Conserving artwork in the tropical home

Art conservator and artist Katrina Vanderlip will be leading a talk on conserving artwork in the tropical home on Tuesday, February 2 at 6 p.m. This talk is for anyone interested in finding out how they can keep their artwork in tip-top shape in our hot, humid climate. All are welcome and encouraged to attend.

Roach on my bread.

By Dr. Ian Bethell-Bennett

There was yet another illustration of ownership in Jodi Minnis’ exhibition, “It’s a Bahamian Thing!” Perhaps the objectification of women by men, the social construct of women being seen as inferior and limited to that 19^th century concept of being chattel or property, has become clear. On Thursday, January 14, at the Central Bank of The Bahamas Art Gallery, Jodi Minnis opened her the exhibition and unveiled a compelling, if not disturbing, social commentary on the state of national ‘sweethearting’.

In Minnis’ works, Avvy’s song “Roach On My Bread” is deconstructed and turned around to discuss the other side of patriarchal domination. Avvy’s song decries his woman cheating on him, and the fatness of her bread that belongs to him; men are allowed and encouraged to cheat on women, but women certainly are not socially allowed to cheat on men. They must, though, submit to be cheated on.

Minnis’ exhibition works to show how women are imprisoned in a room full of roaches as men are encouraged to womanize and commit adultery. The works capture the shift in scale of the discourse, but also seriously challenges the level of social commitment to cheating masculinity. The audience is invited into a space where the woman in question, the man’s ‘bread’, is shrouded in roaches from his inability to keep his masculinity under raps. The works show women in all the usual positions and the numerous roaches that surround them/her. In my reading of the artistic discussion, the often faceless women stands for all women in society and while apparently silent and submitting to the exploitation and demeaning treatment, is also resistant to the faceless sexploitation.

Minnis grapples with many layers of social discourse from allowing sweethearting to ‘provoking’ it through culturally entrenched aphrodisiacs, which is where the conch and its many culinary adaptations seem to come in. The masculinist discourse is apparently not disturbed, but it really is. Once women begin to speak out, can the same status quo continue uninterrupted? Once women are empowered, will they continue to be property of men? Minnis posits all kinds of questions, and cultural scapegoats – common cuisine items – are well placed around the upper floor. Is it really the fault of the aphrodisiac? 

Misogyny and double standards

Understanding that adultery will occur in all cultures, and at all levels, it is not condoned or encouraged as a right or need of men. The street speak is that all men, in order to have their man card validated, must have more than one woman. Yet, these men take little to no responsibility for any of their behavior, nor for the women they are meant to ‘like’ or love.  In fact, they are encouraged to simply use these women as if they were chattels and to reduce them to ‘bread’, or to a part of their anatomy, referred to in a very demeaning fashion. 

Minnis creates a language that shows all of this, but leaves space for the viewer to see him or herself in the exhibition. The art is not heavy handed nor is it overly controlled. The lines are clean and the colors work well to demonstrate a nuanced but uncomplicated interpretation of cultural norms and social mores.

We must be troubled that, in the 21^st century, women are still seen as chattels; this view of women is at times reinforced by some women themselves. Further, the discourse, while showing the cultural language of gender inequality and hypermasculinty, packs a punch because it articulates how pervasive and precarious this problem is.

As the government moves into a new phase of liberalization through national health, its members’ loose behavior also condones high levels of sweethearting and gender-based discrimination. I like Minnis’ uncomplicated demonstration of the lack of culpability for male behavior through the use of cultural icons and idioms to excuse it.

Minnis’s exhibition captures art and culture, and interlocks them in a debate with music that so often espouses serious gender biases and encourages gender-based violence through its lyrics and nuances. Bahamian culture provides a lively discussion on social trends and on public officials and their behavior, but we seem to be venturing further into a far less critical acceptance of misogyny and paternalism, accompanied by the overt sexualization and objectification, especially of women.

Sweethearting and morality

Minnis’ work shows some very serious cracks in our Christian veneer. It has a youthful, cool and fun edginess to it as well as an awareness of inconsistencies. The youth are deflowered all too young. Can we say that her work captures the serious and complex nature of nationally encouraged gender inequality and sexual exploitation through power imbalance? Can we say that young artists are excellent at being ambassadors to counter a great deal of the normative behaviour we accept as the country slips further into chaos? Avvy’s song is terrific in its beat and nuanced speak, and Minnis explodes that with her  ‘gentle’ confrontation with the status quo and the gendered message.

As many young men offered, the woman was the one doing the ‘roaching’.  But as many young women pointed out, what young woman would want to sit in a room filled with roaches?  Seriously, how many women choose to be roached?  How many women choose to be seen as nothing more than bread? 

