Jean Fouquet – Virgin and Child Surrounded by Angels (c1452), Collection: Royal Museum of Fine Arts, Antwerp In this final post on my recent visits to several Belgian museums, I turn my attention to some of the larger art museums in Oostende, Brussels, and Antwerp (although I already discussed the Ensor Year exhibitions at the... Continue Reading →
A Book and a Monument, “Lest We Forget”
Detail of Lest We Forget (Photo: Veerle Poupeye) On February 27, I attended the unveiling of the Lest We Forget monument at the Joy Spence Appleton Rum Experience in Nassau Valley, St Elizabeth. The monument, which commemorates the persons who were enslaved at Appleton, was designed and executed by a young Jamaican sculptor, Trishaunna Henry,... Continue Reading →
Provocations: Decolonize this Place!
For a number of years now, the Institute of Jamaica, which is the parent organization of the National Gallery of Jamaica and other Jamaican museums, has been hosting an annual Heritage Fest, as part of the Ministry of Culture's Heritage Month observations. This is normally a live event but since the Institute of Jamaica and... Continue Reading →
Creative Iconoclasm: What To Do With Those Colonial Monuments? – Part 2
This is the second part of a two-part post. Part 1 can be found here. The Caribbean is replete with statues that represent similar ideas about White Supremacy and Colonialism. Some of these statues date from the Plantation era but others, such as the Columbus Lighthouse in Santo Domingo, which was unveiled in 1992, are... Continue Reading →
Creative Iconoclasm: What To Do With Those Colonial Monuments? – Part 1
This is the first of the two-part post. Part 2, which can be found here, examines the implications for the Caribbean. As an art historian and curator, I am supposed to be beholden to the preservation of art and my response to any incident whereby an art work is deliberately damaged or destroyed is expected... Continue Reading →
Caribbean Conversations: Phillip Thomas – Part I
This is the first part of an extended conversation with the Jamaican painter Phillip Thomas. Part two can be found here. Veerle Poupeye: How do you situate and define yourself as an artist, in the contemporary Jamaican and Caribbean context? Is that, in fact, the context in which you situate and define yourself and, if... Continue Reading →