Currently browsing: National Exhibition

The NAGB’s National Exhibitions: 19 Years of Bold, Biggity Bahamian Art… where do we go from here?

The NAGB’s National Exhibition (NE) programming acts as a finger on the pulse of Bahamian art. As our, usually, biennial check-in on the status of creative visual culture in the country, the NE acts a gauge to see what our creative expression says about us as Bahamians: citizens, diaspora, and residents alike. After reaching our landmark 10th National Exhibition, NE10: “MERCY”, we must ask the question: how do we grow from here?

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Blank Canvas: September 21st, 2022 featuring Averia Wright, Sue-Katz and Dylan Rapillard from “Fowl Play” at The Current at Baha Mar

On this week’s Blank Canvas, our host, Amard, was visited by Averia Wright, Sue-Katz and Dylan Rapillard to discuss the quirky, endearing and very vibrant exhibition “Fowl Play” on display at The Current at Baha Mar from Friday, September 23rd through October.



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Blank Canvas: September 14th, 2022 featuring NE:TEN “Mercy” artists Sonia Farmer and Yasmin Glinton Poitier and curator John Cox

On today’s Blank Canvas, the show on which we discuss visual culture and creative community, your Guest host Katrina Cartwright is joined in the studio by “Mercy” artists Sonia Farmer and Yasmin Glinton Poitier and curator John Cox, as they delve into this complex and thought-provoking theme and share tidbits on the show which opens October 6th, 2022.



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Saucy Expressions presents ‘Riddim n Tingum’ for the National Exhibition 9

By Kevanté A.C. Cash, NAGB Correspondent . Artists Princess Pratt and Christine Wilson curate a night of poetic cultural expression to align with the theme of “The Fruit and The Seed” . Just when you thought the Ninth National Exhibition could not get any saucier—with artworks of daring themes brought forth to challenge the norms of a Bahamian society— poetic duo Saucy Expressions, represented by Princess Pratt and Christine Wilson, curates an evening of “Riddim n Tingum,” featuring rebellious words from Bahamian poets, musicians and writers, for a literary take on NE9’s “The Fruit and The Seed.”  One of the two event organisers and performance poet, Princess Pratt, says her interest in wanting to organise an event like this stemmed from the fact that she had never seen a National Exhibition that featured performance poetry before. She wanted it to be an apparatus that bridged the gap between these seemingly separate worlds of artistry. So when the call came out, she and her creative business partner, Christine Wilson, conceived and presented a proposal to utilise the NAGB’s amphitheatre—Fiona’s Theatre—as a space for what would be called “Riddim n Tingum” for the NE9.

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Painting to heal: Artist Gabrielle Banks lays bare the burdens of her troubled past in NE9 submission

By Kevanté A. C. Cash, NAGB Correspondent. The National Art Gallery of The Bahamas (NAGB) continues to provide a platform and be a safe space for artists across all genres to lay bare the sentiments of the heart through thematic responses to exhibition calls that seek to engage the wider Bahamian populace. Gabrielle Banks, student artist at the Rhode Island School of Design (RISD), took the opportunity of submitting works into the ninth National Exhibition (NE9) “The Fruit and The Seed” as a way to vocalise her thoughts and opinions and to heal from past pains and traumas. Furthermore, the artist also intended to inspire a discourse that is oftentimes swept underneath the rug and left for the minority of society to engage in.

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Strange Fruit: Kendra Frorup’s poignant banana plumes in “Inflorescence/Influence” for the NE9

By Natalie Willis

Though artist and educator Kendra Frorup may be using the imagery of the banana flower in her work in “NE9: The Fruit and the Seed”, this is anything but a literal interpretation of this year’s theme. Frorup cleverly takes the image of the banana plant – whose fruit is rife with symbolism in the Caribbean and the world over – but takes on its less represented anatomy, the flower, and gives this to the audience for consideration. The plant that has become iconic in the region with slavery and plantations, as well as the more base and salacious hypersexualised iconography emerging from the difficult tropes the slavery era brought forth that we are still forced to contend with today.

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The Weight We Bear: Heino Schmid’s monumental drawings for the NE9

By Natalie Willis. This year’s National Exhibition (NE), “NE9: The Fruit and The Seed”, took time to cultivate, to bear fruit, and much care was taken in tending to the roots of art in The Bahamas. The NE serves as a thermometer or litmus test, a finger on the pulse of what is happening in our creative culture here. Of the 38 artists showing work, one particular “fruit” was very, very big indeed.

Heino Schmid’s contribution to the 9th National Exhibition “NE9: The Fruit and the Seed” is, in short, meta. Allow me to explain. His three monumental drawings (measuring in at 9  feet tall by 5 feet wide), housed in heavy, monumental frames, are a gestural portrayal of one human being carrying another on their back. These drawings were then assembled in their heavy frames on the ground floor level of the NAGB, with the heavy glass to protect them slotted in, and then these heavy drawings in their heavy frames were strapped and hoisted to have the 300lb+ weight lifted by the strong backs of several of the NAGB “ninjas”, (along with some very dear friends). In this way, the work is meta, though perhaps self-referential or self-reflexive better serves the description. It’s a sort of divine irony, that works depicting the act of labour of carrying another human being are enacted in the process of displaying the work itself. 

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MasC Off: NE9 brings artists of different disciplines together to challenge social binary views on gender.

By Kevanté A. C. Cash, NAGB Correspondent. During conversations of sex and sexuality do we rarely address the elements of gender, gender identity and gender expression. However, what is gender? How is it different from sex? How is it expressed, and who gets to claim it? Over the last decade or more, millennial culture has started dialogues and much-needed debates over the complexities, toxicities and nuances of masculinity and femininity. Breaking down the stereotypes of such, debunking the myths and redefining it for themselves through the power of the “interweb”, social media, art and artistry. When singer, songwriter and recording artist Rashad Leamount-Davis joined forces with photographer Allan Jones for their project ‘MasC Off’ with the Ninth National Exhibition (NE9), their mission was simple: to address these complexities, toxicities and nuances that exist within the realm of masculinity, specifically for Black Bahamian men, some of whom may or may not identify as LGBTQ+ members of society.

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