Kingston Biennial Update

The inaugural Kingston Biennial has been postponed until December 2021.

2020-08-24-Kingston-Biennial-Update

The National Gallery of Jamaica (NGJ) has postponed its new flagship exhibition the Kingston Biennial until December 5, 2021. The decision to postpone this international exhibition is an acknowledgement of the objective and logistical challenges currently facing the worldwide community due to the COVID-19 pandemic.

Originally scheduled to open on December 13, 2020, the Kingston Biennial’s curatorial team is being led by David Scott, Chair of the Department of Anthropology, Columbia University, founder and editor of the journal Small Axe, and curator of Caribbean Queer Visualities and “The Visual Life of Social Affliction.”

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Scott is joined by co-curators O’Neil Lawrence, the Chief Curator at the National Gallery of Jamaica; Wayne Modest, Head of Research for Material Culture for the Tropenmuseum, Museum Volkenkunde, the Afrika Museum and the Wereldmuseum, in the Netherlands; and Nicole Smythe-Johnson, writer and independent curator, currently a PhD student at the University of Texas, Austin.

Pressure is the theme of the the 2021 Kingston Biennial which will feature the work of artists based locally, and in the Caribbean Diaspora, selected by the curatorial team. The exhibition will be accompanied by extended city-wide programming aimed at provoking engagement and discussion beyond the walls of the National Gallery. Pressure, according to the Curatorial Director, David Scott, “…is a profoundly resonant and vivid term—really a keyword—that maps an interconnected range of historically rooted experiences that evoke an environment burdened with difficulties and hardships.”

“The whole history of Jamaica could be written as a story of pressure. But it is not a solely passive experience. It’s not a condition undergone, endured, tolerated, and it is not intended to signal a sense of victimhood and victimization. To the contrary, what is instructive about the Jamaican experience and the idiom of pressure is that it has always had a generative and dissenting quality about it.

“Pressure is a source of critical and creative counter-powers and creative oppositional activity. It is an inspiring human resource, and historically it has been deeply fertile ground for some of the most brilliant works of Jamaican cultural achievement. We will be thinking about and looking at this process in a very contemporary sense. In this endeavour to think about the role of pressure in Jamaican life, the curators will engage with the relation between visual art practice and the larger social, cultural, political and economic life that is our nation, Jamaica.

“The biennial is an exhibitionary form, a model for showing art to publics. Over the past decade or more, this form has grown in significance, such that biennials have become the most important art events in the global art world. Biennials have helped put cities on the global cultural map and helped to give voice to otherwise invisible art practices. In our view, Kingston should be part of this global process. As one of the oldest world cities with a varied and vibrant cultural life, Kingston has a lot to offer the global art world. And, as the curators urge, pressure is precisely an idiom in which to accentuate what is most creative in Jamaica.”

“The Kingston Biennial will now be more in line with other biennials around the world.  We have a great team of curators, a good theme, a lot of talented artists and a complicated global environment so our audiences can expect a fascinating Kingston Biennial in 2021,” said Dr Jonathan Greenland, Senior Director of the National Gallery of Jamaica. “We were tremendously excited to start the planning of this new venture in 2019 and will continue to work to produce the best possible exhibition for its new date.”

If there are any questions, please contact the National Gallery of Jamaica.

10 Questions for O’Neil Lawrence, Chief Curator

O'Neil Lawrence Head shot 2018 (1)

Photo Credit: Artur Curval

  1. Why is the National Gallery of Jamaica important? Most people are aware of our rich musical heritage but our visual arts are just as rich and varied. The National Gallery of Jamaica preserves that aspect of our culture and shares it through our exhibitions and programming.
  2. You travelled personally and professionally to visit other national galleries, what makes you especially proud of ours? I’m particularly proud of the fact that over the years we’ve been able to achieve an international standard with our exhibitions despite having far more limited resources.
  3. So what’s coming up at NGJ in the near future? Our Summer Exhibition opens on July 30 and will feature exciting work by a combination of our established and emerging artists. In November, the Jamaica Jamaica! exhibition, a joint project between the NGJ and the Jamaica Music Museum which has been shown in Paris and Sao Paulo, will also open. It will showcase developments in Jamaican music through art, artifacts and sound.

