A vanishing act: There is concern over the seemingly fleeting presence of artwork in public spaces

In 2010, Caribbean Bottling Company – the local bottler of Coca-Cola – and the Downtown Nassau Partnership (DNP) collaborated in an initiative geared toward putting the country’s visual art scene on the Downtown Nassau map. Spread over 15 months, the Love My Bahamas Campaign introduced works of art – mainly murals and sculptures – to walls and cleared spaces throughout the small city, which hosts thousands of international visitors and locals every day.

            In an interview at the time, then DNP Managing Director Vaughn Roberts called the project a “life changing” one. “I don’t think there has ever been a more exciting time for art, and this is the first time we have ever had anything of this magnitude,” he said.

            The artwork, produced by 15 artists – 13 Bahamians and two Americans – could be found on the Frederick Street Steps, along Woodes Rogers Walk and Bay Street and on side streets woven throughout the city. Both tourists and locals were seen on any given day taking pictures of the commissioned pieces, which offered vibrancy against the formerly easily overlooked bare sidewalks and walls. The creators included John Beadle, Chantal Bethel, Lillian Blades, John Cox, Claudette Dean, Tyrone Ferguson, Maya Hayuk, Toby Lunn, Jace McKinney, Kishan Munroe, Antonius Roberts, Jolyon Smith, Allan Wallace, Arjuna Watson and Daniel Weise. It was hoped that their talents would bring new life and interest to historic Nassau.

         At the time, DNP Co-chairman Charles Klonaris praised the campaign’s rejuvenating effect. “The art has changed the cityscape of Nassau and provided visitors with something new to look at, talk about and photograph,” he said. “It has given rise to a new reason to do a walking tour. Anything that adds to the visitor experience is good for us as a destination and should be celebrated.”

            Backed with harmonious approval and encouragement, the energetic sites spurred curiosity about the country’s visual art movement and Bahamian culture beyond the beach. With that in mind, it’s a shame that today few of the 15 artworks can be admired the same way they were five years ago. In recent times, many of the works have been silently removed, painted over or left to disintegrate, leaving some questioning motives and others conjuring up distant memories of images that once were.

            “I don’t know if it was purposeful. It just seemed to be, one by one, you saw them kind of disappear,” said artist Dionne Benjamin-Smith, who commented on the most recent removals affecting Jace McKinney’s and Jolyon Smith’s murals.

            “With this new incident, where Jolyon’s piece and Jace McKinney’s piece have been taken down, we have no idea what happened. That happened in the last few weeks,” she said.

            According to Benjamin-Smith, the latest incidents are not the first in what has been viewed as social and historical neglect and dismissal of the country’s arts community. Following the destruction of the Nassau Straw Market in 2001, government officials cordoned off the charred site with sheets of plywood that traced the space along Bay Street and Prince George Wharf.

            “The Ministry of Tourism commissioned artists to paint on these boards,” recalled Benjamin-Smith. “They were up for quite a while. They were beautiful. Tourists would be taking pictures in front of it; it was gorgeous. And one day we saw they had been taken down and nobody knew where they were.”

            To this day, many artists, particularly those whose talents and efforts went into creating the murals on the plywood boards, wonder about the location and condition of their works.

            In separate incidents, Stephen Burrows’ famous oversized pigeon and rooster sculptures that jazzed up New Providence’s roundabouts were removed, largely due to their states of disrepair after years of neglect, some argue. This story might bring another sculpture to mind – a gift from the Mexican government, formerly located on East Hill Street, which decayed without adequate protection from the elements.

            If a work by one of the country’s senior artists were to disappear from the shelves of the country’s prominent art collectors, there would be widespread concern throughout the art community. If it were left to deteriorate without adequate care, there might be legal action. It is a wonder, then, how the quiet removal and neglect of many public artworks has continued throughout New Providence, particularly in the downtown area.

            Those who notice the absence of the vivid pieces and miss their rejuvenating effects have been left with a bitter taste regarding the seemingly fleeting nature of public artwork in the country, which Benjamin-Smith believes “goes to show a fundamental lack of valuing of the nation’s artwork and public artwork”.

COB departments team up to transform the NAGB

This year, College of The Bahamas (COB) students and faculty are bridging gaps and celebrating autonomy through group work in the 2015 Transforming Spaces. The annual art tour unveiling thought-provoking transformations in galleries and creative spaces across New Providence will this year be held over March 21 and 22. The 2015 Transforming Spaces bus tour will treat explorers to metamorphosed areas at Hillside House, Doongalik Studios, PopopStudios, the D’Aguilar Art Foundation, The National Art Gallery of The Bahamas (NAGB) and Liquid Courage Gallery.

            However, unlike previous years, Transforming Spaces 2015 has set itself apart by foregoing a universal theme, giving participating artists more sovereignty than ever before.

Artists have been asked to use each gallery’s history, location and position in the context of Bahamian society as inspiration for transforming the space.

