Solo Exhibition | This Ground Beneath My Feet - A Chorus of Bush in Rab Lands, The Idea Lab, The Warfield Center, The University of Texas, Austin, USA. Curated by Holly Bynoe. September - December 2016.

View the online e-catalogue for this exhibition here.


Residency in the UK at the Delfina Foundation, London, UK as part of the Empire Remains Shop. Curated by Cooking Sections. July/August 2016

Annalee Davis will share (Bush) Tea Services and The Colloquy: Wild Plants as Active Agents in the Process of Decolonisation.




 Visiting artist & mentor at Caribbean Linked III at Ateliers '89, Aruba, 2015



Nominee for the CIFO (Cisneros Fontanals Art Foundation) Grants and Commissions

Program - 2015 Cycle


First Biennial of Contemporary Art in the Caribbean, Aruba - Happy Islands

Uprising Art shares a review of 'Happy Islands,' the First Biennial of Contemporary Art in the Caribbean, Aruba, which opened on 20th October, 2012. Exhibition included Annalee's work 'Sweet Island Cookie Cutter - Sweet Fuh So!' (2012)

read full article (Spanish only)


Annalee Davis to Present a Lecture at The National Art Gallery of the Bahamas

On March 19th 2013, Annalee will present a lecture at the National Art Gallery of the Bahamas about the Fresh Milk Art Platform Inc. and its relationship to the wider Caribbean. 


Annalee Davis to Guest Lecture at Rutgers

October 2012

Annalee will offer a series of guest lectures in the Department of Latino and Caribbean Studies at Rutgers, the State University of New Jersey between October 30th and November 2nd. 


Annalee Davis to participate in residency at the Instituto Buena Bista

Annalee will participate in a residency at the Instituto Buena Bista from October 24th - November 4th 2011.  While there she will facilitate a project between her 3rd year students from the Barbados Community College and the students at the IBB. Click Link to learn more:


Annalee Davis has been awarded the Bridget Jones Travel Award for 2011
February 2011

Annalee will make a presentation about her work titled "Has the Plantation Complex Fallen?"

This presentation will take place at the annual Society for Caribbean Studies Conference from June 29th - July 1st 2011 at The International Slavery Museum in Liverpool in the United Kingdom.

Vous êtes ici / You are here / Usted está aqui / Cé ici-là minm ou yé/Bo ta aki
Foundation Clement Martinique, October 29 2010

you are here

Vous êtes ici (1) / You are here / Usted está aqui / Cé ici-là minm ou yé/Bo ta aki

The Creole language says ici-là (“here-there”) doubtless to extend the forces of “here” towards the infinite. It often instists on ici-là minm, (“right here there”), nowhere else but here which is nevertheless over there or up there (whence the Creole language gets là minm, “right there” meaning “right now, immediately”) as if to make a clean break between “here” and its near or far surroundings. (2 )

How do the artists of the Caribbean perceive this “nowhere else” which is theirs, but which remains an exotic and faraway “over there” whose location is vague to all but the natives? During my successive visits to the Untied Kingdom, my friends ran through lists of innumerable exotic islands in an effort to remember where I lived, but all they could recall was that it was a tropical island somewhere, which they wouldn't be able to find on a map. (3)

For those who come from these tropical islands, who live in these islands in the sun (4), Paradise has a different face: The burden of the context, the burden of history, burden of the place of origin. It’s tiresome to repeat it, all the more so because it’s true, but it is the burden of being born in a small outlying region where one’s personal sensitivity is hemmed in on all sides by ideologies, national myths, stereotypes, by all the complex expectations generated by what it means to be an artist from the Caribbean living in the Caribbean. (5)

read full article

On July 9th 2010 from 4.00 – 6.00pm, Curator Tariana Navas-Nieves will be in Conversation with Annalee as part of The Biennial of the Americas - ‘The Nature of Things Speaker Series’.

This series is designed as a forum for conversation and idea exchange led by a diverse, international community of artists, leaders, innovators, industry experts and celebrated individuals to explore innovation, sustainability, community and the arts. The series will span cultures and generations, ideologies and disciplines, hoping to shape a new generation of ideas and possibilities for the future of the Americas. For more information about The Biennial of the Americas please visit

I International Caribbean Triennial, Museum of Modern Art, Santo Domingo,The Dominican Republic. September 1st – October 24th, 2010.

