Anthea McGibbon, Gleaner Writer
Michael Parchment's 'The African Slave Trade', made from wood and oil paint. - Ricardo Makyn/Staff Photographer
ART BUFFS connected with the ordeal of slavery through the eyes of over 50 artists last weekend in downtown Kingston.
An exhibition titled Materialising Slavery: Art, Artefact, Memory and Identity, opened to the public at two locations - the Museums Division at the Institute of Jamaica, and the National Gallery.
The exhibition - a collaboration of both institutions - marks the bicentenary of the abolition of the Trans-Atlantic Slave Trade as it relates to Jamaica according to Jonathan Greenland, Executive Director at the National Gallery.
He explained that the exhibition which runs until yearend, also highlights modern slavery which still exists in some countries.
At the Institute of Jamaica, the focus was on historic artifacts from the period 1750-1850, and included works from Belisario and J.B. Kidd. On the other hand, works by the daring Christopher Irons and Lawrence Graham created frank commemorations of the slave trade.
Christopher's freshly-killed white chickens stirred emotions, sending chills through several patrons.
The artist brings to the fore the harsh realities of slavery - using splattered blood and foul odours to recall the abusive ordeal of the enslaved.
Not far away, at the National Gallery, the focus was on Iconographic Reconstruction of the Black Image in Jamaica Art 1900-1980. This section featured artists such as Edna Manley, who for some, is mother of the modern Jamaican art movement.
The list here also includes Gloria Escoffery, Kapo, Carl Abrahams, Henry Daley, Osmond Watson, Barrington Watson, Namba Roy, Albert Huie and Albert Artwell.
Also highlighted at the National Gallery were contemporary works dedicated to reconstructuring history.
On the ground floor, Laura Facey's work is magnificent from concept to execution. She reminisces on the pain of slaves as they 'crossed over'.
Back in 2000, Facey exhibited the passions and intercessory sufferings of Jesus Christ. Her almost nude statute of the crucified Christ erected inside the St. Andrew Parish Church, caused quite a stir.
Facey, a Jamaican of European descent, shows her understanding of the hardship of many black Jamaicans. She connects the deep spirituality of the slaves and Jamaicans on a whole to the forebearance of Christ.
"Wash me Clean" is a prayer offered by her pieces, as she reiterates the words of Redemption Song, her connection to reggae icon Bob Marley.
Installations by Petrona Morrison connects us with deep-rooted passions of the slaves. Omara Ra is descriptive, yet prescriptive in his Abstract Heads of Marcus Garvey.
Recent art school graduate Camille Chedda's Untitled grapples with the Transantlantic trade as she visualises tightly packed slaves during shipment.
Other interesting pieces include The Barque by Dr. David Boxer, and his series pronouncing Memories of Colonisation; Michael Parchment's The African Slave Trade Omara Ra's A folk Drama: Vicker Hated the Sun, But Loved to Play With Her Necklace".
Omara Ra also engages in contemporary conflict between political parties through his Tacky and Jack Mansong.
One of the highlights of the exhibition is an installation, An Account of a Voyage to the Island Jamaica with the Unnatural History of That Place by American artist Fred Wilson.
Oye Tyembra's The Politics of Memory highlight the period 2002-2005.
Renee Cox's photographs are, as usual, outstanding. Among her contributions is Do or Die. In shackles against a wall, Cox is a nude shackled slave who must make a decision to comply with abuse, or die.
Liberty in South Bronx is also compelling, but it is her Red Coat that is dominant. Liberty in South Bronx, Do or Die and Your Mama Theatre, are from Cox's series titled Flipping the Script in which she superimposes a black person (herself) into the role of control - a play on the "white power".
The show is largely educational and sheds light on the history of slavery in an objective way.
Anthea McGibbon, a graduate of the Edna Manley has over eleven years experience in the fields of journalism and the arts. Contact her at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.
ART BUFFS connected with the ordeal of slavery through the eyes of over 50 artists last weekend in downtown Kingston.
An exhibition titled 'Materialising Slavery: Art, Artefact, Memory and Identity', opened to the public at two locations - the Museums Division at the Institute of Jamaica, and the National Gallery.
The exhibition - a collaboration of both institutions - marks the bicentenary of the abolition of the transatlantic slave trade as it relates to Jamaica, according to Jonathan Greenland, executive director at the National Gallery.
He explained that the exhibition, which runs until year-end, also highlights modern slavery which still exists in some countries.
At the Institute of Jamaica, the focus was on historic artefacts from the period 1750-1850, and included works from Belisario and J.B. Kidd. On the other hand, works by the daring Christopher Irons and Lawrence Graham created frank commemorations of the slave trade.
Christopher's freshly killed white chickens stirred emotions, sending chills through several patrons.
The artist brings to the fore the harsh realities of slavery - using splattered blood and foul odours to recall the abusive ordeal of the enslaved.
Not far away, at the National Gallery, the focus was on Iconographic Reconstruction of the Black Image in Jamaica Art 1900-1980. This section featured artists such as Edna Manley who, for some, is the mother of the modern Jamaican art movement.
The list here also includes Gloria Escoffery, Kapo, Carl Abrahams, Henry Daley, Osmond Watson, Barrington Watson, Namba Roy, Albert Huie and Albert Artwell.
Also highlighted at the National Gallery were contemporary works dedicated to reconstructuring history.
On the ground floor, Laura Facey's work is magnificent from concept to execution. She reminisces on the pain of slaves as they 'crossed over'.
Back in 2000, Facey exhibited the passions and intercessory sufferings of Jesus Christ. Her almost nude statute of the crucified Christ, erected inside the St. Andrew Parish Church, caused quite a stir.
Facey, a Jamaican of European descent, shows her understanding of the hardship of many black Jamaicans. She connects the deep spirituality of the slaves and Jamaicans on a whole to the forbearance of Christ.
'Wash me Clean' is a prayer offered by her pieces, as she reiterates the words of Redemption Song, her connection to reggae icon Bob Marley.
Installations by Petrona Morrison connects us with deep-rooted passions of the slaves. Omara Ra is descriptive, yet prescriptive in his Abstract Heads of Marcus Garvey.
Recent art school graduate Camille Chedda's 'Untitled' grapples with the transantlantic trade as she visualises tightly packed slaves during shipment.
Other interesting pieces include 'The Barque' by Dr. David Boxer, and his series pronouncing 'Memories of Colonisation'; Michael Parchment's 'The African Slave Trade', Omara Ra's 'A folk Drama: Vicker Hated the Sun, But Loved to Play With Her Necklace'.
Omara Ra also engages in contemporary conflict between political parties through his 'Tacky' and 'Jack Mansong'.
One of the highlights of the exhibition is an installation, 'An Account of a Voyage to the Island Jamaica with the Unnatural History of That Place' by American artist Fred Wilson.
Oye Tyembra's 'The Politics of Memory' highlights the period 2002-2005.
Renee Cox's photographs are, as usual, outstanding. Among her contributions is 'Do or Die'. In shackles against a wall, Cox is a nude shackled slave who must make a decision to comply with abuse, or die.
'Liberty in South Bronx' is also compelling, but it is her 'Red Coat' that is dominant. 'Liberty in South Bronx', 'Do or Die' and 'Your Mama Theatre', are from Cox's series titled 'Flipping the Script' in which she superimposes a black person (herself) into the role of control - a play on the 'white power'.
The show is largely educational and sheds light on the history of slavery in an objective way.
Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts, has over eleven years experience in the fields of journalism and the arts. Contact her at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.
