Melissa Alcena’s solo show currently on view in the Project Space through December 3rd, “Some (Re)assembly Required,” speaks to this puzzle-piecing together and rebuilding and reclaiming of the chunks of softness that has been chipped away from Black men for so long.
“On the Way to Market” (ca. 1877-78) by Jacob Frank Coonley looks to be a work in progress, an experiment, with boxes in the foreground and a window decidedly within the frame of the shot.
By Natalie Willis. “A Native Sugar Mill” (ca. 1901) by William Henry Jackson is part of the suite of historic colonial photographs in the National Collection. Jackson was an American, who started a photo studio here after emigrating from New York in the 1870s and is one of the small group of colonial migrants whose pictures help us piece together part of the story of the time. According to the catalogue for “Bahamian Visions: Photographs 1870 – 1920,” curated by Krista Thompson, Jackson first came to The Bahamas at the request of the Governor of the time, Sir William Robinson, in 1877. Since around 1856, Jackson worked as a landscape painter, colourist of photographs and also owned a studio specialising in Daguerreotype photographs. In addition, he manufactured albumenized paper, managed a stereoscopic printing shop and had even worked as a Civil War photographer. Many of these things seem very far removed from us now, but they were staples of photography at the time.
Itchy white lace, decorative candles, pristine stockings, crisp gloves and fine gold chains. These three little brides – being married to the good Christian church they inherited as newfangledBahamian post-colonial subjects, are a vision of all that is respectable and good and expected of a Bahamian of this time.
The National Art Gallery of The Bahamas(NAGB) has created a space we call the National Exhibition, now on its eighth run. The NE8 offers local artists and artists of the diaspora a space to express their ideas and thoughts, concepts and theories. This week Dr. Ian Bethell-Bennett writes about the documentary photographic work of Tamika Galanis currently based in North Carolina and her investigation into the Over-the-Hill communities of Grants Town and Bain Town.
Noted local photographer Antoine Ferrier sadly passed away on Sunday, November 6th after a short illness. He died at the Princess Margaret Hospital, on his birthday, at the age of 75. Charles Antoine Ferrier was born in Gonaives on November 6, 1941 in The Republic of Haiti. During the course of his formative years and early adulthood, he pursued and completed his formal education in Port-au-Prince.
We often ask what makes art Bahamian? Is it about living in The Bahamas? Is it about the colour of the sea, the sky, the play of light? Is it the way we capture images of people in their daily lives that is unlike anywhere else, but also similar to other places? Can Bahamian art be transcultural and also Bahamian?
Nowé Harris-Smith, an emerging Bahamian artist, shows us her foray into reconciling the tension between two battling mediums; tensions between reality and the imagined, between the ideas of bodies as symbols of our individuality but also as unifying vessels of the universality of our human experience.
Scraped up from the beds. Uprooted. Carefully picked and collected. Transported by boat. Beaten. Sun-dried. Clipped and polished. Sold to the highest bidder. The sponge industry of the colonial Bahamas as represented in Jacob F. Coonley’s ‘The Sponge Yard’, an albumen print circa 1870, shows neat rows of sponges laid out to dry, to be clipped, to have the animal remains eroded away by hours in the sun