Stories

Articles

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

How To: The Proper Conservation and Preservation of Paintings

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

Golden Touch and Go: Jace McKinney’s imagines golden kings and living dangerously in “Trumped” (2013)

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

The Moving Image: The First Turn of the Revolution

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

The art of connectivity: Sinking our roots further down.

From The Collection: “Bay Street on Fire” (2002) by Blue Curry

A Glitch in Time: Who’s in for the Saving?

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

Justin Benjamin Explores Interiority in Vantage

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

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

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

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

Rebirth: Field Notes on Loss and Belonging

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

Majority Rule: A Snapshot of Our Identity

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

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

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

 From the Collection: “East Street With Donkey and Cart” (1914) by E J Read

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

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

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

Considering culture: More than a smile

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

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

Eye on The Bahamas

“Who the Hell Do I Think I Am?” (2012) by Margot Bethel

From the Collection: Michael Edwards’ “Untitled II”

Between the Devil and the Deep Blue Sea: Lavar Munroe deconstructs “The Arrival”

Unearthing: Raising the Voices, Quieting the Noise

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

Both Sides of the Coin

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

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

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

Dave Smith “Violence, the beauty of paradise”: The art of capturing the lingering impact

Strange Darknesses: Lavar Munroe’s sinister fantasy creatures in the “specimens” series.

Boundaries, Borders and Brotherhood: “Proxemics: Personal Space/Commanding Stance” (2015) by John Beadle

Returning the Gaze: Melissa Alcena’s work for the NE9 seeks to challenge the gaze on the Black Bahamian body

Urban Scrawl: The potential for public art projects in Nassau

Beauty in Bain Town: How does Over-the-Hill Fit Into the Bahamian Picturesque?

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

Conserving art in the tropical home

Traversing the Picturesque: A thought

Owning our Image: Radical reclamation of self

Kendal Hanna’s “Rainbow Explosion”: Finding Self Through Abstraction

Boiling: Field Notes on Loss and Belonging

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

“Wellington Street Dwelling”: Exploring the Bahamian Vernacular

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

Vulnerable ecologies: This Woman’s Work

Breezes through Long Cay: Chapter 2

So Close Yet So Far

From the Collection: “The Bussett and the Monkey” (1991) by Amos Ferguson

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

Kendra Frorup’s ‘Domestic Chickens’

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

From the Collection: Rembrandt Taylor’s Madonna and Child

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

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

Pasting Colours: Envisioning Alternatives