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112 pages

English

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The patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home.

Within the metaphor of the patchwork however is the question, where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation, and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be, and are challenging boundaries in Caribbean art.

These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability, how the practices of the artists and their art defy the easy categorization of the region, and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race, colour, and class loom large within questions of gender in the Jamaican art scene and that the book, dedicated to Sane Mae Dunkley, aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean.

Audience will include researchers and scholars of Caribbean and African diasporic art, college students, those interested in post-colonial studies, Caribbean artists, art professionals interested in a wider, globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.

Acknowledgments

Introduction

The Importance of Place

1. Wendy Nanan Talks about the Importance of Place in Her Works

2. Annalee Davis Uses Art to Unearth and Interrogate

3. For Deborah Anzinger, Ecology Is of Utmost Importance

4. Puerto Rico’s Lionel Cruet’s Artworks Are Focused on the Intimate Relationship with the Environment

5. The In-between Places of Jodie Lyn-Kee-Chow’s Visual Art Practice

6. Robin Farquharson, Unplugged

The Process of Art-Making

7. Garfield Morgan Discusses an Intuitive Approach to Art-Making

8. Jasmine Thomas-Girvan Utilizes the Subject of Loss to Right the Wrongs of the Past and the Present

9. Alicia Brown Revisits and Revises Colonial Narratives within the Languages of Portraiture and Painting

10. Living Gratefully: An Interview with Earl McKenzie

11. Katrina Coombs Discusses Her Fetish for Creating Fine-Art Fiber Works

12. Olivia McGilchrist Explores Caribbean Futures in Virtual Reality Narratives

Women and Visual Culture

13. Using Objects to Convey Meaning and Break Silences: An Interview with Material Culture Expert Steeve Buckridge

14. Master Jamaican Mat-Maker Sane Mae Dunkley Wove Together the Story of the Jamaican People

15. Women and Art: An Interview with O’Neil Lawrence

16. Jamaica’s Rich Bio-Diversity Is Painter Amy Laskin’s Muse

17. Oneika Russell Engages the Tropical Body and Caribbean Identity

18. For Amanda Coulson, Women Artists in Particular Should Remain Vigilant

Challenging Boundaries

19. Jaime Lee Loy Walks the Fine Line between the Familiar and the Unfamiliar

20. Sheena Rose Seeks to Challenge People (and Boundaries) with Her Work

21. Exploring the Art of Female Sexual Desires

22. Llanor Alleyne’s Female Figures Grounded in Nature as an Assertion and Reclamation of Inner Selves

23. La Vaughn Belle’s Contemporary Art Practice of Speaking in Layers

24. Artist Kereina Chang Fatt Uses Her Work to Address Relationships, Community, and Connectedness

Defying Easy Categorization

25. Krista Thompson Brings a Critical Eye to What Is Confined to the Footnotes of Art History

26. For Art Historian Edward J. Sullivan, the Caribbean (and Caribbean Artists, like Puerto Rico’s Francisco Oller) Defy Easy Categorization

27. Queen Victoria Give We Free: Tackling Victorian Jamaica in the Visual Arts

28. Pre-Raphaelite Sisters Exhibition Features Jamaican: An Interview with Jan Marsh

29. Art Historian and Curator Allison Thompson Believes That Art Is a Forum to Envision What Is

Possible

30. Where Others See Fragmentation, Tatiana Flores Sees Continuity in Caribbean Art

Appendix

About the Author

Sujets

Latin American

Decorative arts

Region

Design

Regional

Art

Craft

Cultural Studies

Caribbean

Informations

Publié par	Intellect Books
Date de parution	07 octobre 2022
Nombre de lectures	0
EAN13	9781789386486
Langue	English
Poids de l'ouvrage	6 Mo

