Jamaica Biennial 2017 – Juried Artists: Leasho Johnson

Leasho Johnson – Inna di Middle (2017), digital study

Leasho Johnson – Inna di Middle (2017), instalaltion view – photo: Randy Richards

Leasho Johnson – Inna di Middle (2017), instalaltion view – photo: Randy Richards

From our Jamaica Biennial 2017 archives:

Leasho Johnson was born in St James, Jamaica, in 1984. He attended the Edna Manley College of the Visual and Performing Arts, where he obtained a BFA in Visual Communication in 2009. He is a founding member of the Dirty Crayons collective, which held local group exhibitions in 2012 and 2013. Johnson’s other exhibitions include Young Talent V (2010, National Gallery of Jamaica); Jamaican Pulse: Art and Politics from Jamaica and the Diaspora (2016, Bristol, United Kingdom); and the National Gallery of Jamaica’s Biennials since 2010. He has also participated in a number of artist residencies. In 2016, he participated in an artists’ residency at Bluecoat, a contemporary arts centre in Liverpool, United Kingdom, and he was awarded a residency at Residency Unlimited in New York City by the Davidoff Art Initiative. Johnson works in various media to explore the tensions and contestations in Jamaican culture and society, particularly in dancehall and its associated tropes. Leasho Johnson resides in Kingston, Jamaica. His contribution to the Jamaica Biennial 2017 was shown at Devon House.

Website: leasho.com

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Jamaica Biennial 2017 – Juried Artists: Deborah Anzinger

Deborah Anzinger – A Piercing Void Where We Meet (2017) – Photo: Randy Richards

Deborah Anzinger – A Piercing Void Where We Meet (2017) – Photo: Randy Richards

Deborah Anzinger – A Piercing Void Where We Meet (2017) – Photo: Randy Richards

Deborah Anzinger – A Piercing Void Where We Meet (2017) – Photo: Randy Richards

Deborah Anzinger – A Piercing Void Where We Meet (2017) – Photo: Randy Richards

This is the first of what will be our final series of posts on the Jamaica Biennial 2017, on the juried artists in the exhibition. The juried section of the 2017 Biennial was selected by two international judges, Amanda Coulson (Bahamas) and Christopher Cozier (Trinidad and Tobago), and two local judges and members of the NGJ Board, Susanne Fredricks and Omari Ra. Deborah Anzinger had submitted a site-specific installation proposal for the Devon House ballroom, which was selected.

Deborah Anzinger was born in St Andrew, Jamaica. She attended the Rush University Medical Center, where she obtained a PhD in Immunology and Microbiology, and she is self-taught as a painter and multi-media artist. Her recent exhibitions include the Jamaica Biennial 2014 at the National Gallery of Jamaica, and Double Dutch: Heino Schmid + Deborah Anzinger (2016) at the National Art Gallery of the Bahamas. Anzinger is the Executive Director of New Local Space Ltd. (NLS), a non-profit visual art initiative in Kingston. She is a regular participant in international art events, such as Tilting Axis in 2015 and 2016, in Barbados and Miami respectively, and recently completed a residency at the Skowhegan School of Painting and Sculpture (2016). Her current body of work tests “the limits of understanding individual existence and experience as hybrid, indeterminate and magical, told from an unknowable inner world.” She is based in St Andrew, Jamaica.

Website: www.deborahanzinger.com

 

Jamaica Biennial 2017 – Invited Artists: Jasmine Thomas-Girvan

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan was the recipient of the Aaron Matalon Award in the recently closed Jamaica Biennial 2017. Her two installations were on view at Devon House.

Jasmine Thomas-Girvan was born in 1961, in St Andrew, Jamaica. Thomas-Girvan attended the Parsons School of Design in New York, where she received a BFA in Jewellery and Textile Design. While she is still best known as a jeweller, Jasmine’s recent work has moved into the realm of larger mixed media sculpture and installations that evoke poetically the epic histories of the Caribbean. Thomas-Girvan has exhibited in the USA, Jamaica, Trinidad, Venezuela and Mexico. Her awards include the Tiffany Award for Excellence at Parsons, the Prime Minister of Jamaica’s Certificate of Recognition, the Commonwealth Foundation Arts award in 1996, the Aaron Matalon Award for her contribution to the NGJ’s 2012 National Biennial, and the 2014 Silver Musgrave Medal of the Institute of Jamaica. Thomas-Girvan lives in Maraval, Trinidad.

 

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

Jamaica Biennial 2017 – Invited Artists: Laura Facey

Laura Facey – Ceiba (2016)

Laura Facey has two works in the Jamaica Biennal 2017: one, Ceiba, is on view at the National Gallery of Jamaica in downtown Kingston; the other, Bumpy Top Desk and Mirror, can be seen at Devon House. The Biennial continues at all locations until May 28.

