BARBADOS ARTS EVENTS
March 2018 March 2018
Cover Art Photography Oneka Small
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 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
‘THINGS UNSEEN into things KNOWN” Exhibition of Fine Art Photography by Bob Kiss Feb 18th – March 15th at Cin Cin Restaurant, St James. PLEASE NOTE that viewing is Monday – Friday, 3pm - 6pm
One of Edward Weston’s definitions of photography was, “- the fusion of an inner and outer reality derived from the wholeness of life - sublimating things seen into things known.” Most people overlook, literally do not see, these very small, dried, “desiccated” objects all around us. I realized, over 15 years ago, that the miraculous resided in the mundane, that William Blake was right when he said one could, “… see heaven in a wild flower, hold infinity in the palm of your hand and eternity in an hour”. So my quest was to transform unseen objects into things known. The majority of these objects are no larger than one inch. These things are what they are but, by being so greatly magnified, they become something else, something “suggestive”, in all of the emotional, sensual, and sexual connotations of that word. The subtle chamois color of the dried objects so closely resembles the color of platinum-palladium prints in most cases. In a few others, the warm red color of the subject very closely matches the ox blood or old burgundy color of uranotype prints. All of these very large prints resonate with the original subjects but have become new and unique objects in their own right. Mounting a show is a daunting task creatively, logistically, financially, and in so many other ways. This show would not have been possible without the kind cooperation of everyone at Cin Cin, the sparkling assistance of Celeste from Platinum Wines, the blessed support of all Ten Saints, and Chris Trew and Best of Barbados Framing, hanging in there for us all! A special mention for my favorite designing woman, Rachel Parker of Snapdragon Creative, who designed the beautiful invitation and show poster. Also, thanks to Andrew Thomas for helping me start this project over 3 years ago. I have a new, in-house creative advisor; my daughter, Genecis, whose youthfully clear eyes often shine during my darkest moments, reminding me of the joy of creation. I absolutely must mention the one person without whom none of my creative endeavors would have ever been possible, my wife, Lisa. Thank you for coming and viewing my work…" Bob Kiss February 18th 2018
BOB KISS
‘ Masters- History & Infinity exhibitions. Barbados. August 2017 Joscelyn Gardiner At The Grand Salle, Central Bank, Bridgetown, Barbados. Exhibitions opened daily August 19th-26th from 10 am – 6pm. Curator Therese Hadchity. Art photographed by Corrie Scott Link to online album https://goo.gl/photos/G9k4WpqGhieuR5VX9
ADAM PATTERSON Lookalook Performance, Digital Video Punch-In 2 Reveal, Morningside Gallery, Barbados Community College, Barbados Filmed by Logan C Thomas 2018Â https://youtu.be/ySr6Qqb5NHg www.adampatterson.co.uk
ADAM PATTERSON
Adam Patterson on ‘Contemporary ArtContemporary Issues’ In Sugar Cane magazine. ”my overview of "Contemporary Art / Contemporary Issues," (curated by Sheena Rose ) is officially up on Sugarcane Magazine!!!!! Featuring the works of Barbadian artists Anna Gibson, Alanis Aaliyah Forde, Adrian Richards, Jared Burton, Matthew Kupakwashe Murrel, Ronald Williams, Simone Asia and myself. so exciting :D :D :D <3 greatest thanks to everyone involved!” Adam Patterson. https://sugarcanemag.com/2018/02/conte mporary-art-contemporary-issues-a-sove reignty-of-the-barbadian-image-by-adam -patterson /
“And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom “ Anaïs Nin
50 I 50 - Two possibilities - One choice Rachel Mouttet 50/50 Miniature Collection rmouttet@icloud.com
A LONG LAST EMBRACE. Alison Chapman-Andrews ‘The Land’ at the Queens Park Gallery. By Therese Hadchity
A LONG LAST EMBRACE. Alison Chapman-Andrews ‘The Land’ at the Queens Park Gallery. By Therese Hadchity Retrospective exhibitions are a rare thing in Barbados. To begin with, few artists can locate a sufficient amount of older works to assemble one, fewer yet have been able to hold on to important pieces, and above all there is a lack of facilities, which can accommodate major events. And yet, it is only through such exhibitions that we really get to know an artist and understand the particular merits and preoccupations of an oeuvre. This week, I paid a third visit to “The Land”, Alison Chapman-Andrews’ current exhibition at the Queens Park Gallery. As many visitors expressed on the opening night, it is lamentable that these paintings - especially those on loan from the Mark Hunte bequest, which technically belong to the Barbadian public - are not permanently accessible: as imaginative celebrations of the (primarily) Barbadian landscape, every one of them reaffirms our sense of place, dazzles the newly arrived and teaches us the value of alternating perspectives. I wanted to take a long last look at this collection of works, which may never again be assembled as they are here, the sort of slowly scanning and all-absorbing glance Chapman-Andrews herself casts on the landscape around Claybury in “Last Day in The Country”. But the visit also had the character