Stories

Articles

Troubling Narratives: This is how we suffer to remain

Indigeneity and Art: Defining our Values

A Bahamian Aesthetic: Defining the Local in the Global

Utopian Ecologies: Alex Timchula’s microcosmic garden sculpture for the NE9

Tender Seedlings: Anina and A.L. Major Reflect on Pain and Love in the Bahamian Diaspora

Cultivating the Local: In the wake of change

The January Artwork of the Month is ‘Beller’

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

A mélange of culture: Prominent intuitive artist documents heritage

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

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

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

Breezes through Long Cay. Chapter 1: As Stories Fade

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

Eye on The Bahamas

Antonius Roberts “Procession of Females in White Uniforms”

Rebirth: Field Notes on Loss and Belonging

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

Denis Knight’s Lucayan Woman

How To: The Proper Conservation and Preservation of Paintings

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

The art of connectivity: Sinking our roots further down.

March’s Artwork of the Month – Maxwell Taylor’s ‘Nassau Boy’ (1973)

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

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

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

Vulnerable ecologies: This Woman’s Work

Aftermath: Field Notes on Loss and Belonging

Kendra Frorup’s ‘Domestic Chickens’

Civil Engagement as Culture: Unearthing Voices

Cultural Heritage & Erasure: “Protecting our inheritance and patrimony”

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

“West Street” by Hildegarde Hamilton

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

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

“Prayer in a Dark Place” (2013) by Jace McKinney: Hope in spite of sinking feelings

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

Brent Malone’s ‘Balinese Woman With Flamingoes’

Traditional Knowledge Living in the Tropics: Respecting Lifeways

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

Feature from the National Collection: Emancipation Day Boat Cruise

“Wellington Street Dwelling”: Exploring the Bahamian Vernacular

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

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

Climate Refugees: On Becoming Climate Refugees or Building Back Differently

Searching for Empathy: Revaluing self in relation to others

So Close Yet So Far

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

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

We Live at the Undersides

Both Sides of the Coin

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

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

Boiling: Field Notes on Loss and Belonging

The Wisdom of Amos Ferguson: Reflections on “Hard Mouth: From the Tongue of the Ocean”

95%: Jordanna Kelly and Jenna Chaplin’s NELEVEN Installation

To Heal We Must Remember: Katrina Cartwright’s power figure uproots the past

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

The God Self: Lessons on Self-Love from Emerging Artist Cydne Coleby

“When the Lionfish Came”: Tamika Galanis gives voice to the people of the reef amid dangerously rising tides

Speaking to views and gazes in the work of Eric Rose: Education, Space and Knowing your Place

Art Documenting History: Intersecting complex histories with art

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

Finding Our Voices: Resisting Violence and Oppression

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

Field Notes on Planting Seeds in Uprooted Gardens