Laura Facey was born in 1954, in Kingston, Jamaica. She attended the Jamaica School of Art where she attained a Diploma in Sculpture, 1975. She also attended the West Surrey College of Art and Design in England and the Rhode Island School of Design, USA. Facey is best known as a sculptor but also works in other media, such as drawing, painting and printmaking. In recent times, she turned her attention to large meditative pieces that explore the symbolic and cultural potential of natural wood forms and human tools and instruments. She has exhibited extensively locally and internationally. Her work as been featured in major publications such as the Small Axe journal and her many commissions include the famed Redemption Song (2003) monument in Emancipation Park, Kingston. Her awards include the Silver Musgrave Medal (2006) and the Aaron Matalon Award for her entry in the 2010 National Biennial. In 2014, she was conferred with the Order of Distinction (Commander Class) by the Government of Jamaica. Facey lives in St Ann, Jamaica.

Website: laurafacey.com

 

Laura Facey – Bumpy Top Desk and Mirror (2016)

Jamaica Biennial 2017 – Guide to the Devon House Interventions

We present additional information on the Jamaica Biennial 2017 exhibition at Devon House. This document will also be available as a free handout at Devon House. Opening hours there are Mo-Fri 9:30 to 4:30 and on the last Sundays of the month from 11 to 4. Admission rates apply. All Jamaica Biennial exhibitions continue until May 28.

Introduction

As was first done in 2014, the Jamaica Biennial 2017 is shown at more than one location. In addition to the National Gallery itself, where the main exhibition is held, parts of the exhibition are shown at Devon House, which was the National Gallery’s original home in 1974, and at National Gallery West in Montego Bay.

For Devon House, we selected five interventions by artists whose work resonates with the history and context of Devon House, particularly its dual connection to Jamaica’s plantation heritage and to social change, as the great house was built in 1881 by Jamaica’s first black millionaire. The selected work is by Andrea Chung, Laura Facey, Jasmine Thomas-Girvan, Sharon Norwood, Deborah Anzinger and Leasho Johnson. All are displayed in the Devon House interior. Some of these interventions are immediately and provocatively visible, while the others are more subtle and may at first be mistaken as being part of the original furnishings. This makes the process of discovery and engagement involved in viewing the Jamaica Biennial 2016 exhibition at Devon House all the more exciting.

Leasho Johnson, In-a-the-Middle

Location: The Palm Hall

In-a-the-Middle is a mixed-media sculptural floor piece that parodies a dancehall party, or more specifically, a “daggering session.” It is comprised of locally made metal ‘dutch’ pots, cast from scrap metal, fluorescent red paint with papier mâchè and ceramic castings of speakers and legs. The title is a derivative of a dancehall song, Inna The Middle performed by ZJ Liquid, which in the local context is referred to as a “gyal song” – that is, a song that speaks mainly to female party-goers. The “dutch” pot in Jamaican culture is a multi-purpose item and is commonly found in most Jamaican homes.

In-a-the-Middle explores female objectification and the male gaze within dancehall culture, compared with a perspective of the woman as nourishment giver, bread winner and home maker, symbolized in part by the use of the “dutch pot.” He states, “I was trying to describe a kind of negative space that is misogynistic [and] that surrounds a female described space… women becoming the weak default of a culture that puts its men on the podium of social ideals”.

(Photo: Randy Richards)

Jasmine Thomas-Girvan, The Table (Parallel Realities Dwelling in the Heartland of My People)

Location: The Dining Room

Awarded the Aaron Matalon Award

“The Table (Parallel Realities Dwelling in the Heartland of My People) presents an account of the social, historical and cultural realities of slavery, using various materials and objects. It is set up with a sharp juxtaposition between the indigenous world of Nature, Veve and Taino, against that of Empire with all its assumptions of beauty and civilized behaviour. The Tea Table is laid with fineries like crystal, silverware and China. It lays bare notions of civility in harmony with plunder, murder, rape and genocide, as in the case of the Parsley Massacre in the Dominican Republic in 1937 with its dismembered figures and pools of blood. Historically, the establishment of this Euro-centric status quo has been challenged. This is symbolized in the use of the ‘abeng’, a symbol of subversion by the Maroons as a counter narrative force which disrupts and displaces the genteel setting, celebrating the human capacity for resilience and survival.”

Jamaica Biennial 2017 – The Awards

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

Jasmine Thomas-Girvan -Parallel Realities, Dwelling I’m The Heartland of My People (2016), installation (detail)

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.

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

Jasmine Thomas-Girvan – The Real Princess (2016), installation (detail)

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.

Alica Brown – Exchange (2016), painting

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.

Greg Bailey – Colonial Legacies (2016), painting

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.”

Andrea Chung – Pure (2016), installation at Devon House, detail

Andrea Chung – Pure (2016), installation at Devon House, detail

Andrea Chung –

Andrea Chung – Pure (2016), installation at Devon House, detail

Andrea Chung – Pure (2016), installation at Devon House, detail

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.