Mixed Media, Official blog of the National Art Gallery of The Bahamas

NAGB Art Library Highlight: Infinite Island: Contemporary Caribbean Art

2012-02-23T11:47:00.003-05:00

Mosaka, Tumelo, Annie Paul, and Nicollette Ramirez. Infinite Island: Contemporary Caribbean Art. New York: Brooklyn Museum in association with Philip Wilson Publishers, 2007. Print.

Speak of the Caribbean to the wider world and pictures of grand palm trees, pristine blue waters and easy breezy island life are imagined. In an exhibition catalogue entitled Infinite Island: Contemporary Caribbean Art, assistant curator at the Brooklyn Museum, Tumelo Mosaka, attempts to deconstruct clichéd notions of Caribbean visual culture by exploring the work of 45 contemporary Caribbean artists.

These artists, purposefully chosen, represent a variety of Caribbean nations, stretching from Cuba to Montserrat. In turn, these diverse artists bring with them their own individual baggage, art that is loaded with personal visual, cultural and social subtext. Issues such as migration, race, colonialism, power, poverty, feminism and idealism are addressed with an uncanny beauty, whilst remaining true, almost harsh, to the true messages.

One piece in particular by Puerto Rican based artists, Jennifer Allora and Guillermo Calzadilla, personally stands out. In their series entitled, Land Mark (Foot Prints), the viewer is confronted with footprints in golden sand. No other scenery is shown, just a confusing haste of footprints etched into the surface of the beach. Upon closer inspection, the footprints don’t convey the grooves of a regular foot, but rather, are stylized pieces with words and images engraved into their surfaces. One particularly strong footprint screams “LA MARINA ES MUERTE” (THE NAVY IS DEATH) with glaring skull and crossbones next to it (Mosaka 39). In reality, Allora and Calzadilla designed these rubber soles for activists who planned to trespass and protest on the U.S. military base in Vieques, Puerto Rico (Mosaka 38).

Of the 80 plus works in Infinite Island, there is a noticeable lack of ‘traditional art’ represented. Indeed, paintings are a sparse thing; the catalogue is instead filled with pictures of looming sculptures, large-scale installation pieces, sculptures and photographs. As a result of this decision-making, Infinite Island actively challenges traditional notions of Caribbean art. The viewer can no longer expect to see graceful landscapes expertly painted onto canvas, or cool watercolour scenes of native boat life, scenes that have often defined Caribbean art in the past.

I would have liked to see work from a wider range of Caribbean countries, say from The Bahamas for instance. Though, as one of the first real attempts to catalogue Caribbean contemporary art in the United States, Infinite Island is a raging success. Not only do Caribbean people learn about themselves and their art, individuals from foreign countries see a more realistic portrayal of Caribbean art and life. It is good to finally see those imagined pristine palm trees gone, as Infinite Island lets the truth rush in.

Interesting Further Reads:

Brooklyn Museum
Macmillan
New York Times

Works Cited

Mosaka, Tumelo, Annie Paul, and Nicollette Ramirez. Infinite Island: Contemporary Caribbean Art. New York: Brooklyn Museum in association with Philip Wilson Publishers, 2007. Print.

"Exhibitions: Infinite Island: Contemporary Caribbean Art." Brooklyn Museum: Infinite Island: Contemporary Caribbean Art. Web. 23 Feb. 2012. <http://www.brooklynmuseum.org/exhibitions/infinite_island/>.

This book is available at the NAGB Art Library and available for purchase online through Amazon.

NAGB Film Series: On the Wings of Men (2011)

2012-02-20T13:24:00.002-05:00

On the Wings of Men. Dir. Calvin Dwight Harris. 2011.

What: NAGB Film Series: On the Wings of Men (2011)
When: Thursday, February 23, 2012 7:00 to 9:00 PM
Where: The National Art Gallery of The Bahamas, West and West Hill Streets, Nassau, The Bahamas.

The Education Department of the National Art Gallery of The Bahamas has chosen Bahamian filmmaker Calvin Harris' film “On the Wings of Men” to be the first in a series of films under the current exhibition, “As We Knew Him," One Family’s Tribute to Jackson Burnside III. This film was chosen because it combines Bahamian history and culture which were two of Burnside's greatest passions. This film received strong support from the community, thus earning it the 2011 BIFF Audience Awards: Best Documentary.

This film will look at the life & time of the first ever Prime Minister of the Bahamas; Sir Lynden Oscar Pindling, and his fight against US foreign policies in the 1980's [then Presidents Reagan & Bush Administration]. In his successful attempt the help free Nelson Mandela, he found himself in the midst of a conspiracy trail, orchestrated by the CIA, that accused him of ties to the Columbian Cartel [Carlos Rivas Ledher & Pablo Escobar] and for being the conduit [The Bahamas] to America's cocaine problems in the 1980s.

If you have any inquiries about the event, please call 328.5800/1, or drop us a comment on the blog, we'll answer you as soon as possible.

Be Firm But Be Fair: An Interview with Chief Curator, John Cox

2012-02-16T14:52:00.009-05:00

Interview with Chief Curator from the National Art Gallery of The Bahamas, John Cox. Cox was born in Nassau and later attended the Rhode Island School of Design (RISD) in the United States. He has a BFA in Illustration and an MAT in Art Education. Cox is an artist, an Associate Professor at the College of The Bahamas and the owner and director of Popopstudios- Center for the Visual Arts. Cox joined the NAGB team in January 2012.

Interviewer: What do you think the role of the curator is?

John: I think the role of the curator is to use a metaphor, it is like being a conductor of an orchestra, so it is about responsibility, leadership, delegation and creativity. It’s like being a Director, in the context of creating a film, in the sense that there are people doing filming, people doing editing and casting, so it’s about being on top of the entire dynamic structure of the exhibition.

