April 2017 visual arts magazine barbados

BARBADOS ARTS EVENTS

APRIL 2017

Cover Art By Bethany Pile

All information correct at time of publishing.

Please phone or email relevant galleries to confirm dates of events as they may be subject to change.

Updates as news of arts events comes in each month may be viewed on http://corriescott.net/page28.htm Published by Corrie Scott

corriescott@gmail.com

www.corriescott.net

Welcome to Barbados Monthly Arts Events Thank you to the Gallery of Caribbean Art and The Art Hub who have teamed up to pay for an upgrade for this magazine through 2017. This means The Visual Arts Barbados Magazine may now be viewed with no ads and downloaded.

This is a completely free magazine created out of the need to inform so that we can get to exhibitions, artist talks, workshops and more, rather than hearing about events after they have taken place.

I encourage anyone with a creative event or a new piece of work to get in contact with me at corriescott@gmail.com and I will add a free page for you.

Let’s get the arts out there!

Please, pass this magazine on to others and so help the creative side of Barbados get all the exposure possible.

Corrie

Hedy Klineman ' A Barbados Retrospective Art & Spirit' Opening night March 25th 5pm – 8pm with guest speakers: Adrian Elcock and Teshia Hinds exhibition runs through April 20th .

Tel 419 0858 www.artgallerycaribbean.com

GALLERY OF CARIBBEAN ART The Gallery Of Caribbean Art Galleries presents the works of a variety of artists Northern Business Centre, Queen Street, Speightstown, St. Peter www.artgallerycaribbean.com

Tel: (246) 419-0858

Specialising in art supplies for the professional to student level.

Offering a wide range of products OILS ACRYLICS WATERCOLOURS Golden Paints and mediums, Gamblin, Cotman, Liquitex, Reeves, Galeria, Sargent.

Plus a wide range of drawing and colouring equipment.

Prisma, Derwent, Reeves, Sargent, Charcoal and Pastels.

Easels, Canvases, Watercolour paper, Drawing and Pastel paper.

Screen printing and lino block printing supplies.Fabric paint and dyes.

Waxes, pottery tools, stencils and more.

Monday – Friday 8.30am – 5pm Saturday 8.30am – 3pm.

Sunday Closed.

Telephone/Fax (246) 436 2950 James Fort Building, Hincks Street, Bridgetown arthub.barbados@gmail.com

https://www.facebook.com/ArtHubBarbados

TRACEY WILLIAMS Tel (246) 436 2950 (w), 435-0736 (h) or (246) 231 6847/46 (m) #28, Glen Acres, Ellerton, St George

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS

ALISON CHAPMAN-ANDREWS & RAS ILIX HARTMAN

ALISON CHAPMAN-ANDREWS & RAS ILIX HARTMAN

RAS ILIX HARTMAN

RAS ILIX HARTMAN

RAS ILIX HARTMAN

RAS ILIX HARTMAN

RAS ILIX HARTMAN

RAS ILIX HARTMAN

LLEWELLYN XAVIER

Therese Hadchity Alternative Realities

For me, there were two particularly memorable moments at Arthur and Ewan Atkinson’s recent artist’s talk at the Barbados Community College. The occasion was their (first) father-and-son exhibition at the Punch Creative Arena with the title ‘æ’, which nicely ties together their initials, but promises little else.

The first of these occurred late in the conversation, when Arthur stunned the audience by stating that he would wish someone (in his youth) had told him he could ‘be an artist’. Whatever he meant by that, he later added - just as thought-provokingly - that he in any case does not consider himself to be one, if the term ‘art’ is defined by current practices. Though the comment was without malice, it must be inferred that he sees a chasm between his and Ewan’s work. Indeed, the exhibition’s physical configuration suggests as much: with Ewan’s work in the front room and Arthur’s in the back, it is effectively two separate exhibitions and the implicit focus seems to be on difference, rather than dialogue between father and son.

Ewan’s segment comprises several series of work related to his ongoing ‘Neighborhood Project’, which has evolved over the last ten years. It started with the exhibition ‘Fiction’ in 2007 in which he introduced a number of preliminary characters. Since then, it has primarily consisted of a digitally constructed text and images pertaining to these (and others) characters intermittently uploaded to a tumblr-site. Modeled on the unwieldy format of the soap opera, the uploads add up to a captivating, but continually interrupted and expanding narrative. The characters include both dogs (or a hybrid breed of ‘dog-humans’) and people.

The latter generally have very specific, if also very odd features – like “Little Girl Blue”, who is forever followed by a rain-cloud. Since most of them carry Ewan’s traits, it can be quite difficult to tell these characters apart. It is implied, that a visiting ‘anthrozoologist’, Dr. Tobias Boz, is studying the dogs, but the neighborhood as such is continually being documented by a variety of observers.

Ewan Atkinson, Sight Unseen No.13A (Overboard) Mixed media shadowbox construction, 2017

Ewan Atkinson, Sight Unseen No.8 (Paradise Terrace, Another View) Mixed media shadowbox construction, 2017 Therese Hadchity

Ewan Atkinson, The Honesty Policy (Gorilla Girl) Digital Print on paper, 2017

Ewan Atkinson, The Honesty Policy (Boy) Digital Print on paper, 2017

The neighborhood setting is a loosely specified location, which bears some relation to a Caribbean island – albeit an intentionally de-familiarized, quirky and secretive space, where nothing is straightforward. Some of the ‘scarier’ characters and situations may thus be quite benign (at least until we learn otherwise) and vice versa, and the series’ most obvious political charge is that of confronting us with our own residual biases. So far, most of these works have only existed in virtual form online, but the pieces are now physically actualized as ‘objects’ and are, for the first time, offered for sale. Some – especially those in the Sights Unseen-series, which present select images as beautiful collector’s objects in box-frames - may be familiar to followers of the ‘Neighborhood Report’, and the Only in Our Imagination series was previously submitted to the 2016 Havana biennial.

The latter is a set of sardonic tourism-posters, which ostensibly represent a concerted marketing campaign for the neighborhood. Likewise presented as posters, The Honesty Policy.

Neighborhood Election Ephemera series present four candidates for the title of neighborhood representative. The Select Pages From the FieldNotes of Dr. Tobias Boz, Anthrozoologist are, as the title implies, cleverly contrived sketches and handwritten field- notes, which upon closer inspection turn out to contain a strange mixture of romantic reveries, homo-erotic fantasies and ‘scientific’ observation.

Ewan Atkinson, The Things They Carry with Them. Digital Print on paper with display table, 2017

In addition to these series, the pieces titled How Dog Got Its Name, Fur and Grass and Specimens depict samples of organic material, various other ‘clues’ and objects as well as comparative renditions of textures and foot-prints. The Things They Carry With Them is a large printed sheet with a display of such small items that are typically found in pockets or handbags. Laid out horizontally on a display-table, they look like evidence in a police-station, and indeed, the overarching frame could as well be a detective-story as an anthropological case-study. Dr. Boz’ field-notes may thus be understood as a form of ‘evidence’ in itself, to the effect that the ‘observer’ himself is being observed. The different series thus add up to a slowly aggregating, but indirect portrayal of the neighborhood and its inhabitants.

Ewan Atkinson, Select Pages from the Fieldnotes of Dr. Tobias Boz, Anthrozoologist (detail) .

