There is a long and not always auspicious history of artists using their work to retaliate against critics and other personal enemies. One famous example is the King Minos figure in Michelangelo's Last Judgement (1535-1541) fresco in the Sistine Chapel, which was very controversial at the time of its creation (and on several occasions after),... Continue Reading →
From the Archives: “Big Bamboo” and the Politics of Space in Fern Gully
Here is a second excerpt, on a more controversial subject and with some minor edits, from my chapter on art and tourism in my doctoral dissertation "Between Nation and Market: Art and Society in 20th Century Jamaica" (2011, Emory University). The first post can be found here. I have not been back to Fern... Continue Reading →
From the Archives: Dangerously Close to Tourist Art
I have not posted as often as I'd like recently, even though I have several new posts working on, as I have been bogged down with project and publication deadlines (and a nasty bout of flu) - not complaining about anything, except for the latter. So instead of a new post, I am presenting another... Continue Reading →
Notes on Jamaica’s Art Histories # 2: African-Derived Sculpture from the Colonial Period
My previous post in this series, which can be read here, was aimed at rekindling the critical discussion on Jamaica's art histories. As I argued then, the problematic of Jamaica’s main art historical narrative cannot be addressed by merely identifying and correcting the obvious gaps and oversights, or simply updating it to the present day... Continue Reading →
Some Thoughts on the Miss Lou Statue
Jamaica has been on a statue frenzy recently and that is, in itself, a good thing. Late last year there was the unveiling of the Usain Bolt statue at National Stadium and this will soon be followed, I gather, by the statue to Shelly-Ann Fraser-Pryce (we were initially told this would take place some... Continue Reading →
Notes on Jamaica’s Art Histories # 1: Critiquing the Main Narrative
Jamaica's art histories have been on my mind recently, as part of broader considerations about the art histories of the Global Caribbean. Most of the recent art-historical work in and about Jamaica (and the broader Caribbean) has consisted of reflecting on but, ultimately, rehashing what was already done with very little new primary research or... Continue Reading →