Gender-based violence

Nationally, the debate is quiet, but gender-based violence is flourishing, and in fact, growing. We must not forget that the last few months have witnessed some serious sexual assault cases, many of them kept from the public eye, others tramped out on social media. Of these, few have received the uncritical attention of the officers of the law. This country has chosen to adopt tourism as its culture, according to the minister of tourism. Yet, tourist women are not safe to enjoy the very attraction we claim we are so good at offering? And then, public officials who see no problem in tramping out their sexual proclivities toward violence and domination do not see their role for encouraging serious social dysfunction.

Minnis and the conch are wonderful and necessary social conversations. Through her work, she demonstrates masculine privilege and female disempowerment through social inequalities and a culture that is quickly becoming unapologetically violent, but which excuses men from their violence. We are venturing into extremely interesting ground; I hope that, from this conversation, other chatter will arise and some real positive change will begin to happen. Art influences, as does music. Let’s build on a positive influence.

Reflecting on Dave Smith’s ‘Headlines’ at the D’Aguilar Art Foundation

There were sunsets, palm trees and brightly painted murder scenes in Dave Smith’s most recent show at the D’Aguilar Art Foundation (DAF). Aptly titled “Headlines”, Smith referenced the local dailies in the exhibition that was on display at the DAF from November 2015 to January 2016.

Though he no longer lives in The Bahamas, the country is often the focus of his work. For years he has painted the idyllic scenes found in tourist-centric locales and middle and upper class neighborhoods. These are presented alongside the familiar landscapes of Over-the-Hill neighborhoods. Jolting combinations are not unusual for the artist; he has long been known and admired for his confidence in depicting cultural disparities. Still, for some, the contrasting medleys appeared with much rawness in Headlines.

For the past few years, on a regular basis, the media has been tragically peppered with crime reports, relaying details of the most recent violent crimes to an increasingly uncomfortable public. Most of the men who make the reports do so because they are either the latest bodies removed by mortuary personnel or the ones believed to be responsible for violent crimes. An uneasy feeling has become normalized for much of the public, as has the storyline of young, black and disenfranchised men being killed and sent to prison.

In Headlines, two common scenarios were presented in Smith’s works: the sun shines on bikini-clad women of leisure and grinning, black poolside servers, while visuals of bloody bodies in a separate plane shocked viewers into considering the illogic of the combination.

At the show, audiences could not escape contemplating the inconsistencies of the current situation that exists beyond the boundaries of the DAF. The Bahamas touts a reputation as an easily accessible paradise and prides itself on its hospitality industry, which is arguably one of the most advanced and lucrative in the Caribbean region. Large resorts provide entertainment and a sterile beach environment for guests. Many of these hotels reserve executive positions for expats and foreign workers; scores of undereducated Bahamians take on positions of service, only to, at the end of the day, return to the same communities plagued with gang warfare.

It is difficult coming to terms with the contrasting realities. Only recently, the sexual assault of an American visitor by an unlicensed Jet Ski operator off of Paradise Island raised protests and uproar in the media. Yet, it would be a considerable feat to quantify the daily rate of unreported and uninvestigated sexual assault on inner city girls and women.

For some collectors, it might also be a challenge looking at a murder scene on a regular basis – even one that hangs on a wall. Others may question the benefits – if any – of crime and violence of this nature becoming normalized and accepting of the image of an anonymous, murdered black man. Still, it could be argued that by inviting works like these into middle and upper class homes, collectors could consider how out of place the visual is in their homes and across the wider country as a whole.

Parallels could be drawn between this notion and the work being progressed by Black Lives Matter, which has been protesting widespread passive acceptance of the disproportionate force used by the American police force on black men.

It is not Smith’s intention to poke fun or rile up audiences; but to offer a critique and a counter image. Seeking only to present two irreconcilable facets of the country, he leaves decision-making and judgment calls to his works’ viewers.

For more information on Dave Smith, visit the artist’s profile on the DAF website or on http://www.artslant.com/website/dave-smith.

TS2016 PRESS CONFERENCE RELEASE

The Transforming Spaces Committee held a Press Conference today at the Towne Hotel to explain its mission and to introduce its new branding campaign whilst announcing plans for the new and exciting TS2016 Art Tour entitled “SWELL – Community + Collaboration” scheduled for Saturday and Sunday, March 12 and 13.

Recently incorporated as a non-profit organization headed by Founding Members: Jay Koment, President; John Cox, Vice President; Antonius Roberts, Treasurer; and Pam Burnside, Secretary,  the organization’s mission of educating the public about Bahamian art; exposing, promoting and supporting local artists; challenging artists to think and create in innovative ways; exposing current trends in Bahamian art as well as in the international arena; dialoguing and collaborating with art communities regionally and internationally; and raising funds to support these programmes was outlined.