of a mission. At the artist’s talk, which followed the official opening, a couple of remarks made me realize how differently viewers, though equally enthusiastic, see these works. One person (whose judgment I deeply respect) identified as a personal favorite, a painting, which I see as wholly atypical, and another praised the landscapes for the one feature, which, to my mind, they precisely do not possess. Was there something they had missed, or something I couldn’t see? My mission, therefore, was to try to clean the slate and view the works objectively. Let it be said right away, that this ultimately proved impossible - but the visit, and the discussion that prompted it, did cause me to revise my idea of ‘Alison’s law’ and to acknowledge that the only truly fundamental feature of these works is their changing perspectives and continually adjusted optic.
What I think of as ‘Alison’s rule’ then, can best - but perhaps also a bit misleadingly - be described as a compulsion towards intentional contradiction and reflexivity. This contradiction should not be mixed up with the animistic mysticism, which also infuses the work, nor with minor short-circuits in pictorial logic. Rather, it manifests itself as a double gesture of inviting us into the pictorial space, while also keeping us at bay. The winding country-road, which leads the eye from foreground to background in more conventional landscapepaintings is rarely there: groves and gardens, areas of lushness, abundance or magical allure are placed just out of reach, ‘once removed’ by discrete (or not so discrete) obstacles in the foreground, which redirect, delay or frustrate our attempt to fully penetrate the space. We see it in “Blackman’s Gully” (1978) and, especially, in “Easter Sweet Bottom” (1976), where the coarse, dry bagasse is emphatically inserted between the viewer and the green ‘oasis’ at the centre. In other works, like “Sealy Hall Evening” (1978) and “Christmas Candles and Calabash” (1987), the strategy is one of ‘enter-andsplit’. Here we are allowed into the pictorial space, but only to be disoriented by an explosion of lines and textures, which must be circumnavigated before we reach the ‘eye’ of the painting’: the diminutive house in one, the village in the other. Elsewhere, as in “Last Day in the Country” (1987), both versions of “Revolving by Moonshine” (1994), “Be Strong and Endure” (1998) and several of the very recent works, the complex lines of sight and textured barriers are replaced with a line-up of palm-trunks (or, once again breaching landscape conventions, just a single one at the dead-centre of the foreground) behind which we may glimpse, but never fully enter the landscape unfolding behind them. Almost militantly erect, these spear-like ‘palisades’ pierce the gentle curves of the landscape and temper the painterly exuberance with a note of austerity. It is often observed, that Chapman-Andrews’ landscapes are suffused with eroticism, and I would propose that that extends beyond the male/female dichotomy of their formal elements to this flirtatious titillation and frustration of the viewer’s visual desire.
As my last visit forced me to acknowledge, there are nevertheless works in which this dynamic is not in play. With its unimpeded panoramic view of the St. George Valley, a painting like “From the Mount, St. George“ (1980) is an obvious exception. In “From Mount Hillaby“ (1983) and “Whitehall” (1986), the passage from foreground to background is largely unobstructed, and with its human activity “Plantation Door” (1985) is a downright anomaly (albeit an interesting one). More consistent and predictable than this offer-and-withhold technique, however, is the tendency towards ‘reflexivity’ - the attempt to pull our gaze back to the painting’s foreground or surface (in case we managed to bypass the visual barriers and enter the space). Right in front of us, there is always a fascinating, but previously overlooked detail, an interesting flower, leaf, pattern, object or texture, which requires urgent examination. In "Garden Path" (2007) and “Red Coconut” (2012), Chapman-Andrews completely abandons the evocation of a deeper space, opting instead for a movement that runs parallel to the picture-plane and more obviously emphasises its flatness. What is the nature of Chapman-Andrews' forbidden spaces, and is there something to be inferred from her characteristic return to the foreground? Are the lined-up palms not guards, but guardians, protectors of a cosmic harmony we might easily destroy? Is it even the foreground at all, to which our attention is being drawn, or is it ourselves and our physical and psychological interaction with the painting? Is the artist reminding us not to lose ourselves in the work, or precisely making sure that we do? All I am certain of is that these paintings make us look and look again, demanding a continual reassessment of our relation with the lively objects in front of us. I left the Queens Park Gallery with a feeling of sensory overload. Until park officials and traffic regulations reminded me of what is usually considered up and down, my mind was racing to keep track of a myriad visual and intellectual impulses, my heartbeat synchronized with the cosmic pulse of an island, which is also a universe. Therese Hadchity, February 2018.
