It was a pleasure to visit the James Hockey and Foyer Galleries at the University for the Creative Arts, Farnham, to view a solo exhibition of new paintings by the Jamaican-British contemporary figurative artist Eugene Palmer.
Curated by Richard Hylton, the exhibition “Eugene Palmer: Didn’t it Rain: New Paintings” (27 January – 24 March 2018) was divided into the following three series, and also featured a short documentary film showing the artist at work in his studio discussing the development of his portfolio:
(1) “In Between Black and White” was displayed at the main entrance to the gallery and comprised ten close-up portraits of a young black woman. Each one showed different variations in skin tone, either painted in shades of grey, or in full colour. This process of producing nearly identical, repeated portraits, displayed as multiples, is one of the artist’s signature techniques. Collectively, the images encouraged viewers to contemplate issues of race, constructions of identity, the politics of beauty considered in relation to ethnicity and skin tone, and importantly also the complexities of ‘colourism’ – particularly as regards the problematic history of European artists creating stereotyped representations of black women within Western portraiture over many centuries.
(2) “Baby Shower,” shown in the foyer area of the University’s library, comprised 12 sketches painted in oil on paper, each representing attendees at a real-life gathering of family and friends to celebrate the forthcoming arrival of a new baby girl.
(3) “Didn’t it Rain”was displayed in the main gallery and showcased ten, larger than life-sized portraits of black women dressed in smart, monochrome skirt suits with matching hats. These works were arranged in pairs, with each figure painted against a neutral background of either light blue, green, yellow, pink, grey or white.
During a recent trip to Jamaica I was pleased to visit the National Gallery, located on Ocean Boulevard in downtown Kingston close to the city’s scenic Waterfront. Although the National Gallery was first established by a special committee of the Jamaican government in the early 1970s, with an embryonic collection of 230 works placed on public display at Devon House in 1974, the artworks were eventually relocated to the current site within Kingston Mall (in a building that was formerly a commercial bank) during the 1990s, occupying more than 2700 square metres of exhibition space.
Displayed over two floors, the Gallery’s upper level features paintings and sculptures from the permanent collections – including artworks from the Edna Manley Memorial Collection, and holdings of paintings, sculptures, archaeological artefacts and ephemera covering the history of the island dating back to the time of the Taino before 1000 AD/CE.
Negro Aroused (1935), by Edna Manley. Wood (Mahogany). Height 63.5cm. Photo: Carol Dixon
Tacet (1937), by Ronald Moody. Photo: Carol Dixon
My particular highlights from the permanent collections included: figural sculptures from the 1930s by Ronald Moody and Edna Manley; a single-figure portrait in oils of a woman at prayer, titled “The Lawd is My Shepherd” (1969) by Osmond Watson; a very poignant and spiritually charged mourning scene “Nine Night” (1949) by David Pottinger; and a beautifully rendered, gentle and amusing oil painting of a “Mother and Child” (1958) by Barrington Watson.
At the time of my visit on 17 January 2018 the two temporary exhibitions displayed throughout the ground floor galleries were: “Explorations V: Portraits in Dialogue” – featuring 40 artworks that traced the history of portraiture in Jamaica from the 18th century through to the present day, specifically curated to examine and pose challenging questions about intersected issues of race, class, and gender reflected in the works in focus; and “Engaging Abstraction”– comprising 41 modern and contemporary paintings, sculptures, collages, digital installations and mixed media assemblages, primarily dating from the 1960s through to the 2010s. Continue reading Engaging Abstraction and Portraiture at the National Gallery of Jamaica
‘In Search of the Miraculous’ is the second exhibition by Kehinde Wiley to be shown at Stephen Friedman Gallery in London (24 November 2017 – 27 January 2018).
Displayed in three rooms, this series of nine new paintings and a three-channel artist’s film illustrate moments in the lives of young Haitian fishermen presented against a backdrop of tropical coastal settings and tempestuous seascapes.
The press release for the exhibition states that Wiley’s motivation for creating these works was to address a number of themes relating to “migration, madness and isolation in contemporary America.” However, although these foci were symbolically evident throughout the exhibition, the overarching significations foregrounded by Wiley in this body of work were more broadly related to black masculinities, issues of ontology and sense of self for men throughout the African diaspora – not a project centred solely on symbolising the impacts of populist politics for African-Americans in the USA today.
