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21cc2014ActorBoyFractalEngagement

Re-Making Fractal Engagement: 6 Perspectives

CHARLES CAMPBELL AND NICOLE SMYTH-JOHNSON On Monday April 21, 2014 Charles Campbell unveiled Actor Boy: Fractal Engagement, a commission of the EN MAS’: Carnival and Performance Art of the Caribbean … »Read More

Homecoming

Repeat and Rotate: Interplay of Utopia and History

by Toby Lawrence:
In this rupture, the realities and particularities of Jamaican history are brought to the surface of a modern utopian form. With the potential for ruin found in the impending removal of just one bulldog clip, the modernist constructs fastened by these mass-produced and imported commercial products no longer exist without the consideration of the assorted histories that have contributed to their present state.

Portal, Detail

Charles Campbell’s Geometries

by Helen Marzolf
Charles Campbell’s Transporter deploys beauty to tear open seamless historical narratives. He irritates partially skinned-over political wounds, pulls injustices from the past, reminding, on gorgeously surfaced works of art.

Nat-Gal

Current and Upcoming

Residencies and exhibitions for the Winter and Spring of 2013

National Biennial

Critical Juncture: Review of the 2012 National Biennial

The current National Biennial in Kingston is perhaps the best biennial to date, but it also reveals of some of the major deficits that exist in the Jamaican art scene.

Human-Traffic-still2

Human Traffic: Past and Present

the themes and outcomes of a Conference on Human Trafficking hosted by Duke University

The-Adoration-of-Captain-Shit

The Adoration of Captain Shit

Ofili turned this accepted wisdom on his head. The images here were caricatures not characters. Captain Shit was a pimp on steroids and the women in his paintings combined hardcore porn with Blaxploitation.

Michael Parchment's Death of a Don in front of Bagasse at the Art Gallery of Mississauga

Walking Jamaica’s art History

R.M. Vaughan from Globe and Mail reviews the exhibition ’Contemporary Jamaican Art: Circa 1962/Circa 2012′

SpinningObject

Time’s Ghetto

What claim does Caribbean art have to the future?

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