Stories

Articles

Remedies for Remembering: Darchell Henderson’s new mural on Hospital Lane reminds us of our histories of healing.

Made in The Bahamas: Authentic action, authentic support

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

Owning our Image: Radical reclamation of self

If an entire population moves, is it still a nation?: The consequences of censoring self.

The Case for Lavar Munroe: The Son of Soil

A Glitch in Time: Who’s in for the Saving?

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

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

Troubling Narratives: This is how we suffer to remain

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

Feature from the Collection: Burnside Crowns a King

Brent Malone’s ‘Balinese Woman With Flamingoes’

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

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

The Black Woman Body Paradox

Speaking of culture: Thinking about change

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

The Straw Paradox

Margot Bethel’s Portal: Unpacking Memories of Womanhood

“Duran Duran”: Exploring Themes of Longevity and Survival in Kendra Frorup’s Work

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

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

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

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

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

Murky Histories and Futures: “Digging Upward in the Sand” (2018) by Plastico Fantastico

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

The art of connectivity: Sinking our roots further down.

Between the Devil and the Deep Blue Sea: Lavar Munroe deconstructs “The Arrival”

Something About Failure: Tessa Whitehead’s intimate questioning on success, failure, and what makes art work.

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

Breezes through Long Cay. Chapter 1: As Stories Fade

Adaptability & Draughts(woman)ship: Kachelle Knowles Builds a Practice of Representation That Takes Action

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

Denis Knight’s Lucayan Woman

From the Collection: Maxwell Taylor’s “The Immigrants No.3” (c1990)

Unearthing: Raising the Voices, Quieting the Noise

From the Collection: “Poor Man’s Orchid” (1989) by Sue Bennett-Williams

The Art of Living in the Tropics, Part Three: Silence

Boiling: Field Notes on Loss and Belonging

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

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

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

The January Artwork of the Month is ‘Beller’

Locked in Our Bodies: A Resurrection of Voices

Sounding the Alarm: Tanicia Pratt’s Blow the Whistle

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

How To: The Proper Conservation and Preservation of Paintings

Aftermath: Field Notes on Loss and Belonging

A Body Of My Own: Anina Major reclaims the body

Ferguson’s Fantastic Dragon: Blending the imagination with the biblical

“West Street” by Hildegarde Hamilton

The Sea as Life: Cargo and VLOSA

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

Rebirth: Field Notes on Loss and Belonging

A Botanical of Grief: Yasmin Glinton and Charlotte Henay Connect with Ancestors’ Voices and Put Mother Tongue to Poetry

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

The Life and Death of Street Trees: Jenna Chaplin’s call to attention for the importance of street trees for the upcoming NE9

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

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

Timelines: Developing Blackness

Art’s healing properties

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

Considering the African Culture: Not forgetting the Asue

A Bahamian Aesthetic: Defining the Local in the Global

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