            Seeing the opportunity to “transcend departments”, COB Assistant Professor of Art Michael Edwards and his students are collaborating with COB architecture lecturers Valaria Flax and Henry Hepburn, architect Michael Diggiss and students of COB’s architecture program to transform the space at the NAGB. Approximately 20 students in total, most of whom are architecture students, will join forces to construct an art pavilion on the lawn of the NAGB. Theirs will be one of two constructions transforming the gallery’s outdoor space, with Nicolette and Margot Bethel creating a second, unrelated work. 

            “We want to engender more collaboration between students, between departments of the university. We’re very cognizant of the fact that departments still exist in huge silos, and we want to deconstruct those silos to encourage more thinking across disciplines, to encourage more interdisciplinary work,” explained Edwards.

            Architecture students have used the knowledge acquired in class to design the pavilion, having regard to available space and elements like light and air; they will also be responsible for the physical construction of the building, which will be composed of plywood. Art students have taken control over decorating the pavilion’s blank spaces with paintings and sketches. Both sets of students will be graded on their efforts in the challenge.

            “Think about the name, in and of itself – it’s about transforming a space – so I thought it was a really good idea to bring design to the table and have design as a part of the conversation,” said Edwards. “Last year, Collins House was the first iteration of this idea of art pavilions. When you think about art fairs, there’s often an art pavilion that’s incorporated, where an architect will collaborate with the artists. So this collaboration has always been a part of these kinds of fairs.”

             The project is largely supported by the D’Aguilar Art Foundation, and Edwards believes the new direction taken by Transforming Spaces and the college’s collaborative initiative is indicative of future Transforming Spaces events.

            “We think this is where Transforming Spaces ought to go. We’re thinking five years ahead. We’re thinking down the line,” he said.

            “I think this philosophy of working across departments, problem solving and coming up with solutions is the way forward,” he added. “We get bogged down in our monolithic ways of thinking, and we want to bridge disciplines and thought processes to work on these kinds of projects.”

            Tickets for Transforming Spaces can be purchased for $35 from Doongalik Studios, on Village Road, or The National Art Gallery of The Bahamas, on West and West Hill Streets. Bussed tours of the transformed spaces will be held from 9 a.m. – 1 p.m. and 2 – 6 p.m. on Saturday, March 21, and 9 a.m. – 1 p.m. on Sunday, March 22. Members of the public are welcomed and encouraged to attend the week’s highlights, which include a public talks forum on Thursday, March 19, at the NAGB and an opening party at Hillside House on Friday, March 20.

Grand Bahama’s nightlife: A group of artists collaborate in a show exploring the night

                  This month, members of Grand Bahama’s visual art community will be collaborating in a group show dedicated to nothing more than the starry night. The oft-evaded constant is a regular period of unease and fear throughout The Bahamas, particularly during a time when the country is experiencing elevated levels of violent crime. With anxiety over illicit activities at the fore, many forget the regenerative processes that take place during sleeping hours.

                  Curated by Grand Bahama artists Boryana Korcheva and Del Foxton, Nocturnes will showcase works by 17 artists of diverse backgrounds who explore the topic of nighttime in the context of their shared environment, values and the effects of modern, near-instantaneous communication. Held at The Grand Gallery, located at The Grand Lucayan Resort, the multi-media show will feature paintings, photography, tapestry, digital art, collage, sculpture and a 3D paper work by Foxton.

                  “The night is a constant of our physical and spiritual existence, an inherent element of our biological rhythm. It has a special symbolism in all cultures and is one of the eternal themes of the arts,” said Korcheva.  “Technology has changed our relationship with the night, and yet its spiritual dimension has not diminished, nor has it lost its impact on human imagination.”

                  With many of the artists originating from countries around the world, the show will examine the symbolism nighttime holds among a variety of cultures. Nocturnes’ participants include National Art Gallery of The Bahamas Board Member and artist Chantal Bethel, Paula Boyd Farrington, Tony Cassano, Melanie Darville, Claudette Dean, Eva Dehmel, Caitlyn Farrington, Del Foxton, Clarence Green, Ken Heslop, Julie Hoyle, Boryana Korcheva, Christine Matthai, Jo Morasco, Sheldon Saint, Laurie Tuchel and Cali Veilleux.

                  Visitors can expect works addressing mystic, spiritual and transcendental themes in the show that is particularly relevant in a society that has valued folklore and myth for generations.

                  “Not surprisingly, the night has special symbolism in all cultures. Magic and magicians are believed to be more powerful at night. Séances of spiritualism are usually conducted at night. Similarly, mythical and folkloric creatures – fairies, vampires and werewolves – are described as being more active at night. Ghosts are believed to wander around almost exclusively during nighttime,” write Korcheva and Foxton in their curatorial essay.

                  A series of discussions will follow the exhibition’s opening night. Programming details will be announced on the evening. It is the curators’ hope that the show and corresponding talks go beyond demonstrating the talents of the creative community living on Grand Bahama to engage the general public with the island’s artistic movement.

