Panel Discussion “We Have Met Before, Revisited” On Friday, October 13 @1:45pm

The National Gallery of Jamaica is pleased to present the panel discussion We Have Met Before, Revisited, which will take place at the National Gallery on Friday, October 13, 2017, starting at 1:45 pm. The discussion is presented as part of the Edna Manley College’s Rex Nettleford Arts Conference 2017, for which the National Gallery serves as a partner institution. The panel discussion will be chaired by Nicole Smythe-Johnson, Independent Curator. The panellists are: Moji Anderson, Lecturer, Sociology, Psychology and Social Work, Faculty of Social Sciences, UWI-Mona; Olayinka Jacobs-Bonnick, British Council Country Director, Jamaica; Leasho Johnson, Jamaican artist in We Have Met Before; and Herbie Miller, Director, Jamaica Music Museum, Institute of Jamaica.

The panel discussion is part of the programming for We Have Met Before, which on view at the National Gallery until November 4, 2017 and which is presented in collaboration with the British Council. The exhibition explores a group of contemporary and artistic interpretations of legacies of the Trans-Atlantic Slave Trade and chattel slavery in Jamaica and the wider Caribbean. Each of the four featured artists – Graham Fagen (Scotland), Joscelyn Gardner (Barbados), Leasho Johnson (Jamaica) and Ingrid Pollard (Guyana/England) – delves into archival material, popular culture and personal perspective to develop and substantiate visual iconographies that present actual and imagined narratives about the African enslaved and their descendants. Combined, their work invites new perspectives and dialogues on what is well-established subject in Caribbean art. We Have Met Before is presented in collaboration with the British Council.

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We Have Met Before – E-Catalogue Publication

The exhibition We Have Met Before: Graham Fagen, Joscelyn Gardner, Leasho Johnson and Ingrid Pollard, a collaboration between the National Gallery of Jamaica and the British Council, is accompanied by an e-catalogue publication. This publication was edited by Melanie Archer and was designed by Kriston Chen. It contains commissioned essays by Tiffany Boyle and Shani Roper, along with forewords by Olayinka Jacobs-Bonnick, Annalee Davis and Juliet Dean, and Veerle Poupeye and O’Neil Lawrence. The We Have Met Before e-catalogue can be found here. The exhibition opens tonight at 6:30 pm and continues until November 4, 2017.

Last Sundays on 24, 2017 to Feature Quilt

The National Gallery of Jamaica’s Last Sundays programme for September 24, 2017 will feature the Quilt Performing Arts Company. Visitors will also be able to view the We Have Met Before and the Annabella and Peter Proudlock Collection exhibitions.

The Quilt Performing Arts Company was born out of a need for a fresh, new, innovative way of creating performance art. Using Caribbean rhythms, merging poetry, music and dance, the Quilt performers have developed their own unique performance style and an evolving theatre technique. Artistic director Rayon Mclean and his team continue break boundaries and redefine performance spaces, and this time the women in the company will be quilting from their heART through music, poetry and dance. The show is called #POW- Patches of Women. This is Quilt’s third time at the National Gallery.

We Have Met Before – Joscelyn Gardner

Joscelyn Gardner – Plantation Poker: The Merkin Stories (2004), stone lithographs/vinyl on frosted mylar wall installation (detail)

Joscelyn Gardner – Creole Portraits II: Accubah (2007), stone litograph (detail of installation)

Joscelyn Gardner – Plantation Poker: The Merkin Stories (2004), stone lithographs/vinyl on frosted mylar wall installation (detail)

Joscelyn Gardner – Creole Portraits III: Veronica Frutescens (Mazerine) (2009), stone lithograph (detail of installation)

Joscelyn Gardner – Creole Portraits III: Eryngium Foetidum (Prue) (2009), stone lithograph (detail of installation)

Joscelyn Gardner – Creole Portraits III: Hibiscus Esculentus (Sibyl) (2009), stone lithograph (detail of installation)

Joscelyn Gardner is one of four artists featured in We Have Met Before, an exhibition staged in partnership with the British Council. The exhibition is on view from September 22-November 4, 2017.

Bio

Born in Barbados, Joscelyn Gardner works both in the Caribbean and in Canada, where she is Professor of Art at Fanshawe College. She has held solo exhibitions in the USA, Canada, Spain, and throughout the Caribbean and has participated in numerous international biennials, exhibiting both prints and multimedia installations. Her work has also appeared in curated group exhibitions at museums in the USA, France, Puerto Rico, Martinique, Spain, India, China, Barbados, and the Netherlands, and is in public collections in the USA, Europe, and the Caribbean. In 2013 she received the Grand Prize at the 7th International Contemporary Printmaking Biennial in Trois Rivières, Quebec. She holds an MFA from Western University, and a BFA (in printmaking) and a BA (in film) from Queen’s University.