Informations légales : prix de location à la page 0,1000€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Patchwork
Essays Interviews on Caribbean Visual
Culture
For Emma Chin-See, Sane Mae Dunkley, and Celeste Walker, In Memoriam
Patchwork
Essays Interviews on Caribbean
Visual Culture
Jacqueline Bishop
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover and layout designer: Aleksandra Szumlas
Production editor: Sophia Munyengeterwa
Typesetter: MPS Limited
Cover image: Photograph of Celeste Walker. Georgia Blair Mangat.
Paperback ISBN 978-1-78938-646-2
ePDF ISBN 978-1-78938-647-9
ePUB ISBN 978-1-78938-648-6
Printed and bound by Short Run.
To find out about all our publications, please visit our website.
There you can subscribe to our e-newsletter, browse or download our current catalogue, and buy any titles that are in print.
www.intellectbooks.com
This is a peer-reviewed publication.
Contents
Acknowledgements
Introduction
The Importance of Place
1. Wendy Nanan Talks about the Importance of Place in Her Works
2. Annalee Davis Uses Art to Unearth and Interrogate
3. For Deborah Anzinger, Ecology Is of Utmost Importance
4. Puerto Rico s Lionel Cruet s Artworks Are Focused on the Intimate Relationship with the Environment
5. The In-between Places of Jodie Lyn-Kee-Chow s Visual Art Practice
6. Robin Farquharson, Unplugged
The Process of Art-Making
7. Garfield Morgan Discusses an Intuitive Approach to Art-Making
8. Jasmine Thomas-Girvan Utilizes the Subject of Loss to Right the Wrongs of the Past and the Present
9. Alicia Brown Revisits and Revises Colonial Narratives within the Languages of Portraiture and Painting
10. Living Gratefully: An Interview with Earl McKenzie
11. Katrina Coombs Discusses Her Fetish for Creating Fine-Art Fiber Works
12. Olivia McGilchrist Explores Caribbean Futures in Virtual Reality Narratives
Women andVisual Culture
13. Using Objects to Convey Meaning and Break Silences: An Interview with Material Culture Expert Steeve Buckridge
14. Master Jamaican Mat-Maker Sane Mae Dunkley Wove Together the Story of the Jamaican People
15. Women and Art: An Interview with O'Neil Lawrence
16. Jamaica s Rich Bio-Diversity Is Painter Amy Laskin s Muse
17. Oneika Russell Engages the Tropical Body and Caribbean Identity
18. For Amanda Coulson, Women Artists in Particular Should Remain Vigilant
Challenging Boundaries
19. Jaime Lee Loy Walks the Fine Line between the Familiar and the Unfamiliar
20. Sheena Rose Seeks to Challenge People (and Boundaries) with Her Work
21. Exploring the Art of Female Sexual Desires
22. Llanor Alleyne s Female Figures Grounded in Nature as an Assertion and Reclamation of Inner Selves
23. La Vaughn Belle s Contemporary Art Practice of Speaking in Layers
24. Artist Kereina Chang Fatt Uses Her Work to Address Relationships, Community, and Connectedness
Defying EasyCategorization
25. Krista Thompson Brings a Critical Eye to What Is Confined to the Footnotes of Art History
26. For Art Historian Edward J. Sullivan, the Caribbean (and Caribbean Artists, Like Puerto Rico s Francisco Oller) Defy Easy Categorization
27. Queen Victoria Give We Free: Tackling Victorian Jamaica in the Visual Arts
28. Pre-Raphaelite Sisters Exhibition Features Jamaican: An Interview with Jan Marsh
29. Art Historian and Curator Allison Thompson Believes that Art Is a Forum to Envision What Is Possible
30. Where Others See Fragmentation, Tatiana Flores Sees Continuity in Caribbean Art
Appendix
About the Author
Acknowledgments
My fascination with Caribbean art and visual culture began in a course I took many moons ago with Professor Edward Sullivan of New York University. I literally fell in love with Caribbean art in Professor Sullivan's class and it was after taking this course that I began centering Caribbean art in my thinking and dialoging with the artists, scholars, curators, and critics who I have had the opportunity to present in this book. These individuals and our conversations demonstrate how vibrant and dynamic Caribbean art and visual culture is. Special recognition goes out to Sane Mae Dunkley, Emma Chin-See, Celeste Walker, and Theresa Walker, whose fantastic Indigenous textile and needlework I am grateful to showcase in this book. This volume would not exist without the intervention of Amelia Jones, whose work and ideas remain a guiding source of inspiration. It was Amelia who first presented the book to Jelena Stanovnik of Intellect and Jelena's enthusiasm for the project never wavered. Sophia Munyengeterwa was an excellent production manager. I thank the two peer reviewers who expressed a genuine warmth for the volume and provided useful insights. I thank the editors of the Huffington Post and the Jamaica Observer Bookends section where many of these works were first published. Karen Singleton-Vega remains a valued light in helping me see; my father and mother deserve much appreciation for being supportive. Many thanks to Mora Beauchamp-Byrd, Michela Calderaro, Dr. Daniela Fifi, Susanne Fredricks, Loretta Collins Klobah, Sharon Leach, Geoffrey Philp, Will Rea, Timothy J Reiss, Monique Roffey, Claudia Sternberg, Tim Tomlinson, and Sarah Wilson for so much and then much more. Finally, with much appreciation, this book was supported by grants from the NYU Center for the Humanities and the Paul Mellon Center for Studies in British Art.
