http://www.petrinearcher.com/caribbean-artists-archive-z?

page=3
Jene pearson, Michael laine, Norma Harrack

Cecil Baugh, Edna Manley, Sarah Fuller, Camille

Chedda
http://www.petrinearcher.com/artist-bio/cecil-baugh
-

http://www.sarahfullerpottery.com/about.html

http://jis.gov.jm/famous_jamaicans/edna-manley/
http://www.my-island-jamaica.com/edna_manley.html
Inspiration for Speak Wid yuh Mind Piece

Albert Huie, Alexander Cooper, Barrington Watson,

Leasho Johnson, Camille Chedda
-

Albert Huie http://www.galleryofwestindianart.com/collections/jamaicanart/products/huie-albert-jamaica-ref-hui-1

https://nationalgalleryofjamaica.wordpress.com/2010/01/31/remembering-alberthuie-1920-2010/

Barrington Watson
https://nationalgalleryofjamaica.wordpress.com/tag/barrington-watson/
http://vm.instituteofjamaica.org.jm/vrtour/BWatson/index_intro.html

Leasho Johnson
https://nationalgalleryofjamaica.wordpress.com/2010/04/28/young-talent-vleasho-johnson/

Camille Chedda http://camillechedda.webs.com/

https://nationalgalleryofjamaica.wordpress.com/2013/07/19/new-rootscamille-chedda/
https://nationalgalleryofjamaica.wordpress.com/2013/07/19/new-rootscamille-chedda/#more-4862
Ann Marie Kinsella http://fineartamerica.com/profiles/anna-maria-kinsella.html
http://www.harmonyhallantigua.com/en/art-gallery/artists/item/50-marie-kinsella.html
Marie's last solo exhibition was over 2 - years ago as she rarely paints these days and Art At
The Ridge is delighted to have this opportunity to exhibit her work.
Originally from Ireland, Marie has lived in Antigua for almost 30 years. Her art is inspired by
the beautiful light and people of the Caribbean islands. Marie paints in an amusing nave

style that is uniquely her own, using acrylics, oil and watercolour on canvas and silk. Over
the years, Marie has been commissioned to paint murals at various hotels and her work can
be seen in many homes and businesses on island as well as worldwide.
Art At The Ridge exhibits a wide and varied range of great artwork by Antiguan artists at
Sugar Club (upstairs bar area) and at our shop gallery (both at Sugar Ridge Village, near
Jolly Harbour) throughout the year. Marie for Baby Inspiration

Interview Questions for CSEC Visual Arts Journal

1. What is your full name?
2. What is your nationality?
3. How long have you been working in the art industry?
4. Where did you go to school/Where did you learn art?
5. What influenced you to become an artist?
6. What is your favourite medium to use?
7. What inspires you to create art?
8. What message do you generally try to convey through your art?
9. What advice would you give to a CSEC Visual Arts Student?
10.
What college they studied at and the programs they did and for
how long
11.
Have you participated in any art exhibitions?
12.
How has it been as a female in the art industry?
13.
What motivates you to be outside of the box with your art works?
14.
Do your works depict the theme Fearless in any way?
15.

Alexander Cooper

Alexander Cooper is a Jamaican, well known in the field of art. Born in 1934,
he became one of the first students to attend the Jamaica School of the Arts.
After graduating in 1959, he also attended the New York School of Visual Arts
and the Art Student League. In 1962 and 1964, he won first place in the
Jamaica National Fine Arts Competition. Despite the heated atmosphere for
those of African descent in the American history, during the 1960s,
Alexander became the first Jamaican artist to be asked to participate in an
art show at the U.S. State Department in Washington D.C. Alexander was
also acknowledged by the Prime Minister of Jamaica in 1983, for his
Outstanding Contribution to the art works. Alexanders artworks have been
featured in art exhibitions across the globe, spanning across New York,

Mexico, London, Canada and Germany. Alexander is well noted for vibrant
and rich depictions of Jamaican life in his artworks.
Campbells Exhibitions
2003 - Alexander Cooper: Village:

Mutual Life Gallery Kingston, Jamaica

1999 - Alexander Cooper in Washington, Organization of American

States, Washington, D.C.
1999 - Tribute to Mothers Mutual Life Gallery, Kingston, Jamaica
1993 - Alexander Cooper Dance Mutual Life Gallery, Kingston
1990 - Alexander Cooper Natures Way: Mutual Life Gallery Kingston,
Jamaica
1990 - Forty Years: Edna Manley School for the Visual Arts, National Gallery
of Jamaica, Kingston
1988

