Last Sundays June 24 to ft. Amina Blackwood-Meeks + Anomaly

 

The National Gallery of Jamaica’s Last Sundays programming for June 24th will feature storytelling by Amina Blackwood-Meeks and the visual and performing arts group Anomaly. The exhibitions John Dunkley: Neither Day nor Night and Daylight Come: Picturing Dunkley’s Jamaica will also be on view.

 

Storyteller, Amina Blackwood-Meeks

 

Performing arts group, Anomaly

 

ABOUT THE PERFORMERS

Both exhibitions are filled with stories of Jamaican histories which are rich in their potential to inspire storytellers and on this Last Sunday we welcome writer, director, performer, and custodian of the oral tradition, Dr. Amina Blackwood-Meeks. Widely acclaimed for her contribution to the renaissance of the traditional Caribbean storytelling art form, Blackwood-Meeks communicates both traditional and modern tales and her “…deep, rich, dramatic and deliberate voice brings stories from the heads of the ancestors, connecting ancient wit and wisdom with modern needs.” Her performance on Sunday has been inspired by closely interfacing with the current exhibitions and is guaranteed to delight children and adults alike.   See her website at http://aminablackwoodmeeks.com/.

Formed in 2016, the creative arts company Anomaly interweaves dance and drama to bring about the personal and social development of their performers and audiences. Anomaly has produced an annual creative arts festival and a creative arts summer camp for children. In their own words “We believe in the interaction of creative minds to amplify the art industry in Jamaica.”

ABOUT THE EXHIBITIONS

Originally exhibited at the Perez Art Museum Miami (PAMM) in 2017 and considered to be one of the most exciting shows that year in the USA, John Dunkley Neither Day nor Night showcases a once in a lifetime compilation of the work of renowned Jamaican Intuitive artist, John Dunkley (1891-1947). Born in Savanna-la-Mar, Dunkley was of the generation of Jamaicans who travelled to Panama, Costa Rica and Cuba at the beginning of the 20th Century seeking opportunities for work and advancement. His moody paintings and whimsical sculptures reflect his life, experiences and views on Jamaica’s fledgling nationalist movement. The National Gallery’s version of the exhibition, which opened on April 29 and closes on July 29, contains important new work not shown at PAMM.

Exploring themes of tourism, immigration and the emergence of cultural nationalism during Dunkley’s lifetime; Daylight Come…Picturing Dunkley’s Jamaica acts as a complement to John Dunkley: Neither Day nor Night. The exhibition contains rare photographs, artefacts and film footage from the turn of the century leading into the Jamaican Nationalist era and provides further context to Dunkley’s creative output. It explores the work of his contemporaries David Miller Snr and David Miller Jnr, Carl Abrahams, Albert Huie, David Pottinger, Ralph Campbell and Henry Daley among others; and shows the move from ethnographic and oftentimes disparaging depictions of Jamaicans, to the attempts at social and cultural empowerment by the aforementioned artists and others of the Jamaican Cultural Nationalist movement of the early 1900s. This exhibition, which opened on May 27, will also be on view until July 29.

Doors will open to the public from 11:00 am to 4:00 pm. Storytelling by Amina Blackwood-Meeks will begin at 1:30 p.m followed by Anomaly’s performance. As is customary on Last Sundays, admission and guided tours are free, but contributions to the Donations Box located in the Coffee Shop are appreciated. These donations help to fund our Last Sunday’s events. The National Gallery’s Gift Shop and Coffee Shop will also be open for business.

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“Daylight Come…Picturing Dunkley’s Jamaica” to open at National Gallery’s on Last Sundays on May 27, 2018

The National Gallery of Jamaica’s Last Sundays programme for the month of May will mark the opening of a new exhibition Daylight Come…Picturing Dunkley’s Jamaica. It will also feature a special ensemble musical performance as part of Lupus Awareness month activities.

Daylight Come…Picturing Dunkley’s Jamaica complements the John Dunkley: Neither Day nor Night exhibition which opened on April 29.This retrospective of Dunkley’s work was curated by independent curator Diana Nawi, formerly of the Perez Art Museum Miami (PAMM), and Nicole Smythe-Johnson, independent Jamaican curator and writer. Originally shown at PAMM in 2017, this version includes six works that were not part of that initial exhibition.

John Dunkley – Diamond Wedding (1940), Collection: National Gallery of Jamaica (Gift of Cassie Dunkley)

This new exhibition Daylight Come… explores themes such as tourism, immigration and the emergence of cultural nationalism in Jamaica during Dunkley’s lifetime. The exhibition provides further context to Dunkley’s creative output; exploring the works of his contemporaries David Miller Snr and David Miller Jnr, Carl Abrahams, Albert Huie, David Pottinger, Ralph Campbell and Henry Daley among others. This exhibition will be on view until July 29, 2018.