I think that is what the act of curating is about. It is the sensitive handling of the creative process that didn’t begin with you, but ends with you.

I: Have you curated anywhere else?

J: My first experience doing curatorial work was at RISD, I didn’t think of it as curating though. RISD was my first experience doing it, but I didn’t think, “I am curating an exhibition now”.

I must have been about 19 or 20 when I did that, but I felt that it was a craft in and of itself, the ability to hang the shows and present the work, it was like the final follow through of any individual artist’s process.

I: What would you say makes a strong curator then?

J: I think that it is someone who is very fluent in the language and is able to translate, to basically be the interpreter. The curator needs to basically interpret the language of the art that they are responsible for. The resource of your gallery should also be taken into consideration, the physicality of the space, what kind of equipment you have that can support the work and so on.

What you really want to do is elevate the work, you don’t want to take it down a few steps, and you want to take it up. I think that is the goal of it, to bring a sense of clarity to the art.

I: Is that how you would define a ‘good’ show versus a ‘bad’ show, as in something that wasn’t translated in a digestible way?

J: It needs to be as digestible as it should be. The idea should not be to ‘dumb’ it down. You need to clear the path from the work to the viewer, that’s your responsibility. That’s what a gallery is really, its an artery, a conduit from the art to the audience, and all its staff should be focused on enhancing that experience. So what we try to do is to make the work as engaging, informative and provocative as we can based on how we install it, the colour of the walls, wall text, education, programs, labels and so on.

I: You mention something about consciousness; do you think that it helps the curating process? Each individual is different and you tend to have more of an organic style, does having or not having consciousness help?

J: In terms of me being more organic, I think it is based on my experiences of finding myself having to make curatorial efforts now with paste experiences of previously being responsible for education. I find that the source of my knowledge in curating is experience.

I’ve had different ways attaining experience and I think that my knowledge is based on the fact that I know what it is like to make art. I have a pretty good understanding of a broad range of processes even though I don’t actually do them. I think that is what people want to know, they want to understand the processes, what would have motivated someone to do this or choose to tell their story in that way.

I think really, what it is, is that curating is telling stories with art.

I: So it seems that being an artist has really helped you do this.

J: Yeah, I think so. I think that artists have become very fluent at figuring out what languages they need to speak.

How you establish yourself is as a curator, is by being consistent for a long period of time. I think many people are thrown off, that if they’re not popular they think that they need to change their philosophy so that they’ll be more popular. What you need to do is be responsible in the beginning, set up your own ideology and stick with it for the long term because if you are very clear and thoughtful in your statements and what you’re doing, people will start to gravitate towards you. I believe that people respect and understand consistency more than anything else.

I: Yeah, you need to be able to trust the institution.

J: Yeah, I think trust is huge. If you don’t gain the trust of the art community or the artists that you are dealing with it is very, very difficult.

Feel free to send us a comment or email at mixedmediablog.nagb@gmail.com, we look forward to hearing from you!

Highlight: Pictures from the 'As We Knew Him' Exhibition Opening

2012-02-09T10:08:00.002-05:00

The exhibition opening for 'As We Knew Him' was a raging success! With an estimated crowd of over 350 people, the night was filled with laughter, the sound of cowbells and an energetic rush by One Family.

The NAGB would like to thank their staff, One Family for their amazing assistance in making this exhibition possible and of course, our guests and visitors who made the night such a success and continue to support us. Enjoy the photos!

For press releases on the exhibition and its opening, yesterday's entry features a Tribune article written by Alesha Cadet and ZNS feature with Giovanni Stuart.
Link: The National Art Gallery of The Bahamas in the News.

The Inagua Salt Ponds
Design: Christina “Muffin” Fernander
Built: Christina “Muffin” Fernander
Rush: Christina “Muffin” Fernander

Feel free to email Mixed Media at mixedmediablog.nagb@gmail.com, or contact us at 328.5800. The NAGB is open Tuesday to Sunday, 10am to 4pm.

The National Art Gallery of The Bahamas in the News

2012-02-08T16:08:00.001-05:00

Today's Tribune published an article about the Jackson Burnside exhibition. An amazing piece written by Tribune reporter, Alesha Cadet, explores the different influences, sections and meanings of the show.

The NAGB was also featured by ZNS during its news broadcast. Check out our new Chief Curator, John Cox, talking about the importance of the current exhibition, As We Knew Him.

Have any suggestions for the NAGB or the Mixed Media blog? Please email mixedmediablog.nagb@gmail.com and let us know.

Wanted: Volunteers Needed

2012-02-07T15:51:00.001-05:00

The National Art Gallery of The Bahamas is looking for volunteers to assist with curatorial and education events, as well as assisting with the Mixed Media store. Volunteers will staff the store, assist with exhibition openings, closing, All-star Amateur Artist nights and film previews.

Please call 328-5800 for further information.

February Trivia

2012-02-02T09:32:00.001-05:00

It's that time! Mixed Media will host it's February Trivia today. The rules are very similar to past rules.

The first individual to get all of these questions right will win a special Mixed Media prize, and the first 10 individuals will receive a small token from Mixed Media.

February's quiz pertains to past and present NAGB exhibitions. All of the answers can be found either on Mixed Media, the official NAGB website or in past NAGB publications.

To submit your answers, please email mixedmediablog.nagb@gmail.com with your responses, your name, and an email or phone contact. This trivia opportunity expires on 6PM Friday. Good luck!