Mixed Media on paper, 2015

It should be superfluous at this point, to state that the Neighborhood Project is a complex affair. With a continual emphasis on performativity and the transformation of identity with changing contexts, we are held in continued suspense about the plot, the internal relationships and ‘true character’ of the various figures (are the ‘candidates’ disguised, or is the apparent disguise their ‘natural’ self ?), about the social structure and logic of the place, and above all about the position and intent of the artist himself. Everywhere and nowhere, the latter not only mutates from one figure to another, but engages us, tongue-in-cheek, from different vantage points and through different voices. While the cumulative effect is one of deliberate disorientation and dark humor, the series certainly instigates a continual self-revision in the viewer.

The question that has stuck with me is, however, whether the project’s and the exhibition’s methodological openendedness can take a twist too many, and whether the physical format, where all the works are brought together in one space, is more vulnerable to conceptual tensions, than the virtual space. With the inclusion of the (both interesting and funny) ‘dialogue-sheets’ titled Conversations, which seem less directly connected to the project, than to the process involved in building characters and visuals, the exhibition thus functions like a tv- show with a liveaudience, where the viewers can follow the series and its production at once. This emphasis on process has, of course, become a staple part of the contemporary, and here it merely serves to compound the impression of multiple angles and meta-narratives – but I am not sure it is necessary? Moreover, it strikes me that the subversive humor, which exposes the mercantile duplicity of the neighborhood’s tourism authority in the Only in Your Imagination posters, is ideologically anchored in a way the rest of the series is not and therefore threatens to open the series up to a kind of accountability, which it systematically avoids.

Ewan Atkinson, poster 8 from Only in our imagination.

Digital Print on paper, 2015

Ewan Atkinson, Conversation No. 86 Photocopy on paper, 2017

There is no doubt, however, that Ewan’s exhibition is an experimental showcase and that he, more than anyone, has kicked Barbadian art into a postmodern modality, which not only questions, inverts and often dissolves the convictions and methods of previous generations, but puts the very idea of universal truth under scrutiny.

The joint exhibition’s most immediate take-away impression is therefore that of an enormous generational gap, for - as a matter of what (I think) he perceives as artistic integrity - Arthur’s works are always finished statements.

With an impressive degree of realism, his smaller paintings insert familiar tropical fruits and food - Bajan ackees, dunks, tamarinds, sugar-cakes and guava-cheese - into a time-honored still- life tradition, which incidentally also commenced with enraptured depictions of ‘edibles’ in 16th century Holland. Arthur’s still-lifes are a technical tour-deforce and demonstrate an exceptional ability to capture a vast array of textures. He clearly takes pride in representing these objects with photographic accuracy – waxy green leaves and shiny black seeds that compel you to reach out and touch them – and in the use of color, light and composition to maximum effect. To me, the most appealing and sensuous of these pieces are those in which the sugar apples, ackees and pomegranates suggestively open themselves up to reveal their inner opulence, as if trying to match the painter’s act of seduction with one of their own!

Arthur Atkinson, Pomegranate. Acrylic on canvas, 2000

Arthur Atkinson, Pungin’ Almonds. Acrylic on canvas, 2016

As much as I commend Arthur’s effort to honor some of Barbados’ most outstanding artists with portraits, I think a similar emphasis on the discrete process or ‘event’ would have enhanced these as well. This difficult genre is, of course, hugely impacted by considerations for the sitter (how do they see themselves, how they wish to be seen), by the relationship between artist and model and by the occasion and motivation for the portrait. While the renditions of Ras Akyem, Ras Ishi, Alison Chapman-Andrews, Goldie Spieler and Karl Broodhagen offer compelling and unmistakable likenesses, they may be too faithful to the photographs on which they are based. The sympathetic reproduction of their smiling faces thus tends to substitute an actual interpretation of each artistic personality (in fact, the ‘smiling sitter’ is a rare exception in the portraiture-tradition). It is the significant movement, pose or expression, or the placement of the figure in a representative context (as is attempted in the Chapman-Andrews portrait), that make a portrait more than a picture.

Arthur Atkinson, Ishi & Akyem-I. Acrylic on canvas covered panel, 2016

Arthur Atkinson, Alison – Tritone.

Acrylic and coconut fibre on canvas, 2015

Arthur Atkinson, Self Portrait. Acrylic on canvas, 2014

The most interesting work in this vein by far is, therefore, Arthur’s self-portrait. Smaller and more compact than the rest, it astutely captures his own bespectacled, thoughtful and characteristically skeptical countenance. The sharp focus of one eye and the slight opacity of the other produce exactly the psychological complexity that the other portraits lack. In the extremely dynamic piece titled The Life and Times of Ornella Workman, Arthur does indeed undertake an interpretation of the model, and the result is arguably the most interesting piece in his segment of the show. Across three panels, it not only offers a remarkable portrait of a family member in her drawing room, it places her in a historical context through a collage of documents, newspaper-clippings, wallpaper and still-life paintings.

These measures at once bring the model – and her time – to life, and transcends her individuality.

Arthur Atkinson, The Life and Times of Ornella Workman. Mixed media on panel, 2008

Arthur Atkinson, The Planet That Wasn’t. Acrylic on canvas, 2006

The third category of Arthur’s work is the larger outdoor stilllife paintings, where the extreme realism of the scenes is playfully offset by their obvious ‘contrivance’. One shows a windswept beach with a carefully arranged compilation of seaside bric-a-brac (bottles, weathered rope, an old coconut, a few shells, a piece of coral-stone, a plastic fork) on an old wooden board that sits atop a plastic bucket. A palm-leaf and a blue plastic bag flap in the wind like a disheveled, twopronged flag, and cause the arrangement to look like some kind of civilizational shipwreck. Its allusions to environmental degradation reappear in The Planet That Wasn’t, where the combination of natural objects and pollutants, however, has become perversely beautiful and almost imperceptible, which presumably is the very point being made.

Ironically, the impact of these hyperrealist works is almost surreal. This may partly have to do with the slightly disorienting effect of so many objects being in focus: while they clearly want us to really see, they also remove us from the naturally selective process of seeing. Their frozen and almost ghostly character is, however, especially related to their ultimate focus on temporality and departure. As much as they please the eye, these works therefore also seem to contain a gentle warning in tune with the still-life genre’s traditional ‘memento mori’. Rather than merely referring to it, the objects thus seem to replace a collective human presence: ‘people were here’, they seem to say, ‘people made and used or found and marveled over these objects’ – but this makes their absence so much more visible.

With this intricate play on absence and presence, the paintings at once seem like postcards from the past and anticipations of a future, where our material culture has become ‘archaeology’.

Arthur Atkinson, Y. Acrylic on canvas, 2011

While it would be easy to dwell at length on the exhibition’s text-book illustration of generational transition - a movement from traditional to new media, from an affirmative and celebratory to a critical and deconstructive approach to art-making, and from the seemingly objective statement to that in which the message has become inseparable from the messenger/ artist – what mainly has preoccupied me over the past week, are the interesting and surprising similarities that lie under the surface. This brings me to the second most memorable moment of the artist’s talk, when Ewan precisely, seemed to discover the same thing. The discussion had turned to the Ornella Workman portrait, when he suddenly - ‘onstage’ and in mid-sentence – interrupted himself and a rush of previously unacknowledged connections registered on his face. It was a compellingly intimate moment.

