Welcome to Mixed Media, the official blog of The National Art Gallery of The Bahamas (NAGB).

Thursday, October 27, 2011

NAGB Film Highlight: Pollock

Pollock. Dir. Ed Harris. Per. Ed Harris, Marcia Gay Harden, Amy Madigan, Val Kilmer, Jennifer Connelly Jefferey Tambor. Sony, 2000.

The National Art Gallery of The Bahamas decided to feature the particular film, Pollock, in that Jackson Pollock’s technique and style heavily influenced Kendal Hanna’s works. By understanding Pollock’s theory and reasoning, viewers can have a greater appreciation of Kendal Hanna and his work.

Pollock begins with Pollock, (played by Oscar nominated actor Ed Harris), signing a Life magazine where he is featured. A crowd of people surrounds him and the look draped across Pollock’s face gives the impression that this moment of fame is all too overwhelming. Flash back to 1941; he is living with his brother in a small apartment in New York. Occasionally exhibiting at galleries in group shows, Pollock eventually meets his future wife, Lee Crasner (played by Marica Gay Harden). Pollock is introduced to Peggy Guggenheim (played by May Madigan) who he impresses with his artwork and she in return organizes Pollock’s first major show on October 16th, 1942. As his art career takes off, he encounters a host of important figures in the art world such as Clement Greenberg, a major art critic and famous American painters such as Willem DeKooning, Franz Kline and Helen Frankenthaler. Throughout Pollock’s life, he struggles with alcoholism and displays an increasingly destructive and explosive personality. Casner later asks Pollock to marry her, and subsequently assists Pollock by propelling his career forward. Realizing Pollock’s art and well-being is at stake, Crasner moves him to the Hamptons. Whilst residing in the Hamptons, Pollock works incessantly, creating amazing works that he was not able to do. His breakthrough was fast approaching as Pollock accidentally discovers his now famous splatter and drip style. Unfortunately, this critical acclaim only spun Pollock further out of control. During this period, Pollock began a love affair, drank incessantly and produced less work. When Pollock managed to produce a piece it was not very well received. In the end, Pollock along with two other female passengers, Edith Metzger and Ruth Kligman (his mistress) were in a one-car collision. Ruth Kligman was the only survivor (Nicoli 2000).

In 1949, Life Magazine posed a question “Jackson Pollock: Is he the greatest living painter in the United States )?” (White 2011). From this feature, America's first "Art Star" was born. Later, Pollock is credited as one of the most influential figures in the abstract expressionist movement. During his time, however, Pollock was called everything from a degenerate to pure inspired genius, a debate that still continues to this very day (Pollock 2000). Regardless, there is no doubt Pollock’s affect on modern art will not soon be forgotten.

Ed Harris (Pollock) wears a number of hats as producer, writer and ultimately director of this film. Ed Harris is excellent as Pollock and his direction is light, intentional and character motivated. The film does not feel episodic unlike a lot of other film biographies. Each scene moves and transitions well into the next. Harris resists the temptation to allow the art to drive the film emotionally instead the characters are the focus and the work is second nature but very present. The film also shows restraint in psychologically analyzing the artist, a decision that would have tarnished the film, overshadowing the important relationships he shared with the people around him. Marcia Gay Harden does an excellent job as Crasner. Sympathetic, patient and forceful are just a few words to describe Harden’s character. Crasner truly believed in Pollock despite his destructive behavior. One of the most powerful scenes from the film is when Pollock suggests they have a baby. Crasner rejects the notion, subsequently enraging Pollock. This causes Crasner to respond with, “I will not bring another life into that... We are painters Jackson!” (Pollock 2000).

Pollock philosophized a great deal about his work and process, “A method of painting is the natural growth out of a need. I want to express my feelings rather than illustrate them"(Falkenbury and Namuth 1951). The film paints an empathetic image of an artist who simply wanted to create original work without criticism. Pollock's experience is an emotional one. The photography is wonderfully rendered like that of a Rembrandt painting. Appropriately so, as Pollock was somewhat influenced by the artist. In the end, the film is about the artist at work, not the artist waiting for inspiration but his ability to do his work regardless. He did not wait for some external force but worked from within. Pollock is tragic but not depressing. This is what all biographies about artists should aspire to be. Triumphant, brave, honest and truthful; Pollock delivers.

