#Sexypink/Women in Art

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Sexypink - Wendy Nanan - Latest works @ Medulla Gallery Woodbrook Trinidad and Tobago

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Sexypink - Tribute to Fraulein Rudder the creator of Women in Art.

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Sexypink - Barbados has your Art needs covered.

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‘Resilience’ an exhibition featuring the works of black women artists at Queen’s Park Gallery.

February 29th - March 20th

Monday to Saturday 10am - 6pm

Participating artists

Akilah Watts

Alanis Forde

Amanda Trought

Ancel Daniel

Anna Gibson

Arlette St. Hill

Christina Murray

Gabrielle Moore

Giselle Walker

Ireka Jelani

Jenni Gonsalves

Juliana Inniss

Kadiejra Oneal

Katherine Kennedy

Kia Redman

Lisa Smith Fields

Margaret Herbert

Nicole Philips

Pauline Bellamy

Risee Chadderton

Shanika Burnett

Simone Padmore

Shari Pheonix

Zoe Osborne

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Sexypink - JACQUELINE BISHOP, writer and visual artist, born in Kingston, Jamaica, and who now lives and works in New York City. She has held several Fulbright Fellowships, and exhibited her work widely in North America, Europe and North Africa. She is also an Associate Professor in the School of Liberal Studies at New York University.

On one hand, the market woman/huckster is the most ubiquitous figure to emerge from plantation Jamaica. Yet, as pervasive as the figure of the market woman is in Jamaican and Caribbean art and visual culture, she remains critically overlooked. In this set of fifteen dishes, I am both paying homage to the market woman—centering her importance to Caribbean society from the period of slavery onwards—and placing her within a critical context. In particular, I place the market woman within a long tradition of female labor depicted in diverse imagery that I have sourced online, including early Jamaican postcards, paintings of enslaved women from Brazil, the colonial paintings of the Italian Agostino Brunias, and present-day photographs, which I collage alongside floral and abolitionist imagery.

I work in ceramics because all the women around me as I grew up—my mother, my grandmother, my great-grandmother—cherished ceramic dinner plates. These were centerpieces kept in one of their most important acquisitions, a specially made mahogany cabinet. To fabricate the plates, it is important that I am working with Emma Price, a British ceramicist based in Stoke-on-Trent in the former Spode factories. In the realization of the series, that connection imbues them with a meaning that shows the long and enduring relationship between England and Jamaica. For that same reason, British Art Studies is a fitting venue for their first ever publication and partner to create an accompanying film exploring the plates and their themes.

Though the likenesses of none of the women in my family are represented in this series, centering the market woman is my way of paying homage to my great-grandmother Celeste Walker, who I grew up knowing very well, and who was a market woman/huckster/milkwoman par excellence. Celeste was born in the tiny district of Nonsuch hidden high in the Blue Mountains in Portland Parish on the island of Jamaica. Her mother died on the way home from a market, when my great-grandmother was too young to even remember her face. In her adulthood, while my great-grandfather farmed the land, my great-grandmother was the huckster who could easily carry bunches of bananas and baskets of food on her head; the market woman who travelled to far away Kingston to sell in Coronation Market, the largest market on the island. She also hawked fresh fish, and prepared and sold coconut oil, ginger beer, cut flowers, and cocoa beans that were pounded in a heavy wooden mortar. I remember her in my childhood as the milkwoman waking very early in the morning and walking through the district selling fresh cow’s milk. The tradition of huckstering would be passed on to my grandmother who relished the role in her older years. My hope in doing this work is to give much respect to the market women of the Jamaican and larger Atlantic world who have fed, and continue to feed, nations. The market woman is the defining symbol of Jamaican and Caribbean societies.

My work integrates the mediums of painting, drawing and photography to explore issues of home, ancestry, family, connectivity and belonging. As someone who has lived longer outside of my birthplace of Jamaica, than I have lived on the island, I am acutely aware of what it means to be simultaneously an insider and an outsider. This ability to see the world from multiple psychological and territorial spaces has led to the development of a particular lens that allows me to view a given environment from a distance. Because I am also a fiction writer and poet as well as a visual artist, the text and narrative are significant parts of my artistic practice.