Introduction
To begin a discussion of how this volume came about, I have to speak about my own intimate influences as a visual artist. It is clear to me now that the interviews that I was conducting and publishing with practitioners and scholars of Caribbean art and the platform afforded me at the Huffington Post for close to five years, where I shone a spotlight on women in the visual arts, whether as artists, curators, or academics, was following in a long family tradition of piece work-utilizing the patchwork aesthetic of my foremothers-in trying to create a whole out of bits and pieces. Consequently, in order to understand a volume like this-one in which a practicing visual artist systematically sets out to be an art writer, critic, and interviewer-this volume has to be placed within the context of the vernacular creative tradition of my family.
My strongest influences as a visual artist came from family members-my great-grandmother, my grandmother, my mother-all of whom hail from a tiny district called Nonsuch, hidden deep in the massive undulating purple/blue Portland mountains on the island of Jamaica. To this day when you speak to the people in Nonsuch in Portland, in deep rural Jamaica, who knew my great-grandmother, they describe her as a work of art unto herself, a woman who never wore matching socks, and who patchworked even her husband s work clothes and filled their home with hand-made collages culled from magazines and newspapers. Nothing ever went to waste with Celeste. Bits and pieces of leftover cloths from dressmakers became patchworks that found their way onto beds. These patchworks that she made were NOT FOR EVERYDAY USE. Rather, the everyday-use bedspreads were precisely the ones that were bought at the store. The patchwork bedspreads that she sat up and made by lamplight (before electricity came to Nonsuch) were the Christmas Day bed linen; the ones invited guests got to see when they came over; the ones that were put on the bed when people from abroad were coming. They were works of art. It saddens me that when she died at home her work was considered of so little importance to those around her that the two biggest and best patchworks she made were used to wrap her body in and take to the morgue, where they were of course discarded as nothing of value. The few pieces of her work that I eventually got, would go on to form the basis of my own work. I am, like my great grandmother and my grandmother, a patchworker. Someone who is always piecing things together to form a larger whole. This book too is a patchwork.

Figure I.1: Photograph of Celeste Walker. Georgia Blair-Mangat, n.d.
My great grandmother and later my grandmother used patchwork as memory devices. Many pieces of cloth used in their work bore traces from former lives and for my great grandmother specific colors were assigned to family members, more so the ones who had migrated. Both my great grandmother and my grandmother were using patchwork and a patchwork aesthetic to tell a larger non-linear story, which is precisely what I found myself doing as I read through the essays and interviews in this collection. In so doing, themes started arising organically, themes that reflect the history of the Caribbean and having to do with such charged and contested issues as the importance of place in Caribbean art, the questioning of women s role in Caribbean art, in addition to looking at how artists in the Caribbean are challenging boundaries and defying easy categorizations. This volume lays out some of the broad trends in Caribbean visual culture and calls into question some of the notable absences.

Figure I.2: Patchwork. Celeste Walker, n.d. Image by Jacqueline Bishop.
Patchwork as metaphor, the seeking to create order and make whole out of bits and pieces and the left over, is an apt metaphor for the Caribbean a whole-a region formed out of a history of colonization and conquest, a region which saw various groups of individuals brought in to work the land. It should be no surprise then that the land and colonization remain baseline issues for sev