What Ewan discovered – or discovered with a new clarity - was, I imagine, not only the continuities between Arthur’s deliberate ‘ageing’ of the newspaper-clippings in that portrait, but perhaps more generally his play with the relationship between reality and illusion, and his own (albeit far more radical) preoccupation with ‘artifice and contrivance’. He may also have spotted their mutual fondness for detail, texture and visual effect – in fact, Arthur’s beach-side bric-a- brac and Ewan’s ‘pocket-items’ are displayed in much the same way: horizontally on a piece of board, and both displays have the character of civilizational debris.

While the similarities between father and son in the final analysis may be overshadowed by their differences, they are certainly there. It is in any case wonderful to sense the mutual respect between two of our most gifted artists, which I think goes beyond kinship. For the rest of the community, and for the college in particular, the exhibition offers a brilliant platform for debate. Given the prevalence of ‘artifice and illusion’ in both exhibition segments, that debate could suitable include the following question: if art has always been the domain of imagination and interested manipulation, what can its new role be in the so-called post-truth era, where everyone can live in an 'alternative reality'.

Therese Hadchity, March 1st 2017. theresehadchity@gmail.com

ARTHUR ATKINSON

EWAN ATKINSON

AE: ARTHUR AND EWAN ATKINSON EXHIBITION-PART II

By Icil Phillips While Atkinson pere’s radical enterprise has to be coaxed from the material he presents, in contrast Atkinson fils has no such reticence. His opus is greater and much more pugnacious. Their themes are similar- concern for the society they live in; contemplation on the segmented nature of Barbados and the consequences of such; an exploration of the artefacts that make up their lives. Ewan’s paintings, drawings and archival digital reproductions are seemingly mythical in nature yet they set you thinking about what experiences would have provoked these responses.

For instance, there is The Things They Carry with Them, a collection of objects one might find in a handbag or pocket. These are specimens of a life that can be either meaningful or meaningless. However, their placement is ordered. Divorced from the place where these things can reside, Ewan gives us the idea that these amorphous bits and pieces are only a collection of things to be thrown away in the increasingly materialistic world. The piece thus is like exhibit one in the story of modern society.

Even more startling is the series entitled: Select Papers from the Field Notes of Dr. Tobias Boz, Anthrozoologist.

Here Ewan is the master of the study dissecting for all the intricacies of male existence. These are no posed portraits but an unveiling of what constitutes the male view of another who is shown as an exhibit. It is as though the artist has found a way to cross section the material and give us an inside view of all the features as an anthropologist/zoologist would, except that the male being examined is regarded as animal. Atkinson junior has relied on the symbol of the dog to express his deep feelings about life as a male of the human species. Dogs were regarded in early Egyptian civilization as guides in the afterlife and so were part of funereal art. They were also seen as loyal companions and symbols of trustworthiness in the Renaissance era. In Native American art the dog mask was transformative in nature and opened to reveal hidden qualities underneath. Ewan seems to be going for the latter and so he gives us the fixed staring eyes of the human peering through the sockets and sometimes the exposed human lower bodies with arms and legs reaching out to touch the other dog-faced bodies sharing the space. The artist seems also to be playing with the idea of dog- the loyal companion, the avatar of the spirit world and juxtaposing this with the more popular or colloquial term ‘dawg’ which is construed as neighbourhood friend/ ‘soldier’ /willing accomplice. Ewan seems to be asking who is your dog/dawg as he examines in a pseudo-scientific way all the ramifications of such a concept. The shocking exposure of the penis is a continuation of this idea. Revealing the male anatomy is a way of understanding what distinguishes male from female biologically, but it also shows the artist’s ease with his own sexual preference and inevitably his sexuality.

The dog theme runs throughout the exhibition surfacing as mask, as silhouettes as trademark images and it is continued in two pieces which in their texture portray the hair of an animal-a dog, and the stringiness of grass which looks like hair also. The arresting nature of these two pieces lies not only in the simplicity but accuracy of the depictions. One can feel the ruffle of fur and the prickly roughness of the grass as though these are two sides of the same surface.

Sights Unseen consisting of fourteen pieces using mixed media and shadowbox construction are centrally arranged with the artwork appearing as if through a peephole. We are thus on the outside looking in at what the artist cares to reveal about himself and his world- the sights or sites of consciousness, not seen by the naked eye. This unusual stance offers much for the viewer who sees the pieces as windows to the soul of the artist.

Each creation carries the symbols associated with the artist’s life- a lingering colonial education, a sense of social unease seen in the red fish out of water, the towering sea waves and the upright twigs like people, battling their tug, the intensity of feeling that erupts in a plethora of thoughts captured with the artist exhaling a palm tree, the wall with its broken glass that the central figure peeps over in the dream of escape, the heart-shaped key covered in fur. These images are quietly powerful and this power comes from the themes suggested, the sequencing and the deft application of the chosen materials.

Atkinson, the son, fills the other half of his allotted gallery space with large pieces classified as digital prints but which are looming graphic commentaries on his world. The theme of the neighbourhood is explored in the series Only in Our Imagination. What comes across is that the artist has lived two sides of Barbados where issues such as race and class figure. These prints are the artist’s comment on his own ambivalence- his search for serious grounding and his acceptance of his place in the scheme of things. At times it is also a polemic, a scathing comment on the society’s need to look within itself. Ironically, Ewan figures in almost all the paintings.

He is no voyeur here but the persona he must investigate and comment on. He appears as: the hotel keeper in a bizarre whirly gig of old world hotel buildings on the verge of disappearing into a large hole while he and his co-worker, a black gorilla dressed as a hotel maid, put on the wide smile in spite of the impending calamity.

There is the artist as Mother Sally, the symbol of the cultural fare put on for tourists, while two dogs in pink silhouette seem to watch on lasciviously at the persona’s upturned skirt. We see also the well painted teddy bear head on the artist’s body surrounded by delicately drawn tropical plants and a red moon like an all-seeing eye hovering overhead. And there is the standout print of a dark skinned woman uncomfortably astride a wall topped by broken glass bottles-used as deterrents to robbers by well-off Barbadians of the 40s and 50s- while in the foreground the artist in Hawaiian shirt is part of this picture captioned,

“The safest of all possible playgrounds. Escape today. Call your travel agent.” All three of these works comment closely on Barbados as tourist product, on the way in which locals as workers, owners, staycationers or entertainers are caught in a situation where they are victims of the trade rather than the ones determining its outcome. Atkinson’s portrayal of the tourist as onlooker, or the maid as a monstrous animal, or the sea bather as breaking into territory where she is unwanted, or the local as a cuddly teddy bear, are examples of the stereotypes emerging in a state dependent on tourism. He seems angry at the situation and so must express it in the most graphic of terms for us to see and be moved to change it.

There are also two pieces expressing the artist’s non-conforming stance in The Neighbourhood-It’s your party I’ll cry if I want to. Dressed as if for a casual evening, the persona-the artist-is posed on a sofa, barefooted and legs crossed as though for an official portrait surrounded by a luxurious palm done in silhouette. He then transitions to a Hawaiian print shirt as the sandalled misbehaving guest breaking social norms by half standing on the sofa with mouth open in a scream. Both expressions indicate two sides of the persona both of which challenge the society’s concept of polite behaviour. These two works signal the artist’s intention to break the barriers he finds confining and far from his lived experience.

The last of the Neighbourhood series is Ewan’s final statement about a problematic Barbados and a problematic self. This exploration appears to be ongoing and one can expect to see further visions of the artist’s conversation with himself and this highly politicized environment.

