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An exhibition of contemporary art organised by Leicestershire Museums, Art Galleries And Records Service . Selected by Pogus Caesar , Bill Ming and Aubrey Williams in celebration of Caribbean Focus 1986 . Caribbean Expressions In Britain arose from discussions with Leicester 's Caribbean community over what contribution Leicestershire Museums And Art Galleries could make to Caribbean Focus 1986 - a nationwide celebration of Caribbean life and culture initiated by the Commonwealth Institute , London - which had been taken up with great enthusiasm by Leicester's Caribbean Focus committee. Following these discussions it was decided that, among other things (including a new exhibition on the history and natural history of the Caribbean) the Museum and Art Gallery should hold an exhibition to show the remarkable contribution of Caribbean peoples to recent cultural and artistic developments. At the same time the Commonwealth Institute was already arranging to bring over an exhibition of sculpture and paintings by artists living and working in the Caribbean , and had offered to tour this to Leicester . The ideal solution therefore seemed to be to take on this exhibition - 'CARIBBEAN ART NOW' from the Commonwealth Institute and to compliment it with our own exhibition which would show the contribution of artists of Caribbean origin who have lived and worked in Britain . This complementary exhibition emerged as 'Caribbean Expressions in Britain'. The second question was 'How do we go about it?' None of the staff at , the internationally known Guyanese artist, with his long standing experience of the art world in the Caribbean and Britain , and hence the ability to look at the selection in terms of an international and historical perspective; Pogus Caesar , who, as artist, broadcaster and Director for West Midlands Ethnic Minority Arts Service , was able to share his knowledge of present day culture and community life among Afro - Caribbeans in Britain ; and Bill Ming , a sculptor living in Northamptonshire who has extensive contacts with artists, schools and community groups in the East Midlands . Our first meeting with these advisory selectors, to discuss the themes, aims and parameters of the show provoked many more questions than answers: should an exhibition organised for the Caribbean Focus celebrations concentrate on works with a 'back home' theme or would this give a misleading impression of the concerns of Afro - Caribbean artists in Britain ? Should we adopt a narrow definition of fine art, or alternatively include a variety of art forms including crafts and carnival costumes which might visually overshadow the more serious of the fine art works? Could new light be shed on Afro - Caribbean art by adopting an historical perspective, or would it be more appropriate to concentrate on what is happening in Britain in the 1980 's? How much should the emphasis lie on those artists who perceive themselves primarily as 'Black' or 'Afro - Caribbean' artists, in contrast to those who identify with a British , international or mainstream framework? After several hours of open, lively discussion we jointly decided to opt for the simplest and most obvious solution: to select work purely on the basis of its aesthetic merit and quality. The exhibition was to be in the first instance representative of a high standard of contemporary art rather than a specific cultural, social or political statement; although naturally the political and social concerns of the artists are expressed in their work. It was also apparent that , the expert in this field, was invited to write an historical overview covering the fifty years, as an introduction to the exhibition catalogue. This would provide a much needed piece of research and documentation in an area which has not had the recognition or recording warranted. The resultant nationwide series of studio visits to shortlisted artists with the advisory selectors was enormously enjoyable and enlightening. Many of the artists that we visited were working in isolation from other Afro - Caribbean artists and producing work of great insight and individuality, to a very high standard. The sculpture, paintings and prints that finally constitute the show are correspondingly varied. The mojority of artists in 'Caribbean Expressions in Britain' share a common concern in the exploration of their cultural and psychological identity through their work. However this exhibition should not imply the existence of a unified Caribbean school of art or the continuation of a specifically Caribbean artistic tradition. As Emma Wallace noted when surveying contemporary art in the Caribbean "there are no tangible art traditions stretching back in unbroken lines to Africa or Europe ". What we see among Afro - Caribbeans artists living in Britain and the Caribbean , therefore, are new beginnings and fresh vital expresssions which draw upon European , Amerindian , Asian as well as African art traditions. The unifying factor among the artists of Caribbean