A.D. Scott: Art Patron & Collector, National Gallery of Jamaica

1986

Alexander Cooper, Tropical Flowers, Mutual Life Gallery, Kingston

1986

First Aniversary Exhibition, Contemporary Arts Centre, Kingston

1985

Cooper, Exclusive Erotica, Makonde Gallery, Kingston

1985

Alexander Cooper, Bolivar Gallery, Kingston

1983

Remembrance: An Exhibition of Jamaican Art, Commonwealth

Institute, London,
England
1982

Alexander Cooper, Upstairs Downstairs Gallery, Kingston

1979

Alexander Cooper, Jamaican Consulate, Toronto

1978-85 Annual National Exhibition, National Gallery of Jamaica, Kingston

1978

The Passion of Christ, National Gallery of Jamaica, Kingston

1978

The Print: Four Graphic Techniques, National Gallery of Jamaica,

Kingston
1975

Thirty Jamaican Artists, Mexico City, Mexico

1965

Alexander Cooper: Tosco Gallery, New York, NY

1965

Alexander Cooper: The U.S. State Department in Washington, D.C.

Awards Achieved

2001

Silver Musgrave Medal for excellence in Art

1991

Caribbean Academy of Art Culture OD

1983

Prime Minister Award for outstanding contribution to Art

1962-64 First Prize, Jamaica National Art Competition

Examples of Campbells works

The Saw Pit, Oil on Canvas, 19 by

23
Andrew Campbell

Workers Pastime
Andre Campbell

My primary inspiration & influence for this painting was the artist Leonid Afremov. I
loved his line of animal paintings. His use of colourful vibrant colours in
backgrounds and the animal inspired me .

http://www.petrinearcher.com/afro-caribbean-art-1914-present

Afro-Caribbean Art - 1914 to Present

Many stylistic influences overlap within Caribbean art, so its history often requires social and cultural
references to contextualise its diversity. The mainly Spanish, French and English speaking island
populations colonised by Europeans from the 16th century still reflect the cultural mix that the
Atlantic trade in sugar, spice and slaves provoked. Most Caribbean's of African descent have some
Asian, Middle Eastern or European heritage. Caribbean art of this century is similarly hybrid.
Afro-Caribbean art can be called modern because, aside from the work of European itinerant artists,
there is sparse evidence of local art production in any of the islands prior to the 20th century. With
the exception of Haiti, the schizophrenic nature of colonial societies meant that art was created by
European visitors concerned with exhibiting their works back in their home countries. Up to 1900,
they largely ignored regional institutions and ideas about Creole identity.
Afro-Caribbeans, however, were more inclined to look to these institutions
and were more comfortable with their Caribbean identity. But plantation
economies could ill afford art in the leisurely sense, so their early forms of
expression were manifested in performance art such as carnival. AfroCaribbeans have only recently seen what they do as art. Caribbean
populations took long to recognise the value of black creativity that had
been promoted by Europeans in Paris, New York and London after 1914.
By 1920, the Caribbean became a vogue muse to Europe, as did Africa and other so-called
"primitive" cultures. It attracted artists such as Edna Manley in Jamaica, Richmond Barthe there and
in Haiti, and Wifredo Lam in Cuba; all keen to capture aspects of Paul Guaguin's artistic paradise.
Like him, they sought identity in distant lands where they believed they had some cultural
connection. The art of these progressive liberals provoked a racial awareness and prefigured the use
of the black physiognomy in painting and sculpture. Their interests coincided with shifts in political
power from colonial administrations to a growing local middle class attracted by cultural nationalist
sentiments, Pan-Africanism, and the "new negro" philosophies of the Harlem Renaissance that
swept through American cities in the 1930's. By the 1940's, the perception of the Caribbean changed
from exotica to that of an accommodating cultural hub for America and Europe, where both black
ideas about Africa and European ideas of the "primitive" could safely interact.
Early Caribbean art was an uneasy mix of styles. Loosening colonial ties and a more rooted Creole
community's desire for autonomy, encouraged local themes. Some artists bowed to the rigours of
traditional figure and landscape painting. Others flirted with relatively modern impressionist and postimpressionist styles for painting, or art deco forms for sculpture. Still others explored spiritual
concerns inherited from African art. Often, all these styles converged in a single art work. The result
was a cultural expression that was tense, inelegant, technically incompatible but nevertheless
challenging.

