Spirit of the Carnival
The Flying Doctor
The Generators of Faith
The Crime Rate is Rising (I'm Glawd)
The Sky at Night
King of Kings
Hallowed Be The Name
Laughing Legend with Stratocaster
Tam Joseph (1947, Dominica)
Tam Joseph is recognised as one of the founding fathers of the Black art scene in the U.K. Arriving with his parents from Dominica in 1955 aged eight, he was brought up in London where his interest in art and art history was awakened by a voracious consumption of art reference books at his local library and later by attending life drawing classes. After a year’s foundation course at Central School of Art and Design he joined the Slade, where he was the only student of colour but left after a term, objecting to overbearing attempts to mould his work.

His exhibitions have included: Unexpected: continuing narratives on identity and migration, Ben Uri Gallery, London, 2016 No Colour Bar: Black British Art in Action 1960–1990 at London's Guildhall Art Gallery 2016 Dak’Art, Senegal, 2014, Caribbean Art at the Crossroads, El Museo del Barrio, Studio Museum in Harlem and Queens Museum, 2012; This is History, Gallery II and touring, 1998; Learning to Walk, Smith Art Gallery and Museum, Stirling, and touring; Us and Dem, Storey Institute, Lancaster, 1994; Back to School, The Showroom, London, 1989; Black Art: Plotting the Course, Oldham Art Gallery and touring, 1988; Big Yellow, Bedford Hill Gallery, 1988; Painting and Sculpture, St Pancras Library and Shaw Theatre, London, 1986; Monkey Dey Chop, Baboon Dey Cry, Barbican Arts Centre, London, 1984.His work was included in the recent exhibition No Colour Bar: Black British Art in Action 1960–1990 at London's Guildhall Art Gallery (10 July 2015 – 24 January
Tam Joseph is one of a handful of British artists of African and Caribbean descent who came to prominence in the 1980's and whose work has profoundly influenced future generations of artists and left its mark on the psyche of the United Kingdom. Fiercely independent in outlook the artist's most iconic work, Spirit of the Carnival (recently acquired by Wolverhampton Art Gallery) is a highly politically charged painting, yet it would be wrong to label Joseph as a political artist. He is equally at home referencing cloud formations or science fiction aliens (two of his lifelong interests) as police brutality against the black community.