The organization’s new branding images were designed by dynamic creative duo Cydne Coleby and Khia Poitier. The creative vision for TS was to present a brand that was fresh, modern, and adaptable. The design offers a unique opportunity to highlight art within the negative space of the logo creating opportunities for engagement with the larger art community and endless possibilities for marketing and merchandising. The re-branding effort utilizes sleek and contemporary fonts and colors that amount to an overall adaptive branding system that can be reformatted and refashioned as needed. The re-design also extends to digital and social media platforms, most notably on the organization's website www.tsbahamas.com and facebook page.

Attired in their branded TS2016 logo shirts, the TS Committee shared their plans for this year’s Art Tour which will take place for the first time at the main venue of the Towne Hotel on George Street. Towne Hotel owners, Ron and Isabella Overend were honoured to partner with the Committee to host this year’s art event at their venue which already displays pieces of their personal collection of Bahamian Art. “We have always attended the Transforming Spaces Art Tour and now we will be hosting it at our establishment!” stated Ron. “The Tour will take place in five rooms on the upper floor, as well as the landings and the ground floor pool area which will all be transformed for the event. It is very exciting to be involved and we look forward to hosting the many visitors during that weekend, whilst also exposing our regular hotel guests to the beauty of Bahamian Art!” The Towne Hotel Exhibition will be open to TS2016 patrons from 1pm until 10pm on Saturday and from 1pm until 4pm on Sunday. Food and drink will also be available for sale.

The Transforming Spaces Board, who extended an Invitational Call to artists, will be curating the Towne Hotel exhibition along with Dede Brown and Holly Bynoe. John Cox explained the rationale behind the theme’s title: “The word “SWELL” refers to not only the powerful image of the motion of our ocean’s waves, but also the increasing growth of the Bahamian artistic movement, which we, as an art community, have been encouraging for decades. Recognizing the importance of strengthening the community through working together, we have encouraged the artists in this exhibition to collaborate with other artists in designing their pieces.”

Antonius Roberts added, “We continue to mentor and promote the younger generation of emerging Bahamian artists as well as push the boundaries of artistic expression so that we stay in tune with global trends.  Having catered to over 4,000 appreciative patrons over twelve years of hard work, the time has come for us, as Bahamian artists, to make our voices heard within the international arena by showing the world that Bahamian art has a powerful role to play. ” 

Pam Burnside stated, “During these very difficult times in our Bahamian society when we are surrounded by so much negativity, our vision for TS2016 is that we, as artists, can provide the public with a feeling of hope and encouragement, realizing that art has the ability of fortifying us as a people to withstand life’s many daily challenges. I would also like to take this opportunity to thank the Charitable Art Foundation who has been a sponsor of this event for many years and was the first once again to sign up this year. We encourage other individuals as well as corporate sponsors to come on board because as my late husband stated:  Art belongs to everyone and to ensure its stability and development we all must work together, join all of our strengths and give our full support.”

In addition to the Towne Hotel venue, there will also be exhibition openings and activities taking place during the week at participating satellite art galleries. On Wednesday, March 9, Popop ICVA, curated by John Cox and Heino Schmid will show “Triple Double” a selection of work by 14 artists along with Open Studios, and New Providence Art & Antiques at Popop will open with a show curated by Jay Koment showcasing the Junkanoo process in Production and the D’Aguilar Art Foundation which will be exhibiting ‘Jammin’ 4’, curated by Tessa Whitehead. Hillside House, curated by Antonius Roberts, will be exhibiting the work of various artists entitled “Tourists Only” which will open to the public on Thursday evening, March 10 along with The Central Bank of The Bahamas’ Art Gallery which will feature a graphic themed show by 6 artists along with a ceramics exhibit in the Great House at the Central Bank, curated by Jodi Minnis. In addition, an Open Call is being placed for artwork to be displayed on Saturday only in “The Fringe” which will use the Central Bank’s outdoor perimeter as a venue. Artists interested in participating in The Fringe should contact Jodi Minnis at jodi0minnis@gmail.com.

On Saturday morning, patrons are invited to once again visit the satellite galleries to enjoy an additional cross-cultural artistic event at their leisure. They will have the benefit of moving between the various venues by shuttle buses provided by Bahamas Experience Travel and Tours, who have been a sponsor of the TS events since its inception. Trained TS Ambassadors will be available at all of the locations to offer assistance throughout the day.

TS President, Jay Koment stated “We are looking forward to another creatively uplifting event for 2016, and we invite the public to join us for this experience.” Tickets, still priced at $35, will afford patrons entry into all the venues and events and will be available for purchase at the beginning of February at Hillside House, Cumberland Street; the National Art Gallery of The Bahamas, West Hill Street; and Doongalik Studios on Village Road.

Both sides of the coin

There are currently more than 200 works by Brent Malone on display at the National Art Gallery of The Bahamas (NAGB), and they all tell the story of a man who was not only a prolific artist, but one whose life was peppered with twists and turns.

