Alicia Brown was born in 1981, in St Ann, Jamaica. She attended the Edna Manley College of the Visual and Performing Arts, Kingston, Jamaica, and received a diploma in Art Education in 2003 and a BFA in Painting in 2009. Brown also attended the New York Academy of Art in New York and obtained an MFA in Painting in 2014. Her work has been shown at the National Gallery of Jamaica in in the National Biennial 2012 and Young Talent 2015. In 2016, she held a solo show at Studio 174 in Kingston, Jamaica, entitled Copy and Placed. In 2003 and 2004, she was awarded the bronze medal for her entries in the Jamaica Cultural Development Commission (JCDC) National Visual Arts Competition and Exhibition. Alicia Brown uses traditional painting techniques and iconographic references to examine contemporary issues of race, beauty and social status. She is based in Kingston, Jamaica.
The Jamaica Biennial is one of the big highlights of Jamaica’s cultural calendar, and also a very important one, not only for the local visual arts community but also for the art world of the broader Caribbean region. In recent years, this ambitious, high-profile exhibition has become more international in character, attracting participating artists from the region and beyond. It is fast earning a significant place on the international art world’s map of must-see events.
The Jamaica Biennial 2017 opened last weekend, to record crowds, at its three locations, starting with National Gallery West on February 24 and Devon House on February 25 and culminating with the main opening event at the National Gallery of Jamaica on the Kingston Waterfront on February 26. The Biennial presently attracts two awards, the Aaron Matalon Award and the Dawn Scott Memorial Award and both were announced and presented at the National Gallery on February 26.
The Aaron Matalon Award, which was inaugurated in 2002, is the National Gallery’s award to the artist who made the most outstanding contribution to the Biennial. The award is named in honour of the National Gallery’s past chairman and benefactor, the Hon. Aaron Matalon, O.J. and had, prior to 2017, been granted to Omari Ra, Renee Cox, Norma Rodney Harrack, Phillip Thomas, Laura Facey, Jasmine Thomas-Girvan and Ebony G. Patterson. The award is selected by a committee that consists of members of the National Gallery’s Exhibition and Acquisition Committee. The award consists of a uniquely crafted medal, designed and produced by master jeweller Carol Campbell, and a $ 100,000 cash award. The medal design is customarily based on an iconic work from the National Gallery’s collection and this year’s design was based on the famous Taino Pelican zemi in the historical galleries.
The 2017 Aaron Matalon Award was granted to Jasmine Thomas-Girvan, who had also received the award in 2012 and thus receives this award for the second time – a first in the award’s history. She received the award for her two stunning installations at Devon House: Parallel Realities, Dwelling In The Heartland of My People, in the Devon House dining room, and The Real Princess, which can be seen in the sewing room. Both works comment, with exquisite detail and visual poetry, on the epic histories of the Caribbean and its people, and resonate perfectly with the historical and social significance of the Devon House mansion. Devon House was built in 1881 by George Stiebel, Jamaica’s first black millionaire, as a suburban great house, and today operates as a very popular heritage and recreational site in the city of Kingston.
The Dawn Scott Memorial Award was created and presented by the New York-based art critic Edward M. Gómez and honours the legacy and enduring influence of Alison Dawn Scott (1951-2010), one of Jamaica’s most original artists of the recent past, who was known for her innovative work in drawing and architectural design, as well as in the use of complex fabric-dyeing techniques to create vivid portraits and landscapes representing Jamaican life. The award is given to artists with works on view in the Jamaica Biennial whose art and ideas reflect the artistic values and principles of the late Dawn Scott. The Dawn Scott Memorial Award comes with a cash prize in the amount of U.S.$700, funded by Mr Gomez and Dawn Scott’s daughter, Tsehai “Spoogie” Scott, a Kingston-based, film-production specialist. The inaugural Dawn Scott Memorial Award in 2014 was presented to Camille Chedda and Kimani Beckford.
For the 2017 award, Gómez split the award among three deserving artist winners: the Jamaican painters Greg Bailey, for his painting Colonial Legacies, and Alicia Brown, for her painting Exchange; as well as the American mixed-media artist Andrea Chung, for her mixed media installation Pure. Chung, who is of Jamaican and Trinidadian ancestry and lives in San Diego, California, USA, is one of the international artists who was invited to contribute a special project. The work of Bailey and Brown can be seen at the National Gallery of Jamaica, while Chung’s work can be seen at Devon House, in the adult bedroom and bathroom.
Gómez had the following to say about the Biennial submissions of the joint awardees: “With fine technical skill, including a strong sense of composition and superb draughtsmanship, Greg Bailey creates psychologically probing portraits of contemporary figures – usually young, urban, Jamaican men – that make us wonder: What’s on the minds of these subjects? What motivates them? When it comes to the issue of identity, just who do they think they are? By extension, Bailey’s portraits offer a reflected image of a broader society in which some of us might not always know what it is that we are – or should be – striving for, and how chasing certain kinds of goals might shape who we are or what we may become….Marked by excellent draughtsmanship and a skillful use of her materials, Alicia Brown’s Exchange, a head-on portrait of a country man, seen standing out in front of a farm field, is rich in detail. It offers an image of its subject that is as penetrating in its precision as it is compelling, poetic and empathetic in its character and aura….In Pure, Andrea Chung uses handmade, coloured soap to mould vividly accurate sculptures of the outwardly extended, beseeching, comfort-offering hands of elderly women. In fact, they are the hands of actual Jamaican midwives, whose skillful, compassionate intervention at the very start of a new life’s journey represent a first point of contact — physical and spiritual — between members of the human family.”
The National Gallery of Jamaica congratulates and salutes the winners of the 2017 Aaron Matalon and Dawn Scott Memorial awards, and extends its commendations to all artists who are participating in the Jamaica Biennial 2017, which is a very competitive exhibition with many strong and unique submissions. The Biennial continues at all three locations until May 28.
Here is the second in our short posts on the artists in the Young Talent 2015 exhibition, which opens on August 30:
Alicia Brown was born in St Ann, Jamaica in 1981. She attended the Edna Manley College of the Visual and Performing Arts, Kingston, Jamaica, and received a diploma in Art Education in 2003 and a BFA in Painting in 2009. Alicia also attended the New York Academy of Art in New York and obtained an MFA in Painting in 2014.
The use of mimicry as a tool for creative invention, imitation and expression plays a vital role in formulating cultural identity. This is evident in the formation of subcultures, resulting from class distortion associated with colonialism. The desire for social acceptance and the search for missing pieces of self is the gateway to copying dominant cultures. This desire becomes a fantasy that is embraced while reality is rejected.
My work invests itself in a social critique, addressing issues of social construct, colonialism, pop culture, Western trends and their impact on Caribbean identity. I reference Dutch 16th and 17th century portraiture, where aspects of this history are appropriated and re-contextualized in their representation. I use portraiture as a tool to imitate this model, incorporating both traditional and contemporary painting languages as dialogue on identity.