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
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TRACEY WILLIAMS Tel (246) 436 2950 (w), 435-0736 (h) or (246) 231 6847/46 (m) #28, Glen Acres, Ellerton, St George
GALLERY REVIEW VISIT TO CONTEMPORARY ART/CONTEMPORARY ISSUES February 14, 2018 "This show wasn’t a safe show. It had untamed edges, uncomfortable questions, and painful things to look at it. It gave brutal honesty to the point of discomfort. And that’s where its power lay." Rhiannon Estwick ( Gyal In A Gallery) Read full review of 'Contemporary Art/Contemporary Issues' curated by Sheena Rose in link here https://gyalinagallery.com/visit-contemporary-art-contemporary-issues/
ARTIST INTERVIEW CHAT WITH ALISON CHAPMAN-ANDREWS February 28, 2018 “So after my review of “The Land”, I had a chance to chat with Alison Chapman-Andrews about the show. We took a turn through the gallery. And she told me a little about some of her paintings. So here are some of the things we chatted about.” Rhiannon Estwick of Gyal In A Gallery
Drowned Still Lifes (2018) by ashermains Still lifes as a tradition in painting have been used to represent a certain quality of life. By extension in art history they serve to show what someone was able to obtain and thus communicates to the viewer what sort of person they were. People have always used objects and symbols to stand in for them and tell a story that only these ordained objects and symbols could tell. These are the objects and symbols that the artist or patron identify with. In considering my own identity as a West Indian, the objects and symbols that I have a relationship with are the landscape and the familiar objects in it. We see things from our life and experience and they serve as mnemonic devices that remind us ultimately of ourselves. My drowned still lifes are natural material submerged in sea water and then painted.
Caribbean identity is fluid, dynamic and complicated; these Still Lifes attempt to express the nature of identity in the region. There are times you will only recognise a small part of the composition, there are times when it is unclear how they all work together. Derek Walcott, in his Nobel lecture, “The Antilles: Fragments of Epic Memory”: “Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole…. Antillean art is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces broken off from the original continent.” These paintings within the context are less about “making” paintings showing leaves and petals in suspension in sea water but more about “re-making” the fragments of our collective epic memory. We grow together when we tell each other our stories and when we ask questions. We become more human when we are able to engage more fully with ourselves and the place we live.
SHE....is about shape, colour, texture, embellishment — about layering and juxtaposing different materials, about creating something from nothing. It is about resilience and endurance, strength and ingenuity.... about paddling the family canoe and her own canoe. For the artists it is about trying to see, to interpret and to understand SHE. Heidi Berger, painter, is known for her portraits of women, especially those of the Caribbean.... Jason Hope, sculptor, has investigated the women around him through sculpture, constantly in search of…. SHE.