The Millers in 1964

May is Lupus Awareness Month and the special musical performance this Last Sundays serves as one of the activities to raise awareness to this life-altering disease. The music, poetry and dance that will be performed are all inspired by the emotional states experienced by someone with Lupus. The various performers include members of the Philharmonic Orchestra of Jamaica, the Jamaica Youth Chorale, the Porter Centre for Knowledge and The Music House.

Edna Manley – Prayer/Kneeling Figure, (1937)

As is now customary for our Sunday programmes, the doors will be open to the public from 11 am to 4 pm and the special musical performance starts at 1:30 pm. Admission and guided tours will be free. The gift and coffee shop will also be open for business.

 

Save the Date – “John Dunkley: Neither Day nor Night” to open on Sunday April 29, 2018

The National Gallery of Jamaica (NGJ) is pleased to announce the homecoming of the exhibition John Dunkley: Neither Day nor Night April 29-July 29, 2018 after its eight-month run at the Pérez Art Museum in Miami (PAMM) where it was hailed as one of  “the most exciting museum shows around the US in 2017”.

Little in the history of Western art prepares us for Dunkley, wrote the late Dr David Boxer (1946-2017), Dunkley historian and curatorial advisor to PAMM. “There is a hypnotic rhythmic intensity in Dunkley’s paintings that is alien to English and American masters,” John Dunkley (b. 1891, Savanna-la-Mar — d. 1947, Kingston) is considered one of Jamaica’s first and finest ‘Intuitive’ or self-taught artists and the title of the show is a reference to his work’s idiosyncratic mood and palette: detailed, haunting imageries of landscapes, with psychologically and psycho-sexually suggestive underpinnings.

Though a selection of Dunkley’s work is on permanent display at the NGJ, only 50 paintings by Dunkley exist in the world. The exhibition’s return home then gives local audiences the rare opportunity to see this collection of thirty-four (34) paintings and nine (9) sculptures together for the first time since the NGJ Retrospective of his work in 1976.

Aside from his inclusion in the 1939 World’s Fair in San Francisco and the NGJ/Smithsonian travelling exhibition of 1983, Dunkley’s work was relatively unknown in the United States until PAMM’s light shone on Dunkley as a beacon of modern and contemporary art from the Caribbean. The Miami exhibition, organized by Curators Diana Nawi, former Associate Curator at PAMM along with Nicole Smythe-Johnson, independent curator, received rave reviews from ArtForum, Miami Rail, The Huffington Post, among others and art critic Matthew Higgs lamented the fact that he would have included it in his Best of 2017 list had he seen it sooner.

Smythe-Johnson, assisted by the NGJ Curatorial team, will oversee the local abridged installation of the show.  An accompanying monograph will be published and includes: Dr David Boxer’s last essay, which brings together over forty years of research into Dunkley’s life and work; an essay by Olive Senior that contextualises Dunkley within his historical moment; and an essay by the exhibition’s curators.

The monograph and the exhibition together present not only what Dunkley has been for Jamaica and the region, but also what he could become for the world.

In Memoriam Gene Hendricks Pearson O.D. (1946-2018)

Gene Pearson – photograph courtesy of Taynia Nethersole

The National Gallery of Jamaica received the sad news of the passing of Master sculptor, ceramist and teacher Gene Hendricks Pearson O.D. on March 15.

Born in 1946 in Wood Hall St Catherine; Pearson was only 15 years old when he was was first introduced to the medium of clay at the Jamaica School of Art now the Edna Manley College of the Visual and Performing Arts in 1960. He studied under Jamaica’s Master Potter Cecil Baugh with whom he developed a close relationship; Pearson recounted that “…[Baugh] was like a father to me and I was like the son he never have.” He was one of the first two students to graduate from the school with a Diploma in Ceramics in 1965 and subsequently went on to teach at his alma mater for almost eighteen years and also taught drawing and painting at Calabar and Vere Technical High Schools in the early 1970s.

After he stopped teaching at the School of Art he began dividing his time between Jamaica and Northern California working with the Potters Studio in Berkley. He used the facilities there to produce his larger sculptures and his bronze works and also conducted workshops at University of Berkley and participated in exhibitions in California. He was also known to be a keen cultural entrepreneur having opened an eponymous gallery in New Kingston where he sold his ceramic and sculptural works.

While he produced more conventional ceramics, such as vases and bowls, Pearson was best known for his sculptural work, especially his popular heads and masks which celebrated black beauty and dignity. Inspired by the arts of the ancient Nubia and Benin as well as Rastafari culture, the introverted monumentality of his sculptural works made them amongst the most distinctive and recognizable of the artists of his generation.

Gene Pearson – Mother (1992), bronze, Aaron and Marjorie Matalon Collection, NGJ

“I have always thought that my work speaks for me. I am not a man who does speak much. My work is very spiritual. All my powers come from God and nature and I execute them through clay…”

Gene Pearson Raku Head nd

He worked extensively with local clays with varying properties and colours, sourced from locales such as Castleton, Trench Town and Clarendon. His ceramic work also showed the results of his constant experimentation with the ancient Japanese technique of Raku-style firing, of which he was an acknowledged master. The characteristic crackled surface of his Raku ware was used with great finesse in his sculptural forms and had become part of his signature style.

