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Journal Article
Small Axe (2007) 11 (2): 119–137.
Published: 01 June 2007
...Krista A. Thompson Some critics contend that the visual language of abstraction or conceptual art cannot translate “Caribbeanness.” This essay considers the work of several contemporary Caribbean artists who highlight how the “picturesque” paintings so favored by detractors were historically...
Journal Article
Small Axe (2017) 21 (1 (52)): 70–88.
Published: 01 March 2017
... in Europe, is interpellated into the position of white other, or “whitey,” as she is called on the streets. It argues that McGilchrist's art constitutes a poetics or a “how” of stepping into and negotiating white identity as a place of recognition. The essay explores McGilchrist's visual engagement...
FIGURES
Journal Article
Small Axe (2004) 8 (2): 49–60.
Published: 01 September 2004
...Andrea N. Douglas Small Axe Incorporated 2004 Facing the Nation: Art History and Art Criticism in the Jamaican Context Andrea N. Douglas n the opening comments for the 2000 Annual National Exhibition, Michael Cooke, then director of museums for the Institute of Jamaica...
Journal Article
Small Axe (2020) 24 (1 (61)): vii–x.
Published: 01 March 2020
...David Scott 3 Terry Smith, “Contemporary Art in Transition: From Late Modern Art to Now,” general introduction to ibid., 8 (italics in original). 4 Ibid., 9. 5 See David Boxer, Jamaican Art, 1922–1982 , exhibition catalogue (Washington: SITES and National Gallery of Jamaica...
Journal Article
Small Axe (2020) 24 (3 (63)): 143–163.
Published: 01 November 2020
... surrounding these works has conspicuously ignored any erotic potential inherent in them. Using the contemporaneous, mostly private homoerotic photographic archive of Archie Lindo as a point of entry, this essay questions and complicates the narrative surrounding nationalist-era art in Jamaica, particularly...
FIGURES | View All (13)
Image
Published: 01 July 2017
Sharlene Khan, Family , 2016. Mixed media, 29 × 37 cm. Courtesy of the artist Sharlene Khan, Family, 2016. Mixed media, 29 × 37 cm. Courtesy of the artist More
Journal Article
Small Axe (2017) 21 (3 (54)): vii–x.
Published: 01 November 2017
... appreciation of its essential virtue. Rather, friendship as a value to think and live with comes into view for me within a certain problem-space or conjuncture. And it is from within this historicized perspective that I want to reflect briefly on friendship as a dimension of an art of living . Part of what...
Journal Article
Small Axe (2008) 12 (3 (27)): 94–104.
Published: 01 October 2008
...Barbara Prézeau-Stephenson This article focuses on the visual arts in contemporary Haiti, providing a rare insight into the current creative context. Countering a customary focus on history painting and Vodou-inspired or magical realist work, it explores the evolution of artistic production over...
Journal Article
Small Axe (2012) 16 (1 (37)): 119–143.
Published: 01 March 2012
...Erica Moiah James Violence, trauma, and memory are fundamental factors of Caribbean modernity but have thus far been underexamined within art history and criticism. This essay explores the invisible yet palpable presence of violence in the genre of family portraiture and the contemporary...
Journal Article
Small Axe (2012) 16 (2 (38)): 213–227.
Published: 01 July 2012
...Kobena Mercer Proposing Bakhtin's dialogical principle as a guiding light for cross-cultural studies in art historical research on the diasporic formation of Afro-modernism, Kobena Mercer's discussion essay highlights the value of his postformalist outlook as he responds to commentaries by Eddie...
Journal Article
Small Axe (2006) 10 (3): 70–86.
Published: 01 October 2006
...Wendy Knepper Small Axe Incorporated 2006 Colonization, Creolization, and Globalization: The Art and Ruses of Bricolage Wendy Knepper Antillean art is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces...
Journal Article
Small Axe (2007) 11 (3): 73–82.
Published: 01 October 2007
...Veerle Poupeye This paper examines the Intuitives concept and the controversies that have surrounded this artistic genre in Jamaica. It argues that Intuitive art, as it has been defined by the National Gallery of Jamaica, constitutes a specialized canon within the national canons, rather than...
Journal Article
Small Axe (2008) 12 (1): 133–144.
Published: 01 February 2008
...” as a locus of embodied visual practices—with a significant, if often mysterious past—and debates Krista A. Thompson's notion of an “eye for the tropics” by reference to recent art historical insights drawn from fieldwork in Trinidad. Small Axe Incorporated 2008 BOOK DISCUSSION: An Eye for the Tropics...
Journal Article
Small Axe (2008) 12 (1): 169–181.
Published: 01 February 2008
... in a decolonizing art history? What are the larger stakes of these ways of reading Caribbean visual cultures, and what might they leave unseen? This article points to the need to radically interrogate and historically situate the object of art historical study in the region. Small Axe Incorporated 2008 “Call...
Journal Article
Small Axe (2017) 21 (1 (52)): 34–42.
Published: 01 March 2017
..., and formal boundaries. Through diverse written and visual contributions, the section presents the Caribbean as a critical space that recognizes an existing foundation yet facilitates and expands conversations between artists and writers who have shaped and are shaping local and global art discourses using...
Journal Article
Small Axe (2017) 21 (1 (52)): 126–140.
Published: 01 March 2017
...Elena Valdez This essay examines two prominent Dominican visual artists—Belkis Ramírez and Raquel Paiewonsky—whose work encompasses new media such as video arts, installations, and performances. By defying traditional models of pictorial and sculptural art, these artists have revolutionized...
FIGURES
Journal Article
Small Axe (2017) 21 (1 (52)): 151–162.
Published: 01 March 2017
... in. Collection of the National Art Gallery of The Bahamas Figure 9. Kendra Frorup, Butcher Block, 2007. Bronze, steel, cotton, and wood; 40 × 30 × 30 in. Collection of the National Art Gallery of The Bahamas © Kendra Frorup Figure 10. Keisha Scarville, Untitled #7 , from Mama's Clothes series...
FIGURES | View All (13)
Journal Article
Small Axe (2004) 8 (2): 1–31.
Published: 01 September 2004
...Krista A. Thompson Small Axe Incorporated 2004 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Black Skin, Blue Eyes : Visualizing Blackness in Jamaican Art, 1922 1944 Krista A. Thompson From the opposite end...
Journal Article
Small Axe (2004) 8 (2): 43–48.
Published: 01 September 2004
... by rejecting the past. I feel increasingly dissatisfi ed with the ephemeral nature of so much of contemporary art. Th us, I look for ways to create what does not exist, I yearn for beauty and crafts- manship and other such passé notions. But above all I want to crystallize a particular sensation...
Journal Article
Small Axe (2009) 13 (3 (30)): 25–36.
Published: 01 November 2009
... establishing a national memorial centre in Paris). While many critics have focused on Glissant's influence on postcolonial studies, this article assesses his importance in the burgeoning field of cultural memory. Small Axe, Inc. 2009 Edouard Glissant and the Art of Memory Bonnie Thomas Our...