reviews
work Kill and Kill Again (4) combines ideas of consumerism, poverty and symbols of cultural identity (Glinton et al. 34) that [reflect conflicts and connections between traditional and contemporary experiences in poorer communities in the Bahamas.]
2. Eddie Minnis, Hay Street Yard, 1984 oil on canvas, (20 x 25 in.)
hotel and in 1978 Buster Hall produced the painting Royal Victoria (5). There are no perfectly-paved driveways in this painting. Instead the viewer meets a once larger than life mecca of prosperity fallen from grace. This work marks the end of an era and is perhaps one of the more [visually honest] representations of architecture in The Bahamas at the time. The historical significance of the Royal Victoria painting is grounded in Bahamian culture and exists as a paragraph in the story of Bahamian society. This history, though indicative of a darker and wilder time, has grounded this nation and one can hope it prompts wiser decisions in the future.
5. Buster Hall, Royal Victoria, 1978oil on canvas, (32 x 40 in.)
As much as these British colonial roots, the influence of North American architecture [and cultural movements] is especially striking in The Bahamas. Nowhere else in the Caribbean is there such a melting pot of imported American practices and construction styles (Gravette 33). In one example, the juxtaposition of African-American influenced hip-hop and urban culture with the deeply rooted, ‘rake-an’-scrape’ culture* in The Bahamas presents a rare opportunity for cross-generational debate and discussion. With questions arising daily about the “Bahamian-ness” of rap songs created by Bahamians, similar discussions about the appropriation and adaptation of other aspects of western culture began to be represented in Bahamian art in the early 1980’s. Dave Smith is an artist known for his stylized realism and juxtaposition of contradictory ideas and subject matter. His
4. Dave Smith, To Kill and Kill Again, 1980 acrylic on canvas, (32 x 50 in.)
The Bahamas is a nation ripe with contradictions: the latest car models can be found parked in the yards of the oldest-looking homes in Bain and Grants Town and a satellite dish can be found perched atop a roof that in all appearances is being held together by a prayer. How far will we go as a nation to keep up with the Joneses, or in this case, our neighbors to the north? Is this a regional obsession with extreme consumerism, or is this particular to The Bahamas? I would argue that it is a regional obsession. Yet within this consumerism [and in discussion with it], Bahamian artists can offer a glimpse into the lives of the occupants of the island clapboard house, beyond tourist visions. Dave Smith’s representations of Bahamian spaces and lives raise the challenge of selfactualization by posing the questions: ‘Where are we now? And where are we going?’ Architectural depictions in fine art act as revealing and at times poignant references for historical and ongoing commentary on societal issues. They also serve as barometers for cultural identity and whether this identity is seen through the eyes of a resident or visitor. Artists such as Dorman Stubbs, Eddie Minnis, and Dave Smith are a small sample of individuals who took on the role of architectural translators through painting. Hidegarde Hamilton, Brent Malone and Sterling Miller were also artists who, whether consciously or subconsciously, realized the importance of creating still shots of Bahamian history. These paintings, like all creative works, have become a way for a nation to track [and reflect on] its cultural heritage and identity. It rests on the shoulders of artists across disciplines to do the same. References Baumgart, Fritz. A History of Architectural Styles. London: Verlac M. Mumunt Schauberg. 1970. Print. Glinton, Patricia, et al. Bahamian Art: 1492-1992, The Bahamas: Finance Corporation of Bahamas Limited, 1992. Print. Gravette, Andrew. Architectural Heritage of The Caribbean: An A – Z of Historic Buildings. Jamaica: Randle Publishers, New Jersey: Markus Wiener Publishers Inc. and United Kingdom: Signal Books Ltd., 2000. Print.