When did Kendal Hanna: Happy Birthday To Me exhibition officially open?
Which National Exhibition will occur at The National Art Gallery of The Bahamas this year?
Which Barbadian artist had an exhibition at The National Art Gallery of The Bahamas?
What is the name of the Bahamian artist that has had a solo-exhibition at The National Art Gallery of The Bahamas, who that is known for his print making skills?
What is the name of the exhibition that debuted many African artifacts and pieces?
What 2 large themes were explored in Kendal Hanna: Happy Birthday To Me and in the All-star Amateur Artist night?
Which National Exhibition occurred in 2010 and what was its theme?
What is the name of the exhibition officially opening February 3, 2012?
What year did Developing Blackness open at The National Art Gallery of The Bahamas?

Bonus: What is rumoured name of the artist to have a retrospective at The National Art Gallery of The Bahamas this year?

The bonus question will give an extra point to whoever guesses it correctly.

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page.

All-star Amateur Artists Night Review

2012-01-26T10:57:00.001-05:00

The event was a success. Artworks were sold; amateur and professional artists mingled, classical music filled the air, family, friends and the local community came out to support the gallery and All-star Amateur Artists Night participants. In preparing for the event, there was a lot of behind the scene work and high expectations that needed to be meet.

It all started with an idea that the Education department had in creating an event for artists to showcase their work within a museum setting. The Education Department wanted to create an event that will appeal to nontraditional gallery visitors and encourage creative production in the art community. With the approval and support from the gallery’s director, staff and board members, the construction of this idea began.

The call for artwork went out in November of 2011 and received a great deal of enquiries from the public. The gallery specified that the artwork must consist of the following themes that reflect the current exhibition at the time: abstraction and portraiture. The information about this event was all over the web and other media outlets such as the NAGB’s web page, the NAGB’s Mix Media Blog, NAGB’s facebook, NAGB’s twitter, advertised on Bahamas weekly’s website, Bahamas Local’s website, the Nassau Guardian and on NB-12.

After the submission deadline the gallery received over thirty pieces of artwork to be viewed for the event. The curatorial department did an excellent job in selecting artworks that not only fit the themed guideline but also were of gallery standards. The artwork chosen reflected the influence Kendal Hanna has had on the art community and most importantly the emerging artists that the gallery seeks to promote.

The week of the event quickly approached, there was artwork to be collected, easels that had to be re-supported and painted, caterers to be called, quotes demanded and drinks to be supplied. The list continued with the creating and printing of the evening’s programs, lights check, sponsors, donors and volunteers called, invitations created and sent and most importantly the red carpet pulled for the selected artists and of course, Kendal Hanna.

As guests arrived they were greeted and handed the evening’s program along with live music being played by Gray’s Virtuoso Strings. As the music decresendo Jackson Petit, Curatorial Assistant opened the evening, welcoming guests to the closing of Kendal Hanna’s exhibition. Jordia Benjamin, Assistant Education Officer spoke about the importance of the AAA Night and how this event supports continual artistic creation. The NAGB’s Director, Amanda Coulson introduced Mr. Kendal Hanna who then gave his closing remarks on his exhibition. After which the NAGB gallery and the upstairs verandas became officially opened for the evening.

It surely was a great event and evening as artworks were discussed in and out of the galleries, comparing and realising the influence of Kendal Hanna’s work on the amateur artists. Due to the event’s success, the gallery will be hosting an AAA Night at the closing of every NAGB exhibition. Look forward and stay tune.

Articles in The Guardian about AAA Night:

Catch The Exhilarating 'Happy Birthday' To Me Before It Closes

Amateur Artists Get Their Night

For more information on future AAA Nights please call the gallery at 328-5800/1.

The National Art Gallery of The Bahamas Invites the General Public to an Exhibition Opening

2012-01-25T14:17:00.009-05:00

Click the above image for a larger view.

Feel free to contact The National Art Gallery of The Bahamas regarding any questions that you may have. Our number is 328-5800 or email, Ms. Morris at lmorris@nagb.org.bs for further information.

Reminder: The gallery is closed from the 23rd January till 6pm February 3rd, 2012.

Visually Inclined: Drawings from the NAGB Guestbooks.

2012-01-19T13:23:00.002-05:00

In early October 2011, the Curatorial Department put out two NAGB sketchbooks into the gallery, one upstairs and one downstairs, to encourage visitor feedback and participation. Every week the books changed positions on their respective floors and feature weekly guiding questions such as, "What is your favourite painting?" The gallery also actively promotes doodling, sketching and all forms of creative output in the sketchbooks.

Below are a small sample of the many delights found over the past 4 months in the Visitor Feedback books.

Reminder:
The National Art Gallery of The Bahamas is looking for volunteers to work part-time in its gift store. We are looking for mature individuals (preferably retirees) who are customer service oriented, friendly, able to work a 2.5 hour shift on a negotiated day of choice and have basic computer skills. If you have these qualities and would like to apply, please contact Ms. LuAnn Morris at telephone 328-5800/1 to arrange an appointment.

Visit the NAGB today and feel free to send us a comment or email, we look forward to hearing from you! See everyone Friday for the All-Star Amateur night and Kendal Hanna closing.

News: Volunteers Needed!

2012-01-18T09:28:00.001-05:00

The National Art Gallery of The Bahamas is looking for volunteers to work part-time in its gift store. We are looking for mature individuals (preferably retirees) who are customer service oriented, friendly, able to work a 2.5 hour shift on a negotiated day of choice and have basic computer skills. If you have these qualities and would like to apply, please contact Ms. LuAnn Morris at telephone 328-5800/1 to arrange an appointment.