Oftentimes I utilize a process of competing narratives to have the viewer participate in the creation of meaning. In my “Folly” series I recount a story I heard as a child, of two tales of a “haunted” house. In time, I researched the history of the house and through a process of photomontage combined photographs I took with archival footage to try and tell the two stories. The ghostly images of the past occupants are integrated into the walls and on the grounds of the present-day ruins. The overall effect is spectral and haunting. I also used this process of photomontage in an ongoing series of ethereal and transcendent “Childhood Memories,” in which characters are often split between heaven and earth. There is a palpable sense of loss in these images as characters seek to inhabit a time and a place long gone.

The “Babylon” and “Zion” paintings are about the Rastafarian ideas of Babylon being a place of captivity and oppression while Zion symbolizes a utopian place of unity and peace. In the Babylon series, I write the lyrics from songs and poems to create text-based drip paintings leading up to the “Hanging Gardens of Babylon,” in which I use popular dancehall posters to evoke the inner-city Babylonian “walls” of Kingston. The Zion series is comprised largely of monochrome paintings to delineate this symbolic paradise. Glitter is present in these works not only as a representation of the paradise that Rastafarians seek in the Biblical homeland of Zion but also as a commentary on the ‘bling and glitter’ culture that has enveloped much of Jamaican society. Consequently, my work is very much engaged with helping me to understand my heritage.

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Sexypink - California-based, Bahamian artist April Bey @aprilbey_ is one of 14 artists featured in a group exhibition entitled "Witness" co-curated by Tina Knowles Lawson @mstinalawson (yes, Beyonce's mom) and award-winning artist, consultant and writer Genel Ambrose @genelambrose at the Waco Theater Center @wacotheater in Los Angeles.

WITNESS is a visual art experience asking the question: What do we witness when we see through the eyes of Black women? The show features work by LA-based Black women and non-binary artists who project their vision of the world, society, community, and themselves through their art. This is an immersive exhibit featuring installations, portraiture, and intimately captured moving and still images across mediums. 

This exhibition explores the intersectional vantage point of the Black femme-identifying artist—inviting the viewer to bear witness to what they may not otherwise see on their own. Bey grew up in The Bahamas (New Providence) and now resides and works in Los Angeles, CA as a visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post-colonialism and constructs of race within supremacist systems.

Exhibition ends May 27, 2023.

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Sexypink - Great news for Art shows in Barbados.

𝐘𝐨𝐮 𝐧𝐨𝐰 𝐡𝐚𝐯𝐞 𝐮𝐧𝐭𝐢𝐥 𝐉𝐮𝐧𝐞 𝟑𝟎𝐭𝐡, 𝟐𝟎𝟐𝟒, 𝐭𝐨 𝐞𝐱𝐩𝐥𝐨𝐫𝐞 𝐭𝐡𝐞 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐭𝐡𝐚𝐭 𝐜𝐡𝐚𝐥𝐥𝐞𝐧𝐠𝐞𝐬 𝐭𝐡𝐞 𝐜𝐨𝐥𝐨𝐧𝐢𝐚𝐥 𝐠𝐚𝐳𝐞.

LOOKA: Dismantling the Colonial Gaze is a powerful collaboration between five women artists working primarily in photography – Risée Chaderton-Charles, Jalisa Marshall, Joy Maynard, Amber Newton and Kia Redman.

The artists invite us to reconsider the power dynamics at play in the production and circulation of images and offer alternative visual languages of the Caribbean that centre on Black agency and subjectivity.

For more information, please contact Curator Natalie McGuire at info@barbmuse.org.bb or 1 (246) 538-0201.

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Sexypink - We’re excited to welcome PAMM’s Caribbean Cultural Institute's (CCI) newest Fellows Shannon Alonzo, Farihah Aliyah Shah, and Petrina Dacres.

This next group of fellows represents the diversity of the region with their unique backgrounds and artistic practices.” – PAMM Director Franklin Sirmans.