In The Honesty Policy: Neighbourhood Election Ephemera Ewan presents four large paintings that tackle the politics of the community and by extension the island. The artist offers four characters as candidates for an upcoming ‘election’ in poster form. They are Boy, Gorilla Girl, Mother Sally and Miss Williams [and Conrad] figures we meet in other parts of the exhibition but arrayed now to make commentary on our veneration of political candidate figures and our ridicule of the same. One gets the sense from these works that the artist is asking us to reconsider who we make our real life representatives. Themes related to race and class pervade and are reinforced in the short messages that accompany the ‘posters.’

Women as candidates are addressed from three perspectives: women as insecure individuals-the Gorilla Girlseeking self-affirmation or as the Mother Sally archetype-all breasts and buttocks- complete with salacious pose or as the fair skinned pregnant female with questionable connections to the black society.

Then there is the Boy marked as Light-skinned, middle class, and sissy a comment on the artist’s own angst and a form of rebellion against rejection by people in the neighbourhood. Any way we look at these prints they raise burning questions about how we are to view ourselves. Ewan seems convinced that his society needs an awakening and he has set about raising our curiosity, teasing us with alternative ways of seeing but at the same time expressing his personality and his social, cultural and political views.

Both Atkinsons excite our interest with their joint exhibition. They represent two generations of artists. While Arthur remains the painter who relies on carefully arranged compositions that attest to his relationship with fellow artists, his love for nature, his unusual appreciation of time and history, Ewan, the younger, seems the more adventurous in style, technique and subject matter. His explorations are more provocative, his statements experiments in the fusion of form, space and colour with words as subtle commentary. His is a bold take on the life he has lived in post-Independence Barbados.

Icil Phillips

Lucille ‘Icil’ Phillips is the holder of an MPhil. In Literatures in English, B.A. Hons in Literature and Sociology, a Diploma-in Education and a Practitioner’s Certificate in Theatre Arts. Ms. Phillips is a member of the International Association of Theatre Critics (IATC). nannygrig@yahoo.com

LLANOR ALLEYNE

"Climate Change" exhibition by contemporary artist Tanya Foster Fri Mar 24th April 21st At The Frame & Art Gallery

The BIBA Charity invites you to an Evening with The Masters - A Tribute to Fielding Babb at the Mercedes-Benz Showroom, Warrens, with Wine and Canapes on Friday, April 7th, 7pm to 9pm.

Minimum Donation: $150.

Tickets 537 2422 or email daw@meridianlawbb.com Proceeds are in aid of raising funds for the Eunice Gibson Polyclinic in Warrens.

Artists will be present to discuss their work and will donate 30% of all proceeds.

Participating artists: David Alleyne, Hillary Armstrong, Fielding Babb, Heidi Berger, Virgil Broodhagen, Jeena Chatrani, Catherine Forter Cheeatow, Glenroy Jordan, Neville Legall, Everick Lynton, Sian Pampellonne, Rosemary Parkinson, Corrie Scott, Heather-Dawn Scott, Maria Stanford, Lorna Wilson, Elisa Zorzi Curated by Louisa Ward and Dawn Williams.

FIELDING BABB

CORRIE SCOTT

GLENROY JORDAN

JEENA CHATRANI

LORNA WILSON

SIAN PAMPELLONE

EVERICK LYNTON

HEATHER-DAWN SCOTT

NEVILLE LEGALL

ROSEMARY PARKINSON

HEIDI BERGER

VIRGIL BROODHAGEN

CATHERINE FORTER-CHEE-A-TOW

ELISA ZORZI

MARIA STANFORD

MARTINA PILE

MARTINA PILE

GRAHAM GILL On explaining his design for the exhibition REVO’CLECTIC

I’ve never been one to use tradition or cater to it very much, especially where image making and re-purposing objects to attaching new meaning to where it lends itself.

I approach design similarly.

As the artist responsible for the artwork, the word itself and the meaning therein, please allow me to explain. revoclectic = e(clectic) (revo)lution. revolution(ary) - for Barbados: the manner in which non-traditional spaces are re-purposed as galleries, therein affording artists...known an unknown the opportunity to be seen by (hopefully) a previously unknown audience. eclectic - referring to the broad and diverse range of artists and their particular language mediums.

For this exercise I chose the following objects, vinyl record, rose, paint dripping to illustrate/embellish the title. a vinyl record... it has grooves, spins in a cyclical manner - repetitive like a merry-go-round, hypnotic, inviting, and dangerously so. Going everywhere but leading to nowhere - like the lullaby(music) meant to put you to sleep. ( Artists do fall asleep and get stuck in a rut/groove) The paint, a stereotypical symbol associated with the word art and art making, thick, viscous, primary (primal) and secondary - Interrupts the lullaby, getting in the grooves, bucking the system and providing fertile patches of creative nurturing space for the soul - the rose/flower in the middle to flourish.

JARYD BETHANY NILES MORRIS PILE

SIAN PAMPELLONNE https://www.facebook.com/pages/Sian-Pampellonne-Artist/856268574414449

CATHY CUMMINS

DEREK WENT

ARLETTE ST HILL

ERROL BREWSTER

JULIANNE GILL info@juliannegill.com www.juliannegill.com https://www.instagram.com/studioj2/

KRAIG YEARWOOD kraigyearwood@gmail.com

RODNEY IFILL

TRACEY WILLIAMS

JOHN WALCOTT

FIELDING BABB

AMANDA TROUGHT www.facebook.com/Realityarts-90019761735/

KHARY DARBY

HEIDI BERGER www.heidiberger.com Studio visits welcome +1 (246) 843 5296

SHANNON SMART

JO ROBINSON

ONEKA SMALL oneka@coredesignsandconcepts.com

VANITA COMMISSIONG

www.onthewallartgallery.com

JILL WALKER

Performance art by Sheena Rose: ‘Island and Monster’ Academicians' Room events Monday 27 February 2017 7 — 8.30pm This performance has been developed in response to Sheena’s conflicted feelings of belonging and displacement, which emerged with her return to the Caribbean after completing an MFA in North Carolina. To reckon with her changing relationship to her home, Sheena becomes both the island and the monster, looking in from outside as a way to negotiate this return. www.royalacademy.org.uk/event/performance-art-by-sheena-rose

Sheena Rose: performance ‘Island and Monster’ Thoughts and reflections

by Liz Lydiate On the evening of 27 February 2017, the cosy and lamp-lit Academician’s Room at the Royal Academy of Art, London, was filled with people from the Caribbean, particularly Barbados, for the first UK performance event by Barbadian artist Sheena Rose: ‘Island and Monster.’

Rose materialized quietly at one side of the room, dressed in a black patterned lace-knit body suit with garlands of flowers at the shoulders. People gradually fell silent, assuming the role of audience in anticipation of performance. She started to address the room, in a very direct and personal way, talking about her own thoughts, difficulties, pain, uncertainty, dilemmas and questions. Her narrative addressed the decisions of her life – where to work; how to deal with location; identity; how to relate to her heritage; how to relate to the art world; questioning the nature and focus of her work. She explained much about both the island and the monster, delivering a very honest, revealing and provocative insight into her situation as a young female artist from the Caribbean; Immediately this performance raised questions of conduct for the audience; how to behave when another human being is laying her soul bare, whilst engagingly but scantily dressed in carnival style? Do we look her in the eye, say ‘hello’, respond to her questions, deal with her accusations, try to help – or do we subscribe to the conventions of theatre and insert an imaginary proscenium arch between ourselves and the performer?