How To: The Proper Conservation and Preservation of Artworks on Paper

2012-01-12T14:51:00.005-05:00

For the National Art Gallery of The Bahamas, other art galleries, museums, art collectors and appreciators, one’s storage systems are an institutions most important asset (besides the art of course). Without one, collections of priceless artworks and artifacts will deteriorate at rapid rates. Below are recommendations for the proper handling of works on paper.

Storage:
For works on paper, artwork is best stored flat, outside of a frame. Frames are not recommended to store art on paper as the piece can stick to the glass, develop scratches, fade or accumulate dirt or dust. The paper should be placed in a folder of acid-free or archival quality paper. This folder is best if it is similar to a protective slip with only one opening. Regular folders, that open and close, are basic but not recommended as the art can shift and scratch inside them.

Acid-free paper is very important, it is a protective agent and will assist in the blocking of light, dust and harmful pollutants that corrode and fade paper. Only one sheet of paper/piece per acid-free folder is recommended. The folder should be subsequently stored in a folio or drawer where it will be safe from sunlight. UV light is the fastest way to fade and crinkle artwork on paper.

Environment:
The Heating, Ventilation and Air Conditioning (HVAC) are a troublesome area for preservation. For example, for every 14 degrees Fahrenheit rise in temperature, the deterioration rate of paper doubles (Canadian Conservation Institute).

A balanced humidity must be struck in the storage facility. Paper absorbs moisture quickly which crinkles, swells and expands art, thus destroying it. High humidity also encourages mold, mildew and fungal growths. However, a humidity that is too low is also harmful, as it will dry the paper out. Experimenting can be done to find the best humidity but striking a middle ground or purchasing a dehumidifier is a step to controlling the humidity and environment.

Paper is susceptible to heat, so the temperature in the building must be on the cooler side. Avoid storing work in basements where temperatures fluctuate. If displaying art, the pieces must be kept from any heaters or air conditioners where it will be subjected to extremes in temperatures.

Handling:
When handling works on paper, the individual should wear white, pure cotton gloves. Never touch the works on paper with your fingers because our hands are filled with oils and dust that will slowly degrade the piece and destroy it. The piece, when outside of its storage facility should avoid sunlight as much as possible, as well as liquids, pollution, dirt or dust. If displaying the piece for a short period of time, the piece is best propped on a wooden or metal frame that has been cleaned.

Shipping:
Works on paper that are shipped are best done so flat. If possible, avoid shipping by boat, as the humidity, sea spray and possible heat or cold will severely damage the work. Seawater will completely ruin the piece. If this is unavoidable the pieces should be shipped in an airtight box where it can avoid sunlight and water. Packing surrounding the box or the pieces is encouraged as things have a tendency to shift in transit, which can potentially damage the piece significantly. Wrapping with bubble wrap, cloth (acid-free, lint free) or any soft material is encouraged. The less moving around and shifting in transit, the better.

Framing:
When framing works on paper, they can be taken to professional framers. The owner must make sure that the framers use acid-free backing, acid-free tape and acid-free matte (if matte is desired) to support the piece. Regular glass can be used. Framing is particular to the desires of the owner but if using a paper/plant based material in the framing process make sure it is acid-free or “archival” quality always.

No matter how an individual chooses to care for their art, proper conservation and preservation must be maintained the entire step of the way. Without it, we would not have our precious historical artifacts and the National Collection at the National Art Gallery of The Bahamas. For more information and inquiries on the proper care and handling of art, feel free to contact the National Art Gallery of The Bahamas at 358-5800.

Works CitedCCI. "CCI: How to Care For - Works of Art on Paper." Welcome Page | Page D'accueil. Canadian Conservation Institute. Web. 12 Jan. 2012. .

Reminder: All Amateur Artists Deadline Tomorrow

2012-01-05T11:11:00.000-05:00

The NAGB All-Star Amateur Artists CALL FOR WORKS Deadline is this Friday, January 6, 2012 at 5pm. Send your artwork in Artists!

Email submissions to nagbaaa.bs.@gmail.com.

Reminder: All Amateur Artists Deadline Fast Approaching

2012-01-04T10:10:00.002-05:00

Calling All Amateur Artists! The NAGB announces the launch of a new NAGB art initiative designed to encourage and engage amateur artists in The Bahamas: The All-Star Amateur Artists Night! If you are an amateur, non-professional artist, submit your work and possibly get the opportunity to be featured in a museum level exhibition at the NAGB. Pass the word!

Below is the Promotional Flyer, Rules of Entry and Application Form. If there are any problems, please call the NAGB at 328-5800 or email us at nagbaaa.bs.@gmail.com.

REMEMBER: Deadline for submission is January 6th, 2012.

Flyer:

Rules of Entry:

The All-Star Amateur Artist Night: Rules of Entry

Application Form:

The All-Star Amateur Artist Night: Application Form

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page

Amos Ferguson Match Me If You Can: Photos of the Event

2011-12-22T09:53:00.014-05:00

The NAGB staff and Mixed Media would like to wish our viewers a hearty Merry Christmas, Happy Holidays and wonderful New Year! Mixed Media has a new posting schedule as of the 5th January 2012 with new posts appearing just once a week on every Thursday. Also, there will be no posts on Tuesday, 27th December and Thursday, 29th December with our first post of the new year appearing on Thursday, 5th January 2012. We hope that our wonderful visitors and guests will continue to support Mixed Media, the gallery and Bahamian art!

Christmas Hours: The National Art Gallery of The Bahamas will be open on Friday, 23rd and Saturday, 24th December. The gallery is closed on Monday, 26th December but open for the rest of the week with normal operating hours! We are also closed on the 2nd January and resume normally on the 3rd January 2012.

