For as long as art has been practiced there have always been arguments for and against formal art training. In recent years, however, this debate has intensified after steadily increasing costs have pushed tuition fees to as much as US$100,000 and even twice that amount in some cases. Now more than ever, persons are questioning the value of pursuing a BFA and/or MFA, particularly at a time when the creative field is saturated with thousands of talented and eager graduates yea
Like most persons coming out of secondary school, Wilkie George had a very limited perception of what fine art entailed. He never imagined the range of courses he would be exposed to at the E.R. Burrowes School of Art and the wealth of knowledge he stood to gain in the process. This perception, which reflects less on him as an individual but rather more on how art is being taught at the secondary level, resulted in a kind of shock as he prepared himself to work through the sc
Ransford Simon grew up carefully observing his older brother draw and paint his own portraits from a mirror. He described him as a naturally talented individual, who, despite having no formal art training, had the opportunity to attend the E.R. Burrowes School of Art but opted instead to pursue his studies in agriculture. For the younger Simon sibling, on the other hand, he knew that if given the opportunity to attend the art school, he simply would not be able to pass it up.
A former student at the Christianburg Wismar Secondary School in Linden, Sellone Stanton has spent the last three years pursuing her passion for art and embracing the challenges that came along with the said pursuit. Stanton joined the E.R. Burrowes School of Art following her family’s advice to nurture the potential they saw in the work she was producing at the secondary level. After submitting her application and an accompanying portfolio of works, she was accepted into the
Following an ongoing dialogue between Scottish artist Graham Fagen and Lucy Byatt (of the Hospitalfield artist residency programme in Arbroath, Scotland) about possibly showing Fagen’s project 'The Slave’s Lament' in Jamaica, the idea for a collaborative initiative between the National Gallery of Jamaica and the British Council began to take root. That dialogue, which began at last year’s Tilting Axis II conference in Miami, became the catalyst that prompted 'We Have Met Befo