Apart from this mainstream trend towards a local aesthetic, there was a parallel resurgence of
creativity by artisans and craftsmen, normally of peasant or lower class backgrounds. The work of
these self-taught artists relates more closely to African art that is traditional and spiritual and often
reliant on an inner vision of reality. It is characterised by a tendency to overall patterning, a varied
and integrated use of colour, flatness of forms reminiscent of textile design and the inclusion of
written narratives. In Caribbean sculpture, African approaches are also visible in the techniques for
selecting, honing, dying and polishing woods. The function of such art is similar. In Africa, carvings
are perceived as objects of power. In the Caribbean, their medicinal and spiritual meanings are
heavily disguised in the unorthodox Afro-Christian religions of Obeah, Santeria, Rastafarianism and
Voodoo.
Self-taught artist movements in all the islands share affinities. Their creativity was clearly suppressed
during the colonial period. European "discovery" and patronage (as with Dewitt Peters in Haiti) was a
big factor. Significant international success and the attendant problems of kitsch commercialism
(especially where the art market is tourist based) compromised their integrity.
Few regional institutions have understood how to successfully show this type of art without exploiting
the original vision of these artists. Integrating their art into mainstream gallery exhibitions has also
been tricky. Local audiences are reluctant to accept these predominantly black and mystical
expressions as valuable reflections of their own heritage. Informed art criticism is still needed to
educate Caribbean audiences and offer alternatives to their traditionally European and conservative
tastes.
The protests and upheavals in the region in the 1960s and 1970s fractured the cohesive nationalist
sentiments reflected in Caribbean art of earlier decades. The Cuban Revolution (and subsequent
United States embargo), independence for most of the islands, the Black Power movement's
influence and cruel dictatorships incited political instability. The turbulence registered in two
diametrically opposed art forms. Many artists exposed to art training abroad and disillusioned with
art movements in their small islands, abandoned a local vernacular for a more international modern
style. To counter their western training, others delved even more deeply into their roots for African
imagery. Their work made conscious statements about racial and class awareness but was often
disguised in political allegory intended to challenge western styles and values. In the face of
American cultural hegemony, this approach has become a platform for contemporary Afro-Caribbean
art.
In the 1980s and 1990s, Afro-Caribbean art depicts post- modern preoccupations with cultural
diversity and identity and has consequently attracted attention outside the region. Despite its openended and eclectic nature, however, such art is still married to the notion of ancestral heritage and
regional identity. At recent biennials in Santa Domingo and Havana, the exhibits displayed a selfconscious and satirical embracing of cultural memory styled in unconventional settings, installations

and off-the-wall works that straddle African traditions and European post-modern ideas of "primitive"
creativity. Such imagery shows that even now Afro-Caribbean artists are still grappling with the
region's complex cultural history. It is their engagement with the past that makes art in this region so
compelling.
Group Image Sources
Edna
Manley,
Tomorrow,
1938
Miss
Vera
Dantra,
Wales
Reproduced in David Boxer Edna Manley: Sculptor Kingston: The National Gallery of Jamaica
and The Edna Manley Foundation, 1990
673.

674.

Wifredo

Lam,
The
The
Museum
of
Modern
Photograph copyright 1995 The Museum of Modern Art

675.

LeRoy

676.

Everald

Clarke,

In

the

Jungle,
Art,

New

1943
York.

Maze

there is a single line to my soul, 1986

Artists
collection
Reproduced in exhib. cat. Trinidad and Tobago: Contemporary Painting, October Gallery,
London, 1992
Ethiopian
Apple,
1970
National
Gallery
of
Jamaica,
Kingston
Reproduced in SITES Jamaican Art 1922-1982, Washington: Smithsonian Institution, 1993

-Carrie,
La
Foret
Sacree,
1992
Artists
collection
Reproduced in Exhibition Catalogue Edouard Duval Carrie, Marco, Museo de Arte
Contemporaneo de Monterrey, Monterrey, N.L., Mexico, October 1992
677.

Edouard

Brown,

Duval

Group Picture Labels

Edna

673.
Tomorrow
Wood
H.approx. 24"

Manley

(1900-1987)
(1938)
(Mahogany),

674.

Wifredo
The
Jungle
Gouache
on
paper
7' 10 " x 7' 6 " (239.4 x 229.4 cm.)

675.
In
the
maze,
Oil
51 " x 61 "

Leroy
there

is

Edouard
La
Oil
Tryitych
180 x 420 cm

single

Clarke
line

Brown
Apple
on

Ethiopian
Oil
25 x 37 "
677.

mounted

on

to

my

on

Everald

676.

