We are delighted to announce the opening of CONTACT TRACE, a solo exhibition by Angelika Wallace Whitfield.
Wallace-Whitfield presents a series of paintings and drawings made during the Covid19 lockdowns. The work is a continuation of her interest in the female figure, in femininity and strength, but as the title suggests this body of work also focuses on contact and connection. Wallace-Whitfield describes in her own words how the illustration of connection between bodies was an exploration of what she experienced and questioned during the past year in the pandemic:
"As media coverage on COVID-19 increased, so did my knowledge on how the virus spreads. The way it travels from one human or object to the next, unknowingly, without intention. Human interaction becomes a vehicle. COVID-19 made me question the ways in which we impact everyone we are in contact with, physically, mentally, emotionally, in formative and reformative ways.
The vivid imagery from Alfred, Lord Tennyson’s epic poem, “Ulysses”, provides inspiration for Between Earth and Heaven, a new exhibit now open at the D’Aguilar Art Foundation, featuring 28 works from our permanent collection.
A small selection of the rarely-seen international artworks within the D'Aguilar Art Foundation collection.
We are delighted to present our current exhibition digitally at www.burningforhome.com. You can also follow The D'Aguilar Art Foundation on Instagram and Facebook for content on the exhibition. Please email us at email@example.com if you would like to see the exhibition in person.
It is a particularly apt time to view Pratt's meticulous watercolor and assemblages of Bahamian homes. Having just endured Hurricane Dorian and witnessed homes fracture or disappear, the future of our architectural design seems undetermined. Pratt's work offers an historical perspective by depicting the exterior of some of the oldest buildings in Nassau and the out-islands. One of the things that draws the artist to document these specific spaces is that they were built with community in mind:
"The aesthetic of these kinds of homes is a dying one and I hope to celebrate them. By nature of how these buildings are designed they encourage community and I hope to continue highlighting these neighborhoods and homes to encourage Bahamians to look back to our architectural history for its common-sense approach to community living and planning.
K Smith has always been drawn to architecture as subjects
for his drawings. All of the drawings he completed in Canada between
1977 and 1987 are architectural graphite drawings of prairie family
homes, one room country schools, as well as historic commerical
buidlings. Smith's images allow us to reminice about the buildings and landmarks that no longer exist or that have been altered over time.
Caroline Grace Lodington, the great great grandmother of K Smith, was also an artist like her husband, Edward William Smith, the great great grandfather of K Smith. Caroline Grace Lodington's India ink drawing of Bishops College near Calcutta was created in 1823, only three years after the college was erected.
These two drawings completed 171 years hang side-by-side and reveal an inherited
interest and skill within photo-realism. Two Centuries of Smith 1819-2019 reads like a family archive that we can unpack through beautiful and considered drawings.
A Bahamian artist that lives and works in Tampa, Florida, Kendra Frorup works primarily in sculpture and print-making. She is inspired by her sensory memories of home, The Bahamas, and refers to these familiar sounds, tastes and smells within her works. Tamarind fruit cast in bronze, resin sugar-apples and ceramic coconuts are layered on top of screen-prints and mono-prints of roosters, chickens, straw-baskets and local architecture. Each work can be compared to the experience of walking down a busy side-street in Nassau or an out-island; the artwork is an assemblage of this sensory experience into a physical object.
RED RAIN is a selection of paintings from the collection, bringing together artworks from different decades, countries and of course artists to hang side-by-side. This exhibition gives an intimate view into the journey of a collector and is a visual feast!
The D'Aguilar Art Foundation is delighted to host a fundraising party and art market. The proceeds of which will assist our incredible colleague, Letitia Pratt, to attend School of Art Institute of Chicago to study for her MFA in writing.
The exhibition will act like an art-market featuring artworks to purchase by Rashad Adderly, Melissa Alcena, Delton Barrett, Richardo Barrett, Margot Bethel, Nadia Campbell, June Collie, John Cox, Sonia Farmer, Blake Fox, Kendal Hanna, Lynn Parotti, Alessandro Sarno, Heino Schmid, Natascha Vazquez, Allan Wallace, Natalie Willis, Sofia Whitehead, Tessa Whitehead.
The D’Aguilar Art Foundation is pleased to present ‘The Likeness of Being’, an exhibition featuring the portraiture of five Bahamian artists: Keith Thompson, Kachelle Knowles, Gio Swaby, Spurgeonique Morley, and Allan Wallace. Each of their works explores the themes of preserving the body – specifically the black body – as it navigates the natural and social environments around them.
These deeply personal works all explore the artists’ individual experiences - whether it be in the Bahamian environment as a black man from a particular part of Nassau, or the Canadian environment as a black Bahamian woman – and celebrates the self in response to the people and places around them. Incorporating realism and folklore, these works present the artist’s different perspectives of self, and the unique and vibrant ways they view their individuality.
