INTERNSHIP OPPORTUNITY AT FRESH MILK

INTERNSHIP OPPORTUNITY AT FRESH MILK

Open Call for Graphic Designer

Fresh Milk is offering a summer internship opportunity to commence in June 2012. The internship will end in August 2012. The most eligible applicant will be responsible for creating and posting promotional material for Fresh Milk events and the blog.

This is an excellent opportunity for those with interests in some or all of the following:

-marketing/PR
-non-profit organizations
-arts advocacy

Interested applicants should submit the following to freshmilkbarbados@gmail.com by June 2, 2012.

-3 to 5 examples of previous work in graphic design
-Cover Letter (1 page, double spaced)
-Curriculum Vitae/Resume
-propose a flyer template for the next Fresh Milk event: Fresh Milk VI.

The successful internship candidate will have access to the vast resources of the Fresh Milk network. We’re excited to have a new member on the Fresh Milk team. Contact us at freshmilkbarbados@gmail.com if you have any questions.

Residency Testimonials from Katherine Kennedy and Simone Padmore

KATHERINE KENNEDY:

From the first time I learnt about artist residencies, I became keen to participate in them one day. This desire increased the more I heard other artists share their experiences, and talk about how inspirational and unique each one was, causing their practices to grow and adapt to different surroundings.  A visiting artist who came to speak to my class at Lancaster University said that after your first residency, you can’t wait to do another, and my involvement in Fresh Milk’s inaugural residency has definitely confirmed that for me.

            After graduating and returning to Barbados, I confess that my art practice came to more of a standstill than I would have liked. Although I was happy to be home, I was caught up in wondering what my next step should be, and the uncertainty led to a mental block where my creativity was concerned. I was struggling to familiarize myself with the art scene locally and regionally, while coming to terms with how to move forward without the studio environment that had become such a huge part of my life while studying. When I learned about Fresh Milk, and that it was offering a residency, it sparked my interest and in a way reawakened my drive to make art again, giving me a platform for the ideas that had been playing in the back of my mind to manifest.

            One of my favourite aspects was the ambiance, inside the studio and out. Although it was local, the countryside setting was still so different from where I live, and I found the scenic, peaceful atmosphere to be very stimulating. The studio was spacious and set out with lots of adequate work surfaces, as well as access to resources such as tools, materials, and a small but comprehensive library of art books, journals, biographies, magazines etc. for our perusal. Having this access and a place to call a work environment was instrumental in getting myself back into gear.

            It was also great to not only have the studio setting again, but to share it with someone as talented and fun as Simone. We did not know each other prior to the residency, which I think worked to our benefit because it added another level of freshness to the experience as we got to discover each other’s aims and styles, and gain new perspectives on our work. I loved having that back and forth of ideas and information from another artist again, and I feel that our coexisting in the same space improved our work ethic and motivated us to be more productive than either of us thought possible at the beginning of the week. The thought of creating resolved pieces in just five days intimidated both of us, but we surprised ourselves, Simone finishing not one, but two full pieces, and the scale of my work became much larger than I had anticipated. I think we found a balance of enjoying ourselves and getting along really well, while still maintaining our focus, and it was a pleasure to work alongside her; I hope to do so again in the future.

            Overall, I could not be happier with my introduction to artist residencies, and I would like to thank Annalee for everything she has done and the support she has given. She was more than accommodating, and willing to provide us with or help us source anything we needed – art related or otherwise. She gave us helpful advice, including telling me about the value of promoting work through exhibiting as well as in a virtual realm in this technological age, which she also did for us by working hard to give our work exposure in many ways, and hosting our exhibition at the end of the week. I feel a renewed sense of purpose, spurred on to keep this momentum going, and I am extremely grateful for being given this opportunity to reconnect with my artistic side. 

 

 

 

 

SIMONE PADMORE:

The Fresh Milk Platform hosted a five day residency called ‘Five days of Playing’, which was held from the 5th to the 9th of March, 2012. Along with myself-Simone Padmore, another young artist- Katherine Kennedy, a sculptor, participated in the residency. During those five days we had to produce work to be showcased on the 10th, March, 2012.