Last week Friday, the National Art Gallery of The Bahamas hosted a successful showing of the new film, Amos Ferguson: Match Me If You Can. After the film was a small Q&A session with Amos’ niece, Lorraine Bastian and Director, Karen Arthur. Despite troublesome weather and technical difficulties, the NAGB hosted a successful event with an amazing turnout of over 60 people flocking to see the film! Here are some photos of the event.
Amos’ niece, Lorraine Bastian and Director, Karen Arthur opening the event.

The Director of the National Art Gallery of The Bahamas speaking with Amos' niece.

Guests enjoying discussion and conversation after the film!

Visit the NAGB today, tour the current Happy Birthday To Me: Kendal Hanna Retrospective exhibition, visit our library, our gift shop, the Mixed Media Art Store and eel free to send us a comment or email, we look forward to hearing from you!

Feature: A Look into the role of the Curatorial Assistant

2011-12-20T17:09:00.006-05:00

Curatorial Assistant, Jackson Petit-Homme installing art at the Government House.
Curatorial Assistant, Ashley Knowles assisting with a tour.
At The National Art Gallery of The Bahamas, the experience of the Curatorial Assistant is very similar to that of the Curatorial Trainee. This position is specialized in technical hands-on work that varies in duties from curatorial, to making sure that conservation and restoration are up to museum standards.

The role of the Curatorial Assistant is simple in definition; they fulfill the mission of the gallery and work closely with the acting Director and Curator in taking oral directions and executing tasks efficiently and effectively. These tasks include, but are not limited to, the collection of artwork for exhibitions, the National Collection or events, collections management, administrative tasks, preparing legal documents, appraisals and contracts for collection loans and the training of individuals in the proper handling and care of artwork. Curatorial Assistants must also work wherever talents are needed and as a result, talents such as carpentry and the use of mechanical hand power tools are encouraged.

The Curatorial Assistants work very closely with the National Collection in collections management. From the moment a piece enters the grounds at the gallery it must be catalogued into the database, regardless of whether the artwork is a loan, donation, purchase or permanent loan. The first step in accessioning and cataloging artwork is to gather information about the piece. This includes the name, medium, size (framed and unframed), provenance, date and creator of the piece. The piece must then be inspected for any wear and tear, rips, rust, mold, discoloration and dents and a photograph taken. This information, with a little blurb identifying the most important visual qualities of the artwork, are first entered into the database and the piece is then given an accession and object number. An accession number identifies which group the individual piece came in, and an object number is the piece’s individual number and main form of identification in the collection. After the data has been recorded, digital and paper accession files are created for reference purposes and it is finally recorded in a large master list.

Despite these tasks seeming very straightforward, the Curatorial Department must have an extensive knowledge of the collection and artists, as this process often becomes complicated a large number of pieces are to be accessioned in a short period of time, or when information is not present. This is a big problem in collections management, as there is often data missing and this must be researched by looking up newspaper articles, contacting artists if they are alive or closest relatives, if they are not. Sometimes the information cannot be found. After the pieces are safely nestled in the NAGB art storeroom, they must be checked constantly to assess conservation efforts and update data files. Due to this closeness with all artworks that enter the gallery, Curatorial Assistants also interact a great deal with other art galleries, donors and art collectors.

At the gallery, Curatorial Assistants have the opportunity to further their growth and understanding of museum practices by undertaking independent research and endeavors, depending on where interests and talents lie. For instance, if the Curatorial Assistant wishes to do so, they can become integrated into the curatorial process with the curator and learn the ins and outs of curating a quality art exhibition. This opportunity for learning can lead to independent curating prospects in the future for the assistant. Curatorial Assistants and Trainees also have opportunities to improve their writing skills by writing articles for exhibition catalogues and newsletters.

Overall, the role of the Curatorial Assistant is a varied one. By working with the Director, curators, Curatorial Trainees and education staff, assistants are able to grow as they are constantly exposed to other positions, work ethics and experiences everyday.

If you'd like to book a tour with the NAGB, please call 242-328-5800. Feel free to send us a comment or email, we look forward to hearing from you!

Enigmatick Funktication: A Painting's Long Journey

2011-12-15T13:05:00.013-05:00

This past Tuesday the Curatorial And Education staff had the amazing opportunity to install art in the Government House, just down the road from us. Over the course of 4 hours we installed 5 paintings and rearranged many more. One of the highlights from the day was trying to move Jackson Burnside, Stand Burnside and John Beadle's mammoth piece, Enigmatick Funktication (which is 52.75 inches by 175 inches large!) down West street to Government house. Thankfully, the Curatorial team is made up of very strong members!

We hope you enjoy the photos, feel free to send us a line if you want to see more.
Stan Burnside's Solomon, wrapped and ready to move to Government House on Friday!

Note: A hearty congratulations to Giovanna Swaby, the grand prize winner of our December trivia!

If you'd like to book a tour with the NAGB, please call 242-328-5800. Feel free to send us a comment or email, we look forward to hearing from you!

December Trivia

2011-12-13T10:21:00.003-05:00

It's that time! Mixed Media will host it's December quiz today. The rules are very similar to November's. The first individual to get all of these questions right will win a special Mixed Media prize, and the first 10 will receive a small token from Mixed Media.

December's quiz pertains to the many activities, programs and events that the NAGB has had within the past 6 to 7 months. All of the answers can be found either on Mixed Media or the official NAGB website.

To submit your answers, please email mixedmediablog.nagb@gmail.com with your responses, your name, and an email or phone contact. This trivia opportunity expires on 6PM Wednesday. Good luck!