-JP

Works Cited
Jackson Pollock 51. Dir. Paul Falkenberg and Hans Namuth. Youtube. 1 Dec. 1951. Web. 23 Oct. 2011. .
Nicoli, Lara. "Pollock." FilmFestivals.com. Film Festivals. Web. 23 Oct. 2000. .
Pollock. Dir. Ed Harris. Prod. Ed Harris. Perf. Ed Harris. Sony, 2000. DVD.
White, Anthony. "Jackson Pollock – Before Blue Poles." National Gallery of Australia. The National Gallery of Australia. Web. 25 Oct. 2011. .

This film is available at the NAGB Art Library.

Feel free to send us a comment or email, we look forward to hearing from you!

Tuesday, October 25, 2011

Feature from the National Collection: Crawfish Woman

Crawfish Woman
Portland Cement over Rebar Frame
Unknown Dimensions
ND
1998
Collection of the National Art Gallery of The Bahamas

As one walks into the gates of the National Art Gallery of The Bahamas (NAGB), they are confronted by a large and beautiful building, reminiscent of traditional colonial architecture. The grounds surrounding the NAGB building are lush with many statues. If one peeks around the southern corner of the building, however, tucked neatly in the middle of an island of grass is the concrete Crawfish Woman.

Created by Bahamian intuitive artist, Wellington Bridgewater, Crawfish Woman came to the NAGB with two other pieces by Bridgewater, Serpent Woman and Angel with Trumpet. Born in 1948, Bridgewater is known as one of the few true Bahamian intuitive artists, as he is completely self-taught. A jack-of-all-trades, Bridgewater added painting and sculpture to his extensive repertoire in the early 1990s. Easily recognizable, Bridgewater is known for his distinctive style that encompasses strong, vivid colors in his paintings, biblical themes and large concrete sculptures. Bridgewater has pieces in the National Collection of The Bahamas at the NAGB and many private and corporate collections.

Made of Portland cement over a rebar frame, Crawfish Woman is a captivating sculpture that has many interpretations. Due to its large size, the sculpture is in itself very personable, almost imposing, as viewers are able to go close to the sculpture, feel its earthy texture and interact with it from their own eye-level. The sculpture’s concrete medium gives it a rough and natural texture, making this Crawfish Woman seem so much more alive than she actually is. Her spindly legs are all too real, as if they could come over and scrape the viewer at any moment. The strength of Crawfish Woman, however, lies in Bridgewater’s skillful rendition of this hybrid woman, one both human and crawfish, holding a child, not so delicately in her arms. The child itself is terrifying, an unrecognizable species that is thrashing in her arms, one can almost hear it scream if they spend enough time with the piece.

Conversely for some, Crawfish Woman is less a piece of terror and mystery but a sculpture that brings forth softer perspectives. For some, the texture of the piece is not rough or scrape-like but rather a form of natural softness, a sort of caress. The child in her arms may not be screaming, but fidgeting in an ordinary childlike manner. For others, the piece may symbolically transform and represent a moment of divine tenderness, a snapshot in time between a doting mother and her child.

All of these aspects, the size, texture and style of the piece add to its magnificence. Symbolically, however, viewers are left to ponder the origins of Crawfish Woman. Is she a Bahamian rendition of the biblical Madonna and Child? Is she some sort of creation myth, a fusion of Bahamian folktales and strong spiritual conviction? Or is this a form of folktale art, a visual depiction of our Bahamian past and beliefs?

At the end of the day, Crawfish Woman is a subtly powerful piece with many possible visual interpretations and symbolic meanings. Perspectives on this piece are entirely dependent on the histories and past experiences of the viewer. So come to the National Art Gallery of The Bahamas and experience for yourself the beauty of Crawfish Woman and let us know your perspectives on this piece.

-AK


Works Cited
Artist Biographies. Wellington Bridgewater. The National Art Gallery of The Bahamas.
This biography and other artist biographies are available at the NAGB Art Library.

Feel free to send us a comment or email, we look forward to hearing from you!

New: In Gallery Guides for the Kendal Hanna Exhibition

There are some new additions to the Kendal Hanna exhibition!

Recently added is a section entitled, Artists Comparisons. These additions highlight and acknowledge some of the international influences that inspired Hanna. Artists range from Jackson Pollock, Williem de Kooning, Joan Miró, Hans Hofmann and Mark Rothko.

