-

Latest News

  • Featured Artist Nastassia Pratt

    03/25/2020

    Today we highlight the work of Bahamian artist Nastassia Pratt


  • K Smith is interviewed by ZNS

    12/03/2019

    ZNS visited the DAF today to interview K Smith about his current exhibition TWO CENTURIES OF SMITH. The interview will air this Thursday, 5th December at 7pm, during the nightly news.


  • NEW ACQUISITION: Mango 1 and Mango 2 by Melissa Alcena

    10/29/2019

    New Acquisition

    We are delighted to acquire two photographs by Bahamian artist Melissa Alcena. 'Mango 1' and 'Mango 2' will be the first artworks by Alcena in the collection, however we supported her work at the gallery in a group exhibition entitled 'Diversions' in 2017. The pieces were purchased from Central Bank (2019), from a solo exhibition by Alcena that featured portraits of people that were specifically looking away from the camera or hiding their face, in this case concealed with huge banana leaves.


  • ​NEW ACQUISITION: Sonia Farmer's "A True and Exact History" (Poinciana Paper Press, 2018)

    06/06/2019

    This artist book was recently acquired by the DAF from the fundraising exhibition in support of Letitia Pratt's studies, a garden. Sonia Farmer so generously donated the piece to the exhibition, and for this we truly appreciate her! Here's what she says about the work:


  • The Weight of the Tide: Lynn Parotti's 'Time Under Tension' in Review

    03/28/2019

    Lynn Parotti’s Time Under Tension was a compact exhibition that communicated a profound message in its simplicity. All of the work shown was a homage to The Bahamas’ aquatic environment, which – according to ARC Centre of Excellence for Coral Reef Studies – is suffering major damage because of coral bleaching; a direct result of global warming. Nestled carefully in The D’Aguilar Art Foundation’s (DAF) intimate gallery space, Parotti’s new series of works, ‘Bahama Land’ is a vibrant epitaph of the beauty of the Bahamian coral. Her seascapes are illustrated from the point of view of somebody who is just above the water looking down (perhaps over the hull of a boat), or right above the ocean floor. When affronted with the vibrancy and electric colours of these spaces depicted in such indulgent, viscous application of oil paint, the works speak like relics to the past.


  • New Acquisition: "Hair Drying" (nd.) by Brent Malone

    03/26/2019

    Brent Malone's 'Hair Drying' was recently acquired by The D'Aguilar Art Foundation from the Charitable Arts Foundation's annual art auction: and what a find!


  • New Acquisition: 'The Bits John Constable Left Out' (2018)

    01/22/2019

    This print by Chris Orr RA* is part of his series 'The Miserable Lives of Fabulous Artists' and was exhibited in The Royal Academy Summer Exhibition, London. The series depicts the studio lives of some great names from art history, namely, John Constable, Vincent Van Gogh, Edward Hopper, Frida Kahlo, Jackson Pollock and Pablo Picasso, all of which are represented using Orr’s characteristically humorous visual language.


  • Artwork of the Week: 'Frazzled Atmosphere' (2018) by Jordanna Kelly.

    01/17/2019

    This week, we highlight one of our favorite pieces in our current exhibition, OVERWHELMED, by Jordanna Kelly -- 'Frazzled Atmosphere' (2018). This triptych captures the vivid chaos that is Kelly's imagination.


  • Artwork of the Week: 'Jacob Wrestling with an Angel' (nd.) by Marc Chagall.

    12/18/2018

    This week we celebrate a rare find within our collection, 'Jacob Wrestling with an Angel' by Russian-French artist, Marc Chagall.


  • Artwork of the week - Lush Landscape (1992) by Kendal Hanna

    11/15/2018

    This is actually a tiny painting, only about 11" x 13", but it occupies a large visual space. It is one of about 10 smaller works the DAF has acquired by Hanna during the 90's. I know and love Hanna's larger paintings: he makes large marks with such varied and intense energy and forms shapes and spaces that feel unfamiliar and completely unique to him. But I chose to highlight this small work because unlike Kendal's larger paintings, he would have used the movement of his hand rather than his shoulder to make the brush-marks, but the painting has the energy of an entire body moving around space.