The exhibition’s name, Reincarnation, alludes to rebirth and renewal, and is telling of Malone’s experiences recovering from alcohol and drug misuse as well as episodes of depression. As they move through the NAGB, visitors notice shifts in Malone’s style and subject matter. This becomes particularly apparent in the “Reincarnation” section of the show, where a series of mermaids accompanies flamingoes, shells and Junkanoo costumes, along with an autographed copy of Exuma, “The Obeah Man’s”, “Reincarnation” album.

Exhibition curator Dr. Erica M. James wrote, “When the album was released, Malone was in the midst of a difficult period shaped by multiple emotional, spiritual and artistic battles. The Obeah Man’s album reawakened something inside. It joined the materiality of the body with the abstract immaterialities of spirit and sound… Malone responded by joining abstract principles with gestures toward the high realism he would become known for.”

It becomes clear that, for Malone, like many others, art became a way of overcoming and working through personal turmoil. And in the spirit of Mental Health Awareness Month, it seems fitting to have an open and honest discussion with others who can attest to their experiences linking creativity with mental wellness. That’s why the NAGB has invited artist Tyrone Ferguson and psychiatrist Dr. Brian Humblestone to lead a discussion on just that.

Tyrone Ferguson

Ferguson, who is these days known for his refined metalwork, started out making sculpture in a much more simplistic and harrowing way.

“I was someone who would now be considered abused as a child, and I knew I was abused,” recalled Ferguson. “My outlet for the abuse was always art, but I didn’t know I was doing art… When I got a terrible beating and I ran away into the woods, I would carve something into a tree, and I would spend hours just carving into this tree. Maybe it was something random. I didn’t know it at the time, but it would have [been considered] very abstract. To me it was an outlet.”

As he got older, he became a blacksmith’s apprentice and learned the trade himself. Working in shipyards and industrial environments, Ferguson began to incorporate bits of machinery into his work. While he has always been careful about which sculptures he sells and to whom, he has made a name for himself as a gate designer and builder. His work can be found at homes in some of the country’s most exclusive neighborhoods; still Ferguson has never lost touch with art’s significance and importance to his spiritual and emotional wellbeing.

“I got to know people in the art world like Antonius Roberts. Somebody told [Roberts] he had to meet me, so he came and we met… and he brought Mr. [Vincent] D’aguilar to see my work. At the time, I was making work for me,” said Ferguson. “If you saw my home, you’d see that it’s filled with my work. Sometimes the things aren’t for sale.”

He met Malone at New Providence Community Center (NPCC), where Malone established the Ladder Gallery – the last gallery he founded before his death in 2004. Malone had sworn off organized religion as a boy; in his later years, though, he found himself in the worship space at NPCC for AA meetings.

According to James, NPCC was “a spiritual community that refused to discriminate or cast judgment… it was quite unlike anything [Malone] had known before.”

Ferguson, joined NPCC for that very reason, and he and Malone connected over their similar approaches to spirituality. They worked together on the iconic sculpture that stands at the center’s pond, which Ferguson completed after Malone’s sudden death.

In similar fashion, Humblestone and Ferguson connected at NPCC, where Humblestone contributes to the center’s music program as a drummer.

Dr. Brian Humblestone

Humblestone studied medicine at St. George’s, University of London in the 50s and early 60s, but the arts have been close to his heart since childhood. The psychiatrist grew up in a working class family in post-war England. As a young child, he enjoyed painting; but as he watched his father grow into a smoker and alcoholic, his interests switched to studies of the mind.

Since the 60s, Humblestone has seen trends in therapies and rehabilitation come and – thankfully, in some instances – go. His experience in art therapy began with a group of patients in Kent, UK, most of whom were survivors of concentration camps during World War II. Each week for six weeks, the group would create paintings for Humblestone and his supervisor, Dr. Harry Rose, to interpret as markers of their development.

He brought the group therapy model to The Bahamas, using it in the new Alcoholic Unit at Sandilands Rehabilitation Centre. There, patients engaged in art therapy and Humblestone continued his painting interpretation practice. He also made the acquaintance of Joe Monks – then a local legend and community rebel. Today Monks is better remembered as an intuitive artist, but in those days he was known for being in and out of Her Majesty’s Prison and Sandilands. Humblestone and Monks developed a friendship over the years, and Monks would occasionally find himself a guest at Humblestone’s home for lunch.

The doctor has differentiated himself from others in his practice by questioning notions of madness and the classification of persons as mentally ill. Like Ferguson and Malone, he, too, has embraced theories of spiritual and emotional fluidity as well as the importance of holistic and organic methods of achieving mental wellbeing.

Ferguson and Humblestone will be responding to ideas of art as a therapeutic medium at the NAGB on Thursday, January 21. The talk begins at 6:30 p.m., and all members of the public are invited and encouraged to attend.