A phrase used during fitness training, ‘Time Under Tension’ refers to how long a muscle is under strain during a set – referencing the stress through the mounting pain that the muscles endure to strengthen and lengthen. Lynn Parotti’s exhibition of the same name uses this phrase to bring to light the constant pressure that coral reefs endure as a result of the compounding impact of our human footprint and subsequent effects of global warming. The metaphor continues as ‘time’ is of paramount importance to the warming seas’ effect on coral.
The D’Aguilar Art Foundation presents OVERWHELMED, a solo exhibition by Jordanna Kelly. Kelly transforms the gallery space into an immersive installation, weaving painting-assemblages together with trails of hundreds of painted paper dots. As in Kelly's last solo exhibition, Bugs, Blessings & Barriers, she uses the intricate paper pieces as individual works and also assembles and layers them to build the larger installations. The repetition and layering creates a landscape that appears both macro and micro; resembling terrariums, looking through a microscope or something more universal. Kelly's says of the works, “I wanted to create these environments – these little worlds – to be all-enrapturing, so when the viewer looks at the work, they are mesmerized by the many things that are going on. I want their eyes to bounce from patterns, to levels, to layers.”
Including the work of Margot Bethel, June Collie, John Cox, Kendra Frorup and Natascha Vazquez, this exhibition brings together interactive artworks that are intended to inspire our younger visitors.
The show features five prominent Bahamian artists: June Collie, John Cox, Kendra Frorup, Natascha Vazquez and Margot Bethel. Each artist created a piece of interactive artwork surrounding themes of play, folklore, and storytelling. Each piece displayed will encourage the viewer to participate physically with the artwork and become a part of the piece’s story.
Delton Barrett's Imagined Landscape: Photographer Finds New Self in Solitude
Letitia Pratt Interviews Delton Barrett
The D’Aguilar Art Foundation’s new exhibition, “Nurture,” is the product of the most recent experiment of Delton Barrett, an emerging photographer. Hailing from the south of New Providence, Barrett’s preoccupation with creating digitally enhanced, innovative photographic stories has become the catalyst for the experimentation in his work. He often stages scenes within the environment in surreal, fantastic ways, intending to investigate the way his body blends with the space he inhabits. The images that grow out of these explorations are playful renditions of the environment that surrounds him, ultimately communicating a deep connection between his body and the natural world.
The D’Aguilar Art Foundation is delighted to announce that we are taking part in Transforming Spaces weekend on March 17th & 18th, 2018. We will exhibit new paintings by contemporary Bahamian artist Allan Pachino Wallace alongside a selection of works by the late Brent Malone in an exhibition entitled ‘MUSE’.
For this exhibition, Pachino will respond to specific paintings by Malone to highlight the practice of working from the figure as muse over the past half-century in The Bahamas: from the 1960’s to present day.
I visited Schmid’s studio late on a Thursday so that he could tell me these stories. He eventually presents me with a parable. “Honor the small things,” He says this carefully, choosing words with calculated reverence. “If you honor those smaller things, good things will come out of your work. Your life.”
The D'Aguilar Art Foundation is pleased to announce the opening of 'I'VE GOT SOMETHING TO SAY', an exhibition featuring some of the most conversational pieces from our collection.
The D’Aguilar Art Foundation is delighted to announce the opening of 'Diversions', an exhibition of the photography by emerging artists Melissa Alcena, Alessandro Sarno and Sofia Whitehead. Diversions features three series of works that explore the spaces outside the demands of daily life in The Bahamas.
'The Art of Losing' examines how we understand loss, through a carefully curated selection of paintings by Bahamian artists.
The D'Aguilar Art Foundation is pleased to present 'This is Yours, That is Mine', a presentation of new works by Jeffrey Meris and Tessa Whitehead. Both artists examine fragments of the landscape as a record of the ruins of history and a demonstration of desire, power and surrender. Meris exhibits drawings and sculptures that examine the literal and physical street as a binding space for black culture and a stage for trauma. Whitehead's paintings and objects of unkept landscapes are an inquiry into failure and surrender.
American-born photographer, Greg Pesik, has for the last three decades recorded his extensive global travels through his camera lens. Reflecting a fascination with the solace of the morning and the evening, Pesik captures dimming and glowing light enveloping architecture, landscapes and cityscapes.
The D'Aguilar Art Foundation proudly presents a solo exhibition by Maxwell Taylor, in which richly orchestrated prints pay homage to family, nurturing matriarchs and the ceremonies of a happy home.
The D’Aguilar Art Foundation is pleased to announce the fourth collaborative exhibition for Jammin, by renowned artists John Beadle, Stan Burnside and Antonius Roberts. Jammin IV features a series of paintings made by the collaborators throughout 2015, a continued effort that began in 1985, when Jackson Burnside and Stan Burnside worked together to create a sculptural painting titled, Faces. Stan describes the piece as a continuation of their work with junkanoo, he says "it was our attempt to take the process, the Junkanoo collaborative process into the painting studio."
A selection of paintings from The D'Aguilar Art Foundation and Dawn Davies Collection that examine the symbolic and practical function of objects and stillness within contemporary painting.
