In the artephemera®com office hangs a special gallery exhibition poster which reminds us daily that --- despite the prevailing notion of social and institutional recognition determining whether or not you are 'somebody' whose work is worthy of acknowledgement --- who we are is not as important nor as interesting as what we do. That said, our mission is to serve the vision of Karl "Parboo" Parboosingh (1923-1975) --- made clear in his speech at the opening of his last exhibition in 1975 at the John PearTree Gallery --- to support the market for works of beauty that can only enhance our lives and to concern ourselves "with the welfare of the country in that the citizens gain maximum benefit from the creative production of its artists".
A G O R A
ACQUISITIONS | The Pennsylvania Academy of the Fine Arts (PAFA) recently acquired 20 works for its permanent collection. By design, half of the new acquisitions are by women and people of color as "PAFA continues to build a permanent collection devoted to the American experience”. USD$247,000 was spent on works by Nick Cave, Ebony G. Patterson, Didier William, Mequitta Ahuja and Betty Tompkins amongst others.
AWARDS | Deborah Carol Anzinger is a 2018 grant recipient of the Pollock-Krasner Foundation. Established in 1985 PKF provides financial assistance to international working visual artists of established ability through the generosity of the late Lee Krasner, artist and widow of American abstract expressionist painter Jackson Pollock (1912-1956).
RECOGNITION |The Arts Foundation of the Edna Manley College (AFEMC) for their inaugural (2018) "The Arts Foundation Awards" held at the National Gallery of Jamaica honoured artist George Rodney and ceramicist Norma Rodney-Harrack, (AFEMC) for excellence in their individual genres. The charity, established in 2012, is mandated "to promote the development of the arts in Jamaica by providing financial assistance to the talented students of the Edna Manley College of the Visual & Performing Arts (EMCVPA) and to the college itself for the ongoing development of a world-class curriculum as well as much-needed infrastructure support".
RESIDENCY | Ebony G. Patterson, in collaboration with her alma mater the Edna Manley College of the Visual and Performing Arts (Class of 2004), is offering the Cooper Residency for Visual Artists in Jamaica, in honour of "a beloved mentor who, taught and nurtured and transformed so many in his over 30 years of teaching" --- the late Cecil Cooper. The 13 week residency is for an “emerging” artist residing in Jamaica during the Fall Semester of 2018. Deadline looms!, (25th of May) please see more below.
Hope Brooks, Four Pomegranates (1975); Collection: National Gallery of Jamaica.
An image of Hope Brooks' work Four Pomegranates was selected by Chicago architect and exhibitions designer Amy Reichert for inclusion in an installation (see above) in the Park Avenue Synagogue's new Lifelong Learning Center in New York City.
Along one side of the hallways on each of five floors are art friezes with Reichert’s selections of some 200 artworks inspired by the Torah and organized by themes related to each book of Moses: Bresheit (Genesis), Shemot (Exodus), Vayicra (Leviticus), Bamidbar (Numbers), and Devarim (Deuteronomy). The pomegranate is an important object and symbol of Judaic celebration and ceremony. Its seeds ideally match in number to the 613 commandments given by God to the Hebrews to be observed in order to be righteous. Additionally, on the second night of Rosh Hashanah it is a custom to eat the pomegranate as symbol of fertility, and unlimited possibilities for the New Year.
That said, Hope Brooks, said of her own work that it represents the fruit in various stages of its life: "spring, summer, autumn, and winter is a dialogue about life itself, with all its complexities, it is a dialogue which addresses itself on the surface, the use of texture and female imagery, combined with exquisite abstractions of organic forms; and beneath that surface the more fundamental concerns of time and elements and the process of them decay her femaleness and her spirituality". Quoted here from Hope Brooks and her work courtesy of petrinearcher.com.
Pictured above is Mavis Pusey's work Nuvae (c1968) 762x1016 mm; 30x40 inches, Oil on burlap canvas which was estimated at USD$7,000 - 10,000 for the Postwar African-American Fine Art Sale at Swann's Auction in 2013 and sold for (with Buyer's Premium) USD $33,750
Works by Jamaican-born artist Mavis Pusey (1928-) were recently exhibited in Magnetic Fields: Expanding American Abstraction, 1960s to Today at the National Museum of Women in the Arts, in Washington, DC. The show, brought to our attention by Margaret Bernal, placed abstract works by multiple generations of black women artists in context with one another—and within the larger history of abstract art—for the first time, revealing the artists’ role as under-recognized leaders in abstraction. Read more here about the artist and the exhibition.
Minister of State in the Ministry of Culture, Gender, Entertainment and Sport, Hon. Alando Terrelonge (at left) examines the mural he unveiled as part of the official opening of the UTech's (University of Technology) 60th Anniversary visual art exhibition, ‘Legacies’. The mural was created by students of UTech on the wall of the Centre for the Arts, where the exhibition was showcased.
Next Gen Creators teamed up with Canada-based digital artist Alex Mayhew of ReBlink, to present the Creators’ Festival, an interactive augmented reality art experience at the recently held ‘Converge Summit’ in Kingston. The summit focused on how technology will transform the creative economy globally and provided a platform for local artists, Roux Art House by Shaundel Campbell, Richard Nattoo, and Ceej Arts by Ceejay Carpio for transforming their works into tech driven pieces.
Curator and artist Melinda Brown, carver Winston Joseph, gallery director and artist Jessica Ogden, sculptor Laura Facey and craftsman Derval Junior Johnson at the Easter "re-opening" of Harmony Hall Gallery. In the background, is Laura Facey's, Oar for Ba (2010). Photo: Alfredo Piola.
The opening of the show by Melinda Brown was in itself an art piece: starting with the important acknowledgement of Jessica Ogden and Sebastian Ogden's continuance of their mother, Annabella Proudlock's (1943-2015) revolutionary gallery concept and ending with an equally important exhortation on capitalism, collecting and the buying of art instead of just loving it; hers was a speech which the market needs to hear. (More on that later).
The exhibition, which celebrates the work of Laura Facey (who we are thrilled to announce is back in the studio - more on that later, too) as well as Jessica Ogden, Graham Davis, Albert Artwell and displays the new ‘Durrel Series’ and Deloris Anglin's hand-painted Annabella Boxes, continues through mid-June.
Currently exhibiting in Dakar, Senegal at the 2018 Dak’Art Biennale, artist Oneika Russell talks to Contemporary And about the cultural ambiguities of Jamaica, salt water, the exploitation of Caribbean people, and artistic possibilities. Additional coverage to come in the May 2018 review, in the meantime click to read more.
Is your creative content safe? Facebook has come under fire for mining user data but do you know that you surrender your intellectual property rights when posting your artwork, photographs, music and other creative product on your Facebook page? According to paragraph 2.1 of their terms and conditions, Facebook owns the rights to photos and videos you share or post: “
For content that is covered by intellectual property rights, like photos and videos[,] you specifically give us the following permission, subject to your privacy and application settings: you grant us a non-exclusive, transferable, sub-licensable, royalty-free, worldwide license to use any IP content that you post on or in connection with Facebook (IP License).”
As a precaution, share your creative work in places where you retain control of how it is used and displayed by obtaining our own permanent web address and web site. (From art.art)
If you wish to add resources to this site, or if you own the copyright for any of the material on this website and do not consent to its use herein, please contact us for guidelines &/or material take down. All site content is prepared using publicly available, "as-is" information with or without examining the actual works works. artephemera®com has no vested interest in any art assets that appear herein.
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