Roberta Stoddart’s richly complex oil paintings showcased in The Bertha Room, prove that it is dark under the metaphoric flotsam of Wide Sargasso Sea, darker still under the shade of the palm tree’s symbolism, and perhaps darkest of all where racial, familial, patriarchal, and post-colonial trauma festers muted and unseen.
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Throughout my childhood and adolescence, it was clear that reality was the cornerstone to be avoided at all costs. Investigating nothing, ashamed of everything, we were never to remember.
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Co-curated by the museum’s Senior Conservator Eveline Sint Nicolaas and artist Sarojini Lewis, the exhibition takes the June 5, 1873, docking of the ship Lalla Rookh in Suriname as its starting point and gives special focus to the lives of women and girls under Indentureship.
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Douens had stolen the baby and hidden her in the village dirt oven. This was the treasured oven that baked many treats for the villagers, like their daily bread, special cakes, and Christmas ham. It was now part of the scheme of the impish douens to bake the baby.
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Carol-Anne McFarlane
Nice nipples.” This comment was directed towards me after I exited my car, less than 15 feet from my studio. I parked in the closest spot to the door, in a futile hope to not be harassed.
ACQUILLE DUNKLEY
I must start off with a disclaimer. These images are not photographs. They were created digitally on a computer.
We had an unprecedented opportunity to grapple with the reality that Caribbean countries needn’t have a white majority to uphold neocolonial, supremacist systems.[6] Yet, some Trinbagonians retreated into denial and defensiveness.
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WIth COVID 19 forcing the temporary closure of the museum, curator Andil Gosine called upon three poets to virtually open Nanan’s exhibtiion–the first and largest for a Caribbean woman at the AMA–on June 11, 2020. Among them was Andre Bagoo, whose engagement with the artist includes a suite of poems that invoke and weigh the site of Nanan’s shell-collecting, along Trinidad’s vulnerable Atlantic coast.
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Mesmerizing video of a black body in seeming freefall
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I used the sea as a backdrop in my exploration of the trans-Atlantic slave trade in my M-E-T-A series.
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In this article artist Annalee Davis draws a thread between the one-dimensional notion of tourism as the panacea for small island economies (with a particular focus on Barbados), and the potential role of contemporary visual art and artists in offering other lenses through which we can see ourselves and consider our contexts. COVID-19 will infect this text. How can it not?
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Lisandro Suriel Since the dawn of women, Creole has haunted the junctions between...
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