Stories

Articles

Painting to heal: Artist Gabrielle Banks lays bare the burdens of her troubled past

From the Collection: John Paul Saddleton’s “West Hill Hidden Garden”

A-Figuration: Emerging artist Nowé Harris-Smith’s obscured figures on view at the NAGB

From the Collection: “Untitled (Balcony House on Market Street)” (ca 1920) by James Osborne “Doc” Sands

’21st-Century Needs’: The cultural task to survive and thrive

Justin Benjamin Explores Interiority in Vantage

Brent Malone’s ‘Metamorphosis’ is the March artwork of the month

Sounding the Alarm: Tanicia Pratt’s Blow the Whistle

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

Epistemic and Cultural Violence: Powercutting as Light

It’s not just black and white: It is also colour, light, shift, and feeling

“Traversing the Picturesque: For Sentimental Value” – The Colonial Gaze

Both Sides of the Coin

A mélange of culture: Prominent intuitive artist documents heritage

“That Vodou that who do?”: Ancestry, heritage, memory, and light in the work of Eric Jean-Louis.

The Sea as Life: Cargo and VLOSA

Under Attack: Averia Wright’s Elevating the Blue Light Special and the Dualities of Bahamian Identity

A Garden: Letitia Pratt Creates New Folklore in Response to Biblical Patriarchal Storytelling

San Salvador as Culture: Exploring New Economies, Working Against Collapse

A Choice Landscape: The Early Work of the Late Chan Pratt

Gender and the Dream: Confronting Stereotypes in Black Masculinity

Considering culture: More than a smile

There’s a Man on the Floor: Edrin Symonette’s Man Skin Rug

Living in the Shadows of Empire: Territories of Dark and Light

Gaia Reimagined: “Mother Earth” (1992) by Clive Stuart

The Beauty and Charm of Colonialism: April Bey’s “Power Girl” Series

Are We One With Nature? G. Paul Dorfmuller’s Nassau Corner

The Provocative: Drew Weech plays with the history of the nude in Western Art

The Liberal: Thierry Lamare’s Sincerity in Rendering Bahamian Life

“Water: The giver and the taker of life”: Edrin Symonette’s “Salt of the Earth”

Majority Rule: A Snapshot of Our Identity

The Role of the Arts in Addressing Climate Change

Demure Facade, Colourful History: Sterling Miller’s “Villa Doyle” (ca. 1969)

A Distant Bahamas: “Native Hut” (1915) by Hartwell Leon Woodcock

Sitting Pretty Political: Amos Ferguson and the Reclining Women of Art History

Welcome to the Past, Present, and Future: A Caribbean Futurist Read of Antonius Roberts’s Mabrika

The art of living in the tropics: An art of survival?

Antonius Roberts “Procession of Females in White Uniforms”

Cultural Tourism on Exuma: A Gem for Few, a Gem for All

“Duran Duran”: Exploring Themes of Longevity and Survival in Kendra Frorup’s Work

Through the Eyes of a Tourist: Oh Island in the Sun, Funky Nassau

“Pulling Nr. 1,” 1982. Woodprint by Maxwell Taylor

From the Collection: “The Deanery” (1979) by Alton Lowe

I’s Man: Ian Strachan’s documentary on masculinity in The Bahamas captures the polemics of today’s ‘Man Crisis’. 

Look, Listen, Live: A Space for Artistic and Cultural Expression

“Five Children at the Water Pump” (1984) by Peggy Hering

(Un)Monumental: How Do We Re-contextualise Historic Sculptures for Contemporary Life?

Re-Encounter: Thoughts of a Mad Mind

From The Collection: Amos Ferguson’s “Junkanoo Cow Face”

Earthenware figurines of women, featuring rounded forms, sit on a ledge against a peach-pink wall.

The Black Woman Body Paradox

Gendered Norms and Deconstruction: The Body, the Image, and the Ability to Speak Out for Self

From the Collection: Maxwell Taylor’s “The Immigrants No.3” (c1990)

Amos Ferguson’s “Jesus and the Good Semeriton” (nd): The Colour of God and Histories of Faith

My Mouth is a Heartbreak: Anina Major’s “Wisdom Teeth” (2017)

Allan Wallace’s ‘Let There Be Order’

From the Collection: “Metamorphosis” (1979) by R Brent Malone

Balancing Act: Heino Schmid’s “Temporary Horizon” (2010)

MasC Off: NE9 Artists Challenge Social Binary Views on Gender

Colonial Desires in the 21st-Century: Using Our Image Purposefully

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

From the Collection: “Untitled (Boat Scene)” (c.1920) by James “Doc” Sands

Potter’s Cay: Markets and the Importance of Public Spaces

The Weight We Bear: Heino Schmid’s monumental drawings in the NE9

From the Collection: “A Distant View of Nassau” (c.1857-1904) by Jacob F. Coonley

Ferguson’s Fantastic Dragon: Blending the imagination with the biblical

“John Beadle’s Row Yah Boat: Merrily, merrily, merrily, merrily life is but a dream.’ Wake up!”