1. Which artist hosted the Teacher’s Workshop on November 12th 2011?

2. Name the 2 films shown in October as part of the NAGB Film Series.

3. What is the name of the upcoming opportunity for artists in January at the NAGB?

4. What is the name of the film that discusses art as a form of therapy, shown as a part of the NAGB film series?

5. Which month did the NAGB start their t-shirt and book drive?

6. When was the Transforming Spaces 2012 meeting held at the NAGB?

7. Name the organization and artist that the NAGB held a Mural Painting workshop with in August 2011.

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page.

Feature: NAGB Mural Projects

2011-12-08T11:17:00.003-05:00

Inside the Administrative Building of the NAGB are some not so hidden gems. Standing at an imposing and statuesque height in middle of the building are a series of four murals by prominent Bahamian artists. Each artist was given license to let the large canvases speak to them and do as they please. As a result, the NAGB hosts four very different murals, reflecting each artists particular style and concept. Below are short videos based on these murals, click on the links to see the artists at work!

Allan Wallace:

Steven Burrows:

AJ Watson:

Daniel Coleby:

The Administrative Building is open to our guests and visitors. It also hosts a selection of large pieces by Stan Burnside, Jackson Burnside, John Beadle, Kishan Munroe and Maxwell Taylor. Feel free to drop on by to view the artwork or talk with the Curatorial or Education staff! Feel free to send Mixed Media a comment or email (mixedmediablog.nagb@gmail.com), we look forward to hearing from you!

Highlight: Pictures from our Tours

2011-12-06T12:19:00.015-05:00

The Curatorial and Education teams at the NAGB have had a very busy past few weeks! Here are some pictures from the many tours that we have had lately.

We had a great deal of questions from the Tambearly School:

We had some amazing guests all the way from Abacao, the S. C. Bootle School:

The Lyford Cay International School also came to spend a few hours with us!

If you'd like to book a tour with the NAGB, please call 242-328-5800. Feel free to send us a comment or email, we look forward to hearing from you!

Feature from the National Collection: Emancipation Day Boat Cruise

2011-12-01T10:46:00.004-05:00

Emancipation Day Boat Cruise
Acrylic on Canvas
71in. x 53in.
2000
Collection of the National Art Gallery of The Bahamas
The sight of colorful faces, the rock of the music, and the sway of the boat with a boisterous, energetic crowd are all felt in John Beadle’s Emancipation Day Boat Cruise. Viewing this piece is an experience in and of itself. The analogous colors of reds, oranges and yellows are aptly applied across the canvas. The painting also includes elements of drawing, collage and quilting.

The grids, where sectioned off with the taping method, allow for separate compositions intensifying the expressions on the faces shown. In the spaces where the tape was removed, Beadle super-imposes images, allowing them to flow into one cohesive piece. The slashes of black across the piece, simulating a sail blowing in the wind, helps one to feel the movement of the boat and carries the viewer’s eyes to the gyrating couple in the center. The added texture of layered canvas also implies the use of a sail. The geometric shapes and patterns remind the viewer of the Junkanoo culture of the Bahamas and a feeling of celebration.

In naming the piece emancipation day, which is a holiday, the sentiment of being free from work/school is synonymous with freedom from slavery and is reiterated in this piece. Though the faces are colored with exciting colors and mask-like designs, some faces are lined with anxiety, apprehension and sadness, which remind us of that exact day that slaves were emancipated.

John Beadle’s appreciation of from whence he came, his Afro-Caribbean heritage is recognized in his style and Emancipation Day Boat Cruise reflects this precisely.

Visit the NAGB today and see Beadle’s “Emancipation Day Boat Cruise” for yourself. Feel free to send us a comment or email, we look forward to hearing from you!

In The Ring with Bahamian Artist Toby Lunn: Truth Revealed Part 2

2011-11-29T13:29:00.006-05:00

Today's post is our full interview with Bahamian artist, Toby Lunn! Instead of choosing a few questions to answer, one of our lovely visitors kindly requested that we display footage for all of the questions. We hope you enjoy the interview. The questions from the interview are displayed below the video for your viewing pleasure.

1. Did you always wanted to be an artist?
2. What inspired your work?
3. What is your medium of choice? Why?
4. Least favorite and why?
5. Is there a connection between religion and your work?
6. Lifestyle versus profession?
7. When did you know you were an artist? You’re arrival?
8. What is an artist?
9. What would you do if were not creating art?
10. Favorite color? Any?
11. Technique styles, what is your process?
12. Do you think you can ruin a painting? What do you do when it happens?
13. If you could display your artwork anywhere, where would it be? Include location and art institution.
14. How important is classical training to an artist in your opinion?
15. Right- brain versus left-brain? What does this mean? Which are you, right, left or in the middle?
16. You are inspired by the Burnside brothers, Max Taylor and of course Kendal Hanna. What inspiration do you draw from these artists?

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

In the Ring with Bahamian Artist Toby Lunn: Truth Revealed Part I

2011-11-24T09:54:00.004-05:00

Choose the questions you want to have Toby Lunn answer. Select the number of the questions and place them in the comment box below. Entries will be accepted until Monday, November 28th at 4pm. On Tuesday, November 29th, 2011, the answers will be provided.

1. Did you always wanted to be an artist?

2. What inspired your work?

3. What is your medium of choice? Why?

4. Least favorite and why?

5. Is there a connection between religion and your work?

6. Lifestyle versus profession?

7. When did you know you were an artist? You’re arrival?

8. What is an artist?

9. What would you do if were not creating art?

10. Favorite color? Any?

11. Technique styles, what is your process?

12. Do you think you can ruin a painting? What do you do when it happens?

13. If you could display your artwork anywhere, where would it be? Include location and art institution.

14. How important is classical training to an artist in your opinion?

15. Right- brain versus left-brain? What does this mean? Which are you, right, left or in the middle?

16. You are inspired by the Burnside brothers, Max Taylor and of course Kendal Hanna. What inspiration do you draw from these artists?