The experience was great and I found it so exciting that I was oblivious with whom I was participating.  Katherine expresses her work in sculpture and installation, while I express mine by drawing. The studio at Fresh Milk was spacious, the necessary facilities were provided – such as a library with a lot of artistic material to choose from and access to the internet from where we could gather inspiration.

Katherine and I gelled well. Our media contrasted well and together with Annalee Davis we had great artistic conversations.  The energy between us was very productive; we inspired each other and respected each other’s space and practice.

The residency was beneficial because it helped me break the habit of solely working at night. I refer to myself as a ‘nocturnal artist’ and I usually have a lot if difficulty producing art during the daytime.  I also noted that my production speed increased and the direction of my work shifted in a great way and made me realized I can apply this variation to my current work.

I think the Fresh Milk platform is providing great opportunities for young artists in Barbados.  I say this because after leaving school, we have difficulty continuing to produce our personal work. There is a lack of motivation to produce work because we are outside of the school studio and we no longer experience the same creative flow or energy generated amongst our colleagues.  The sense of loneliness also plays in connection to this, because having someone who is in the same field to accompany you makes it easier to produce. Space is another factor because some or most of us do not have the adequate space for our art. In Barbados, there is a stigma that revolves around art, where art is not taken as a serious practice. The country focuses more on the commercial art, which results in the lack of exhibition spaces for contemporary or non commercial art. That creates the lack of motivation because if we do not have somewhere to look forward to showcasing our work, we may not feel the need to do work.

The experience at Fresh Milk provides all of these things to help young artists to continue their practices.  It is a space we can be involved in and gives us a sense of hope. I think the platform should continue providing opportunities like the five day residency because it is a positive step to help upcoming artists and recent graduates to continue or get back in to the groove of producing work.

Caribbean Art and the ‘White Cube’ Aesthetic

– Natalie McGuire

“The history of modernism is intimately framed by [the gallery] space; or rather the history of modern art can be correlated with changes in that space and in the way we see it. We have now reached a point where we see not the art but the space first.”

– Brian O’Doherty[1]

Though subversive, the environment in which art is exhibited has been used in contemporary art to display implications of contextualizing outside of the typical.  The use of space is no longer neutral, it adds another dimension of what the exhibition wishes to communicate, whether it is being engaged with or not. Theorist Walter Benjamin in 1939 described ‘Cult value’ as the worth of art due to its inaccessibility to the public, only readily available to people in authority[2]. The more valued pieces of art were the ones that only got revealed on special occasions, such medieval sculptures that are not visible on ground level. Then when art was being created in different ways, such as easel painting, art obtained a new type of value – ‘Exhibition value’, where works of art were being hung in public galleries. Art became even more accessible through the technology of photography, which Benjamin believes obliterated the authorities hold on art value. It now became that the more an artwork was exposed to the public, the more valued it was as art, for example, Leonardo Da Vinci’s Mona Lisa, which since 1913 has been reproduced in over 300 paintings and 2,000 advertisements[3]. However, ‘Cult value’ in art still seems to exist, it has just been blanketed over by art galleries. For example, no matter how many times the Mona Lisa has been reproduced and exposed to the public, the Louvre museum in Paris, where the original is housed, recorded approximately 8,300,000 visitors in the year 2007[4].

Even though internationally, art movements such as Conceptual Art and Street Art have highlighted the elitism implied in the white cube aesthetic, it still seems  as a Caribbean people some generally feel uncomfortable engaging with contemporary art in an unconventional setting. They don’t like to think critically about art, but rather keep it at a level of aesthetic pleasure: if the colours go with your décor, then it is a good piece of art to own. Thinking about art as part of our culture, involves heavy interrogation of the creolization from colonization, something which Caribbean people like to ignore. The notion of ‘Cult Value’ is very much existent as well, it is not important how or why a piece of art is hanging in a gallery, if it is in there then it must be good art.  It is undeniable that our contemporary culture still holds facets from our colonial past. The very nature of what art is seen in our galleries exemplifies this: glorified landscapes and faceless people are the main icons in identifying Caribbean Art. The picturesque and primitive are popular, and exhibiting them on clean white walls directs the viewer to visualize how the images would look on their own walls. Also in Barbados for example, there currently is no national institution to direct a sense of Art History on the island and insinuate taste, taste is completely controlled by commercial galleries which in turn are controlled by the source of profits: tourism. The white cubes here are not so much an elitist space for patronization and dictation as they are flattened shelves for displaying produce.

