Jamaica Biennial 2017 – Bulletin 5: The Biennial @ Devon House

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Deborah Anzinger – A Piercing Cold Where We Meet (2017, digital study)

The 2014 edition of the National Gallery of Jamaica’s Jamaica Biennial was shown at multiple venues—a first for this exhibition in Jamaica—and this included Devon House, the original home of the National Gallery and one of Kingston’s main heritage sites. Devon House was included as part of the National Gallery’s fortieth anniversary celebrations, as a home-coming of sorts, but also in response to the Devon House Management’s invitation to organize regular joint exhibitions.

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Laura Facey – Bumpy Top Desk and Mirror (2016)

The Jamaica Biennial 2014 at Devon House featured work by Laura Facey, Ebony G. Patterson (who won the Biennial’s Aaron Matalon Award that year), Greg Bailey, Cosmo Whyte, James Cooper, and Oneika Russell, and was one of the most popular and critically acclaimed parts of the exhibition. The approach taken was for the works selected to be installed the Devon House mansion interior, alongside or in replacement the regular furniture and art works, and, in the case of Laura Facey, also in the formal gardens in front of the house. The result was a rich dialogue between the history and context of the house—which was built and owned by Jamaica’s first black millionaire, George Stiebel, in 1881—and the issues raised in the art works, such as the historical and contemporary dynamics of race and class, the politics of visibility and invisibility in the face of social violence, and our relationship to the natural environment.

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Sharon Norwood – Root of the Matter XI (2016)

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Jamaica Biennial 2014 to Close on March 15 with Artists’ Talks

Artist Talk (Web)

The Jamaica Biennial 2014 is scheduled to close on Sunday, March 15, and to mark the occasion the National Gallery of Jamaica will exceptionally be open from 11 am to 4 pm on that day. A special programme of Artists’ Talks will be presented on that day, starting at 1:30 pm. Admission to the National Gallery of Jamaica and the Artists’ Talks will be free but contributions to our donations box are much appreciated and help to fund exhibitions and programmes such as the Biennial and our Sunday programming.

The Jamaica Biennial 2014 has been a landmark exhibition in several respects and has received significant critical acclaim, in the media and from visitors. Rebranded from what used to be the National Biennial, the Jamaica Biennial 2014 was re-conceptualized to have a more international outlook and to engage local and international audiences more effectively. It is the first Biennial to be judged by international curators – Sara Hermann from the Dominican Republic and Diana Nawi from the Perez Art museum in Miami. It is also the first to include non-Jamaican artists, Blue Curry (Bahamas), James Cooper (Bermuda), Gilles Elie-dit-Cosaque (Martinique), Sheena Rose (Barbados), Richard Mark Rawlins (Trinidad), who were invited to participate in the Special Projects section of the exhibition, along with the Jamaican-born Renee Cox. In another first, the Biennial is shown at more than one location: in addition to the main exhibition at the National Gallery itself, this includes Devon House, which features work by Greg Bailey, James Cooper, Laura Facey, Ebony G. Patterson, Oneika Russell, and Cosmo Whyte, and National Gallery West in Montego Bay, which features work from the Sacred Geometry series by Renee Cox. One special project, PARADISE.jpg by Blue Curry, consists of an intervention on the facades of several buildings in Downtown Kingston. Sunday, March 15, represents the last opportunity to see the Jamaica Biennial 2014 in its entirety.

The Jamaica Biennial 2014 is one of the largest exhibitions in the National Gallery’s history and it is arguably its most diverse exhibition to date. This diversity is reflected in the artists who have been invited to participate in the Artists’ Talks, which are divided into two panels. Panel 1, which is presented under the theme “Traditional Media/New Approaches,” explores how artists use traditional media and styles such as representational painting, ceramics and fibre art to produce work that has significant cultural and aesthetic currency in the present moment. This panel features Michael Layne, Tina Spiro, Katrina Coombs, and Samere Tansley and will be chaired by National Gallery Senior Curator O’Neil Lawrence. Panel 2, titled “Mapping the Social Terrain,” explores how artists engage with the social environment and the social and political issues of the 21st century in new, experimental media. This second panel features Sheena Rose, who is visiting Jamaica for the occasion, as well as Camille Chedda, Katherine Silvera-Sunley and Leasho Johnson and will be chaired by Executive Director Veerle Poupeye. Each artist will make a short presentation on their work in the Biennial and its context, followed by an open discussion at the end of each panel. Continue reading

Young Talent V: Leasho Johnson

Leasho Johnson - Territorial Fad (2010) (right panel of triptych)

Leasho Johnson is a graphic designer, painter and fashion designer. His exhibition is curated by Veerle Poupeye.

Artist’s Statement

My work is inspired by various graffiti and graphic art styles, which I interpret within the context of my own environment. Being trained by my father in the traditional methods of painting and drawing, I have fused these traditional methods with my love for cartoons to create art that I consider to be more relevant to me as a young person than the kind I was trained to create. I believe cartoon illustrations are capable of reinterpreting controversial subjects such as religion or even homosexuality into a source of amusement, which provides me with an opportunity to express my interpretations of my immediate environment and my experiences as a Jamaican. I also believe cartoons reinterpret reality in another manner that reality itself cannot express; they are less threatening towards sensitive human emotions (anger, fear, hate) because they are not considered to represent reality. Ironically, using cartoons allows me to reintroduce and address the realities behind them. Continue reading