Come to the gallery and see these new informative additions and draw your own conclusions on whether or not you think these specific artist influenced Hanna.

One of the new Artist Comparison guides in the gallery: Hans Hoffman's The Gate and Kendal Hanna's Pink Patchwork.

The Gate, Hans Hoffman
Oil on Canvas
75in. x 48.5in.
1959- 1960
Collection of the Solomon R. Guggenheim Museum, New York
Image courtesy of the Solomon R. Guggenheim Museum, New York

Pink Patchwork, Kendal Hanna
Acrylic on Canvas
30in. x 24 in.
ND
Collection of The D'Aguilar Art Foundation

Thursday, October 20, 2011

NAGB Art Library Highlight: the WomanSpeak Journal Vol. 5

Tucked away in The National Art Gallery of The Bahamas’ Art Library, WomanSpeak Journal Vol. 5, is a collection of works by fifteen Caribbean writers and artists. Edited by Lynn Sweeting, WomanSpeak is the result of Sweeting sifting through the finest examples of art and literature by emerging and scholarly women writers in the Caribbean. Stretching across the literary arts, this journal offers something for everyone; poetry, fiction, play writing, myth and lore and for the visually inclined, visual arts.

Instead of finding poems about the sun, sand and sea, universal symbols of the ‘Caribbean lifestyle’, one experiences unexpected immersion into very personal and poignant moments in time.

There are times of laughter and curious smiles, and then there are moments that promise to be unsettling. Will parallels to your own life be drawn as you read Angelique Nixon’s Never Again? The words “Now, I feel myself (me) being a woman” (Nixon 23) will echo long after the last page is turned while Opal Palmer Adisa’s Empowerment (Adisa 15) stirs reminiscing about the innocence of childhood:
my daughter…
she wants to know
why the sea and the sky
are blue
I tell her they
are wombs that nurture
her life
she hands me another gift
for the wall
and I inscribe on the top
of her world
this is a nuclear free zone (Adisa 16)
Juxtaposed against this innocence Rhonda Claridge’s Puta (Claridge 41) brings the reader back to the immediacy of being a 21st century Cuban woman.

In its entirety, the WomanSpeak Journal Vol. 5 is a compilation of voices that manages to blend into a cohesive stream of consciousness. The individuality of each artist pushes through without being noisy or overpowering. This journal is in fact empowering. A moving and thoughtfully edited collection, this journal speaks to the young and the young at heart. An insightful and enjoyable read, the WomanSpeak Journal Vol. 5 would be a worthy addition to any art enthusiast’s library.

-NP


Works Cited
Sweeting, Lynn, ed. The WomanSpeak Journal. Vol. 5. Nassau: WomanSpeak, 2010. Print.
This book is available at the NAGB Art Library and available for purchase at the Mixed Media Gallery Store.

Feel free to send us a comment or email, we look forward to hearing from you!

Wednesday, October 19, 2011

NAGB Announces New Director & Staff Appointments

Earlier this year, the National Art Gallery of The Bahamas began a comprehensive and transparent search, locally and worldwide, to fill a number of positions including Director, Assistant Educational Officer, Curatorial Assistant and Curatorial Trainees. The Board of the NAGB and the Gallery itself worked in consultation with the arts community throughout the entire process. With this talented selection of persons, the Board is confident that the process has been a sound one and that it has resulted in the best persons being chosen for each position.

After an extensive search, the Board of the National Art Gallery of The Bahamas announces the appointment of Director Amanda Dana Coulson to succeed Dr. Erica M. James, who managed the National Art Gallery since its establishment seven years ago.

Amanda Coulson- Director of the National Art Gallery of The Bahamas

Amanda Coulson, a Bahamian citizen, earned her Master’s Degree in Art and Architecture from New York University’s prestigious institute of Fine Arts and went on to become an internationally-renowned art critic and curator, while supporting Bahamian artists on the international platform.

Dr. James is a strong supporter of Coulson who she worked with in 2006 on the international exhibition Funky Nassau – Recovering an Identity. The exhibition was staged at both the National Art Gallery of The Bahamas and the celebrated Nassauischer Kunstverein in Wiesbaden, Germany, where it garnered great international press for the nine Bahamian artists: John Beadle, Dionne Benjamin-Smith, Lillian Blades, John Cox, Blue Curry, Michael Patrick Edwards, Antonius Roberts, Heino Schmid and Clive Stuart.