origin working in Britain shown in 'Caribbean Expressions in Britain' seems to lie in shared experiences rather than a shared mode of expression or tradition. At the time of writing however none of us have seen all these works hung together, and it will be interesting, once the show is open, to see if any further common features emerge. The paintings, sculptures and prints finally selected for 'Caribbean Expressions in Britain' show a remarkable vitality and vision. We would like to thank Pogus Caesar , Bill Ming , Aubrey Williams and also Errol Lloyd for their enthusiasm, insight and efforts in determining and pursuing the objectives of this exhibition. Julia Nicholson and Norman Pegden Exhibition Organisers In this exhibition viewers will have the opportunity to contemplate the much neglected contribution of artists of Caribbean origin working in Britain . For too long it has been accepted that all important contemporary art in Britain is found and shown in London - neglecting the rest of the country. In 'Caribbean Expressions in Britain' we have the chance to see works by artists from Birmingham , Nottingham and Manchester , as well as London , on show at a venue in the Midlands . The works in this exhibition have been selected purely on the basis of quality, and it has achieved very fine aesthetic levels. The sculpture, paintings and prints selected should not, however, be seen not as 'Caribbean Art' but for what they are - contemporary art - and more specifically the works of artists of Caribbean origin working in Britain . I know what a profound surprise awaits us all. Aubrey Williams Exhibition Selector As comtemporary artists of Afro - Caribbean origin, some of us were born in the Caribbean and displaced, and others were born and raised in Britain . It has been revealing in selecting the work for this show to compare these two groups. Often it has been those artists who have had no direct experience of the caribbean who have had the greatest urge to familiarise themselves with the social, political, historical and natural background of the West Indies . The diversity of that information, interwoven with our complex position within British society generates a creative energy which binds all the artists in this exhibition. The variety of interpretation by different artists in ' Caribbean Expressions in Britain' is immense and there is no simple boundary to emcompass them. The fact that the work is hung together under one title in an art gallery should not limit our responses to it. The artists in the show each have beliefs and modes of expression which evoke different responses in the viewer: from optimism and love to anger. Above all, however, the works challenge the viewer to become curious as to the intention of the artist. this exhibition clarifies a number of our aims as Afro - Caribbean artists, particularly in demonstrating the way in which our art expresses how we have come to terms with ourselves and our position in society, and in showing that not all Afro - Caribbean art in Britain is necessarily overtly political in content. The background, symbolism and visual codes of Afro - Caribbean art still needs to be understood, because our art is the complex heritage of our ancestors, a heritage of mind, the central column that stabilizes us. The very same stability that will never allow the inner flame to diminish. Pogus Caesar Exhibition Selector 'Caribbean Expressions in Britain' is a new beginning where we peceive valid statements and a varied range of art produced by some of the most talanted Black Artists working in Britain today. These expressions, whether in sculpture or paint, bring home some truths of what so - called 'minority' artists are doing. with depth and diversity, the works in this show point the way to an optimism and a sense of direction and purpose. As selectors and artists we are not saying that exhibition will open a lot of eyes - for that goal should already have been achieved - but we do say that it will touch many minds. Although we come from different directions emotionally, socially and politically, yet as artists we come together under one roof with our wares, in one market - place called 'Caribbean Expressions in Britain'. Bill Ming Exhibition Selector Exhibition venues were The Leicestershire Museum And Art Gallery , New Walk , Leicester 16th August - 28th September 1986 . A selection from the exhibition was shown at Central Museum And Art Gallery , Guildhall Road, Northampton 4th October - 1st November 1986 . Cartwright Hall , Lister Park , Bradford 8th November 1986 - 4th January 1987 , in conjunction with 'Double Visions - Contemporary Afro - Caribbean Art'. Artists in the exhibition: Simone Alexander , Frank Bowling , Sonia Boyce , Pogus Caesar , Denzil Forrester , Anthony Jadanuth , Errol Lloyd , John Lyons , Bill Ming , Ronald Moody , Colin Nicholls , Eugene Palmer , Veronica Ryan , Gregory Whyte , Aubrey Williams . Ext Ref: Photographs of http://www.oomgallery.net/gallery.asp?location=40&c=251 |
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