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Eye on The Bahamas

Care in the Craft: “Young Children” (nd) by Frank Otis Small

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

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

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

Everybody and Dey Grammy

A Bahamian Aesthetic: Defining the Local in the Global

Beyond Objecthood: The Straw Baskets of William ‘Old Iron’ Colebrooke

“Defender of the Faith”: Rembrandt Taylor’s Dragon-slayer.

Striking the Balance: Reagan Kemp’s Emi

Boiling: Field Notes on Loss and Belonging

A mélange of culture: Prominent intuitive artist documents heritage

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

The Problems of Paradise: Thoughts on Traversing the Picturesque

The Moving Image: The First Turn of the Revolution

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

Both Sides of the Coin

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

Spirituality without religion and religion without spirituality? The magic meeting of both

Justin Benjamin Explores Interiority in Vantage

Kendra Frorup’s Domestic Chickens

The Aesthetics of Debt: Double Consciousness and Vision in the age new a new modernity

The Power of Imprisonment through language: The Eye for the Tropics and Majority Rule in The Bahamas

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

Of Beauty, Community, and Healing

Civil Engagement as Culture: Unearthing Voices

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

Lamenting Slavery: Unearthing our history through art.

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

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

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

Owning our Image: Radical reclamation of self

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

So Close Yet So Far

Cultural Tourism on Exuma: A Gem for Few, a Gem for All

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

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

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

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

From the Collection: Rembrandt Taylor’s Madonna and Child

Considering culture: More than a smile

Cultivating the Local: In the wake of change

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

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

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

Allan Wallace’s ‘Let There Be Order’

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

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

Designing for Space: Working with Possible Futures in Mind

Reconnecting to the Divine Feminine

Dialling Into the Void: Kenneth Heslop’s NELEVEN Portal

“West Street” by Hildegarde Hamilton

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

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

Denis Knight’s Lucayan Woman

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

Brent Malone’s ‘Balinese Woman With Flamingoes’

Pasting Colours: Envisioning Alternatives

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

From the Collection: “The Deanery” (1979) by Alton Lowe

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

Gender and the Dream: Confronting Stereotypes in Black Masculinity

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

Jace McKinney’s Prayer in a Dark Place

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

From the Collection: Blue Curry’s Nassau From Above