Bahamian art: Presenting. Uniting. Educating.
On March 22nd through July 29th, The National Art Gallery of The Bahamas presents the first of two historical surveys exhibitions that include works produced from 1856-1960 by visiting artists and expatriates, who were inspired by the then-colony's landscapes, people, luminescence, coastlines and seas and bustling lifestyles. Traversing the Picturesque: For Sentimental Value draws from several familiar and a few new collections to detail the breadth and scope of how The Bahamas has been framed within the popular global imagination and the impact of the colonial and outsider gaze on the development of a historical understanding of the nation.
In collaboration with the British Council, the NAGB will present the exhibition "We Suffer to Remain" featuring the evocative video installation "The Slave's Lament" by Scottish artist, Graham Fagen in tandem with visual responses by Bahamian artists Sonia Farmer, Anina Major and John Beadle. Fagen’s “The Slaves Lament” was exhibited at Scotland at the Venice Biennale in 2015 and "We Suffer to Remain" premise focuses on the fact that artists in postcolonial spaces have strong and embryonic reactions that can influence and build on the advancement and celebration of de-colonial art practices.
Beadle is no stranger to the National Art Gallery of The Bahamas. An exhibition was produced in 2013, which Beadle called a self-portrait, yet even though the show was an intimate and telling story of how walls–personal and physical–populate our space, Still Ringing emerged as quite a surprise for the gallery and certainly for Beadle. Earlier in the year Beadle began talks to develop a response to Scottish artist Graham Fagen’s The Slave’s Lament, which you will see in our upstairs galleries–the Ballroom–as a part of the “We Suffer to Remain” exhibition, the third and final part of the ongoing “Difficult Conversations” series of regional exhibitions supported by the British Council.