Articles

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Dialect and Diaspora: The Intuitive Art of Joseph “Joe Monks” Weaver

Everybody and Dey Grammy

Lamenting Slavery: Unearthing our history through art.

Majority Rule: A Snapshot of Our Identity

From the Collection: “On the Way to Market” (ca. 1877-78) by Jacob F. Coonley

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

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

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

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

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

Eye on The Bahamas

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

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

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

Sinking: Field Notes on Loss and Belonging

A mélange of culture: Prominent intuitive artist documents heritage

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

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

Aftermath: Field Notes on Loss and Belonging

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

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

From the Collection: “Woman With Flamingoes” (1996-97) by R. Brent Malone

Striking the Balance: Reagan Kemp’s Emi

Villa Doyle and Beyond: Expanding the NAGB’s Footprint

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

From the Collection: Jolyon Smith’s “Transformation” (1987) and imagining Black Bahamian futures

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

Activism as art, art as activism: How social practice opens dialogue for safe spaces and healing

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

A Repository of Memories

The January Artwork of the Month is ‘Beller’

When We Are Like the Trees

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

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

Are We One With Nature? G. Paul Dorfmuller’s Nassau Corner

The Black Woman Body Paradox

Boiling: Field Notes on Loss and Belonging

Timelines: Developing Blackness

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

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

Reconnecting to the Divine Feminine

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

Art’s healing properties

Art Documenting History: Intersecting complex histories with art

Seeking Divine Creativity: Allan Wallace’s new works revisits his religious upbringing

Unearthing: Raising the Voices, Quieting the Noise

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

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

From the Collection: Chelsea Pottery “A Brief Bahamian History of Clay”

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

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

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

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

Considering the African Culture: Not forgetting the Asue

Allan Wallace’s ‘Let There Be Order’

Some (Re)assembly Required: Melissa Alcena’s takes a soft lens on Black masculinity

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

The Weight We Bear: Heino Schmid’s monumental drawings in the NE9

Epistemic and Cultural Violence: Powercutting as Light

MasC Off: NE9 Artists Challenge Social Binary Views on Gender

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

Re-membering the past: Margot Bethel and Nicolette Bethel take on Transforming Spaces 2015 family-style

Max Taylor’s ‘What to Do?’

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

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

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