The 2017 edition of the 1:54 Contemporary African Art Fair took place at Somerset House in London, between Thursday 5th and Sunday 8th October. Now in its fifth year, the event featured contributions by more than 130 artists from continental Africa and the global African diasporas, presented alongside a programme of stimulating talks and panel discussions led by arts scholars, curators, gallerists and cultural commentators drawn from around the world.
Building on the successes of previous editions of 1:54, shown in London, New York and Morocco since 2013, this edition provided access to a broad range of new works by established artists and emerging new talent from 17 nations – including notable contributions from the celebrated painter and collagist Godfried Donkor from Ghana; textile artist and mixed media installationist Safaa Erruas from Morocco; metalwork sculptor and anti-war activist Gonçalo Mabunda from Mozambique; and the internationally renowned textile sculptor Abdoulaye Konaté from Mali, most well-known for creating breath-taking, large-scale ‘offrandes’ out of delicate fragments of fabric stitched together to create multicoloured fine art tapestries.
In a similar way to the impression Zak Ove’s commissioned installation piece “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) created a visually arresting centre-piece for the courtyard at Somerset House last year, the major architectural installation shown in the Fountain Court was “Summer Surprise” (2017) by Pascale Marthine Tayou from Cameroon. This vast, wooden-framed structure is described by the artist as referencing and symbolising the function of a”Toguna” – a traditional public building native to Mali, built for the purpose of discussing community and constitutional issues, and usually located at the heart of village life to enable it to serve as a key meeting point for debate and intellectual exchange.
An important feature of this year’s fair was the interactive installation created by Morocco-born, UK-based artist Hassan Hajjaj, displayed in three rooms adjacent to the terrace on the ground floor at Somerset House. Titled “La Caravane” (2017), this work featured a series of large, full-colour photographic portraits and also a sequence of videos presented as interactive portraits along the length of the central gallery, showing musicians, dancers, singers and poets dressed in colourful outfits and performing extracts of their work in studio settings framed by customised textiles and soft furnishings. This central gallery was also designed as an auditorium, where visitors could sit and listen to the performances as though they were sitting in a Moroccan tea room being entertained by live artists. Continue reading Review of the 2017 edition of the 1:54 Contemporary African Art Fair in London
The 2017 Serpentine Pavilion – designed by Diébédo Francis Kéré from Burkina Faso, and displayed in Kensington Gardens, London (23 June – 8 October) – represents an architectural structure designed with community gatherings and convivial interactions in mind. Kéré’s harmoniously cylindrical, indigo-blue, textured structure, with its lattice-like wood and metal-framed roof fanning out to form a funnel-shaped sloping canopy, evokes the atmosphere of a central communal meeting place, with multiple openings overhead for letting in natural light to illuminate the interior while also providing shelter from the rain.
This beautiful artwork, inspired by the broad canopies and buttresses of tropical baobabs, signifies a pluralist space where diverse conversations and opportunities to exchange ideas are welcomed. The pavilion’s design, therefore, serves as an appropriate image through which to introduce and illustrate the overarching theme for this year’s Royal Geographical Society annual international conference – “Decolonising Geographical Knowledges.” This complex and wide-ranging theme, which also served as a call to action, was addressed over the course of a stimulating, four-day event programme of lectures, panel sessions and workshops attracting more than 1000 delegates from around the world.
Given that these geographical discussions were taking place in Kensington less than a two-minute walk from the Serpentine Pavilion signifies that, similarly to the architect’s desire to create a contemporary equivalent of a central community meeting space where all are welcomed to converge and consider the key issues of the day, the RGS-IBG was symbolically also opening up (and opening out) the institution to invite in a greater diversity of publics (and broader critical perspectives) than had hitherto been seen as integral to geography as a subject discipline, where scholarship pursued by privileged white men from elite schools within the Euro-American academy still dominates most of the academic geographical discourse.
The 2017 Chair of the Conference, Sarah Radcliffe (Professor of Latin American Geography, University of Cambridge) was responsible for catalysing debates related to the theme of decolonisation. Her address drew attention to the various ways geography within academia has begun to provide a platform for considering how institutions established during the colonial era can be transformed into more inclusive and ‘decolonial’ spaces, fully divested of the structural inequalities and power hierarchies that previously allowed elitism, exclusions and discrimination on the grounds of race, gender, religion, nationality, educational background, disability, LGBTQ+ identities to persist and endure long after the end of formal colonial rule. Continue reading Decolonising and diversifying institutions: creating inclusive spaces where difference is respected