Stories

Articles

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

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

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

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

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

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

Curtain Call for the Colonial in Sanford Sawyer’s Studio Photographs

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

The Clapboard House: A Disappearing Relic within The Bahamian Landscape

From the Collection: Lavar Munroe’s “The Migrant”

Considering culture: More than a smile

Traditional Knowledge Living in the Tropics: Respecting Lifeways

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

Striking the Balance: Reagan Kemp’s Emi

Talking to the Dead: Tamika Galanis brings Lomax archive materials home

From the Collection: “Untitled (Rake Bird)” by Tyrone Ferguson

Aftermath: Field Notes on Loss and Belonging

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

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

From the Collection: Michael Edwards’ “Untitled II”

Brent Malone’s “Seaside Village” is the February Artwork of The Month

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

The Moving Image: The First Turn of the Revolution

Look, Listen, Live: A Space for Artistic and Cultural Expression

The Straw Paradox

From the Collection: “A Distant View of Nassau” (c.1857-1904) by Jacob F. Coonley

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

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

The Liberal: Thierry Lamare’s Sincerity in Rendering Bahamian Life

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

Art Documenting History: Intersecting complex histories with art

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

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

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

The Case for Lavar Munroe: The Son of Soil

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

Both Sides of the Coin

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

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

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

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

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

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

Conserving art in the tropical home

From the Collection: Rembrandt Taylor’s Madonna and Child