Coulson maintained close contact with many of the artists and helped further their careers with advice and insights in navigating the complex world of contemporary art. “I’m really touched at how many friends and colleagues have supported this appointment. It underscores the warmth and richness of our community that I’ve missed for so long,” Coulson comments.

Having co-founded contemporary art fairs with her German husband in both Basel, Switzerland and New York, Coulson wished to bring her expertise in arts administration, curating and critical writing back to her native soil. “Like many Bahamians who went abroad to complete their studies, connections are made that take one further away from home, professionally or personally. I secured a great job in New York and then married a German art dealer. While I found myself in a network that was extremely rewarding, it was disengaged from my homeland. So I was particularly thrilled when this opportunity arose for myself and my family.”

Coulson has promoted artists from other Caribbean nations like Che Lovelace (Trinidad), Enoc Perez (Puerto Rico) and Zac Ové (Trinidad), as well as African artists like Athi-Patra Ruga (South Africa) and Meschac Gaba (Benin), increasing their presence on the international art platform. “There are many art scenes that are unfairly marginalized due to their remoteness from the global art hubs. I hope to use my network of 20 years of arts management, to further the reach of Bahamian artists by bringing our national achievements to an international stage, and to garner more international focus on the islands themselves, encouraging visits by art lovers and curators to see the richness of our cultural scene.”

Additional appointees are:

Jordia Benjamin- Assistant Education Officer

Jordia Benjamin was born in Nassau, The Bahamas, attended Aquinas College and graduated from High School in Kissimmee, Florida. She attended Valencia Community College in Orlando, Florida pursuing and completing the Associate of Arts Degree in Studio Arts. She transferred to the University of South Florida, in Tampa where she graduated with honors and received dual degrees, Bachelor of Fine Arts in Art Studio (concentration in Painting) and a Bachelor of Arts in Art History. While a student at USF, she furthered her studies abroad by enrolling in the University’s summer programmes in Paris, France and the United Kingdom. As an undergraduate, Miss Benjamin received numerous awards and grants including ‘Exceptional Talent Grant, CVPA Diversity Enhancement Grant, Transfer Student Achievement Scholarship, USF Art Department Talent Grant and USF College of the Arts Study Abroad Grant.

Her work has been exhibited in several Tampa galleries: The Centre Gallery, Flight 19, Traditional and Digital Arts Gallery, The International Boba House and William and Nancy Oliver Gallery. She received Honorable Mention in “Cityscape,” the University of South Florida Study Abroad International Photo Competition and was co-curator of “Je veux l’art” Fall 2008 Paris Study Abroad Exhibition at the USF Centre Gallery, Tampa, FL. Miss Benjamin has worked in several museums including the Contemporary Art Museum in Tampa, Florida and the Orlando Museum of Art in Orlando, Florida. She is a member of two honor societies Phi Beta Kappa and Golden Key International Honor Society. She is the daughter of Crispin and Juieth Benjamin.

As Assistant Educational Officer, Miss Benjamin will assist with the development and supervision of education programmes for children, adults and artists; develop and execute community and island outreach programmes; along with assist with the development of educational materials for exhibitions as a part of educational product development.

Ashley Knowles- Curatorial Assistant

Ashley Knowles was born in Nassau, New Providence where she first developed an interest in art. After graduating from Bishop Michael Eldon School in Freeport, Grand Bahama, she received the Bahamas United World College full scholarship to attend Lester B. Pearson United World College of the Pacific in Victoria, British Columbia, Canada for 2 years to complete her International Baccalaureate. Upon completion of her baccalaureate degree, Ashley Knowles received a scholarship to attend Smith College in Northampton, Massachusetts where she completed her Bachelors of Arts in May 2011 in Anthropology and a concentration degree in Museum Studies. Whilst attending Smith College, she also completed a thesis in Museum Studies on the role of relevancy in the Bahamian history museum. In the summer of 2011, Ashley Knowles successfully completed a certificate programme in Art Museum Studies at the Summer Institute of Art Museum Studies (SIAMS) where she was published and was 1 of 5 curators for the certificate exhibition entitled, Surface Tension: Reconsidering Water as Subject.