Our 2023 CCI Fellowships is a curatorial and research program supported by the Mellon Foundation and in collaboration with the Women Photographers International Archive (WOPHA), fostering art projects and research advancing Caribbean art and scholarship.

Learn more about PAMM CCIs' Fellows and program ☝️ https://bit.ly/3PGPSMC

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Sexypink - Medulla Art Gallery presents

West Indian dolls, a portrayal of blackness.

by WENDY NANAN

NOW SHOWING

(*There won’t be a formal opening but you can visit anytime for the duration of the exhibition)

Exhibition continues until: Friday 29th September, 2023

FREE ADMISSION - OPEN TO THE PUBLIC

Gallery hours: Mon-Fri 10am-6pm, Sat 11am-2pm.

Address: #37 Fitt Street, Woodbrook, Port of Spain.

For more information please contact:

Telephone: +1(868)680-1041, +1(868)622 -1196

Email: medullaartgallery@gmail.com

ABOUT THE EXHIBITION

The dolls were acquired on travels with my father throughout the Caribbean, from Caracas to Cuba, in the 1990’s. Bought in handicraft shops, made for the tourist trade, I was first intrigued by the political and social implications of how we were representing ourselves in a modern, post colonial society.

Why the use of the Aunt Jemima black face and the exotic and quaint depiction of servitude to appeal to wealthy foreigners? Why the acceptance of racist stereotypes and negative imagery, sourced from American caricatures of black people – Sambo Memorabilia?

But I also collected them because they were beautifully and intricately handmade, showing the signatures of their creators, much like fingerprints on ancient Sumerian pottery. I imagined the women making the dolls, hoping for sales, having to pander to the ingrained racist and sexist views of the buyers. More concerned with everyday survival than perpetuating these prejudices.

I recently saw a Facebook post asking for a photo-op of a coconut vendor with donkey cart. We are still painting pictures of La Belle Creole, with wooden ajoupa houses in forested clearings. In my childhood, Tourist Annie walked the streets of Port of Spain, looking very out of place. How do we see and understand ourselves, descendants of the many mixtures of colonisers, slaves and immigrants? And how have we commercialised this history and imagery into clichés to make it marketable for consumption by outside worlds? Is this the masque of our blackness as island people?

Wendy Nanan 2023

ABOUT THE ARTIST

Born in Trinidad and Tobago in 1955, Wendy Nanan is the first Indo-Trinidadian, and among the first Caribbean women artists to have a long and sustained professional practice. She obtained her BFA at Wolverhampton Polytechnic, England in 1979. Her work is included in many public and private collections, including Trinidad and Tobago’s National Museum. In her practice, Nanan takes on core questions at the heart of historical and contemporary struggles about identity, culture and power in the region. She has produced work that is at once historically and geographically specific to the place she inhabits, and timeless, gently provocative and persistently infused with her feminist politics. While Nanan is deeply respected by peers and critics in the Caribbean, she remains an under-attended-to artist, in part due to her determined locally-situated practice, she has remained in Trinidad since completing art school in 1980, and is famously reclusive, her philosophy being that “it is more important to create the work than to seek an audience for it.”

by Dr. Andil Gosine

Image: Caribbean Madonna, 2023

Artist Bio Text: Dr. Andil Gosine

Follow @medullaartgallery on Facebook and Instagram

If you wish to subscribe to our invitation list kindly email: medullaartgallery@gmail.com

**Update: https://newsday.co.tt/2023/09/25/artist-wendy-nanan-explores-post-colonialism-identity-through-dolls/

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Sexypink - Curator, Writer, Artist, and Researcher O'NEIL LAWRENCE from the National Gallery of Jamaica will be guest speaker at the Kolloquium's next session tomorrow May 23rd at 6.15 pm. 