Pearson boycotted the National Gallery for several years while it was at its Devon House location when it didn’t recognize ceramics as fine art and was successful in his mission of gaining greater local recognition for ceramics and ceramic sculpture.

His work is represented in major Jamaican collections, such as the National Gallery of Jamaica, the Bank of Jamaica and the Hardingham Collection, as well as the private collections of international celebrities such as Stevie Wonder, Arnold Schwarzenegger, Diahann Carroll, and Alice Walker. His ceramic works have also served as official Jamaican gifts to Heads of States and other public figures including Leonid Brezhnev of the Soviet Union, Prime Minister Phan Van Dong of Vietnam, President Lopez Portillo of Mexico, President Nelson Mandela of South Africa, Roberta Flack, Maya Angelou and President Bill Clinton of the USA.

Gene Pearson – Sculptured Pot (1987), Collection: NGJ, Gift of Ken and Patricia Ramsay

In 2010 the Institute of Jamaica awarded Pearson the Silver Musgrave Medal for outstanding merit for his contribution to the field of art and in 2015, he was awarded the Order of Distinction — Commander Class, for his contribution to the development of the fine arts in Jamaica. This was an upgrade to the Officer Class designation he had received some years prior.

The Board of Directors and the staff of the National Gallery of Jamaica wish to extend their deepest condolences to the family and friends of Gene Pearson.

In Memoriam Jacquelyne Hussey-Pearson (1962-2018)

Jacueline Hussey Pearson

Photo courtesy of Amitabh Sharma

The National Gallery of Jamaica received the sad news of the passing of Jacquelyne Hussey-Pearson on March 12. Known to her friends and others in creative circles as ‘Lady Jacquelyne,’ she pursued a career as a visual artist, fashion designer, short filmmaker and Didgeridoo player and approached life with an infectious positivity that left its mark on all who interacted with her.

A major proponent of abstraction, her paintings documented personal struggles, triumphs and also reflected the major influences in her life. She exhibited extensively both locally and abroad and was involved in several initiatives that promoted Jamaican visual arts one of which was the Wonderland Fine Art Gallery at RedBones which has had over 200 artists exhibiting since its inception.

She was a vibrant and energetic presence in the artistic community and she will be greatly missed.  The Board of Directors and the Staff of the National Gallery of Jamaica wish to extend our deepest condolences to her family and friends.

 

In Memoriam Dorothy Henriques-Wells (1926 – 2018)

Albert Huie – Portrait of Dotty Henriques (1952) (detail) Collection NGJ

On March 5, 2018, Jamaican painter and educator Dorothy Henriques-Wells passed away at the age of 92 in Miami. Henriques-Wells was born in St Andrew in 1926 to parents who were themselves actively engaged as creatives. Her father Llewelyn was a jeweler but it was her mother, Lilieth an oil painter who often painted the flora and landscapes that surrounded their home that would be her earliest inspiration.

Henriques-Wells showed promise as an artist quite early in her life and declared at age 12 that art was to be her calling. She was sent to take art classes with Armenian artist Koren der Harootian and would go on to win numerous prizes for art as a student at Wolmer’s High School. In 1947 she enrolled at the Ontario College of Art – now the OCAD University and it was while there that her interests expanded from the natural bounty of her native Jamaica, to portraiture and her thesis painting depicted a black model wearing a traditional headwrap. She became the College’s first black alumnus in 1950; and later returned to Jamaica, marrying veterinary surgeon Carl F. Wells in 1956, with whom she raised three children.

Dorothy Henriques-Wells – Mountain Scape (nd)

Henriques-Wells made a significant contribution to the artistic scene of Jamaica. She opened a commercial gallery called the Art Wheel in 1968 which represented other local artists and went on to help found the Jamaican Artists and Craftsmen Guild. She was also an art teacher for more than twenty years and exhibited numerous times in Kingston at the Institute of Jamaica’s All Island shows, the Victoria Craft Market Tercentenary as well as in the National Gallery of Jamaica’s Annual National and Biennial exhibitions.

A gifted painter who shared her mother’s affinity for the natural Jamaican landscape Henriques-Wells painted mostly in the realist watercolour style that she had developed during her studies at OCAD; Associate Professor in the Faculty of Arts at OCAD Andrea Fatona on first seeing her work described her it as follows:

Her poetic, realist approach to her subjects – nature and humans –  is sparse, flowing and vibrant with sun-kissed colours.

Dorothy Henriques- Wells – Untited (nd)

In 1987, the Institute of Jamaica awarded Dorothy Henriques-Wells the Silver Musgrave Award for outstanding merit in the field of visual arts. Her legacy continues through the many children she taught and inspired – including her own –  with her vibrancy and passion for art.

The Board of Directors and the Staff of the National Gallery of Jamaica wish to extend our deepest condolences to the Family and friends of Dorothy Henriques-Wells.