Within the context of the city of Santo Domingo designated as “American Capital of Culture 2010”, the Dominican Republic’s Ministry of Culture, through the Museum of Modern Art will coordinate the Triennial to be held at the Museum and other alternative space in the Dominican Capital. The main concern of this event is about the relationship between art and the environment. Annalee will present a new work at this event.

Vous êtes ici / You are here / Usted está aqui / Cé ici-là minm ou yé/ Bo ta aki, is an exhibition curated by Dominique Brebion and runs from the 28th of October to the 30th of November 2010.

The exhibition will take place at the Fondation Clement. Annalee Davis will display three works at this exhibition.

Annalee Davis coordinated the first platform for the visual arts at the 35th Annual Caribbean Studies Association conference held in Barbados from May 24th – 28th 2010.

The panel titled “Exposing Violence Through and In the Caribbean Visual Arts” included Joscelyn Gardner, Barbara Prezeau and Annalee, all of whom shared their work, supported by the Chair and Respondent, Dr. Janice Cheddie.

In addition, Barbara worked with seven young Barbadian women artists who performed for seven hours in her new work, “Mourning”. Barbara’s performance work was followed by Joscelyn and Annalee sharing documentation of their work with the CSA audience.

Kolkatta based magazine ARTETC Volume 2, No. 1, will be released on June 26th 2010.

One section will focus on Caribbean Women Artists with submissions by Patricia Fay, Joscelyn Gardner and Annalee Davis.

The second section presents a long conversation between Cultural Theoretician, Homi Bhaba and Indian, artist Mitra Tabrizian.

The third segment is the influence of black culture on western fashion and the influence of the west on the Indian fashion scene. Also included are regular exhibition reviews, book reviews etc. The full colour, 160 page issues costs, Rs 150 and can be ordered on line at


Next Presentation, Seminar Series in Theory and Criticism
Department of Language, Linguistics and Literature

Barbados Land

The next presentation in the series will be by Annalee Davis and will take place on Monday April 12 from 10.30 am to noon in the Computer Science, Maths and Physics Conference Room.

The title of her presentation is “Of People and Lands: Project 45 and Maps.” Here is her abstract:

Do visual artists have a part to play in contributing to an understanding of Caribbean societies? Can their creative investigations be seen as parallel forms of inquiry? This presentation contributes to the seminar series from the perspective of a visual artist working with installation, video, and wall-based work.

My visual presentation includes the sharing, in part, of two bodies of artistic works – Project 45 & Maps. Project 45 examines anxieties surrounding intra-Caribbean migration within the context of Article 45 of the Revised Treaty of Chaguaramas. An evolving suite of forty-five inter-related pieces, Project 45 evolved out of a thirty-minute video project - On the Map, to continue examining issues of failed implementation, free movement, insularity, xenophobia, intolerance, racism, identity and human rights abuses in the Southern Caribbean.

The works are also informed by the Green Paper put forward by the government of Barbados in late 2009 - outlining the state's proposed changes to immigration law - suggestions which in spirit, contradict the commitment to the Revised Treaty, and which are designed to make it even more difficult for CARICOM non-nationals to improve their livelihoods through movement.

In Maps, I look at how the beauty of Barbados as a small island developing state is being irreversibly altered by the dominant vision of developers. Unprecedented modification to the physical environment is taking place - perpetuating the mythical image of tropical destination as playground for the tourist. Consequently, coastal access is increasingly limited to locals, while interior spaces are manicured into Miami look-alike 'community life style' arenas, showcasing cookie cutter houses planted around man made ponds, golf courses and polo fields. The island's best resources are shaped and reserved for external gaze and privilige for those from somewhere else. In one work, I measure seven miles of Barbados’ notorious ‘gold coast,’ to learn how many feet of beach access the public has left onto the west coast. Not much.

All are welcome to attend.