He will present a talk with the title PRESSURE: THE EVOLUTION OF A BIENNIAL about NGJ's most recent Kingston Biennial from 2022.Talk and Q&A will be online. It would be lovely to see many of you in the audience. Please find abstract and webex-link for the meeting below.Cheers,David--Pressure: the evolution of a biennial The National Gallery of Jamaica's 2022 Biennial - themed "Pressure" - represented a dramatic departure from previous incarnations. The exhibition itself was the institution's first major show following a protracted closure due to the pandemic and it represented an evolution in the curatorial vision of the gallery. 

This presentation will critically engage with the different models, their merits and deficits and outline the vision for future Jamaican biennials.   BioAn artist, curator, researcher and writer O'Neil has worked at the National Gallery of Jamaica in various capacities since 2008 most recently as Chief Curator. He was the lead curator on the exhibitions Seven Women Artists (2015), Masculinities (2015), I Shall Return Again (2018) and Beyond Fashion (2018). His photography and video work have been included in several international exhibitions; most notably Rockstone and Bootheel (Real Art Ways, Connecticut, 2009), In Another Place and Here (Art Gallery of Greater Victoria, 2015), and his solo show Son of a Champion (Mutual Gallery, Kingston, 2012). 

His research interests include race, gender and sexuality in Caribbean and African Diasporal art and visual culture; memory, identity and hidden archives; photography as a medium and a social vehicle.Image: Katrina Coombs, Apocalypse: Lifting Of The Veil, Kingston Biennial 2022: Pressure.

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Sexypink - Barbadian Artist | Annalee Davis on her Pray to Flowers – A Plot of Disalienation, my site-specific installation produced by the Sharjah Art Foundation for the SB15.“Pray to Flowers – A Plot of Disalienation, my site-specific installation produced by the Sharjah Art Foundation for the SB15 runs till June 11. 

Barbadian Artist Annalee Davis working on one of her pieces in the exhibition

This post focuses on the attached interior space mirroring the densely layered garden.These embroidered panels acknowledge British sewing traditions Barbadian women inherited over centuries. Practiced across races & classes, their habitual utilization of the needle & thread instilled notions of what it meant to be feminine. Pre-approved imagery, stitches, & colours replicated across samplers trained middle- and upper-class women into becoming submissive housewives abiding by the church’s teachings & moral codes of respectability. Conversely, Pray to Flowers disregards the restricted range of carefully taught stitches, colour combinations, & sanctioned subject matter. 

Rather, these works interweave crochet, applique, & embroidery addressing more indelicate discourse such as the impact of mono-crop farming & the plantation on today’s climate crisis. Amalgamating time-honoured stitches with fabricated ones, 100-year-old cutwork embroidery intermingles with contemporary so-called ‘African’ print fabrics worn at Barbados’ Crop Over festival. Merging pale pink crochet pieces & machine-made lace, this mash-up of fabrics, threads, & traditions acknowledges the creolization inherent in the formation of post-independent Barbados. 

Instead of producing decorative works for the living room or dressing tables, – prescribed domains of women – these tapestries link the plantation with the 6th extinction. Cyanotypes of local botanicals growing in my garden acknowledge native flora rather than bluebells and cockleshells found in the embroidered tablecloths of my mother’s generation, fashioned on prescribed patterns they were fabricated. Satin-stitched phrases” advocate the worship of flowers, and our need to unlearn the plantation & defend nature.”- Annalee Davis

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Temoy Bhola

Sexypink - When Camille Harding passed away earlier this week, I recalled the first time I knew of her work. She was being interviewed on TTT about her residency to New Zealand. At the time she was doing very intuitive jewellery making. She was one of two women working like that. The other was Temoy Bhola. Temoy died of a brain aneurysm in 2015. 

As I tried to come to terms with the loss of Camille, I considered that Temoy is also gone. Two shining lights now no longer here. What of their contribution to our Art landscape? Temoy would always say, ‘You have to do the work. The work is all, the work is everything.”

Temoy Bhola - Hand band

She made some really unique, clearly personal work. She was known for heavy curling metal fragments twisting around organically with bits of natural fibre. She was funky, she was groovy, she was gorgeous and she was so wise. In another time she would be seen as a hippie or perhaps a witch. She and Camille represented a free spiritedness that I have not encountered again.