                  The opening evening of Nocturnes will start at 6 p.m. on Thursday, March 12 with the curators’ walk. All members of the public are invited to attend. For more information on Nocturnes or any of the show’s participating artists, contact The Grand Gallery at (242) 242/373 6111 or via email at thegrandgallery242bahamas@gmail.com.

Art Summer Camp

The National Art Gallery of The Bahamas Education Department has put out a call for volunteers for our Art Summer Camp! This is a great opportunity for students needing community service or interns looking for art education experience.

Applications are due May 4th, 2015, 4PM.

For further information, please speak to Abby Smith at 328-5800/1.

Download the call Here.
Download the Application Here.

Call for Art Camp Volunteers

The National Art Gallery of The Bahamas Education Department has put out a call for volunteers for our Art Summer Camp! This is a great opportunity for students needing community service or interns looking for art education experience.

Applications are due May 4th, 2015, 4PM.

For further information, please speak to Abby Smith at 328-5800/1.

Download the call Here.
Download the Application Here.

 

Art of the month: ‘Enigmatick Funktification’

It’d be rather difficult to explore our Bahamian Domestic Permanent Exhibition without noticing “Enigmatick Funktification” – an energetic work occupying more than 48 square feet of wall. The acrylic painting is the product of a collaborative approach, known as “Jammin’”, by John Beadle, the late Jackson Burnside and Stan Burnside.

Though it could easily take days to thoroughly examine the work, visitors can find clues pointing to the painting’s Junkanoo roots in a single glance. “Enigmatick Funktification” – a mélange of vibrant colours, figures in costumes and musical instruments – is reminiscent of Bay Street in the early morning hours of Boxing Day and New Year’s Day. This is when Junkanoo, a biennial street parade and the country’s most revered festival, takes place. There is good reason for the tradition’s presence in the painting.

Discovering their affinity for Junkanoo in the late 70s and early 80s, Jackson and Stan Burnside were leading members of the Saxons Junkanoo group for years before leaving to help found the One Family group. It’s no surprise, then, that Junkanoo is heavily represented in their works.

Jammin’ – a term coined by the Burnside brothers – originated in Junkanoo shacks. It refers to the process of as many as six Junkanooers working on a single piece simultaneously. Inspired by the approach, the duo embraced the Jammin’ methodology in their studios, creating works together.

Founding B-C.A.U.S.E. (Bahamian Creative Artists United for Serious Expression) in the early 1990s, the Burnside brothers expanded the Jammin’ circle and invited Beadle, Brent Malone, Antonius Roberts and Max Taylor to collaborate on a body of work. They later invited then-recent COB graduate John Beadle to join what is now referred to as the “Burnside-Beadle-Burnside” collaboration.

Between 1995 and 1996, the trio produced a series of works of which “Enigmatick Funktification” was a part. The collection traveled to Atlanta, Georgia in 1996, where it amazed visitors at the Olympic Games. “Enigmatick Funktification” has since made the rounds and returned home, where it rests comfortably in our permanent collection. Stop by and see it Tuesday to Saturday between 10 a.m. to 4 p.m. or Sunday between 12 noon and 4 p.m.

NE7 is just around the corner

From left are NE7 curators Holly Bynoe and Michael Edwards. JODI MINNIS

If you keep up with us regularly, you probably know by now that we are restlessly eager to unveil the Seventh National Exhibition, Antillean: an Ecology. Led by NE7 curators Holly Bynoe and Michael Edwards, Antillean: an Ecology is a body of works by 51 artists responding to themes of class, race, the economy and privilege.

It is our hope that Antillean: an Ecology will encourage members of the public to ask questions, reflect on themselves and enter a space of critical thinking about the implicit and explicit issues that arise from personal and national identity. Influences like citizenship, migration, the landscape, slavery, religion and the creolization and hybridization of the Caribbean and wider world will be explored through artwork, poetry, a mixture of personal and academic essays and a series of panels and artists’ talks.

“I think it’s important to understand that we all carry perceptions, whether they’re race, class, economics. So a large part of the show is to interrogate these kinds of perceptions we have. I think it’s important for people to understand that we’re all part of this cultural matrix… And the role of the artist is to challenge these perceptions, to reframe them, to re-constitute and retell a different kind of narrative to challenge people’s perspectives,” explained Edwards.

Bynoe believes the exhibition’s significance and relevance in modern day society has spoken for itself through the reaction from the local artist community.

“Initially, when we put out the open call, it was met with a lot of ambivalence because people have this understanding of race relations in the Caribbean, and oftentimes it’s very simplistic,” she recalled. “I think over time, and with a good communication from the entire team here, artists turned from being ambivalent to being critical about their space, so it was no longer a surface understanding of how these relations and social concerns play out in this space but a deep reflection of how it also manifests in personal ways, social ways, in ways that reflect how they engage with their communities.”

Antillean: an Ecology will open at 6 p.m. on Thursday, December 11. Those interested in engaging in the conversation on the social, political and cultural influences on individual and national identity are encouraged to attend the opening night and panel discussions.