The Sway of the Fence: From Village to Neighbourhood – Notes on contemporary Barbadian society through the work of Ewan Atkinson & George Lamming By Adam Patterson Arc magazine. Thursday, February 15th, 2018 Adam Patterson reviews the public art installation ‘Only in Our Imagination’ by Barbadian artist Ewan Atkinson. This edition of the series, consisting of a number of tourism-centric posters set in the world of Atkinson’s fictional ‘Neighbourhood’ project, was mounted independently in Barbados to coincide with the regional arts festival CARIFESTA XIII in August 2017. Patterson weighs in on the body of work, drawing parallels between its slow deterioration over time and the remnants of Barbados’ complex colonial history, both of which fade into the background of the physical and psychological landscape yet prompt further questioning. Read more below: http://arcthemagazine.com/arc/2018/02/the-sway-of-the-fence-from-village-to-neighbourhood/
Online catalogue of images here https://chopsueyxjaryd.tumblr.com Chop Suey' One night Art exhibition by Jaryd Niles- Morris. Art show and after party with music by DJ D.Luxe. Feb 23rd, 8pm - 3am at Taco King, located at The Old Jamm Inn, St Lawrence Gap, Barbados. Chop Suey, an art and music-based project series gets started this month with an exhibition of photography by Jaryd Niles- Morris. A fully immersive project that seeks to connect and showcase the talents of both local and traveling artists, Chop Suey offers unexpected ways to experience art and music. Jaryd Niles-Morris, Barbadian art and fashion photographer will have his first solo art exhibition at this month’s Chop Suey, showcasing work that explores sexuality, power and mortality. A photographer and videographer, Jaryd describes himself as a “Barbadian-born Creative searching for genius.” Motivated by his immense drive to create unique and compelling images, he has traveled the globe balancing creating images for commercial clients with personal fine art projects. This one-night only event is designed as a full-sensory experience showcasing photography and videography. In keeping with the spirit of Chop Suey the show and after-party will feature dynamic sets and soundscapes created by DJ D.Luxe .
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I. Entrances Doors — first: cracked cement or tiled step-ups or come in off the road; then: bruised storm shutters (usually), jalousies, cross-hatched lattices, glass louvres, curtains, wondrous tin fretwork under rusted awnings thresholds launching varieties of floor, jambs and their firm frame of entry rectangular portals to particular lives. No verandahs here wild flowers, anonymous bush a touch of grace. Doors and their thresholds — to grandmothers and favourite cousins front rooms, morris chairs, crockery cupboards fading photos of ancestors gone to Panama last year’s Sacred Heart almanac perhaps a Grundig radio and stereogram, varnished table and varnished chairs or woven straw-chairs and a plain-board covered table; bedrooms behind other half-wedged doorways certain smells and sounds of life (and sometimes dying) through half-doors to kitchens enamel cups, clay goblet, old kettle salt-fish roasting on a coalpot match-boxes, bay leaves, a swizzle-stick, full shelves and corners of all that loved paraphernalia;
then you come to yards, yards with pomegranate and soursop trees, heap of stones with bleaching, blue-soaped clothes, tall standpipe where you bathed, in naked glee, noisy hens, pup watchful on its frayed cord, and the clean latrine near the back fence a hibiscus hedge, its small leaning gate cracking on the track to Bopère’s two room place…
II.
Exits
Thresholds of self-respecting poor the pastel doors still face streets, roads, alleyways corners of bougainvillea lanes in old parts of town, ask Corrie Scott, she loves them; grandmothers are younger children stare into bleeping video-games and smart-phones microwaves and freezers jam the small kitchens, in yards dreadlocks bloodfire Babylon babies splash in plastic tubs toilets flush when water runs in pipes, scandals of our privacies tumble about hire-purchased furniture;
the beautiful doors close behind our hearts as we step out in weave and tattoos name-brand shoes or slippers, tee-shirts and torn jeans or coat, tie and lap-top backpack, to job, church, evening-classes or vendor hustle to cremations or beach weddings or divorce hearings or whateverâ&#x20AC;Ś. These hieroglyphs of old doors these Rosetta Stones of once simple lives signatures of now and then those well-worn thresholds, are familiar palimpsests that limn forever our first scratches, scrawlings, garblings of innocence (like those gone school slates, remember?), our loud laughing under the mango tree our hurt fists and angry heels our devious seductions and brutal betrayals weepings, grievings, losings, floodings, desperate faith-filled hopes to which we return as to these doors and their certain welcome. John Robert Lee
www.mahanaimnotes.blogspot.com Follow my social media here: Facebook: @Thejohnrobertleeauthorpage Instagram: @caribbeanwriter Twitter: @Rlee_fan
Artist Alliance Barbados ‘Retentions', a deep window display exhibition at Norman Centre in celebration of African Heritage month. Feb 5th - March 15th. This is a web based exhibition where the work will be online but also viewed by appointment through Oneka Small 8223694. ‘Retentions‘ opening event was in the form of a panel discussion with Adrian Green, Dr Deryck Murray and Dr Nancy Jacobs held on Sunday February 18th, 3-5pm. All are welcome.