In the later discussion with Jessica Taylor, of organiser ICF|International Curators’ Forum, Rose cited earlier street performances she had made in Barbados, which had elicited straightforward bawdy criticisms of her approach and her underwear. Barbados is used to body-led street performance; the Academician’s Room is not. Rose is still exploring and developing her practice, using a range of media including performance, which itself has quite recently been reclaimed/rediscovered by the visual art world and is still beating the bounds of its own conventions. Rose will probably further this debate in future work and refine/develop her decisions about and management of the performer/audience interface.

In ‘Island and Monster’ she addressed the issue of the gaze in one particularly sensitive way, placing toy makers’ ‘googly eyes’ from the haberdashery counter in her triumphant crown of hair. Hair styling is huge in the Caribbean, but it is entirely to be looked at; definitely not touched, and Rose’s decorative eyes comment on this. In his magnificent 2009 documentary ‘Good Hair’ Chris Rock explores the wonders of African-American women’s hairstyling. He films a group of elderly black men in a barber shop reflecting “Oh man, don’t touch de hair – man, never ever touch de hair…..”

Additionally, the use of the Academician’s Room itself formed a major element of the piece. A room where ‘art world insiders’ meet and chat in an intimate setting was temporarily taken over by a shared expose and lament about the situation of a working artist. Similarly, Rose’s barely-there but beautiful costume, and its exhibition of her body in a public context, perhaps raised other issues about sexuality and the art world. To what extent does a young woman’s attractiveness detract from her being taken seriously as an artist – and to what extent within the art world milieu is she still eye candy for older (and more powerful) generations? And what about the inevitable role of ageing?

Rose’s performance demonstrated great courage, focus and sincerity. In common with much contemporary work, it inevitably raised issues of context and reference. It is likely that most of Rose’s RA audience were already familiar with her work, but how accessible would this piece have been to someone without this background knowledge? The ‘afterchat’ helped a lot in this regard, but there remain issues about content and completeness that could perhaps strengthen future performance work from this artist.

Rose’s recent drawings – shown as part of the after-chat - use the economy and accuracy of graphic narrative media (e.g. cartoons) to communicate complex and personal issues with great accuracy. Her self-portrait, the head surrounded by tiny aeroplanes, entirely reflects the situation of growing up on a tiny island but gaining awareness and ambition to play a serious part in an international professional community. This autobiographical approach is the core strength of Rose’s work. She is to be congratulated on her steadfastness and commitment in navigating a very personal route through the shark-infested waters beyond the reef that encircles and protects her tiny home island.

The video of Sheena Rose’s performance held at the RA in February 2017 may be through this link. https://www.facebook.com/sheena.rose.549/videos/10155143386595407/

Liz Lydiate Consultant Visiting Scholar, Centre for the Visual and Performing Arts Barbados Community College lizlydiate@gmail.com

Sheena Rose at the Royal Academy

Maurice Forde's Debut Art Exhibition at Drift Art Gallery & Lounge Sat Feb 25th - April 8th.

Drift, Holetown daily 5pm-midnight.

432 2808

KALEIDOSCOPE Art Exhibition Michelle Rodriguez-Bowe and Yasmin Vizcarrondo opening reception April 8th at 6pm Drift Terrace, Holetown

Art & Antiques. The Exhibition that promises to be different!

Opening Night: Thursday 13th April, from 5:30 onwards.

Art by Rosemary Parkinson, Antiques by Hilary Knight Exhibition continues daily: Mon to Fri 10am - 4.30pm. Sat 10am-1pm.

RIVENIS BLACK http://rivenis.net/

http://diskordiacomic.blogspot.com/

www.barbadosphotographicsociety.com

JASON HOWARD Info@chefjasonhoward.com

CLEMENT FARIA

clement.faria@gmail.com

http://www.blurb.com/b/7753331-the-absence-of-colour

ANDRE DONAWA www.andredonawaphotography.com

ANDRE DONAWA

JARYD NILES MORRIS

YISRA EL

ADRIAN RICHARDS anrichards@gmail.com

RAYMOND MAUGHAN RAYMOND MAUGHAN

CORRIE SCOTT corriescott@gmail.com

www.corriescott.net

LAURA GARANI

JENNY GONSALVES mammy_apple@hotmail.com

RICHARD ROACH

FELIX KERR

HUGH WALKER http://1-hugh-walker.artistwebsites.com/index.html

Hughwalk@gmail.com

MIKE EVANS https://me-photos.smugmug.com https://www.facebook.com/profile.php?id=624146708

VEE HARTLAND

VEE HARTLAND

MARIO PORCHETTA

CARLA HINDS

JANINE CAROL BANFIELD

RYAN RODRIGUEZ

OZZY OSBORNE

PATRICK RICHARDSON https://www.facebook.com/patrick.richardson.5070

JULIAN BERESFORD

JOHN ROWLEY

JOHN GOODING

GUY ROBERTS

HIMAL REECE

KATALINA KOVAKS

ANCEL DANIEL

ANIYA LEGNARO

www.lifebyaniya.com

JOHN GOODING jgooding@caribsurf.com

ROSEMARY PARKINSON

ANDRE WILLIAMS r.andre.williams@gmail.com

www.andrewilliams.co

GAVIN HINKSON ghinkson@hotmail.com www.facebook.com/sunsetislephotography

HASANI McCLEAN https://www.facebook.com/Hasaniphotos

DON JORDAN

donjordan.bb@live.com

BERNARD WALLACE POOLER bwpooler@gmail.com

CHERYL HUTCHINSON

NIAZ DOKRAT

www.facebook.com/PhotosByNiaz

FRANZ PHILLIPS http://www.franzphillips.com/

ERIC BELGRAVE

eric.belgrave@outlook.com

WILLIAM ABBOTT

WINSTON EDGHILL wpedghill@sunbeach.net

GUY ROBERTS

LESLIE ST JOHN

ROGER HANNANT rogerhannant45@gmail.com

Historic Bridgetown Photobook Dear BPS Facebook Members, The executive of BPS is making this appeal to you for your support for the attractively photographed and well scripted Historic Bridgetown Photo Book which has been produced by some of our members. This book was conceived to relate and commemorate the history of our capital city for the benefit all, including visitors to Barbados.

It is also a fitting tribute to Bridgetown on this island’s achievement of 50 years of independence. The book currently exists in electronic form and your support is needed to move the project to the next stage of printing.

At our AGM held on January 28th. most of the members present agreed to buy one or more copies, in advance, for themselves and as gifts for family and friends overseas. I appreciate the support of those persons, but as we need to print a minimum of 100 copies in order to keep the cost under $100.00 BDS per copy, we are appealing to the wider membership for your support of this project.

Please indicate your desire to purchase copies of the Historic Bridgetown photobook in advance by filling out and submitting the completed form below as soon as possible.

I thank you for your support in making this project a full reality for your own enjoyment and the benefit of all who will come in contact with it now and in the future.

Sincerely, Patrick Richardson, President, BPS RESPONSE FORM ADVANCE PURCHASE OF HISTORIC BRIDGETOWN PHOTO BOOK Date: Name: Email address: Number of copies required at $99.95BDS: ------ Total amount: $------------------------BDS I will pay by - Cash------. Cheque-----.