Visually Inclined: The Architecture of the NAGB

2011-11-22T10:14:00.006-05:00

For today's post we decided to give our viewers a break from all the reading they have done over the past 2 months. Instead, we are sharing 3 videos made in 2004 featuring past NAGB staff members and the former director, Dr. Erica James.

These videos detail the advent of the NAGB and the creative processes and struggles that its founding members dealt with when constructing the building.

If you'd like to see more videos from the NAGB, subscribe to our YouTube channel by clicking here.
The direct url for those who want it is, http://www.youtube.com/user/NAGB2003.

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

Feature from the National Collection: Burnside Crowns a King

2011-11-17T10:34:00.012-05:00

Solomon
Oil on Canvas
72in. x 72in.
2000
Collection of the National Art Gallery of The Bahamas
If a visitor to the National Art Gallery of The Bahamas were to wander into the office, which is found on the second floor, and take a turn to the left, one of the first things one would see is a larger than life painting of a gentlemen gazing back at the viewer with a contemplative and peaceful expression on his face. This is Stanley Burnside’s feature piece, “Solomon”.

The viewer might ask, why is he wearing a crown? What’s with the colorful leaves to the upper right of the canvas? Why is the sea only on the right of the gentleman’s shoulder? And the purple to the left, what’s that about? To answer these questions two men of importance need to be briefly mentioned.

The first is the late Macfarlane Gregory Anthony Mackey, also knows as Tony Mackey and known to most Bahamians as the musical performer, Exuma: The Obeah Man. Born in Cat Island, Mackey wrote and sang prolific songs about Bahamian culture that continues to resonate with visitors and Bahamians today.

The second man is King Solomon, credited as the wisest and richest and most powerful king in the Bible.

The dots begin to connect as the viewer gradually sees Mackey through Burnside’s eyes. Burnside creates a bold commemorative piece of art that recognizes Mackey’s memory and status as a leader at what he did. Mackey’s face is given life with the vivid use of color. The yellows and browns seem to reflect the very light of the sun. The artist chose the color purple to fill the space to the left of Mackey’s face, undoubtedly a reference to the esteem Burnside feels Mackey deserves.

The croton leaves, a native plant grown in The Bahamas, are placed to the upper right of the canvas. It would not be too far removed to say that this alludes to the vibrancy of Mackey’s culture and his deep roots in The Bahamas. Behind Mackey’s right shoulder Burnside placed a view of the sea, another clear symbol of Mackey’s Caribbean roots. The viewer shouldn’t ignore the crown that sits snugly over Mackey’s locks, this is Burnside’s assertion of Mackey’s wisdom and kingly status in Bahamian history.

We sympathize with the viewer who pauses expectantly in front of the image waiting on Mackey to burst into song. The peaceful gaze itself readies the viewer for a calm, wise word that only a king could give. Perhaps you’ll have a different experience all together, but there is only one way to find out.

Visit the NAGB today and see Burnside’s “Solomon” for yourself. Feel free to send us a comment or email, we look forward to hearing from you!

Review: Two Workshops, One Day, Two Stars!

2011-11-15T10:22:00.014-05:00

This past Saturday the NAGB was a busy and bustling place! From 10 AM to 4 PM the Education department hosted a very successful teachers workshop, complete with an in depth tour of the gallery grounds, a hands-on abstract workshop with Toby Lunn, exhibition tour, finally ended with a round table discussion on strengthening the relationship between the NAGB and teachers. From 10 AM to 1 PM the Curatorial department hosted an abstract painting workshop with Toby Lunn and we were even fortunate enough to have Kendal Hanna himself come and interact with workshop members.

Preparing for the In The Likeness workshop with the Curatorial and Education teams!

In The Likeness: NAGB 2011 Teachers Workshop

In The Likeness: Workshop with Toby Lunn.

Feel free to send us a comment or email, we look forward to hearing from you! Remember to subscribe to our blog to get the latest information on news and activities at the NAGB.

The All-Star Amateur Artists Night: Flyer, Rules and Application Form

2011-11-10T09:29:00.030-05:00

Calling All Amateur Artists! The NAGB announces the launch of a new NAGB art initiative designed to encourage and engage amateur artists in The Bahamas: The All-Star Amateur Artists Night! If you are an amateur, non-professional artist, submit your work and possibly get the opportunity to be featured in a museum level exhibition at the NAGB. Pass the word!

Below is the Promotional Flyer, Rules of Entry and Application Form. If there are any problems, please call the NAGB at 328-5800 or email us at nagbaaa.bs.@gmail.com.

Flyer:
Promotional Flyer OR

Rules of Entry:
The All-Star Amateur Artist Night: Rules of Entry OR

The All-Star Amateur Artist Night: Rules of Entry

Application Form:
The All-Star Amateur Artist Night: Application Form OR

The All-Star Amateur Artist Night: Application Form

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page

Feature: A Look into the role of the Curatorial Trainee

2011-11-03T16:39:00.006-04:00

Curatorial Trainee, Averia Wright speaking at the beginning of My Kid Could Paint That.
Curatorial Trainee, Nastassia Pratt hard at work preparing for an event.
At the National Art Gallery of the Bahamas, the job of the curatorial trainee begins with the preparation and execution of an exhibition; however, this is not where it ends.