Richard L. W. Clarke

more on Annalee´ work

Please join us Thursday, February 18, 2010

3:30pm to 5:00pm Gallery Talk
5:00pm to 7:00pm Opening reception with the artists and curator

Art Gallery at Florida Gulf Coast University
Arts Complex • FGCU Main Campus

“Caribbean artists are using the gallery space not so much as hallowed ground for the awed contemplation of power objects and other sacred paraphernalia on which artness has been conferred but as an arena for deploying images that raise questions or attempt to stimulate a debate about our mutual experiences as citizens of a postcolonial Caribbean.”
Annie Paul, in Small Axe, Number 6, 1999
In the 21st century, women artists from the Caribbean region are producing intensely personal interpretations of their heritage in a range of media including photography, video, performance, painting, ceramics, mixed media, sculpture and installation art. These works highlight an acute awareness of the social and psychological complexities of the post-colonial landscape, and offer an intimate examination of the rich and subtle culture of an often misunderstood geography. Through the eyes and minds of contemporary women artists we can experience the Caribbean as a personal, lived reality, as a close encounter between self and place.

Gallery Hours
Monday – Friday 10am to 4pm
Saturday 11am to 2pm
Or by appointment

For more information, contact 239.590.7199 or visit our website:

Real Art Ways' "Rockstone and Bootheel" exhibit showcases richness of
contemporary West Indian art scene.

By Real Art Ways

"Iteractions" by Sonia Clarck

Rockstone & Bootheel, the show of contemporary West Indian art on display at Real Art Ways is a glorious, overwhelming labor of love. Real Art Ways Director of Visual Arts Kristina Newman-Scott, who co-curated the show with Yona Backer, is originally from Jamaica. The exhibition features the work of almost 40 artists from the West Indies—the English-speaking Caribbean islands—and the diaspora. More than half the artists are being shown in the United States for the first time. Real Art Ways is a fitting venue for the show as Hartford has the third largest West Indian population in the United States (after New York city and Miami). keep reading

Real Art Ways
56 Arbor St., Hartford, (860) 232-1006
Rockstone and Bootheel: Contemporary West Indian Art
Through March 14, 2010.



In Real Art Ways' front room gallery, Zak Ove's group of photographs entitled Blue Devils (from the Transfigura series) greets viewers with a startling view of Trinidad Carnival. Large-scale photographs show men and women in gruesome masquerade known as the "Blue Devils," brightly painted in white and blue, feathered and bloodied. Traces of African tribal memory mash up with European Catholic festival tradition as the players perform this escapist rite of passage. Through Ove''s lens, the scenes look terrifying, exhilarating, radiant and menacing. Ove documents the annual pageantry with a particular interest in those who year after year take on their fanatically developed characters and march in the now world-famous expositions of Caribbean religious and cultural heritage. The work is equal parts dramatic documentary, historical deconstruction, decisive portrait-making and spirited participation. As a London-based artist of Trinidadian descent, Ove's devout fascination for the subject matter is reflexive, representing a personal journey.

As a singular component to this larger effort, Ove's work is a powerful introduction to Real Art Ways' ambitious exhibition, Rockstone and Bootheel: Contemporary West Indian Art. The show brings together the work of 39 artists from the Anglophone West Indies and its diaspora. That is, the Bahamas, Barbados, Jamaica, Trinidad & Tobago and abroad. "Rockstone and Bootheel" is a Jamaican colloquial expression which means "taking a journey," lifted from a dub-metal song by Gibby. The show gathers a variety of racial and political contradictions, surveying the many creative practices of artists coping with and/or enjoying island life and its tumultuous, ongoing history.

keep reading

Colorful, Witty, Noisy: A West Indies Mélange


Every now and then a show comes along that takes you out of your comfort zone and into a strange new world. The ideas and imagery in that world can be difficult to appreciate at first, but the more you look, the more you begin to understand the local references and cultural concepts involved. Slowly and surely the beauty and sophistication of the art come into focus.

In so many ways, “Rockstone & Bootheel: Contemporary West Indian Art,” at Real Art Ways, is such a show. Presenting the work of 39 artists from a region that, for many people, is a blank slate, Kristina Newman-Scott and Yona Backer, the show’s intrepid curators, have put together a mind-opening selection of artwork that is by turns colorful, messy, playfully witty and downright noisy.

