Here is the fourth major text panel from the present In Retrospect: 40 Years of the National Gallery of Jamaica exhibition, along with the more detailed text panels from the Ceramics and Photography sections.
This section explores some of the alternatives to and departures from the art-historical narrative and artistic hierarchies the National Gallery articulated in its early years. Some were readily accommodated by the Gallery, or actually came from within, while others came about as a result of external challenges but these course corrections have all added to the dynamic and diverse picture presented by the National Gallery’s collections and exhibitions today.
The hierarchies of Jamaican art had already been challenged before the National Gallery was established. The Contemporary Jamaican Artists Association (1964-74), which was established by Barrington Watson, Karl Parboosingh and Eugene Hyde, presented a challenge to the tenets and dominance of the nationalist school and advocated the professionalization of art and the development of individual and corporate art patronage. Most importantly, they wanted to be recognized as artists first, and as Jamaican artists second. While the National Gallery included these artists and others who similarly departed from the conventions of the nationalist school in its exhibitions and acquisitions from early on—a Parboosingh retrospective was for instance staged in 1975, the year he died—the ideas about art the Gallery articulated existed in lingering tension with those advocated by these artists, as was illustrated by the Intuitives controversy which was discussed in the previous section.