 

Joscelyn Gardner

About the Work

Joscelyn Gardner  is represented by two full series of lithographs – Plantation Poker (2004)and Creole Portraits II (2007)—and a selection of lithographs from the Creole Portraits III (2009- 2011) series – which are exhibited as installations that also include other elements. In these prints, which conform to the conventions of natural history illustrations, intricate African braided hairstyles morph into the instruments of torture that were used during slavery. A more specific reference to sexual abuse is added in the imagery in Plantation Poker, where the triangular shape of the hair references female pubic hair. The lovely flowers in Creole Portraits III are plants that were used by enslaved women to secretly end unwanted pregnancies. While deceptively delicate and exquisitely beautiful, the prints powerfully invoke the dehumanizing cruelty of plantation slavery. Gardner’s body of work is inspired by the infamous diaries of Thomas Thistlewood, a plantation overseer in Jamaica in the mid-18^th century, who recorded with scientific precision his many forced sexual exploits and the cruel punishments he inflicted on the enslaved.

Joscelyn Gardner website: www.joscelyngardner.com

Panel Discussion on “We Have Met Before” on September 23 @1:30 PM

We Have Met Before opens at the National Gallery of Jamaica on September 22 and is staged in partnership with the British Council. The exhibition features Graham Fagen (Scotland), Joscelyn Gardner (Barbados/Canada), Ingrid Pollard (Guyana/UK), and Leasho Johnson (Jamaica) and revisits the challenging but important subject of trans-Atlantic slavery and its afterlives in the contemporary world, interpreted by four artists with distinctive perspectives.

As part of the accompanying programmes for We Have Met Before, the National Gallery of the Jamaica and the British Council will present a panel discussion on the issues raised by the exhibition on Saturday, September 23, starting at 1:30 pm. The panel will consist of three of the artists in the exhibition, Graham Fagen, Joscelyn Gardner and Ingrid Pollard, while Deborah Anzinger will speak about Leasho Johnson’s work. The panel will be moderated by Shani Roper, acting Director/Curator of Liberty Hall, the Legacy of Marcus Garvey.

The panel discussion, which will take place at the National Gallery of Jamaica, is free and open to the public and those in attendance will also have the opportunity to view the exhibition, which continues until November 4, 2017.

“We Have Met Before” – Introduction

 

Graham Fagen – The Slave’s Lament (2015), video and sound installation (video still)

Joscelyn Gardner – Creole Portraits III: Hibiscus Esculentus (Sibyl) (2009), stone lithograph (detail of installation)

IIngrid Pollard – The Boy Who Watches Ships Go By (2002), suite of 11 photographs, photographic emulsion on canvas (detail, 1 panel)

Ingrid Pollard – The Boy Who Watches Ships Go By (2002), suite of 12 photographs, photographic emulsion on canvas (detail, 1 panel)

Leasho Johnson – Land of Big Hood & Water (2017), study for wall installation

Graham Fagen – The Slave’s Lament (2015), video and sound installation (video still)

Leasho Johnson – Cocktales & Pum-Pum (2017), installation (detail)

Joscelyn Gardner – Creole Portraits II: Accubah (2007), stone litograph (detail of installation)

 

We have met before. Four centuries separate our first meeting when Prospero was graced with the role of thief, merchant and man of God. Our hero was ‘the right worshipfull and valiant night Sir John Haukins, sometimes treasurer of her Majesties navie Roial’; and it is his first Voyage in search of human merchandise.

George Lamming – The Pleasures of Exile (1960)

We Have Met Before, which will be on view at the NGJ from September 22 to November 4, reflects on the question of historical forgetfulness and the capacity of art to unearth and to shed new light on what is forgotten or supressed. The four artists—Graham Fagen from Scotland, Joscelyn Gardner from Barbados and Canada, Leasho Johnson from Jamaica and Ingrid Pollard from Guyana and England— and the works selected for this exhibition represent a conversation on the histories of Slavery, the Transatlantic trade, and its present-day implications. Each artist brings a distinctive perspective to this subject area, with work that was created in different locales, different media, from different experiences, and at different points in time.

These subjects are of course not new and commonly appear in modern and contemporary art from the Caribbean and its Diaspora, as well as in other art forms such as dance, drama, literature and music. In Jamaica, the subjects hold a central position in Garvey and Rastafari culture, which has produced a recognizable African Zionist iconography that is prominent in the popular visual culture and the visual arts. The histories of slavery have been very contentious as a subject area in Caribbean art and this is particularly pronounced in public art, as was best illustrated by the intense controversy about Laura Facey’s Redemption Song (2003), Jamaica’s de facto Emancipation monument. This controversy raised many questions about the representational choices and the equally contentious issue of who can legitimately speak about this subject.

We Have Met Before revisits this complex and contentious territory, and acknowledges that much has been suppressed and left unsaid, especially by the former colonizers. The exhibition argues that the subject area needs to be approached as part of an ongoing conversation, in which there is no final word and in which it must be possible for various perspectives to be expressed. The resulting conversations may be difficult but they are necessary, as they are central to the histories that have shaped and continue to shape the contemporary Caribbean world, and it is hoped that this exhibition will contribute to this process.