    Jamaica Jamaica! exhibition flyer

    Jamaica Jamaica! Promotional Flyer

  4. Give us one trick that we can use to really understand an exhibition. I don’t necessarily believe in tricks. I think that viewers should have more faith in the intrinsic feelings and emotions they experience looking at artwork. Sometimes the knowledge and experiences we bring to a space is the best guide.
  5. Which exhibition really moved you and why? The Afro-Atlantic Histories exhibition staged at the Sao Paulo Museum of Art in 2018. It not only featured many Jamaican masterpieces, but it brought together the shared and sometimes hidden histories of black people in this hemisphere.

    Cover of Afro-Atlantic Histories Catalogue featuring Conversation by Barrington Watson

    Afro-Atlantic Histories Catalogue Cover (featuring Barrington Watson’s – Conversation, 1981)

  6. If a visitor only had limited time to spend at the Gallery, what are the must-sees? That’s such a difficult question. I would recommend the Belisario prints in our historical galleries as a visual representation of our history of resistance through performance. But then the Edna Manley and Kapo galleries are also must-sees.
  7. How have your experiences as a curator informed your life? I think I found my calling. My experiences at the NGJ have shown me that this is definitely what I was meant to do.
  8. What’s your first priority as Chief Curator? I am organizing a staff retreat. The staff of the gallery has done some amazing work in the time I have been here. We have been through a lot of changes in the last few years and I think we need to recalibrate so that we can move forward as creatively and productively as possible.
  9. What’s your greatest wish for the National Gallery? We have achieved a lot in recent years with regards to public engagement. I would like us to get to a stage when the majority of Jamaicans can say that they have visited at least one of our branches and had a memorable experience.
  10. How can the people of Jamaica support the gallery? Come and enjoy some entertainment at our free Last Sundays openings. Follow us on social media, come and experience our exhibitions. Our visitors are the lifeblood of our organization and we need them to thrive.  

National Gallery of Jamaica appoints O’Neil Lawrence as Chief Curator

O'Neil Lawrence at Afro Atlantic Histories exhibition courtesy of Paulo Freitas_Glamurama.jpg

Credit: Paulo Freitas / Glamurama

The National Gallery of Jamaica is pleased to announce the appointment of O’Neil Lawrence as the institution’s new Chief Curator.

As a member of the senior management team Lawrence will oversee the active exhibition programme at the National Gallery of Jamaica (NGJ, Kingston) and National Gallery West (NGW, Montego Bay), as well as the stewardship and development of Jamaica’s national art collection.

Chairman of the board, Senator Tom Tavares-Finson says: “In the over 10 years that our new Chief Curator O’Neil Lawrence has served the iconic National Gallery of Jamaica, he has grown into the perfect candidate for this challenge. His wide depth of knowledge of Jamaican and Caribbean art will serve him well as he begins this stage of his career.  His curatorial skills have been honed under many Jamaican and international curators including the late Chief Curator, the Hon. Dr. David Boxer O.J. The Board of the NGJ joins me in welcoming our new Chief Curator and we look forward to great new developments at the NGJ.”

Lawrence’s expertise is home-grown. He began working at the NGJ in 2008 as an Outreach Officer before joining the staff full-time in 2009 and serving as a Curatorial Assistant, Assistant Curator, and Senior Curator (a position he held since 2013). 

As Senior Curator, his over thirty-five exhibitions included the critically acclaimed Seven Women Artists (2015) and Masculinities (2015-2016). He was the co-curator of the NGJ’s largest multi-site exhibition Jamaica Biennial 2017 and led the curatorial team for Beyond Fashion at the NGJ and I Shall Return Again at NGW. Both exhibition openings broke NGJ and NGW records for attendance and have been hailed as the Gallery’s most successful exhibitions to date at their respective locations.  