Lam

Duval
Foret
and

(1917-

-Carrie
Sacree
16

resin

(1918-1982)
(1943)
canvas

soul

(1938)
1986
canvas

)
(1970)
canvas

(19541992
sculptures

Group Image Text

The Spirit of Afro-Caribbean Art
These five paintings were painted at different times in various parts of the region, but common
features such as their modernist primitivising techniques, African imagery and intuitive approaches
define them as Afro-Caribbean. They share a symbolism related to ancestral heritage and utopian
aspirations. Informed by the syncretic religions of the Caribbean such as Santeria ( The Jungle),
Obeah (In the maze, there is a single line to my soul) Rastafarianism (Ethiopian Apple) and Voodoo
(The Foret Sacree), they are transformative, agitating for liberation, rebirth and change in the
condition of the Caribbean man.
Edna Manley's Tomorrow 1938, with its upward thrust and hands raised in heavenly praise, opens
the way for a future for the Jamaican "new negro" recently politically aroused by labour struggles of
that year. Tomorrow's vertical schema separates it from the works of the four other artists. Whereas
the strong vertical forms of Manley's sculpture reinforce a conventional Christian reading of heaven
and earth, the others reflect a cosmic world where forms are overlapping, interrelated and non-linear.

Although modernist in feel, Wifredo Lam's Jungle owes a greater debt to the Afro-Cuban beliefs in
Santeria. Consequently, Jungle has much in common with the more intuitive spiritual expressions of
Clarke, Brown and Duval-Carrie. Colour, overall patterning and an edgeless unified network of
images reinforce the sense of integration in their work. Aside from visual similarities, a conceptual
thread runs through all these works that is an underlying spiritualism and denial of western
perceptions of the world.
Glossary/Style Sheet
Edouard Duval-Carrie - hyphenated on the last e.
Richmond Barthe - hyphenated on the last e.
Creole - Born or assimilated into the Caribbean region.
Obeah - Considered a negative spiritual practice retained from African rituals used as a punishment
or other forms of retaliation.
Rastafarianism - A spiritual belief originating in Jamaica that has spread through the region and
promotes black repatriation to Africa considered a spiritual Eden.
Santeria - An African Cuban religion derived from Yoruba beliefs and rituals.
Voodoo, Vodun, Voudoun - The religion of the majority of the Haitian people that combines West
African and European cultural practices. Certain ritual practices are believed to effect good and bad
outcomes.
Brief Biography: Dr. Petrine Archer-Straw (1956 - )
Dr. Petrine Archer-Straw is a Jamaican lecturer and curator who works between the Caribbean and
London. She has taught at the Courtauld Institute of Art since 1994. She has curated a number of
exhibitions for both Caribbean and British audiences including:

Home and Away : Seven (7) Jamaican Artists, October Gallery, London, 1994

New World Imagery: Contemporary Jamaican Art, National Touring Exhibitions Arnolfini,
Bristol, National Gallery of Jamaica and touring, 1995-6

Photos and Phantasm: The Photographs of Harry Johnston, British Council, 1998

She is the author of Jamaican Art, Kingston Publishers, Kingston, 1990 and is currently writing
Negrophilia: The Darker Side of Paris' Modernity to be published by Thames and Hudson in 1999.
Further Reading:
Petrine Archer-Straw and Kim Robinson Jamaican Art: An Overview, with a focus on Fifty Artists
Kingston: Kingston Publishers, 1990
David Boxer in SITES Jamaican Art 1922-1982 Washington: Smithsonian Institution, 1993
David Boxer Edna Manley: Sculptor Kingston: The National Gallery of Jamaica and The Edna
Manley Foundation, 1990
Luis Camnitzer New Art of Cuba Austin: University of Texas, 1994
Michel Philippe Lerebours Haiti et ses Pientres de 1804 a 1980 Port au Prince, Bibliotheque National
d'Haiti, 1989
Samella S. Lewis Caribbean Visions : Contemporary Painting and Sculpture Alexandria Virginia: Art
Services International 1995
Geoffrey MacLean "Trinidad and Tobago: Contemporary Painting", in exhib. cat., Trinidad and
Tobago: Contemporary Painting, October Gallery, London, 1992
Charles Merewether "Banality and Tragedy: A History of the Present in Haiti", in exhib cat Edouard
Duval Carrie, Marco, Museo de Arte Contemporaneo de Monterrey, Monterrey, N.L., Mexico, October
1992
Charles Merewether and Geraldo Mosquera Made in Havana: Contemporary Art from Cuba exhib.
cat Sydney: Art Gallery of New South Wales, 1988

Simon Njami et al "Caribbean Art and Literature" Revue Noire Paris, Vol. 2 June-July August 1993
Simon Njami et al "Caribbean Art and Literature" Revue Noire Paris, Vol. 6 September-October
November 1993
John Nunley & Judith Bettelheim, eds., Caribbean Festival of Arts : Each and every bit of difference
Seattle and London: University of Washington Press, 1988
Edward J. Sullivan Latin American Art in the Twentieth Century London: Phaidon, 1996
Emma Wallace et al, exhib. cat Caribbean Art Now London: Commonwealth Institute AugustSeptember 1986