---------------------------------------------------------------------------------------------------------------------------------------You may mail this completed form along with your cheque to Barbados Photographic Society, P.O. Box 5075 Warrens, St. Michael by March 31st. I thank you for your cooperation and support for the printing of the Historic Bridgetown photobook.

Patrick Richardson President - BPS

Thanks to a group of artists and the Frame & Art Gallery in helping raise funds for The Fun Ranch.

Curator Kelly Hammack Gibson says "Once again, we were blown away by the support of The Anonoymous Charity Art Show, from both artists and buyers! It is our pleasure to announce $8000.00 was raised for the Nature Fun Ranch!

Corey A Lane, director of the Nature's Produce Fun Ranch, devotes himself to helping young people with their personal development by cultivating postitive outlooks. Ranchers gain a positive focus in their life while tending to horses, working vegetable patches and managing fish hatcheries. Keep up the good work work Corey, staff and ranchers!

A “Call To Arms” by Rubadiri Victor Today is International Poetry Day and it is best a time as any for us to engage what Derek Walcott’s life, work, and now death means to us. Walcott’s work is so titanic and his influence amongst at least 3 generations of creatives here in the Caribbean and across the globe- and Trinidad and Tobago so central to his work- that we must MUST engage what the Legacy of his passing means to us. To his passing I say a thousand showers of rain. The end of an Age. What we must ask is what have we built out of his presence? What sustains? What will remain?...

I have gone on record as saying this: “Get all the heads of Light together in the diaspora. Declare 2017 the Year of The Word in his honour. A Poem in every home every week for a year. In every Community Centre and government building. Every week. Begin and sustain each days Caribbean TV and radio broadcast and sustain it with Caribbean poets.”

The adventure and mission must be to make us fall in love with Words again. And with Words, Ideas. And with Ideas, the Heroes who uttered them. And with the Heroes, the Civilisation that nurtured them. And with the Civilisation, Ourselves. This is the importance of Words and it is the least we could do for the King Wordsmith: “To have lifted our language up to the highest/ Yet All We are left with now is politicians/ And Trump.”

So many words have been spilled in this place. Words as much as blood. Words of Light and Words of Darkness. It is now Dark as Night. How do we make all the Words of Light mean something? How do we reanimate the Signifiers? How do we resurrect the Supreme Words and with them the People they dared to Utter?...

We must make Walcott’s life and work now MEAN something. Not for him, but for us. We are Fallen, and it is only our Best that can help pick us up. We must use the clues left behind to resurrect. For that commitment is what makes us a People, and what makes this a Home. The Enterprise is the same as it always was- the Mission that answers all questions: How do we make this place a Home.... How to own ourselves. To own beyond owning. To completely BE. To escape back into Freedom. To find and matriculate under the Warao owner’s manual for the Caribbean…

We have proven ourselves to date unworthy of all our Genius. We have disrespected them, betrayed them, marginamised them, slanged them, under-resourced them, and finally exiled them- even when they live among us… Instead of building Industries of Light around them we have been content to scrimmage in darkness. A phrase I cannot stop repeating is: “Sir Garfield Sobers is alive!!!!! Sir Garfield Sobers is alive!!!!! Sir Garfield Sobers is alive!!!!!” Do we in the Caribbean understand what that means?!!! That a demi-god walks amongst us? That the Greatest Ever still gets up every morning and breathes the same Caribbean air as us and moves off into the sun just like us. Sobers should be at the heart of a multi-million dollar industry with him jetting all over the world as our intellectual ambassador. He should be the Centre of a West Indian Academy built from the ingots of his wisdom and experience, an Academy built from the genius of our Greats that regenerates our genius generationally. And earns us millions in foreign exchange. Do we understand any of this?

By that measure Peter Minshall is still alive! Le Roy Clarke is still alive!!! Sparrow is still alive!!! Minshall and Callaloo Company should be a billion dollar company with Peter doing international events ad festivals weekly with furniture lines and industrial design bearing the Callaloo trademark streaming off assembly lines all over the Caribbean… Do we know how that works? The web of policy, venture capital, enablers like Arts Councils and Local Content legislation that makes a country a Home?

Of the 20,000 VIP Elders of the Golden Age less than 500 are left with us. Many senile and Infirm- but they are alive! Let us make the passage of all our Greatest the Centre of this place. Let us raise this place up as a Beacon of Light and not allow it to collapse further into an Area of Darkness… https://www.facebook.com/photo.php?fbid=10158523849575145&set=a.10150324150840145.566546.842280144&type=3&theater

"I knew when dark-haired evening put on her bright silk at sunset, and, folding the sea, sidled under the sheet with her starry laugh," Derek Walcott

THE BARN ART CENTRE The Barn Art Centre. A new art space.

"We are offering approximately 650 sq. ft. of space for short term rentals for art and craft related workshops, classes, events, summer camps, yoga, etc., in an old plantation yard at Small Ridge in Christ Church.

Juliana Inniss - 231-0335 Jo Anne Johnson - 253-8702 Email - thebarnartcentre@gmail.com

Created in 2016, The Barn Arts Centre is dedicated to the promotion and development of art-based learning. Our mission is to provide a unique learning environment for diverse audiences to experience a range of art based programs. The Centre provides a space for the community and local resource persons to offer and conduct classes and workshops in painting, drawing, pottery, and textiles. We are dedicated to providing an environment that is meaningful to the arts in Barbados.

Located on the breezy Small Ridge Plantation in Christ Church, (just ten minutes away from Sheraton Centre. The Barn Arts Centre offers an escape from the quickening pace of life. Here you can be immersed in an environment that fosters your creativity.

Our 570 square foot studio is equipped to provide more than adequate space to conduct a variety of classes and workshops. The studio is well lit and ventilated and can comfortably accommodate up to 15 persons. We offer a variety of opportunities for learners, including exhibitions, artist lectures, and single workshops, as well as adult and youth classes. Our artistic programming continues to be essential to our goal of inspiring creativity, fostering self-discovery, and nurturing an appreciation of the arts.

The Founders of The Barn Arts Centre are Jo- Anne Johnson and Juliana Inniss. Jo Anne started doing ceramics as a hobby in 1982 and has operated a ceramics studio since 1987, providing services and supplies to people who wished to do slip casted ceramics as a hobby. She has taught many different finishing techniques to her students and learnt many more through experimenting, and trial and error.

Juliana has been working with pottery and ceramics since 1992. She began by hand-painting local pottery with bold and colourful designs. After graduating University she made the decision to pursue her passion for art through the medium of ceramics. Juliana has worked with a number of techniques such as casted ceramics, handbuilding, surface decoration and raku firing.

Juliana was first introduced to Raku in 2006 during a two week residency in St. Thomas USVI, with this exposure Juliana began mixing her own glazes, constructed her own kiln and has been Raku firing since then. https://www.facebook.com/thebarnartcentre/

SUSAN MAINS www.susanmains.com

ASHER MAINS

www.ashermains.com

Super Easter Art Camp at ArtSplash with Elayne Greene.

This Art Camp will be fun, creative and tap into the imaginative side of the Easter holidays. Painting, drawing, making collages, prints and 3D art works.

Upcoming Camps Week 1 & 2 For: Boys and girls age 4 -12 yrs Venue: The ArtSplash Centre, Hastings, Ch. Ch. Time: Full day: 8am - 4pm. Half day: 8am12.30pm.

Price: $230 - half day week, $340 - full day week.

Week 1: 10th - 13th April - four day camp.

