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.