Articles

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

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

The Grave Silence: Sonia Farmer and Shivanee Ramlochan give voice to victims of rape in The Caribbean

Creative Youth: Reevaluating Our Values and the Work of Young People

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

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

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

Brent Malone’s “Seaside Village” is the February Artwork of The Month

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

Max Taylor’s ‘What to Do?’

Angelic Remembrance: Antonius Roberts’ memorialises women of faith

How To: The Proper Conservation and Preservation of Paintings

‘Slam-Bam’ Sands: ‘The hastily hand-coloured colonial postcards of James “Doc” Sands.’

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

From the Collection: “Built on Sand” (2003) by Dionne Benjamin-Smith

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

So Close Yet So Far

“West Street” by Hildegarde Hamilton

Cultivating the Local: In the wake of change

Traditional Knowledge Living in the Tropics: Respecting Lifeways

Remedies for Remembering: Darchell Henderson’s new mural on Hospital Lane reminds us of our histories of healing.

Considering culture: More than a smile

From the Collection: Blue Curry’s Nassau From Above

From the Collection: Lynn Parotti’s “The Blastocyst’s Ball: A Journey Through the Drug Induced stages of IVF”

Push Out: Jodi Minnis and Ian Bethell-Bennett Investigate the Mythologies and Futures of Gentrification in Over-the-Hill

A Sustainable Future For Exuma: Learning to live within our means, and with each other as global citizens

From the Collection: ‘Bishops, bishops everywhere and not a drop to drink’ (2003) by Dionne Benjamin-Smith

From the Collection: Michael Edwards’ “Untitled II”

From the Collection: “Ain’t I A Good Mother?”

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

Sorry for What: I am not the sugar in your cup of tea

Adaptability & Draughts(woman)ship: Kachelle Knowles Builds a Practice of Representation That Takes Action

A Teetering Bimini: Thinking about The Old Man and the Sea

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

Made in The Bahamas: Authentic action, authentic support

In the wake of storms: Moving forward as a nation displaced

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

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

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

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

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

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

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

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

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

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

The January Artwork of the Month is ‘Beller’

The Straw Paradox

Indigeneity and Art: Defining our Values

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

Villa Doyle and Beyond: Expanding the NAGB’s Footprint

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

Pasting Colours: Envisioning Alternatives

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

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

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

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

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

From the Collection: “Solomon” (2000) by Stan Burnside

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

Searching for Empathy: Revaluing self in relation to others

If an entire population moves, is it still a nation?: The consequences of censoring self.

Aftermath: Field Notes on Loss and Belonging

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

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

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