Stories

Art Documenting History: Intersecting complex histories with art

Of Beauty, Community, and Healing

“I ga’ gee’ you what you lookin’ for!”: Tamika Galanis gets to the heart of the Caribbean’s history of looking

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

Finding Our Voices: Resisting Violence and Oppression

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

Art, Culture, and Representation: Reflecting on Self and Nation

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

Re-Encounter: Thoughts of a Mad Mind

Considering culture: More than a smile

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

A Bahamian Aesthetic: Defining the Local in the Global

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

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

Vulnerable ecologies: This Woman’s Work

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

Searching for Empathy: Revaluing self in relation to others

Amos Ferguson’s ‘The Queen Staircase’

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

Margot Bethel’s Portal: Unpacking Memories of Womanhood

Field Notes on Planting Seeds in Uprooted Gardens

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

The Visual Life Of Social Affliction: Structures of Violence in the Caribbean

So Close Yet So Far

Exploring Themes of Longevity and Survival in Kendra Frorup’s Work

When We Are Like the Trees

The art of connectivity: Sinking our roots further down.

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

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

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

Amos Ferguson’s Junkanoo Cow Face: Match Me If You Can

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

Feature from the Collection: Burnside Crowns a King

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

Timelines: Developing Blackness

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

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

Justin Benjamin Explores Interiority in Vantage

From the Collection: Dave Smith, Let Us Prey, 1984-86

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

Boiling: Field Notes on Loss and Belonging

Breezes through Long Cay: Chapter 2

Both Sides of the Coin

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

The Problems of Paradise: Thoughts on Traversing the Picturesque

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

Grave Silence: Sonia Farmer and Shivanee Ramlochan Give Voice to Victims of Rape in The Caribbean

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

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

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

Troubling Narratives: This is how we suffer to remain

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

A Death Foretold: Whitehead & Pratt on Beauty and Loss

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

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

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

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

The Clapboard House: A Disappearing Relic within The Bahamian Landscape

We Live at the Undersides

Sinking: Field Notes on Loss and Belonging

Epistemic and Cultural Violence: Powercutting as Light

Angelic Remembrance: Antonius Roberts’ memorialises women of faith

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

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

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

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