 “I have been surrounded by art my entire life,” Lawrence says. “My father was an artist. My friends are artists. And I am an artist. I have worked alongside a team that has developed an exhibition and events programme at the Gallery which engages an increasingly wide audience and with the support of the Board and all stakeholders, I look forward to leading them in even more ambitious creative collaborations.” 

Lawrence’s new role as Chief Curator is pivotal to the continued development of the NGJ’s programming and scholarship to its historical standard. Says Dr Jonathan Greenland, Senior Director of the National Gallery: “I have watched O’Neil’s careful and systematic development of his skills as a gallery professional for years and I know that with his leadership and strong curatorial abilities, he will continue the momentum at the National Gallery and help us to reach new heights.”

Lawrence acknowledges the persistent myth that a space like the gallery is only for the wealthy and that the work is too abstract for people to find relatable but, he says, “There is something for everyone at the National Gallery no matter who you are and we want you to come and discover it. Our art matters because our stories matter – the National Collection illustrates our experiences as a culture and I will continue to pursue mutually beneficial partnerships in and outside of our borders—particularly in the Global South— in keeping with our stated mission “to promote our artistic heritage for the benefit of present and future.”

OLawrence-4667

Credit: Shawna-Lee Tai

About O’Neil Lawrence

O’Neil Lawrence holds a Bachelor of Arts in English Literature and Sociology and Master of Philosophy in Cultural Studies from the University of the West Indies. He is trained in visual communication (Edna Manley College of the Visual and Performing Arts) and cultural heritage preservation as part of the US State Department’s IVLP programme and he was the 2014 recipient of the prestigious Bridget Jones Award of the Society of Caribbean Studies.

Lawrence’s publications include essays for the 2012 Pictures from Paradise: A Survey of Contemporary Caribbean Photography and Histórias Afro-Atlânticas Vol 2 Antologia (MASP 2018).  In 2009 he chaired the Education and Outreach Committee of the Institute of Jamaica and in 2016 he was Chair of that institution’s Researchers and Curators Committee. In 2018 he served on the Board of the Davidoff Art Initiative and he is currently on the Advisory Council of the Caribbean Art Initiative

Lawrence’s research interests include race, gender and sexuality in Caribbean and African diasporal art and visual culture; memory, identity and hidden archives; photography as a medium and a social vehicle; Caribbean and general art history and museums and other public cultural institutions. 

As an artist, his photography and video work has been included in several local and international exhibitions including Rockstone and Bootheel at Connecticut’s Real Art Ways in 2009, his 2012 solo exhibition Son of a Champion at the Mutual Gallery, the Jamaica Biennial in 2014, Visions Achipéliques at Martinique’s Fondation Clemént in 2016 and The Expanded Caribbean: Contemporary Photography at the Crossroads at the Leonard Pearlstein Gallery Philadelphia in 2017.

Schedule for the Remainder of 2010

The following is an overview of our plans for the remainder of the calendar year:

Michael Elliott - Loa Arise (2010) - Michael Elliott is one of the 14 young artists featured in Young Talent V

Young Talent V (until July 10): Last chance! If you have not yet seen it, or wish to see it again, next week is your last chance to see the exhibition in its entirety. Selections from the exhibition will however stay on view until the end of August.

Art on the Waterfront (July 12 – 30): The MultiCare Foundation and the NGJ are staging their annual art summer camp for children. Studio sessions will be held at nearby Studio 174 but the programme makes extensive use of the NGJ’s resources, by means of tours, gallery games and studio projects inspired by the art on view on in the permanent and temporary exhibitions. The programme is designed for children and teens from 6 to 18 years old and a limited number of spaces are still available. The participation fee is $ 1,000 per week.

2010 National Visual Arts Competition and Exhibition (July 25-August 28, 2010): The NGJ’s annual collaboration with JCDC opens to the public on Sunday, July 25 at 3 pm and remains on view for one month. As has become customary, admission fees to the NGJ are waived for the duration of this exhibition (tour fees still apply). This juried exhibition comprises a youth and adult section and attracts multiple medals and prizes, including a prize of the public. Visitors to the exhibition can participate in the voting for the latter from July 25 to August 7. Continue reading