Stories Archives - Page 21 of 24 - National Art Gallery of The Bahamas

Hearth and Heart – E. J. Read’s ‘Clay Oven’

28 December 2016 Stories

‘Clay Oven’ (1912) is earthy, it is full of sepias and greens and stony grays, and, it is homely and sincere. This watercolour by ex-patriot Elmer Joseph Read, more commonly known as E. J. Read, is of our oldest works in the National Collection, outside of the traditional black and white film photography by Jacob Coonley, on display in the first wing of the current Permanent Exhibition ‘From Columbus to Junkanoo’ curated by Averia Wright and Jodi Minnis.

Made in The Bahamas: Authentic action, authentic support

28 December 2016 Stories

Dr. Ian Bethell-Bennett pens an argument for supporting local creative production in “Made in The Bahamas: Authentic action, authentic support”

Civil Engagement as Culture: Unearthing Voices

19 December 2016 Stories

Our culture, as long as we wish it to be, is alive in those feet that pound the streets because they do not have cars, in the rubber that heads north every morning and south every night to earn money to survive. The fear of suffering is as strong as the possibility of death by silence, though silence kills like cancer that eats away at our fibre and when we are asked, who do we think we are? What dare we answer?

Art, Culture, and Representation: Reflecting on Self and Nation

7 December 2016 Stories

Representation in art tends to be the ability of art to reflect on to capture the trueness of life. It is not a sketch of naturalistic or impressionistic images, but a ‘true’ to life picture of what we see. However, what we see can always be influenced, changed or distorted by our position, our vantage point, and bias or where we stand. We can look out at sea and see a glare of whiteness as the sun reflects off the water’s surface.

Apathy, Antipathy, and Action: Political Art and the Potential for Progress

5 December 2016 Stories

Recent events in the nation, perhaps most notably the We March protest that took place last week, showed that The Bahamas has begun to shake off the veil of apathy that we have slumbered under for what feels like too long. This year has been a belter for politics and people of all beliefs making their feelings known – for better or for worse. And, as art so often engages with the state of society, so it is that many of the submissions for the 8th National Exhibition (NE8) at the National Art Gallery of The Bahamas (NAGB) were brash, bold, opinionated, and deeply political; reflecting how strongly so many of us feel after the various events of 2016.

Through the Eyes of a Tourist: Oh Island in the Sun, Funky Nassau

24 November 2016 Stories

How much more value can we get out of tourism by really investing in Nassau and promoting small businesses like walking tours, garden cafes, and tea shops along with waterside bars? The longer we take to change the model of rot, the harder it is and the worse the actual situation gets. Why travel to downtown Paradise to see decay? Is it not better to remain locked in a resort or on a ship?

“Five Children at the Water Pump” (1984) by Peggy Hering

14 November 2016 Stories

Little ones on a dusty road of varying ages - tiny hands held in those only slightly bigger, leading the

Indigeneity and Art: Defining our Values

31 October 2016 Stories

As the lushness of the island disappears in the wake of Hurricane Matthew, it is important to note the significance of imaging who we are and where we live. As Bahamians, we inhabit a geographic space that has beauty beyond words along with limitless possibility, and we must embrace our reality and step outside of the constructed, constricted reality being imposed on us.

The Eye of the Storm: Preservation and destruction

26 October 2016 Stories

Winslow Homer’s ‘Hurricane’ captures howling winds of the storm in The Bahamas, however, the image, though teaming with meaning and feeling, does not capture the magnitude of today’s super storms. These so-called superstorms bring with them devastation and trauma of epic proportions. The visual produced in Homer’s painting remains haunting and provides an interesting couple for the Gulfstream painting, and After the Hurricane, Bahamas as it shows a man shipwrecked on a desolate island.