In Memoriam, Milton Harley (1935-2021)

Milton Harley – Mayan 1, (c1976), Collection: NGJ

The National Gallery of Jamaica (NGJ) is saddened by the news of the passing of one of Jamaica’s respected art pioneers, Milton Harley, who died on January 1, 2021.

Born in Kingston, 1935, Dr Harley migrated to the United States of America (USA) where he attended the Pratt Institute in New York and attained a Bachelor of Fine Arts degree. In pursuit of a professional career in visual arts, Dr Harley attended art institutions (between 1959-1976) in USA, Spain, Mexico, Canada and the United Kingdom, to perfect his skills in areas such as graphic design, philosophy (aesthetics) and sculpture. He later earned his Doctor of Philosophy (PH.D.) in 1985 at the Centre for Postgraduate Studies in Education and Research, Leicester Polytechnic, United Kingdom.

After his exceptional educational journey, Dr Harley began his duties as a teacher at over thirteen different art educational institutions in Jamaica, Canada and the United Kingdom. His accomplishments as an artist included five solo exhibitions in Jamaica, New York and Spain and seventeen major group exhibitions in Jamaica, USA, United Kingdom, Canada, Spain and Brazil. Dr Harley is a true stalwart, and a significant part of Jamaica’s artistic legacy.

The NGJ’s Board of Directors, management and staff offer our sincere condolences to Dr Harley’s family and friends.

For further information on this esteemed visual artist, see the following link to an article written by Senior Curator at the NGJ, Monique Barnett-Davidson:

https://nationalgalleryofjamaica.wordpress.com/2013/11/05/jamaicas-art-pioneers-milton-harley-and-the-right-to-abstraction/

Jamaica’s Art Pioneers: Milton Harley and the Right to Abstraction

Milton Harley - Mayan 1, (c1976), Collection: NGJ

Milton Harley – Mayan 1, (c1976), Collection: NGJ

In March 1963, almost a year after Jamaican Independence, the late Rex Nettleford gave the main address at an art exhibition held at the now defunct Hills Gallery in Kingston. This public exhibition was considered to be the first of its kind in Jamaica to feature paintings and drawings that were solely abstract in nature. The works were created by a young Jamaican artist named Milton Harley and it was his first solo exhibition in the island, since graduating from the Pratt Institute in New York the previous year. In response to an expressed concern that the work of Jamaican artists must be relevant to the redefinition of Jamaican cultural identity at that time,, Nettleford was quoted as saying that, “The most we can demand of him is that he works to the pulse of Jamaica and that he allows Jamaican life to act as a catalyst for thought and expression in the arts.” Heavily influenced by the later exploits of the Abstract Expressionist movement, as an art student in New York during the 1960s, Harley remembers: “When I returned to Jamaica from New York I brought back all these ideas of painting from the New York School in particular, where I saw shows of the giants like Robert Motherwell, Franz Kline and Willem de Kooning.”

Milton Harley - Nocture (1962), Collection: NGJ

Milton Harley – Nocture (1962), Collection: NGJ

Milton Harley was born in Kingston 1935, and at a young age migrated with his family to the USA. One of the earliest pioneers of modern abstraction in Jamaican art, Harley’s visual rhetoric seemed to contrast with the cultural aspirations of other prominent Jamaican artists, social theorists and the general populace of the early Independence period. His aesthetic approach introduced the act of painting as directly engaged with its own material and elemental possibilities, without the illusion of objective imagery. As an abstractionist, he identifies and utilizes the elemental essences of the ‘real’ (such as form, texture, colour, etc.) to create an alternative but equally fascinating visual perspective to subject matter. In fact, according to the artist, though his work is abstract, the subject matters he deals with are all based on observations of actual people, places and environments. This may have been the case for one of his earliest paintings Nocturne (1962) which is an abstraction of “three women carrying containers of water on their heads as they are crossing a river at moonlight”.

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