Week 2: 18th - 21st April - four day camp.

Teachers are fully qualified and highly experienced.

Please see flyer for contact information.

TANDEM "where function, form and meaning coexist ". This cooperative project and design store showcasing contemporary design by Barbados resident designers and artists continues at The Colonnade Mall, 1st Floor, East Wing, Broad Street, Bridgetown, Barbados.

Monday ( by appointment). Tuesday - Saturday 10AM - 4PM. https://www.facebook.com/tandemovement/

Barbados Bu'n-Bu'n has arrived!

This amazing book by Rosemary Parkinson is on island. Two hard cover coffee table books, with a sleeve that encloses both, 656 pages and 1400 plus photos filled with history, tradition, culture, stories and recipes from Barbados.

Book Set Price (2 books): US$150 or Bds$300 plus shipping for those overseas.

Payment via PayPal, Western Union or cash.

ROSEMARY PARKINSON + 1 246 436 5865 – + 1 246 264 7448 www.rosemary-parkinson.com www.facebook.com/BarbadosCulinaryJourney

Barbados Bu'n-Bu'n, a collector's item, has won 4 awards for Barbados – Best Photography, Best Design, Best Historical Recipes, Best Self-published Book – then against 5 of the best books in the world WON Best Self-Published Book In The World and honoured at the Frankfurt Book Fair 2015 with Best of the Best In The World by the Gourmand World Cookbook Awards 2015.

Barbados Bu'n-Bu'n has been called "a national treasure" and is being used by our BTMI and BIDC as gifts for dignitaries. The book costs BDS$300 ( $150USD) in Barbados, and is available at Cloister Bookstore, Relish Limegrove, Sandy Lane Golf Club, Cafe Coffee at Washington House, Barbados Golf Club (Durants), Holders Farmers Market (Sunday), Artsplash Gallery (Hastings), just to name a few. For wholesale enquiries (3 or more) call HILARY KNIGHT at 246 432-1169 OR MESSAGE ROSEMARY PARKINSON ON Facebook.

BOOKS NOW AVAILABLE IN ENGLAND.

“Come with me. Experience pipes that stan’. Boards that jukk. Jars that are unripe monkeys. Frogs that whistle de tune of a band tucked and a goose on four legs that doan mess with a perky gutter. Hucksters and markets.

Farmers and food. Secret recipes deep inside Miss Harriet Boyce and Mrs Jones…man dem gots a mobba-ton o’ tings gine on! Meet Miss Carnetta and she bush fuh medicine; and de pork dat is fat but does like to swan ‘roun a Bridgetown street while sugar an okra-mush hit de artsy-fartsy theatre in Christ Church wrapping up de gap, while reggae swarms ovah de bar hold up wid boisterous wild boars! Music and love.

Leh muh show you how to sip on swank with sunsets and full moons but Lawd, as You is my Shepherd, help muh to mekk de people dem beware of donkeys of steel ‘cause Shaggy Bear gots Miss Sally in de pot and she wining an’ dancing to she own tune.

Follow me closely when Crop Over done an ‘Kissmuhwillwill’ mount he rums in a shop at Sweet Bottom, happy as breadfruit in a pickle when truff be known. I gine show how a one an two muss dance cuz a cutter ent a cutter wid’out Cuzz, and how the taste of jam dat is jelly sweet cause de peppah hot! Buh wait…I cyan’t forget we gots a cake made with fish in a pot dat bucks. An’ salt baths fuh Sunduh pork too, caw Miss Clarke seh one should’ah nevah eat an forget always remembering an eyeful en a bellyful although, we does know she born a lickmout!

So follow de adventure as I turn to history. Great houses and chattels. Bussa & Rachel. National pride. Fish that fly and one dat snaps on anudder called jack. Learn that coucou is not a bird but does eat nice wid a cat dat lives in de sea. Doan tell a soul buh I even teach ’bout lobsters wearing slippers, and tamarind with balls, an bitches black an sweet, men dat does drink beers in banks.

Believe you me – BARBADOS BU'N-BU'N gine spill de proverbial beans.. caw I ent known fuh keeping no secrets.”

Now as an E-BOOK: https://www.amazon.com/dp/B01MXVDSI7 https://www.amazon.com/dp/B01MQT867S https://www.amazon.com/dp/B01N0NZZIM https://www.amazon.com/dp/B01N6E056V

ABOVE BARBADOS Have a look at the higher resolution image (and zoom around) at http://www.abovebarbados.com/sites/default/files/batts_rock_panorama.jpg Would you believe this is a reduced/resized image - the original is double the width/height!

Above Barbados offer high-definition aerial photography and video, packages available from $500BDS. Contact Above Barbados today on 231-9583 to discuss your requirements and let us get those stunning shots from a new perspective!

Like us on Facebook https://www.facebook.com/AboveBarbados Follow us on Twitter https://twitter.com/AboveBarbados Join us on Google+ https://plus.google.com/+AbovebarbadosPhotography

TIYI BY DESIGN www.tiyibydesign.com

"The first time was historic, this second participation is truly ground-breaking. It is the first time that a country from the Caribbean, aside from the art giant of Cuba, has shown in back to back biennales. Jamaica participated once, and Bahamas once, but up to now Grenada is the only island from the Southern Caribbean to participate. It says a lot about the determination of the artists and the commitment of the Ministry of Culture to once again take on this task of showing Grenada’s art on the world stage. The exhibition will open on 12th May at its Official National Pavilion on 417 Fondemente Zattere and extend through the end of November.

The Honourable Senator Brenda Hood as the Minister of Culture appointed Dr. Susan Mains as Commissioner, and Mr. Omar Donia of Contemporary Practices as the Curator. " https://artandsoulgrenada.com /…/57th-biennale-di-venezia-g…/ Asher Mains, Susan Mains and Christine Cornier were featured in the November 2016 issue of Barbados Visual Arts Magazine. Link here https://issuu.com/…/docs/november__2016_arts_event_magazine_

ICIL PHILLIPS’ Theatre Eyes Very up to date on both local theatre and overseas happenings. Link here https://www.facebook.com/groups/354529934596080/964541386928262/

THE FESTIVAL ART GALLERY At Hastings Farmers Market, Artsplash, Hastings, Ch Ch

EVERY Saturday The Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, sculptors and photographers.

Bringing Art To The People kathymyearwood@gmail.c om

NIKOLAS SEALY nsdesigns74@gmail.com www.facebook.com/pages/NS-Desig ns/446661088688420?ref=hl

KHARY DARBY

kharydarby@gmail.com https://www.facebook.com/kharydarbyartist

'The Coral Stone Village Meeting' by Philip King Each piece which has been positioned and topped with other pieces of coral stone. In rows. The front row close to the sea appear to be 'the elders' as they have a little more space between themselves and the 'people'.

Created by an Philip King who lives up by Cave Hill. who comes during the week to Batts Rock Bay to build these 'meetings' of coral. It is ever evolving as some are vandalised or the sea knocks them down.

ON THE WALL ART GALLERY On The Wall Gallery at Champers A charming gallery and throughout the restaurant at Champers Restaurant, located on Accra Beach, Rockley, Christ Church has been fully renovated.

Monday - Friday Noon-4pm and 7pm-11pm . Please call for weekend hours. 246 234 9145 Champers gallery is accessible during Restaurant hours. Actual gallery operations are 12noon to 4pm and 7 pm to 11 pm all year November to April On The Wall Gallery At Earthworks. Earthwork continues to be the mainstay of our operations as we continue to add new lines to our already eclectic mix of hand made crafts, jewellery and fine art.