The exhibition features a new body of paintings in which Dave Smith continues his exploration of perspective and power. These paintings are an intriguing combination of old and new media and subject matter.
Inspired by "Where The Wild Things Are" a popular and beautifully illustrated children's story by Maurice Sendak, this exhibition explores the wild and scary creatures of our imaginations, and the dark and foreboding places where they might be found.
Flourish brings together three disparate developing practices to explore the ways in which contemporary Bahamian artists create layers and connections in their work through travel, exposure and education.
For John Cox, balance is not so much a goal as a constant exercise in conscious creativity. Engaging the lifecycle of balance—struggle, transcendence, and acceptance—he often manifests in his artwork a sense of a spiritual journey. His sculptural chairs and tables, emblematic objects, images of struggle, love or desire offer reflections of our own cycles.
Jeffrey Meris, Bernard Petit, Jackson Petit and Allan Wallace work together to address Haitian-Bahamian contemporary culture. A giant and controversial issue, each artist draws from personal experience and practices to create wonderfully complex responses to dislocation, identity and place. The exhibition will feature installation and video work and will be supported by key Haitian paintings from our own collection.
All of this work was made after the official end of Modernism, which was the 1960's. But trends move slowly to The Caribbean and our landscape has not dictated a shift into Post-Modernism just yet.
Within and from the time of National Independence, these artists have re-presented and re-examined the utopian images that were our identity, and deepened our understanding of the complex and traumatic relationship between identity and landscape. These works articulate our desire to have a space to call our own.
'Submerged' is an exhibition of work that quite literally envelopes the entire D'Aguilar Art Foundation's property. Our vision was to allow the artists' works to move the way water moves. Not only have we comfortably filled the gallery space, we have strategically involved the building's exterior spaces as well.
“Brigidy bram” is a figure of speech that Hanna has coined in his unique vernacular, a tribute to the interconnection of seemingly unrelated events.
Growing up on Long Island and being constantly surrounded by nature, there is no wonder that within the pieces is it evident that nature has had a tremendous influence on Stevenson.
Roland Rose came to the Bahamas in 1946, and took up photography as a hobby at the age of thirteen. In 1952 he joined the Bahamas Development Board, later to become the Bahamas Ministry of Tourism, as a professional photographer
“Figures with no clothes are peculiarly common in the art of the Western world. This situation might seem perfectly natural when one considers how frequent the state of undress is in everyday human life, from birth to the bath to the boudoir." - Jean Sorabella
“Fix Ya Face!” addresses the many ways in which Bahamian and a few international artists alike have defined the face in art. It is an exploration of imagination and process, a display of influence, thought and preservation of the ideals of beauty held by the few artists we have represented in this exhibition.
Yet the collection is as much about the collector as about the art itself. Underneath each piece lies a tale about its addition to the collection, imbuing the exhibition with a tone of poignancy. John Beadle's "Conjure Woman" may be the most recognizable and requested piece from the collection, but in this exhibition, viewers can discover the deeply personal and amusing reason behind its purchase by the newlywed Vincent D'Aguilar.
In times of devastation it is cathartic to have access to a space to reflect on loss. This is a place where people of all faiths and social echelons can congregate to begin the process of healing. Chantal Bethel’s Poto Mitan is this place for meditation and prayer.
In 1971, art historian Linda Nochlin’s essay in ARTnews asked, “Why have there been no great women artists?” Decades later, why are we as artists, critics, curators and patrons still asking this provocative and admittedly offensive question? A fair and overdue question to ask in our community would be, “Who are the female artists that have made an impact and contributed to the success of the Bahamian fine arts movement?”
At no time in a curatorial calling does one wish to install an exhibition in memoriam of an artist whom one knew, admired and respected. Unfortunately (but in some manner just as fortunate), as life would have it, this must be done because we do admire and respect the artist. We recognize the tremendous gift that the artist has bestowed while creating his work and their willingness to impart their experience should anyone want to learn. With some artists we understand that sometimes it is simply rewarding enough to be in their company and listen.
“Antonius Roberts’ canvasses represent portraits of human emotion and condition. The viewer’s initial response is to the impact of his powerful images of men and women; slightly enlarged heads filling the canvas amplifies the immediacy of human expression. The artist’s portraits are forceful and yet poignant commentaries on Caribbean society.”
“To buy a work you have no emotional connection to, is truly money down the drain; because whenever you look at it, whatever you paid for it, you have to feel connected to it.”
Vincent collected over 50 artworks by Haitian artists.
"This wasn't Paris or London or New York, we were astounded by the skill, diversity & eloquence of these extraordinary Bahamian artists, and felt honored to preserve them & their art on film."
Contemporary Bahamian artists have likewise embraced the mother as a popular subject, painting serene Madonnas with a glowing halos, goddesses with powerful reproductive powers, new mothers struggling with pregnancy or sickly newborn infants, loving mothers nurturing babies on the breast, and proud, selfless women tackling the grueling work of providing for their families.