'm firstly a painter" Mr. Watson
explained. Painting has to be my
number one priority, and I was
becoming a gallery operator rather
than a painter."
The gallery, which was an
outgrowth of the Contemporary
Jamaican Artists Association -
established in 1964 and defunct in 1973
- was the setting for exhibitions by
local artists such as Karl Parboosingh,
Kofi Kayiga, Karl Craig, Eugene Hyde
and George Rodney, as well as Watson
himself. The final show staged at the
Gallery Barrington was the Six
Watsons Exhibition, featuring Barry
Watson. his daughter Jan who is a
painter, his sculptor sons Basil and
Raymond. and their weaver wives
Karen and Donna.

The final eighty works which are to
go on show at the Smithsonian
Institute in the USA early in 1983 have
now been selected. The works are by a
total of 41 artists, and include 52
paintings and 24 pieces of sculpture.

With the Compliments of

The eighty works are divided into
Mainstream painting (36), Mainstream
sculpture (14), Intuitive painting (16)
and Intuitive sculpture (14). The
maximum number of works by any one
artist in each category is five, and the
artists receiving maximum exposure
are John Dunkley, Mallica 'Kapo'
Reynolds, Karl Abrahams, and Edna
Manley respectively.
Other intuitives represented by
several works include Sydney
McLaren, Everald Brown, David
Miller Snr. and Jnr., and the late
NambaRoy, a Maroon sculptor and
painter known in London in the 40's
and 50's. Major mainstream painters
being represented include Albert
Huie, Gloria Escoffery, David
Pottinger, Barry Watson, Osmond
Watson, Eugene Hyde, and Colin


A hidden recess in a limestone cliff
near Guanaboa Vale, St. Catherine,
conceals the earliest Jamaican
paintings a group of pictographs
created on the flat underside of the

cave roof by an Indian artist using
black pigment.
The painter has depicted in
silhouette a series of birds, turtles,
lizards, fish, frogs, human beings who
appear to be hunting, and some
abstract patterns which are, as yet,
The Archaeological Society of
Jamaica which acquired the cave in
1976, and the National Trust to whom
it was gifted this year, are unable at
present to determine the age of the
drawings, but they do say that they
must be 500 to 1,300 years old. They
also suggest that the cave was used for
religious rites intended to ensure
successful hunting, given the emphasis
on food items in the drawings.
The site was first reported in 1897 by
J. F. Duerden, but problems of access
kept visitors to a trickle in Duerden's
time, and limited it still further to
people within the district between
1914 and 1954 when the site was
're-discovered' by J. W. Lee, and
Robert Cooper whose family owned
the land. The site has since been
developed with the assistance of
public, private and corporate contri-

Arawak Pictogmphs at Mountain River Cave, c. 1000 AD. These panels probably represent a
ritualised hunting scene depending upon sympathetic magic. The originals are drawn in black on the
brown cave baFkground. Photo: Morrison/ James Port Royal Project, Institute of Jamaica.



National Gallery
Devon House, Hope Rd., Kingston
July Myers, Fletcher and Gordon Collection
August National Exhibition
October Mallica 'Kapo' Reynolds (date
tentative; confirmation dependent on re-
location of Gallery at Kingston Mall)
Bolivar Bookshop and Gallery
Id Grove Rd., Kingston
Open Mon.- Fri. 8:30 a.m.- 4:30 p.m.
Sat. 9:00 a.m.- 1:00p.m.
September: Winston Patrick
October: Gloria Escoffery
Frame Centre
Tangerine Place, Kingston
Open Mon. Fri. 9:00 a.m. 5:00 p.m.
November 14 30 Gene Pearson
Gallery Barrington
5 Union Square, Kingston (CLOSED as of
May 31)
Spanish Court, New Kingston
Open Mon. Fri. 9:00 a.m. 5:00 p.m.
John Peartree Gallery
(Re-locating to 19 Chelsea Ave., Kingston)
closed until further notice.
Mutual Life Gallery
2 Oxford Rd., Kingston
Open Mon. Fri. 9:00 a.m. 5:00 p.m.
July 26 August 6: Craft Shows
August 9 August 27: Peace Corps
Exhibition August 27:
September 5 September 24: Petrona Morrison

October 3 October 22 Contemporary Show
October 25 November 5
U.N. Exhibition Show
November 7 November 29 Albert Huie
33 University Cres., Kingston
Open Mon. Fri. 10:00 a.m. 12:00 noon,
2:00 a.m. 5:00 p.m.
Upstairs Downstairs
108 Harbour St., Kingston
Open Mon. Fri. 9:00 a.m. 4:00 p.m.
July 25 mid August; Festival Fine Arts
October 10: Dual Show Downstairs
Out of Many
Upstairs Land We Love
November: Fitz Harrack
State gallery:
Judy MacMillan: one person show opening 24th
September, duration two weeks.
Bolivar Fine Arts, Westgate Shopping Centre.
Montego Bay
Budhal Gallery, Montego Bay
Gallery of West Indian Art, Montego Bay
Gallery Makonde, Montego Bay
Gallery Gammica, Plantation Inn, near Ocho
Harmony Hall, Near Ocho Rios
Gallery Joe James, Rio Bueno, Trelawny
UMOIO Art Gallery, Mandeville, Manchester
Gloria Escoffery's Gallery, Brown's Town, St.

"Conversation"by Barrington Watson, 1981. oil
on canvas, 48 x 36". On extended loan to
National Gallery of Jamaica from Workers
Savings and Loans Bank.

82 Festival Fine Art Competition

"Datum "by George Rodney, 1982, Acrylic on canvas, 50"x 60". Collection G. Mclntosh.
Frame Centre and Gallery.

Arts Jamaica salutes George silver and bronze. In sculpture the
Rodney for an unprecedented Triple gold was won by Fitz Harrack, the
Gold award for the above painting, silver by Kay Sullivan. Congratulations
Other winners include, in the painting go to all other prize winners who could
category, Hope Brooks, gold, Tina not be mentioned here.
Matkovic, silver and Cecil Cooper


I greatly enjoyed your first issue of
Arts Jamaica. Such a magazine is a
good idea not only for those involved
in the arts but also for people like
myself who by reading it are
encouraged to become more aware of
and involved in this vibrant field. I
really hope you'll be able to continue.
It would be a great loss if you didn't. I
hope you'll also continue to print
reproductions of paintings on your
cover. I love the first one by Albert
Huie so much. I'm going to have it
framed. Maybe with your help I'll soon
have my own mini-collection.

Yours Sincerely,
Paulette A. Gayle

We invite reader response in the form
of letters or information on Jamaican
art happenings at home and abroad.


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