Drawing mainly from the National Collection and supported by works from The Dawn Davies Collection, “TimeLines: 1950-2007” will be displaying the works of 43 artists including John Beadle, Dionne Benjamin-Smith, Sue Bennett-Williams, Wellington Bridgewater, Stanley Burnside, Graham Byfield, Jacob Coonley, Jessica Colebroke, John Cox, Blue Curry, Amos Ferguson, Tyrone Ferguson, Antoine Ferrier, Kendal Hanna, Rolfe Harris, Peggy Jones, Denis Knight, Alton Lowe, Toby Lunn, R. Brent Malone, Melissa Maura, Sterling Miller, Edward Minnis, Lavar Munroe, Holly Parotti, Chan Pratt, Antonius Roberts, Edison Godfrey Rolle, Monique Rolle, Lorenzo Roker, Roland Rose, Sandford Sawyer, Heino Schmid, Dave Smith, Jolyon Smith, Kipp Soldwedel, Dorman Stubbs, Nettica “Nettie” Symonette, Maxwell Taylor, Allan P. Wallace, Joseph “Joe Monks” Weaver and Homer Williams.
The Visual Life of Social Affliction seeks to grapple with the ways in which Caribbean visual practice critically engages long-standing experiences of social suffering. Recognizing the real senses in which the Caribbean not only was born in the structural violence of Native genocide, African slavery, and Indian indenture instituted by colonial powers, but has been sustained since then by the relentless continuation of institutionalized disrespect, disregard, and dishonor, this project seeks to capture the destructive impact of dominating powers on the lives of Caribbean people. Our wager is that the visual arts constitute one of the most vital expressive and hermeneutic optics through which to explore social life in general and the life of social affliction in particular.
Averia Wright presents "Straw Paradox: The Pig that Built His House of Straw" in the NAGB Project Space her following her moving works for the National Exhibition 9 "The Fruit and The Seed", "Elevating the Blue Light Special." Drawing from tradition and her family's history, Wright will explore the legacy of straw works and its relationship to the Bahamian tourism industry.
Kachelle Knowles: Bahamian Man Since Time: The work lies in the cultural and racial styles that have ideological traits associated with class and success within the Caribbean and also within Black culture. It speaks about the assimilation and self-erasure of black identity to conform within a Eurocentric society in favour of economic survival. Our society is ever changing from the influence of America and our growing tourism industry, and in turn, the perception of masculinity is one of those aspects that is transforming, albeit, ever slightly within our culture.
The National Art Gallery of The Bahamas invites you to the exhibition opening reception and awards ceremony for our Mixed Media Art Summer Camp on Thursday, August 1st, 2019, 7 p.m. - 9 p.m. We begin in Fiona's Theatre then move to the Project Space Room where the exhibit will be on display.
Once a space that was considered a space of exile, a dark and dangerous unknown in colonizing Europe’s imagination, the Caribbean is now precisely the opposite. The light and colour here is seductive, in more restorative and idyllic imaginaries. Whether you’re born here or a transplant, the Bahamian landscape has been a more than willing muse to many an artist over the years, including the likes of Hildegarde Hamilton, Eddie Minnis, Chan Pratt, and more, artist John Paul Saddleton (J.P.) is in good company.
The National Art Gallery of The Bahamas is proud to present a collection of new paintings by interdisciplinary artist Tessa Whitehead. Her first solo exhibition in The Bahamas titled "...there are always two deaths" catalogues the artist's observations of the landscape, everyday life, and the inner working of nature in conjunction with the sacred feminine.
The National Art Gallery of The Bahamas brings to life a collection of over 110 works from the master Bahamian artist, Chan Pratt. We celebrate Pratt's life and creativity posthumously in "Resurrection." Working closely with Dewitt Chan Pratt, Chan's son along with 20+ collectors across the archipelago we bring to life his story and ruminations on the landscape and honour the legacy of works left for study and record.
Growing up on the Island of Grand Bahama in the quaint settlement of Eight Mile Rock, Anthony “Big Mo” Morley’s artistic Journey began. Surrounded by the beauty of nature; the beautiful flowers that bloomed in the spring, the hibiscus in all its varied colours, the yellow elders and the magnificent poincianas which lit up the evening sky, blended with the yellows and oranges of the sunset all set Morley’ creative juices flowing.
The NAGB team is taking the Inter-Island Travelling Exhibition to Grand Bahama for the second time this April! We were last in Grand Bahama in 2016 with “Max/Amos”, which was showcased at the Charles Hayward Library; now the NAGB's travelling exhibition programme is taking "Trans: A Migration of Identity” to our second city, where it will be on display at the Rand Nature Centre from April 5th- 26th, 2019.
Tamika Galanis takes an in depth look at the Alan Lomax Collection which boasts hundreds of sound recordings and photographs collected from New Providence, Cat Island, and Andros on Lomax’s initial trip in 1935 and a subsequent trip back to Andros in 1979. The sparse documentation of the initial trip shrouds the archive in mystery, making it near impossible to locate the descendants of those whose likenesses appear in the collection some eighty years later; but, the dead continue to speak through the materials.
The National Exhibition 9 "The Fruit and the Seed" will open on Thursday, December 13th, 2018 an run through March 31st, 2019. A socially curious project, “The Fruit and the Seed” centres around how artists are working to define their space and experiences. Whether it be through the lens of race, gender, parity and class as a way to clarify cultural, social and aesthetic decisions, the art-making process is used as a tool to bring to the fore ideologies on activism and advocacy, leading to a more empathetic and understanding culture.
Avid Junkanoo practitioner, Carlos Bain, lights up the Project Space (PS) room for the month of December and January with a refreshing take on the traditional elements of the annual festival. Using crepe paper, bright colours, organic shapes and the congregation and crowds in the festivities, Bain advances and broadens the representations around Junkanoo and the connectivity of the spirit of communing together. You are invited to celebrate the works in "Second to None" which will be on view through Sunday, January 20th, 2019.
How do we define ourselves? What does a dialect do and, within that vernacular, what does our dissent sound like? “Hard Mouth: From the Tongue of the Ocean” is a look at the way language–both verbal and visual–has shaped The Bahamas and how we view ourselves. From the way we speak, to the way that we voice our discontent, to the way we envision ourselves as women and as part of the Black Diaspora, “Hard Mouth” is a call to the “biggity” and bold nature of Bahamians and a foray into how this archipelago, around the Tongue of the Ocean itself, finds its voice.