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Spirituality without religion and religion without spirituality? The magic meeting of both

Sinking: Field Notes on Loss and Belonging

Cultivating the Local: In the wake of change

‘An We is Woman Too?’: Women and Labour in the NE8

The Long Eye of Culture: A Mash Up, a Hybrid

“Wellington Street Dwelling”: Exploring the Bahamian Vernacular

Sitting with the Dead: “Medium,” a show of Bahamian Religion and Spirituality

From the Collection: Blue Curry’s Nassau From Above

A mélange of culture: Prominent intuitive artist documents heritage

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

The Moving Image: The First Turn of the Revolution

Check Yourself: Thinking About Stereotypes and Chan Pratt’s Sincerity in Painting Over-the-Hill

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

Lamenting Slavery: Unearthing our history through art.

‘Sponge Yard’ (c. 1870): The Colonial Photography of Jacob Coonley

“Defender of the Faith”: Rembrandt Taylor’s Dragon-slayer.

Considering culture: More than a smile

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

The Island Repeated: Toni Alexia Roach’s Patterned Approach to Confronting the Past

Everybody and Dey Grammy

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

Breezes through Long Cay: Chapter 2

The Art of Living in the Tropics, Part Three: Silence

The Case for Lavar Munroe: The Son of Soil

Aftermath: Field Notes on Loss and Belonging

From the Collection: “Cycle of Abuse” (2017) by Sonia Farmer

Considering the African Culture: Not forgetting the Asue

Beauty and Loss in Tessa Whitehead and Chan Pratt’s Work: A Death Foretold, yet Not Dying

Traditional Knowledge Living in the Tropics: Respecting Lifeways

From the Collection: “Untitled (Rake Bird)” by Tyrone Ferguson

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

A Botanical of Grief: Yasmin Glinton and Charlotte Henay Connect with Ancestors’ Voices and Put Mother Tongue to Poetry

Hearth and Heart – E. J. Read’s ‘Clay Oven’

Creating Thinking Spaces: Opportunity to Think, Build, and Grow

Apathy, Antipathy, and Action: Political Art and the Potential for Progress

From the Collection & Into the Void: “Transformation” (1987) by Jolyon Smith

From the Collection: “Let Us Prey” (1984-86) by Dave Smith

We Lost Two Cultures That Day: Hurricane Irma and the Loss of Cultural Material

Art Centering Woman: HARD MOUT GYAL, GOT A TONGUE LIKE THE OCEAN

Peggy Hering’s “Lilies” (1984): On Being Both Student and Teacher

The Mark of a Woman: Portraits of black womanhood in the work of Gabrielle Banks.

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

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

The Sea as Life: Cargo and VLOSA

Seeing the God in me: Jalan Harris’s “Self-Pollinate” and Cydne Coleby’s “A God Called Self” works

From The Collection: “A Native Sugar Mill” (ca. 1901) by William Henry Jackson

“West Street” by Hildegarde Hamilton

So Close Yet So Far

If an Entire Population Moves, Is It Still a Nation?: Post-Irma and Post-Colonial Devastation

The art of living in the tropics. Part II: Hand come, hand go

Troubling Narratives: This is how we suffer to remain

Justin Benjamin Explores Interiority in Vantage

What’s in the frame: Tourism, art, installation and rebuilding the old whore of a body

Talking to the Dead: Tamika Galanis brings Lomax archive materials home

Boiling: Field Notes on Loss and Belonging

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

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

Eye on The Bahamas

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

The Straw Paradox

The Architecture of Loss: Memorials, Memento Mori, and the Man from Milton Street

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

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

Max and Amos: Enchantment and Magical Realism in Service to Freedom

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

Chan Pratt’s Work Speaks to the Urbanisation of the Bahamian Landscape
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