'Retentions' Artists Alliance Barbados Curatorial Statement Oneka Small “I am excited about being Black” Anonymous African Heritage month feels like the Pan Africanist Christmas. Libation is poured to open the way. Thanks is given to Ancestors. There is coming together, food, music and merriment Africa feels alive and well. I am excited about being African At least, one day this month, the greatest majority of our people will learn about Africa, wear African and African inspired clothes, and watch ‘Black Panther’, Marvel studios movie. It seems as though more people than ever are excited about being Black, African and Black African. Retentions is Artists Alliance Barbados contribution to the 2018 Celebrations of African Heritage month. The work selected is from the collections of some of our supporters. They are proudly displayed in their homes. Allan Cummins, Ann Lee and Eric Small, Denis McIntosh, Jean Small and Winston Small Juliana Inniss Nyzinga Onifa Oneka Small. Richard Goddard,
Our collector items are displayed with work by contemporary Artists who use ideas, symbols and feelings of Africa in their present day work. Some are also collectors. Ann Rudder Courtney Devoish Cher Antoinette Danielle ☥ Toppin Doreen Edwards Fred Odle Hebron Chism Hedy Klineman Jason Hope Kenneth 'Black' Blackman Margaret Herbert Martina Pile Zahles Oneka Small Onkphra Wells Ronald Williams Tracy Greenidge William Cummins Together they show continuity in our excitement and love for Africa
Vonni Koromanti presents 'CyarriBeyon- Clay Pon Mahogany' Ashanti Trotman ( Barbados) and Robert Campbell (Jamaica). Thursday March 29th - Sunday April 8th. 10am - 9pm daily Porters Place, 11 Porters, St James. ( blue and white buildings on landside near Colony Club) Tel 263 4174
CORRIE SCOTT
ROGER HANNANT
MARK HUSBANDS
VEE HARTLAND
https://www.facebook.com/BOOKS-ETC-Church-Gap-Barbados-679452242199828 /
NIAZ DOKRAT
HASANI McCLEAN
HASANI McCLEAN
VEE HARTLAND
DANIELLE VAN DREUNEN
CLEMENT FARIA
ADRIAN RICHARDS
MARIO PORCHETTA
BOOGLES SYKES
AKIL BRATHWAITE
ROSEMARY PARKINSON
ANGUS FORDE
RHOHAN BULLEN
ANDRE WILLIAMS
CORRIE SCOTT
www.corriescott.net
ADRIAN RICHARDS
www.barbadosphotographicsociety.com
GINE ON MAGAZINE GineOn.com for a good dose of Bajan artists and live events. https://www.facebook.com/gineonmagazine/ @gineonmagazine gineonmagazine@gmail.com http://www.gineon.com
Gine On?! is the online magazine brainchild of cultural practitioners DJ Simmons & Empress Zingha published every other Thursday on GineOn.com. The husband and wife duo developed the digital publication with artists, entrepreneurs, and all the persons who support them in mind. Too many times do we hear; “Where else does events like this happen?” “Where can I hear live music?” “Anything else going on other than fetes?” “I didn't even know that was happening”. This online, access anytime hub is here; so YOU can find your next favourite time! We broadcast bare Bajan culture to thousands of users to any device connected to the world through the web portal GineOn.com. Link with us for original video content highlighting various art personalities, new music, videos, blogs, podcasts, I mean a couple clicks opens a wealth of entertainment. We build an engaging experience for hundreds of our supporters on social media connecting the world to know wuh gine on with arts and culture right here at home. See you somewhere sometime soon... Sign up to our mailing list to make sure you always in de know at: GineOnMagazine@gmail.com. Hosting or performing at a live entertainment event, or doing any activity progressing performing arts in the island? Forward us an email (GineOnMagazine@gmail.com) with more information so we can help push it for you. Let's help and support each other in the arts! Come and hear wuh Gine On!
