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Articles

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

Seeing the God in me: Jalan Harris’s “Self-Pollinate” and Cydne Coleby’s “A God Called Self” works

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

Art Documenting History: Intersecting complex histories with art

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

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

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

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

Lavar Munroe’s ‘Migrant’

Troubling Narratives: This is how we suffer to remain

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

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

Max and Amos: Enchantment and Magical Realism in Service to Freedom

How To: The Proper Conservation and Preservation of Paintings

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

From the Collection: Rembrandt Taylor’s Madonna and Child

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

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

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

When We Are Like the Trees

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

Earthenware figurines of women, featuring rounded forms, sit on a ledge against a peach-pink wall.

The Black Woman Body Paradox

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

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

Re-Encounter: Thoughts of a Mad Mind

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

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

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

Majority Rule: A Snapshot of Our Identity

So Close Yet So Far

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

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

Breezes through Long Cay: Chapter 2

Pasting Colours: Envisioning Alternatives

Conserving art in the tropical home

“West Street” by Hildegarde Hamilton

Amos Ferguson’s ‘The Queen Staircase’

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

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

Field Notes on Planting Seeds in Uprooted Gardens

The Sea as Life: Cargo and VLOSA