Temoy Bhola - Saraswatee - organic sculpture

Temoy Bhola - Necklace

Temoy Bhola - organic sculpture and wearable piece

Temoy Bhola - painting with metal inserts

Temoy Bhola - Caribbean Queen

I was able to contact Edward Bowen her ex-husband and he kindly put me on to her sister Haddi who told me where to find her work. Sexypink cannot express enough the value of Artists like Temoy and Camille when they pass away. I know that today I wish I spent more time with them. I wish that I had access to their stories and work in a much larger context. However, I am putting her work here as a start to acknowledge and remember these great women. Rest in eternal peace.

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~Sexypink~ Love letter to the Late Lisa O’Connor from The Women in Art Organization of Trinidad and Tobago

 LISA OCONNOR 27 May , 1965 - 22 June ,2020 Dear Lisa , I looked around the gallery today at walls that for years were full of your masterpieces .As the last of your paintings left , there was a profound emptiness inside of me at the realization that these walls would no longer hold anymore of your new works. I will so miss your vivid colors , the incredible light that each piece evokes , you created such a happy mood within each piece . As for that immense strong smell of still wet oil paints of pieces recently off your easel and along came a warning how careful I must be. A sadness hit - there would be no more phone calls - “ I’m finally finished it , it just needs to be photographed and then you can come for it !” That love and passion in your voice for each piece that you mastered. There will be no more lengthy chats , discussions and endless negotiations . You were always relentlessly strong yet you held a sincere kindness within you. Your humility , your gentle soul and the pride in your voice each and every time we spoke and the excitement that was always shared upon completion of a work. You painted what you saw , exactly what you saw. I can still picture you with your easel inside the Savannah and Jackson Square. I admired how you always put your family first and what an incredible love you had for your children. You worked only when you had finished everything that life threw at you. Last week , one of your last messages to me - “Juliana , I have a surprise for you ! I was working on the painting for you ! “ How I know how you struggled to paint towards the very end . I saw how weary you grew but there was such a fierce determination and hope inside of you. You so fought hard to live ! You continued to be so positive right until the very end and carried an intense spirituality that I would one day only hope to have. God was always mentioned every time we spoke. You were all heart Lisa , you are so going to be missed ! Throughout the years , I noticed how willing you always were to please your collectors , to give them the very best of you. You remained so utterly passionate about each subject . Each piece not only told a story but showed what an incredible person you were and how you viewed the world with such love and compassion. Each creation came from within your heart. You now live in each one of us , you are part of our walls , our homes , our lives. We , the collectors are the lucky ones . We hold a part of your life and who you were. Lisa , did you know how many countless times , numerous collectors have said to me how after a long , tedious day at work or just the regular struggles of daily life they would come home , sit and just simply stare and lose themselves in the beauty of what hangs on their walls ? You have made such a tremendous mark and impact in the world in such a short lifetime. Edvard Munch quoted - “ Nature is not only that is visible to the eye . It also includes the inner pictures of the soul “- for every brilliant yellow poui, fierce orange flamboyant , bougainvillea , humble fishing village , magnificent colonial building and lush garden, I will always remember your unique being. Your beauty certainly came from within your very nature and soul. Love , Juliana . “ There are painters who transform the sun into a yellow spot , but there are others who , thanks to their art and intelligence , transform a yellow spot into the sun . “ Pablo Picasso .

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                                                    Today

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                          FROM CARIBBEAN TO WOMAN

We give you an appointment again for an unforgettable encounter.

12 portraits of women on display.

An additional opportunity to enrich yourself through the Caribbean history and its traditions.Exhibition, workshops, animations, relaxation space, catering, booth!

All the elements come together to combine fun, entertainment, culture and discovery.

https://www.facebook.com/events/365193925377153/?ref=newsfeedTo follow us https://www.festiksens.com/

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~Sexypink~ Featured in this article is Jamaican born  Nicola Vassell. Congratulations!

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                                           Seen on Facebook....

Liberty Mission Accomplished ... this is all that’s left of the Althea McNish limited collection; it sold like hot cakes with many designs no longer available)