Monday - Friday 9am - 5pm Saturday 9am - 1pm Closed Sunday Vanita Comissiong

tel 246 234 9145

www.onthewallartgallery.com

email

vanitacom@caribsurf.com

FRANGIPANI ART GALLERIES 1. Sugar Cane Club, Maynards, St Peter,Tel. 422 5026, Ext.5037 2. Savannah Hotel, The Garrison, St M.Tel. 228 3800, Ext. 3823 3. Almond Beach Resort. Heywoods, St. Peter.Tel. 422 4900, Ext. 5864 All galleries open every day except Sundays from 9am to 5pm, closed for lunch 1 to 1.30 pm., with the exemption of Almond which is open on Sundays also. marilda@bernmar.com www.frangipani-art.com

THE FRAME & ART COMPANY & GALLERY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432

Fresh Milk supports excellence in the visual arts through residencies and programmes that provide Caribbean artists with opportunities for development and foster a thriving art community.

Founded in 2011, the organization offers professional support to artists from the Caribbean and further afield.

Fresh Milk seeks to stimulate critical thinking and cultivate excellence in contemporary visual art. Its goal is to nurture artists, raise regional awareness about contemporary arts and provide Caribbean artists with opportunities for growth, excellence and success.

Website: http://freshmilkbarbados.com Facebook: http://facebook.com/FreshMilkBarbados Twitter: http://twitter.com/FreshMilkBdos Instagram: http://instagram.com/freshmilkbarbados Youtube: http://youtube.com/FreshMilkBarbados Tumblr: http://freshmilk-books.tumblr.com

THE CRANE GALLERY The Crane Gallery is the centre piece of the historic Crane Resort and hosts the work of an eclectic mix of established and up-and-coming Barbadian artists.

For more information call 423-6220 or email gallery@thecrane.com.

Tides Gallery Tides Restaurant Balmore House, Holetown, St. James Tel : (246) 432-2084 Email: tidesart@caribsurf.com

Cell (246)230-1968

BAC Gallery Schedule 2017 (Subject to change. Please call the Gallery to confirm) All Work must be at the gallery 3 days before opening Jan 02 - Jan 21 Group show Jan 23 - Feb 11 Group show Feb 13 - Feb 25 Group show Feb 27 - March 18 Group show Mar 19 - April 08 Group Show April 09 - April 29 Rural Barbados group show May 01 - May 13 Rental May 15 - June 03 Our Heritage [group show] July 04 - July 15 Rental July 17 - August 04 Guest Curator Show Aug 07 - August 19 Available for Rent Aug 21 - Sep 09 One Love (President invites show) Sept 11 - Sep 23 Available for Rent Sept 25 - Oct 07 Little Gems Oct 09 - Oct 28 Dr.Raymond Maughan rental Oct 30 - Dec 02 Independence Group Show Dec 04 - Dec 30 Christmas Group Show The Barbados Arts Council Gallery is available to rent at cost of $150.00 per week.

(Non Members $300.00) Please apply to the President of the BAC Barbados Arts Council Gallery, # 2 Pelican Craft Village, Bridgetown, Barbados.

BARBADOS ARTS COUNCIL BAC Gallery, Pelican Craft Centre, Bridgetown (246) 426 4385 thebarbadosartscouncilgallery@gmail.com

BLACK ART STUDIOS Durants Village, Holder's Hill St. James www.facebook.com/oneka.small

Purple Palm is a local business supplying homes and businesses with the highest quality Print and Mirror furnishings. Using the artwork of many local artists in Barbados and the Caribbean plus work from around the world.

We have been supplying to the hotel and villa industry for ten years, including prestigious clients such as Sandy Lane, Coral Reef, The Crane Beach Resort, Sugar Cane Club and Sandridge among others.

We have also supplied numerous private villas, and work closely with local interior designers.

Being directly affiliated with a 40,000 sq ft framing factory our prices are very competitive.

Appointments to view our gallery at Rockley Resort can be made through Paul Hoad or Karen McGuire.

246-2332173 paulhoad@caribsurf.com

THE ARTSPLASH CENTRE Paint * Draw * Create & Have Fun! artsplashbarbados@gmail.com www.artsplashbarbados.com

To boldly and brilliantly pursue the adventure in everything artistic and to be a vital and uncommon cultural force in Barbados. www.artsetcbarbados.com

FRANK COLLYMORE HALL AND GRAND SALLE www.fch.org.bb

A monthly programme is produced of all lectures, music and theatre events .

To receive it by email or post please email fchmail.com or tel 436 9083 or 84

Errol Barrow Centre for Creative Imagination, UWI For further information, contact De Carla Applewhaite at 417-4776 decarla.applewhaite@cavehill.uwi.edu www.cavehill.uwi.edu/ebcci

Our Mission To fuel the development of culture through training, research and the creation of opportunities in cultural industries.

The Role of the NCF The NCF’s two major roles are: developmental and commercial. In its developmental role, the Foundation uses culture as a tool for national development fostering and supporting the various art forms and new cultural products. In its commercial role, the Foundation is responsible for the promotion, production and hosting of cultural festivals and associated events that are considered economically viable or socially acceptable. A key part of this function now includes the responsibility for the staging and execution of major governmental and national events. In addition, as culture becomes more pivotal to national and international policy, the National Cultural Foundation continues to re-assess its responsibilities in light of all its functions.

FUNCTIONS of the NCF are: To stimulate and facilitate the development of culture generally To develop, maintain and manage theatres and other cultural facilities and equipment provided by Government To organize cultural festivals Assist persons interested in developing cultural expression.

OBJECTIVES of the NCF are: To provide opportunities for Barbadian artists/artistes to showcase their talents with the end result being an increased demand for local work To educate Barbadians concerning their heritage To offer Barbadians and visitors alike a high quality product that informs, educates and entertains To equip our cultural workforce with technological skills and training to excel in their particular art forms To strengthen the local cultural product and in the process increase profits to the shareholders To create high quality products that will be competitive on the local, regional and international markets To maximize the role of the cultural sector in the tourism industry Rodney Ifill, Cultural Officer Visual Arts 424-0909 ext.234 rodney-ifill@ncf.bb www.ncf.bb Annette Nias Cultural Officer - Film and Photography 424-0909 Ext 238 annette-nias@ncf.bb

QUEEN’S PARK GALLERY

Queen's Park Gallery is temporarily(?) located at The Pelican Centre, #12 Princess Alice Highway, Bridgetown.

FRAMING YOUR ART FINE ART FRAMING LTD, Pelican Industrial Park, Bridgetown, Barbados - (246) 426-5325 FAST FRAME FACTORY, Dayrell’s Road, St Michael (246) 426 9994 shaka@fastframefactory.biZ FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A

573 6904

THE FRAME & ART COMPANY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432 ART SUPPLIES THE ART HUB James Fort Building, Hincks Street, Bridgetown, St. Michael. Tel: 436-2950Monday - Saturday 8.30am - 5.00pm (Easy access to parking by the old Heliport Pad) LAURIE DASH, Bay Street, Bridgetown.

BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb

BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb

eat. drink. play

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The quintessential guide to contemporary Caribbean chic. Caribbean travel, homes, cuisine, and people.

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Published by Corrie Scott Barbados, West Indies www.corriescott.net