Number 2

Bishop … tackles ambitious and cutting edge artistic projects…

Dear Ones,

Six months have not so quietly slipped by since the publication of my first newsletter and now it is time for newsletter number 2 from my workshop. Despite (or perhaps because of) a challenging political environment, I have kept myself quite busy in the last six months, participating on three panels, serving as a guest critic to graduate students, and being interviewed by the executive director of the National Gallery of Jamaica, as well as for a popular visual art television program. I have also had the opportunity to have my work showcased in exhibitions on the islands of Jamaica and Puerto Rico, at Columbia University in New York, and as part of a curated online exhibition. This newsletter has my most recent interviews and reviews of my book, The Gymnast & Other Positions.

As always, I look forward to any thoughts you might have.

Warmest of regards,



This work seeks to give voice to what has been a voiceless, yet integral, component of what it means to be female and sexual.


Parts of my “Female Sexual Desires Project” were showcased in three different exhibitions during this period.  A video and audio pieces were part of the “JamaicaBiennial 2017” at the National Gallery of Jamaica in Kingston, Jamaica. The sixty embroidery drawings were shown at the “Negotiated Realities” exhibition at the Macy Art Gallery, Teacher’s College, Colombia University. The work was also showcased in “Made Vulnerable” Small Axe Visualities (SXV) Online Exhibition Series at:


Four of my photomontages are also in the exhibition “In situ: paisajes y entornos en las Grandes Antillas.” Museo de Arte Dr. Pío López Martínez. Universidad de Puerto Rico en Cayey. Cayey, Puerto Rico. This exhibition revisits the landscape collection of Cayey’s own Ramón Frade (Cayey, 1875-1954) along with contemporary artistic production from the neighboring islands: Hispaniola, Cuba and Jamaica. “In Situ” confirms an interest in the construction and interpretation of landscapes through reflections on our current age.

Black Magic Women

This past February I participated on two panels at the Association of Writers and Writing Program Conference in Washington, DC: “Halo-Halo: The Ingredients of The Global Conference” and “Black Magic Women: Black Women Examine Creativity in Digital Spaces.” It was great to get to share my work with fellow writers and readers at AWP.


I was also on another panel “Museums and the Communities They Serve: Global Perspectives” At the Socially Responsive Museum conference at Teachers College, Colombia University October 14th – 16th, 2016, held in conjunction with the Negotiated Realities exhibition in which I participated. On this panel, I spoke about the two Museums Connect grants that I coordinated for projects in Morocco and in Jamaica.

Interviewed by the Executive Director of the National Gallery of Jamaica

… women’s social roles have traditionally been defined differently across the class spectrum with little space or recognition given to the expression of lower class women … 

A major achievement was being interviewed by Dr. Veerle Poupeye, Executive Director of the National Gallery of Jamaica, about the patchwork quilts and other art forms employed by my great grandmother, my grandmother and the other women in my family. I now see how these art forms have had a direct impact on my artistic process, particularly the work I do in photography.

Celeste Walker


In her introduction to the interview, Dr. Poupeye contextualizes the creative works of the women in my family, in a larger framework by problematizing:

… why there is so little consideration, in the (art-)historical and material record, for the material creative production of Jamaican women, other than what has been consecrated as “fine art.” And what has been so consecrated is constrained by narrow definitions of art and, closely related to that, a myopic, class-based view of who is an “artist.” This somehow seems to affect women’s creative production more than men’s — almost all the artists who have been recognized as “Intuitives” are men, for instance, in part because they more typically work in media that can be recuperated as “fine art” such as “painting” and “sculpture.” … This is a very rich, complex and barely explored topic that needs to be explored further … 

(You can find the link to the complete interview in the last section of this newsletter).

TransBorder Art Television Program

I was a delighted participant in the television program “Transborder Art/ Conversation with Artists” special section on “Desire” which featured four artists and a critic examining our work around the subject of desire. The special two-part episode was aired on Brooklyn channels: Spectrum 34, Optimum 67, RCN 82. And in all boroughs on Verizon Fios 52 on February 24th, 2017.


Guest Critic At Pratt Institute

I am humbled, honored and just a wee bit terrified to be an invited guest critic to graduate students at Pratt Institute in Brooklyn, New York. I join a roster of distinguished critics.


Reviews, Interviews, Profiles …

 “The Parts transcend their genre, crossing, overlapping and intersecting one another … quite an unconventional way of assembling a book.” 


“Bringing It All Together: The Creative Process of Artist and Writer Jacqueline Bishop.” By Loretta Collins Klobah. Anthurium: A Caribbean Studies Journal. Volume 13. Issue 2. Article 8. 2016. Editors: Patricia J. Saunders & Donette A Francis.

“Studio A with Jacqueline Bishop.” Radio interview with host Sarah Courville. WKCR Radio. September 19th, 2016.

Michela Calderaro. “Bishop, Jaqueline (2015). The Gymnast and Other Positions. Leeds: Peepal Tree Press Ltd, pp. 201.” Il Tolomeo. Vol. 18 – Dicembre | December | Décembre 2016.

“Untold Stories — Interview with Jacqueline Bishop — Part II.” By Veerle Poupeye. September 10, 2016.

“Untold Stories — Interview with Jacqueline Bishop — Part I.” By Veerle Poupeye. September 4, 2016.