From the moment a curator has an idea or plan for an exhibition, the job of the curatorial trainee is set into motion. Alongside the curatorial assistant(s), the trainee(s) begin to hunt and gather. Vital information about artists and collectors are recorded and later contacted. The next step involves transporting pieces from collector’s homes and institutions, then photographing artwork to be placed in gallery storage. The photographs are little snippets of the art that allows the curator to peruse, and file away the art in their mind for framing ideas and final placement in the gallery space. Identifying mediums, measurements, artists, dates and collections for labeling is another task that has to be meticulously fulfilled for the exhibition and/or catalogue.

The de-installation of an exhibition takes place in the middle of the preparations for the next exhibition and requires paperwork for artwork being returned to collectors and artists. Art that belong in the NAGB collection are placed in storage. The handling of the artwork is dependent on the curatorial team and is carefully and swiftly implemented to have the pieces back in their owner’s possession. Any plans for the present exhibitions are followed through at this point. When the hanging, placement of artwork and lighting for each space is completed, the opening for the exhibition is held. Setting up is executed by the curatorial staff, and specific needs such as whether a mike, stage, podium, seating and/or lighting are all taken into consideration. Opening night is a grand occasion that presents the exhibition to the community at large.

Trainees take daily walkthroughs through the gallery to ensure pieces have not shifted, that the gallery is clean, the temperatures are comfortable and that the gallery is properly lit. Another exciting part of the curatorial trainee position is carrying patrons and visitors on tours of the exhibition. Leading the audience though the exhibition allows the tour guide to portray the message that the curator had in mind. The response from the viewers takes the tour to another level of appreciation and conversation about the artist and artwork.

As curatorial trainees, assisting other positions in the gallery such as public programming, research and gallery promotions allows for a smooth operation. The education officer arranges educational events and the curatorial team gives input on the organization and help to bring the event to fruition. The gallery is also reserved for private events and the trainees makes provisions for these events, whether opening up the gallery or, allowing guests to feel welcome. Also finding ways to promote membership and the gallery itself is constantly on trainee’s minds.

Curatorial trainees are perched into the world of the curator and are taught the complete functioning of the gallery, in hopes to further their role in the future.

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page

Villa Doyle

2011-11-02T13:34:00.009-04:00

The Villa Doyle.
One day the Curatorial Team was digging through an old filing cabinet of loose papers, folders, fliers and binders. After digging through the heap for some time, nestled sweetly at the bottom of the pile was this vintage photo of the Villa Doyle (the original name of the building that the NAGB currently resides in) sometime in the 20th century.

This is not a photo of the original Villa Doyle, though the first half of the building encompasses the original structure of the building. The building in the photo, this large and beautiful structure, was taken after the building had been expanded upon by the owners, making it what it is today.

We hope you enjoyed this informative little tid-bit on the history of the NAGB!

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

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page

November Trivia

2011-11-01T11:10:00.011-04:00

Once a month Mixed Media would like to give our viewers a chance to interact with us with a small trivia game! There can only be one grand prize winner, the first person to respond to us will receive the grand prize from the National Art Gallery and the first 10 correct responses will receive a small token from the gallery.

Either comment on this post (leaving your contact information as well) or email Mixed Media at mixedmediablog.nagb@gmail.com with your responses from the quiz! Remember, the first to answer all questions correctly will receive the prize.

Mixed Media November Trivia:
What is the title of the present exhibition?

Who curated the present exhibition?

What’s the name of the gallery store?

Who is the librarian at the NAGB?

What is the name of the original building the NAGB currently resides in?

When did construction of the original building commence?

Which artist created the Crawfish Woman sculpture found on the southern side of the building?

Thanks for participating and we hope to hear from you!

Update: CONGRATULATIONS to Erin Knowles, our grand prize winner! We're still have 10 small tokens to give away!

Feel free to send us a comment or email, we look forward to hearing from you! Also "like" our Facebook page to get the latest updates and information!
NAGB Facebook Page

NAGB Film Highlight: Pollock

2011-10-27T11:47:00.004-04:00

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.

Works CitedJackson 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!

Feature from the National Collection: Crawfish Woman

2011-10-25T13:25:00.010-04:00

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.

Works CitedArtist 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

2011-10-25T10:42:00.011-04:00

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

NAGB Art Library Highlight: the WomanSpeak Journal Vol. 5

2011-10-20T09:56:00.011-04:00

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.

Works CitedSweeting, 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!

NAGB Announces New Director & Staff Appointments

2011-10-19T13:34:00.012-04:00

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.

Local and Global: Kendal Hanna and William de Kooning

2011-10-18T12:53:00.020-04:00

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).

Works CitedTurner, 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!

Review: Jackson and Jackson

2011-10-17T09:16:00.021-04:00

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!

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

2011-10-13T08:57:00.027-04:00

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.

Works CitedThe 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!

Kendal Hanna's "Happy Birthday To Me"

2011-10-11T10:34:00.022-04:00

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.

Works CitedThe 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!

Welcome to Mixed Media!

2011-09-29T11:26:00.018-04:00

Welcome to the first official post of Mixed Media, the official blog of the National Art Gallery of The Bahamas!

The National Art Gallery of The Bahamas. Exterior View.
Originally the brainchild of the Curatorial and Education teams, Mixed Media intends to be a form of fun communication between the gallery and the general public. We are launching this blog to encourage dialogue on the latest news and events at the NAGB, featuring articles and videos on Bahamian artists and the National Collection, new artwork and artists in the Mixed Media Gallery Store, and books and films reviews from the NAGB Art Library. The blog will also be loaded with fun quizzes, polls and games. So remember to visit every Tuesday to see the latest post for the week!

We welcome your suggestions so feel free to comment on posts; we look forward to your ideas, comments and suggestions for us! And remember to look to the bottom right pane to see upcoming NAGB events and the Mixed Media barcode!

We hope you enjoy the blog and feel free to send us a comment or email, we look forward to hearing from you!