Ashley Knowles has had the good fortune of working at the Center for Folklife and Cultural Heritage at the Smithsonian Institution in Washington, DC where she researched and curated an online digital exhibition entitled, "An Attempt At Noise: The Presence of Junkanoo in The Bahamas" and the Smithsonian 1994 Folklife Festival. Ashley Knowles has also interned at the National Museum of The Bahamas, The Antiquities, Monuments and Museums Corporation where she researched and conducted interviews on Grand Bahamian history and assisted with the completion of a mini exhibition on the history of Grand Bahama.

As Curatorial Assistant, Miss Knowles will assist the director and curators with the research, development, design, installation and implementation of exhibitions, maintain and manage the National Collection and exhibition galleries. She will also act as liaison between curatorial staff and the general public, supervise use of the National Collection and perform routine condition reports on the galleries and National Collection with curators.

Nastassia Pratt- Curatorial Trainee

Nastassia Pratt was born in Nassau, Bahamas. Her interest in art began during her high school studies at St. John's College, particularly in 2003 during the RBC Finco Summer Art Workshop when she was introduced to watercolor painting. This subsequently led to her studies in design at The College of The Bahamas' Associate's Degree in Architecture. She then continued studies in architecture at Ryerson University in 2005 where her interest in model-making began. An ongoing exploration of these avenues of creating has led her to her present position as a Curatorial Trainee at the NAGB.

As Curatorial Trainee, Miss Pratt will support the work of the curatorial staff and focus on professional museum practices training. Miss Pratt will assist with exhibition development and maintenance, collections management, research, public programming, merchandising and gallery promotion.

Averia Wright- Curatorial Trainee

Averia Wright was born in Nassau, The Bahamas and graduated from St. John's College. She is a ceramicist/sculptor who graduated from the College of The Bahamas with an Associates Degree in Fine Art. She transferred to the University of Tampa where she studied under Bahamian sculptor Kendra Frorup and graduated with a Bachelors of Fine Art with a concentration in ceramics. She was employed at Doongalik Studios Art Gallery, Nassau and participated in a two-man show, alongside Toby Lunn, in Transforming Spaces 2010 in the exhibit "Earth to Flight". Her work can be found in the collections of Dawn Davies, the D'Aguilar Art Foundation and Jackson and Pam Burnside.

As Curatorial Trainee, Miss Wright will support the work of the curatorial staff and focus on professional museum practices training. Miss Wright will assist with exhibition development and maintenance, collections management, research, public programming, merchandising and gallery promotion.

Tuesday, October 18, 2011

Local and Global: Kendal Hanna and William de Kooning

Within Kendal Hanna's works there is great inspiration and reference to a particular abstract artist. Abstract art could not exist without the influential and prolific contributions of Williem de Kooning, born in Rotterdam, Netherlands on April 24th, 1904. The artist illegally moved to the United States in 1926. De Kooning was a visual mentor to Bahamian artist Kendal Hanna. De Kooning is renowned as the “leading figure of Abstract Expressionism whose painterly gesturalism transcended the conventional definitions of figuration and abstraction and had a substantial influence on art after World War II”, according to Jane Turner editor of The Dictionary of Art.

Similar to Kendal Hanna, de Kooning’s artistic talent was discovered at an early age and working within the art field was a provident career choice. Both artists visited and lived in New York City, NY and became influenced by the museums, culture, social, art and artists of their time. Established artists like Picasso, Miró and Mondrian among many others influenced de Kooning, which is sufficiently evident in his artwork during the 1930s and early 1940s. These influential artists became a foundation from which de Kooning was able to create his own abstract style and were the underlining bases in his famous women work series.

Another influential individual that effected de Kooning’s artwork was his wife, Elaine Fried. Before meeting his wife, de Kooning’s prominent painting figures were male nudes, which abruptly change after his marriage union. There is a lot of speculation whether Ms. de Kooning was the sole model for his woman series or if it was the combination of the popular female icons of the time. Either way there is great debate, interest, disguise, and controversy over one particular painting that will now be further addressed, Woman I.