As a result of the monotonous purge of imagery that comprises galleries, informally the present trend is for art networks in the Caribbean to convene outside of one type of space and into another. That is mainly to separate from the mainstream commercial galleries and establish non-conventional platforms as well as an expansive presence in the digital ‘space’. Art spaces like these are seen in Alice Yard (Trinidad), Fresh Milk (Barbados), Projects and Space (Barbados) Tembe studio (Suriname), as well as territorially abstract resources such as ARC Magazine (www.arcthemagazine.com), ARTZPUB (www.artzpub.com), Small Axe (www.smallaxe.com) and Caribbean Review of Books (www.caribbeanreviewofbooks.com) to name a few.  These digital spaces represent the reality that the Caribbean itself is a diaspora, that is, not confined to where it is geographically but also how it has traveled culturally. On an international level, digital media and its impact on the arts has also had strong implications on the gallery / museum model, questioning it’s relevancy in an age of instant accessibility.

So are they more suited to exhibiting artwork in a setting outside from the white cube aesthetic and is there enough critical thinking through the Caribbean for it to be significant where art is displayed? Or is it more of a ‘whatever is available’ type model? Arguably, despite perhaps superficially it seeming to be the latter, it is the former, even in its latency. Look at the plastic action movement in Cuba, where they literally took art out to the streets and presented it to the public. Or the Carnival costumes by Peter Minshall, which will never be as comfortably communicated displayed on museum mannequins as they are on revelers. Ebony G. Patterson’s 9 of 219 (2011) would not have had the same impact exhibited down the halls of a gallery, the same for Charles Campbell’s sphere which he rolled through Port Of Spain in 2011. And not only that, how Caribbean artists engage with the white cube space displays the potential of critical thought. For example the recent exhibition by Sheena Rose in Barbados, ‘Town to Town’ (2011). She presented two of her animation features simultaneously projected against parallel walls. The combination of the constant visual of being in a town with it being exhibited in a confined space created a pleasant juxtaposition, something which a thousand images of palm trees in a thousand galleries could never achieve. Another Barbadian Joscelyn Gardner achieved a similar effect during the Black Diaspora Symposium in 2009. Her piece words…just words…. comprised of extracts from M. NourbeSe Philip’s poem Zong! colliding with the 1657 text by Ligon The True and Exact History of the Island of Barbadoes projected onto the wall of the Public Library[5]. This deconstructed the subjective nature of documenting history, and how that perception translates into a national sense of heritage.

Charles Campbell (2011)

Ebony G. Patterson (2011)

Sheena Rose (2012)

To conclude, there is a lot of room for exploration into Caribbean artists’ relationships with space when it comes to exhibiting work. It would seem the white cube aesthetic is still necessary to generate a perception of value on works exhibited, but at the same time the dialogue between the non-white cube spaces in the region is the significant driving force for the evolution of art reception.

Images compliments http://aliceyard.blogspot.com and http://sroseart.tumblr.com


[1] Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space, (1976), Berkeley and Los Angeles: University of California Press, 1999, pp. 14-15

[2] Walter Benjamin ‘The Work of Art in the Age of Mechanical Reproduction’, Illumination (1936) p.218

[3] Donald Sassoon ‘Mona Lisa: The Best Known Girl in the Whole Wide World’ History Workshop Journal (2001) p.1

[4] Viktoria Nagy, ‘Museum Curator’ http://www.hetivalasz.com/article/0805/museum_curator (2008)