The exhibition is confined to work from the English-speaking Caribbean, especially Jamaica, Trinidad and Tobago, Barbados and the Bahamas. Ms. Newman-Scott said a perceived bias toward Spanish-speaking artists in past exhibitions devoted to contemporary Caribbean art was the reason for this show’s focus. She said she felt that it was time to highlight some of what was going on in the distinctive, vibrant English-speaking islands.

keep reading

Artist and blogger, Oneika Russell of Art Jamaica talks to Annalee about her
video project, On the Map

Annalee Davis: ON THE MAP

Annalee Davis
, experienced visual artist, activist, designer tells us about a recent project, ON THE MAP, a documentary video project. For artists who are interested in venturing into making documentaries and some activist projects, Davis sets an example.

What is 'On the Map' about and what does it seek to achieve?
ON THE MAP is a thirty minute video project airing intimate discussions with undocumented Caribbean migrants who speak of life between the cracks. More specifically, it looks at the movement of people from Guyana to Barbados, revealing gaps between the official stand on Caribbean integration & the experience of unskilled Caribbean migrants, within the context of the CSME (The CARICOM Single Market & Economy).

The goals of ON THE MAP are:

1.To give a voice to the numerous voiceless and tell a contemporary story of intra-Caribbean migration.
2. To sensitise the public and policy makers to key social issues.
3. To contribute to conflict resolution at the community level while promoting tolerance, understanding & respectful coexistence.
4. To foster policy debates and political attention to the development of sound socio-economic policies under the integrative sheme.
5. To use my voice as a visual artist as a legitimate language to back chat to the state and engage in debate.

keep reading


ROCKSTONE & BOOTHEEL: "Contemporary West Indian Art"
November 2009 - March 2010

click image to enlarge

more references here

ROCKSTONE & BOOTHEEL: "Contemporary West Indian Art"
November 2009 - March 2010

Annalee will be showing new work in the exhibition ROCKSTONE & BOOTHEEL: "Contemporary West Indian Art"

The show is being curated by Kristina Newman-Scott and Yona Backer and will take place at Real Art Ways from November 14 2009 - March 14 2010.

The exhibition features work from emerging and established artists in the West Indies and the diaspora.

more references here


March - April 2009

More than 50,000 people are expected to attend the 10th Havana Biennial, Cuba's month-long exposition of contemporary art by 300 artists from around the world. The Biennial begins March 27 in venues across Havana. Here are a few highlights.

keep reading

"La Cabaña", main installation of the X Havana Biennial. La Habana 2009.



HAVANA BIENNIAL, in Which Chelsea Takes a Field Trip to Cuba
March - April 2009

HAVANA — About 10 minutes after arriving at the Museo Nacional de Bellas Artes to show her work at the biggest exhibition by American art galleries in Cuba since the 1959 revolution, Delia Brown whispered, only half joking, to her Cuban assistant that the gallery was too hot and that she planned to head back to her hotel.

keep reading

A shot with students from the University of Havana.



José Noceda has selected two of Annalee's works to be part of the Havana Biennial this year. Annalee will be in Cuba at the end of March installing her installation Just Beyond My Imagination.

She  will  also screen her thirty-minute video work called On the Map - now updated with a Spanish subtitled screening option.



The Legacies of Radical Politics in the Caribbean.

Critical reflections on the legacies, presents, and futures of leftist struggles in the Caribbean, occasioned by the 50th anniversary of the Cuban Revolution... enter here



A Small Axe Visual Arts Project

Identities Withheld by Choice
is a special project I formulated for the academic journal, Small Axe in Issue No. 26, June 2008. It is linked thematically to On the Map.

An error was made and two of the images were omitted from the printed journal. Visit the link below to see the complete project on Small Axe's website.



Professor of History at Rutgers University, Herman Bennett, chose to use
one of Annalee's prints (Putting on My Blackness, 1987) for the cover of his latest book, Colonial Blackness - A History of Afro-Mexico, published by Indianna University Press, 2009.

Look here for more information on the new publication.


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