Woman I
Oil on Canvas
75.86in. x 58in.
1950-1952
Collection of the Museum of Modern Art, New York
Image courtesy of the Museum of Modern Art, New York

The creation period was over two years 1950-1952 and this process was documented by photographer, Rudolph Burckhardt, illustrating the changes of the painting from its conception to final piece. One may wonder why there is an issue about this specific piece, truth be told, many art critics, historians and patrons have different views. From its showcase in 1953 in New York at the Sidney Janis Gallery, viewers were shocked by the visual depiction of a nude female. This painting is not a classic photorealistic rendition of a female nude, however, the colors are murky flesh colors, harsh brushstrokes, disproportional and exaggerated body parts. All of these characteristics of the painting, however, fall under the abstract umbrella. In de Kooning’s defense, the painting depicts the ironic commentary on the obsession of film, television and advertisement of presenting an artificial, unrealistic world to its viewers (Turner 162). Considering the representation of women in film during the 1950s, specifically Elizabeth Taylor in the 1954 film, Elephant Walk with de Kooning's Woman I, Taylor’s full skirted dress portrays her breasts as pointy and coned in shape, are also evident in de Kooning's painting. There is an emphasis on the exaggerated minuscule waistline, both seen in the film and in de Kooning’s painting. De Kooning brings attention to the ‘ugly’ truth about the 1950s depiction of women and the false sense of beauty that it projects.


Elephant Walk. Dir. William Dieterle. Paramount Pictures, 1954. Film.

Hanna and de Kooning technique styles are familiar in that both painters used photographs as inspiration and references, however, de Kooning takes the process one step further by placing the photographs onto the canvas, paints over them blurring the ability to separate the two. In Woman I, de Kooning uses a cut and paste a photograph of a woman smile instead of painting this image. Whereas, Hanna uses he grid pattern, discussed in the previous post, as a guide and blocking what areas will contain specific contents, while de Kooning uses the placement of the photographs as his ‘grid’.

In conclusion, both artists document their culture, surroundings and the influential subjects of the time. De Kooning documented women representation of the 1950s and in the same likeness Hanna documented Vincent D’Aguilar a prominent Bahamian art collector of our time. Visit The National Art Gallery of The Bahamas to view Kendal Hanna’s Portrait of Vincent D’Aguilar and Portrait of Vincent D’Aguilar After Death paintings.

A de Kooning retrospective exhibition is currently on display at the Museum of Modern Art (MoMA).

-JB


Works Cited
Turner, Jane, ed. The Dictionary of Art. London: MacMillan, 1998. Print.
This book is available at the NAGB Art Library.

Feel free to send us a comment or email, we look forward to hearing from you!

Monday, October 17, 2011

Review: Jackson and Jackson

Beautiful Monsters
Acrylic on Canvas
40in. x 60in.
2011
Collection of the Central Bank of The Bahamas
Image courtesy of the Central Bank of The Bahamas

The NAGB staff would like to offer our very own, Jackson Petit-Homme, a hearty congratulations for winning the 28th Central Bank Competition! His winning piece, based on the larger theme of "So So Beautiful", explores the dark and light side of beauty and how they complement each other. Congratulations Jackson! We are so happy for you and look forward to your upcoming solo exhibition!

This past week also saw the successful execution of the first film in the NAGB Film Series. Entitled, Pollock, this film explores the pioneering style of the American abstract expressionist artist, Jackson Pollock.

Here are photos from the event!






Look forward to our next film, My Kid Could Paint That, on October 28th at 7PM and feel free to send us a comment or email, we look forward to hearing from you!

Thursday, October 13, 2011

Feature from the Exhibition: Portrait of My Father (Unfinished)

Portrait of My Father (Unfinished)
Mixed Media on Canvas
47.5in. x 32in.
2003
Collection of the Artist
Image provided by the Artist
 

Hanna orchestrates the course of action for each piece in his mind long before the canvas is even marked. This thought process plays a major role where he mentally sees the artwork as a finished piece and thus fights to materialize his vision into reality. The majority of Kendal Hanna's work comprises mixed media, with mediums varying from crayons to oils. His thoughtfulness towards the content and subject matter of Hanna’s work, the same consideration is attributed to the media he chooses.

