Anthea McGibbon, Gleaner Writer

The magazine's cover. - Photo by Anthea McGibbon

THE PASSION of art enthusiasts has been stirred with the recent publication of the Art Issue by The Jamaican magazine. The opportune arrival of this magazine narrows the gap in the developing links between Jamaica's art, artists, artisans and the rest of the world.

Strategically promoted between Independence and Heroes Day celebrations, the publication by Deeks Designs Limited adequately highlights some aspects of Jamaica's art, but stops short of being an excellent product, apart from its packaging and purpose.

Creative designer and director Heather Kong, along with the production and contributing team, has done a remarkable job in capturing the high-spirited and colourful lives of those selected a number of photographs detrimentally bear no captions.

Overall, the magazine is a welcome delight, but its brilliance fails at outshining a few errors that for some Jamaicans are unbearable. Rationally, individual appreciation is left to the personal taste of the buyer, and criticisms should be subject to the overriding objective of the magazine.

Historical perspective

This objective, according to Editor Lorraine Murray, is "to present a general overview of Jamaican art from a historical perspective, and to show the range of works - landscape, portraiture, still life, abstract". One criticism among artists is that the periodical seems to be focused at promoting a 'certain pattern of thinking and biases'.

The notion that Edna Manley 'founded the Jamaican art movement' has left a few artists feeling uncomfortable. It is felt that there is an underplay on the role of Jamaican artists before, during and after Manley's arrival.

Some say that this treatment, mirrored through the years towards other artists, specifically those who have charted and contributed to the course of Jamaica's art history, is pronounced throughout the mag.

Artists overlooked

At first glance, a number of artists have been overlooked or not given due prominence, even given the 172-page limitations of the publication. This especially in regards to the intense diversity of existing forms and styles detailing the various genres.

Evidently, the 'intuitives' are the main feature of the mag, but at the expense of balanced features on other critical issues and artists who almost are pushed into oblivion.

Thus, the debate as to whether a clear definition of Jamaican art is realised, and considered biases such as promoting self-taught artists as the Jamaican brand, and against already established artists and accepted masters is strengthened.

Perhaps, though, this intense diversity and bottomless reservoir of ideas presented a challenge to the organisers, given their time limitations.

Almost nothing is offered of the unique Edna Manley College of the Visual and Performing Arts (formerly the Jamaica School of Art) and its graduates, nor Jamaican artists who have studied abroad, and in the same vein there is little hint of those who are creating strides abroad. Even briefly, some light should have been shed on the development of art education and educators beyond Edna Manley.

According to organisers, the art issue will be an annual edition of the Jamaica Magazine which features art in each issue. The sold-out factor confirms the long existing thirst for a such product, and if wisdom is employed then the organisers would at the very least engage in a more comprehensive research and balanced input from a variety of experts and unbiased players. Hence, making good withdrawal from the untapped, deepening reservoir of a Jamaican treasure rising in demand on the international market.

As a collector's item, the pages could have been better committed to fairer commentary on our diversities. This, in full awareness of the percentage of artists who still are scurrying for an identity.

Having stumbled on the broadband of Jamaican art, the minds behind the book open with a discussion on the art in Jamaica since 900 years ago. Piecing the puzzle together, the writers discuss as early as the Taino, colonial and Spanish-settlement periods, briefly hinting at the role of maps and charts. Along the path to the book's end, they travel through decades, briefing on artists and some events of historical note.

As a compliment, there is an inspiring discussion on Edward Seaga's dedication to 'Life on a Cultural Mission', and interviews with renowned art collectors including Wayne Cox (intuitives) and Wallace Campbell.

The summaries are not comprehensive, and every now and then critical errors are made. For example, the unforgivable incorrect misspelling of Ken Abendana Spencer's name and improper references to artists such as David Marschand. Still, the product's strokes are a satisfying tease to an enthusiast's palette.

We are clued in on the period of Edna Manley and her passion-driven mission to formalise the Jamaican art movement with reasonable features of artists such as John Dunkley and Albert Huie. Soon after it is in the 'Artscape' decade-by-decade series, other artists are mentione for some, it is lacking sensitivity in the choice and packaged information. Malico 'Kapo' Reynolds, John Dunkley, Carl Abrahams are among the chosen few prominently featured. Galleries such as 128 Galleries and Jamaica Military Gallery are also held in prominence. In keeping with the main objective, artists such as the Watson clan, the Mutual Gallery and perhaps the Hills Gallery could have been treated fairer.

Sadly, a sufficient grasp of contemporary Jamaica and younger artists is missing, especially within the past two decades - an era advanced in local explorations of modern technology and along creative directions. The fact that, today, there exists more than 600 painters, alongside artisans, is sharply overlooked; not to mention the existence of other forms such as jewellers, graphic artists, textile artists, photographers, cartoonists, architects and other sculptors is in scant regard. In keeping the line level, Lennox Coke,

Ray Jackson, and Joshua Higgins are among younger artists who could have captured sharp focus, and media writers such as Norman Rae and Archie Lindo could have been briefly discussed among the record keepers who kept interest alive.

Ultimately, those who spend their money generally dictate with little interference the resulting product. However, the needs of targeted audience and the majority should be priority. As a single edition, the book is limited in its introduction of Jamaican art. It lacks the necessary sensitivities to artists, collectors, dealers, businesspersons and even students and researchers, but which can be addressed in time.

Thankfully, a series is being considered where some of the issues raised can be addressed with more comprehensive research. With close attention to detail, this map of Jamaica art will direct international eyes to the heart of our culture, on or offline, as the doctor prescribes.

Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts, has over 10 years' experience in the fields of journalism and the arts. Contact her at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.