On Blank Canvas, host Amard Rolle (the NAGB’s Executive Assistant)is joined by Brigidy Bram co-directors and producers, Kareem Mortimer and Laura Gamse.
The NAGB is pleased to share the new ICOFOM LAC Publication Perspectivas latinoamericanas y caribeñas para la discusión sobre la nueva […]
ICOM is pleased to announce that the proposal for the new museum definition was approved. On August 24th, in the […]
Kendra Frorup’s “Melody in the Men’s Room” (2010) sees an old, polished brass handrail becomes the amplifier of the most contrarily inconspicuous-yet-sizeable music box many of us will ever have the pleasure to encounter. The tubing of the handrail becomes a megaphone for the delicate mechanisms of a tiny coconut-rose ballerina perched lightly atop its surface. There is a deftness and sophistication with which she repurposes – or rather, reinvigorates – these found pieces of material from the mundane to the magical.
By Patricia Glinton-Meicholas. Its foundation announced in 1996, The National Art Gallery of The Bahamas (NAGB) was officially opened on Monday, 7 July 2003, which means that it is still a youth as art museums go, still engaged in defining its identity. I envision for it a plum role, ready for the plucking from a fertile tree of a people richly endowed with creativity. The Gallery can be an important builder in the development of people and nation, employing a diversity of creative impulses of artists, exotic and indigenous to “story” The Bahamas, providing a mirror to prompt Bahamians to take a deeper look inward and bear even greater fruit.
By Natalie Willis
This week we continue our interview with Sonia Farmer on her work for the upcoming collaborative exhibition with the British Council, “We Suffer To Remain”. It is difficult to think about just who gets to discuss our history, when some voices are silenced, and others get a proverbial loudspeaker. Farmer’s artist book “A True & Exact History”, a poem produced from her erasure of Richard Ligon’s “A True & Exact History of the Island of Barbadoes” (1657), deals with just that.
By Natalie Willis
Continuing on last week’s interview, the discussion builds on the rest of the body of work that Anina Major is producing for “We Suffer To Remain”, an exhibition featuring “The Slave’s Lament” (2015) by Scottish artist Graham Fagen alongside three Bahamian artists, Sonia Farmer and John Beadle included. Major’s work and much of the exhibition deals with the legacies of slavery as embodied by us as post-colonial subjects. This week she speaks to that embodiment, to pain, and to what it means to inhabit a Black feminine body in relation to the ideas brought up by this exhibition as well as recent events in the country.