MARGA FRIPP
BETHANY PILE
JO ROBINSON
SUSAN MAINS www.susanmains.com
BRIAN KIRBY
ERROL BREWSTER
ASHER MAINS www.ashermains.com
TIYI BY DESIGN www.tiyibydesign.com
The Barbados Photographic Society held its AGM Sunday 20th January, 2018 at UWI, Cave Hill, Barbados. We would like to welcome the new Executive and officers (please see listing below). The new Executive looks forward to serving you, with the help of all our members. Do write to us and put your ideas for events, workshops, exhibitions and more. Please know that the BPS Executive gives of their time, expertise (in different fields and knowledge) for free so we ask that members be willing to step up to collaborate and work on their ideas. Write to us at membersinfo@barbadosphotographicsociety.com Within a few weeks we will have a draft for members of Field trips, events, monthly themes on our Facebook page for you to join into, exhibition ideas and much more. Members plus those who may like to join the BPS who could not make it to the meeting may contact our Treasurer, Sherlock Lord (231-5053) and make arrangements to pay. $65 for new members, $45 for annual renewal. Being a member gives you Open Wall with talks and workshops, Field Trips, exhibitions at galleries plus online exhibitions, competitions (with prizes), travel to countries with the BPS, percentages off at supporting businesses and more. BPS Facebook page https://www.facebook.com/groups/Barbadosphoto / BPS Website https://barphotosoc.wixsite.com/home BPS email membersinfo@barbadosphotographicsociety.com
Fresh Milk would like to thank everyone who worked with us, supported us, or took an interest in our programming & the fabulous work being done in the Caribbean arts last year. We look forward to an exciting year ahead, and invite you to reflect on 2017 with us through our annual year in review newsletter! https://mailchi.mp/d52406dc901a/fresh-milks-2017-in-review
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/
BPS EXECUTIVE President. Victor E. Gittens Vice President Raymonte Forde Secretary Sybil Mary Edghill Treasurer Sherlock Lord PR Corrie Scott Floor member Alison Elliot Floor member Jacqueline Norville
FIELD TRIPS Markley Bryan Kevin Culpepper Mark Wellington Jeremy Greenidge Mark Wellington Jeremy Greenidge Corrie Scott EDUCATION COMMITTEE Patrick Richardson Charles McClean Ansley Weekes Cheryl McCollin
WEBSITE Hugh Walker Niaz Dokratt Nicole Phillips Bradley Benskin EVENTS Jenny Gonsalves Nicola Hutchinson Niaz Dokrat Markley Bryan
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 /
NIKOLAS SEALY nsdesigns74@gmail.com www.facebook.com/pages/NS-Desig ns/446661088688420?ref=hl
JUNE SPECIAL! ONLY DIRECT FROM AUTHOR BDS$250 (+ postage if shipping is required). Message through facebook or website. Barbados Bu'n-Bu'n 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 â&#x20AC;&#x201C; + 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 â&#x20AC;&#x201C; Best Photography, Best Design, Best Historical Recipes, Best Self-published Book â&#x20AC;&#x201C; 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
BAC Gallery Schedule 2017 (Subject to change. Please call the Gallery to confirm) All Work must be at the gallery 3 days before opening
Executive of the Barbados Arts Council 2017-2018. President Neville Legall 1st Vice President Markley Clarke 2nd Vice President Raymond Maughan Past President Rasheed Boodhoo Hon. Secretary Patricia Browne Assistant Secretary Jill McIntyre Hon. Treasurer Allan Ashby Alex Daniel Floor member Larrie Belgrave Floor member Virgil Broodhagen Floor member Wayne Collymore-Taylor Floor member Glenroy Jordan Floor member 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 BAC Gallery, #2 Pelican Craft Centre, Bridgetown (246) 426 4385 thebarbadosartscouncilgall ery@gmail.com
ICIL PHILLIPSâ&#x20AC;&#x2122; 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
'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
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
Museum of parliament The Museum is open on: Mondays, Wednesdays, Thursdays and Fridays from 10:00 a.m. to 4:00 p.m. Saturdays from 10:00 a.m. to 3:00 p.m. Guided tours are conducted subject to availability. Barbadian students with ID have free admission to the Museum. http://www.barbadosparliament.com/page.../show_conte nt/59
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
BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb
BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb
QUEENâ&#x20AC;&#x2122;S PARK GALLERY
Queen's Park Gallery
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 NCFâ&#x20AC;&#x2122;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
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.
eat. drink. play
www.scarletbarbados.com +1 (246) 432 3663 scarlet@caribsurf.com
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