Kendal Hanna’s father, Leonard “Jakes” Johnson was the drummer for Freddie Munnings’ and later on the drummer for George “God Bless” Moxey’s band. The portrait reference “My Father (unfinished)”, a painting that has been an ongoing process over the span of eight years is a photograph of the “God Bless” Band. Some psychologists will argue that the relationship between father and son is unsettled and is reflected in this portrait causing the piece to be uncompleted. Hanna, however, opposes this. His intent is to add in the drums, from the photo. One should also consider that creating art is an emotional experience that cannot be forced but felt, an action that derives from impulse and Hanna believes that there is no specific time that a piece has to be completed.

Image Courtesy of Kendal Hanna

A technique that is used constantly and delivers a great affinity in Hanna’s work is the yin and yang concept, along with the grid pattern laid down as the foundation of the piece. The use of the yin and the yang plays the balancing act of light and dark, composition and this application is evident. The strokes of the paintbrush and the rub of charcoal onto canvas are all taken into consideration. The visibility of the grid in this painting gives a glimpse into the artists’ creative process. It is placed above the portrait allowing him to assess the balance and proportional mechanism of the work a means to settle the sense of chaos. Though the grid is visible in this piece it is normally hidden in some layers in other artwork. Hanna’s successful use of these techniques keeps the viewer’s eyes wondering and dancing across the canvas not able to focus on one particular area, because the pieces works together as a whole.

Viewing this portrait of Hanna’s Father gives a glimpse into the Happy Birthday to Me Kendal Hanna Retrospective Exhibition and is a cohesive blend of what this exhibition is about, abstract expressionism and portraiture.

-AW





Works Cited
The National Art Gallery of The Bahamas. Happy Birthday To Me Kendal Hanna: A Retrospective. Nassau: The National Art Gallery of The Bahamas, 2011. Print.
This book is available at the NAGB Art Library and available for purchase at the Mixed Media Gallery Store.

Feel free to send us a comment or email, we look forward to hearing from you!

Tuesday, October 11, 2011

Kendal Hanna's "Happy Birthday To Me"

Currently on exhibition at the National Art Gallery is Kendal Hanna’s Retrospective Exhibition, “Happy Birthday To Me”. Spanning work from his near-60 year career, the exhibition features over 140 pieces ranging from Hanna’s psychologically intense portraits, his classic nude studies, and compelling abstract expressionist pieces. Curated by Dr. Erica M. James, the exhibition opened on the 25th of June 2011 and will sadly end in January 2012, so visit while you can!

First, let’s discuss the background of the artist, who was born on the 25th of June 1936 in Nassau, New Providence. Hanna is touted as a pioneer of Bahamian abstract expressionism. Having always known that he wanted to be an artist, Hanna first furthered his interests in art in primary school. His dreams did not begin to take shape until a fortuitous meeting with American artist, John St. John who soon after encouraged and mentored Hanna. Later, after a brief stint at the Post Office, Hanna became the first Bahamian artist to sign on to work at the famous Chelsea Pottery.

Hanna’s experiences at Chelsea Pottery forever altered the course of his life. There, he received his first formal art training. Hanna was also exposed to a number of influential Bahamian artists, many who nurtured his burgeoning abstract style by giving him the opportunity to travel to the United States. The rest of Hanna’s story is essentially history, as he started creating art at a rapid pace. Today, Hanna is a renowned Bahamian artist both locally and internationally. Hanna is also fortunate to have his work represented in many key private collections and the National Collection of The Bahamas.

When it comes to making art, Hanna is not as free spirited and abstract as his pieces are. From the moment a piece is conceived, Hanna spends a great deal of time composing it in his head. Fascinated with the process of art making, Hanna is a detailed planner and can spend a long period of time on a single piece. Visually, Hanna’s work is deeply psychological and personal which depicts his absorption with representation and self-representation. Known as the Master of the Line, every stroke and line in Hanna’s paintings are charged with meaning, representing formal artistic processes and the state of his emotional consciousness at the time. When asked about his art, Hanna’s response reflects his emotional ties to his work:
My experience as an artist has led me to many truths. The works you witness in this exhibition bear witness to where I stand. I am an abstract artist and I commit myself to its resolution. My work is a testimony of my faith, as a man of my time. Amen.
-AK

Works Cited
The National Art Gallery of The Bahamas. Happy Birthday To Me Kendal Hanna: A Retrospective. Nassau: The National Art Gallery of The Bahamas, 2011. Print.
This book is available at the NAGB Art Library and available for purchase at the Mixed Media Gallery Store.

Feel free to send us a comment or email, we look forward to hearing from you!