Stories

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

March’s Artwork of the Month—Maxwell Taylor’s ‘Nassau Boy’ (1973)

Both Sides of the Coin

A mélange of culture: Prominent intuitive artist documents heritage

The Nature of Art: In proverbial bloom

Boiling: Field Notes on Loss and Belonging

The Straw Paradox

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

(Un)Monumental: How Do We Re-contextualise Historic Sculptures for Contemporary Life?

Jace McKinney’s Prayer in a Dark Place

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

Finding Our Voices: Resisting Violence and Oppression

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

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

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

The Moving Image: The First Turn of the Revolution

From the Collection: “Untitled (Balcony House on Market Street)” (ca 1920) by James Osborne “Doc” Sands

Cultural Heritage & Erasure: “Protecting our inheritance and patrimony”

Troubling Narratives: This is how we suffer to remain

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

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

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

Balancing Act: Heino Schmid’s Temporary Horizon (2010)

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

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

Preserving the Forgotten

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

From the Collection: Blue Curry’s Nassau From Above

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

Denis Knight’s Lucayan Woman

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

Strange Darknesses: Lavar Munroe’s Sinister Fantasy Creatures

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

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

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

The Beauty and Charm of Colonialism: April Bey’s “Power Girl” Series

Epistemic and Cultural Violence: Powercutting as Light

Hearth and Heart – E. J. Read’s ‘Clay Oven’

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

Cultivating the Local: In the wake of change

Apathy, Antipathy, and Action: Political Art and the Potential for Progress

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

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

Lavar Munroe’s ‘Migrant’

Unearthing: Raising the Voices, Quieting the Noise

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

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

Inside The Silverfish: Cin on Craft, Culture, and Consumption

Antonius, AfriCOBRA, and the Aesthetics of a True-True Bahamian

Feature from the Collection: Emancipation Day Boat Cruise

Gender and the Dream: Confronting Stereotypes in Black Masculinity

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

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

Some (Re)assembly Required: Melissa Alcena’s Tender Look at Black Masculinity

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

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

Dave Smith “Violence, the beauty of paradise”: The art of capturing the lingering impact

Indigeneity and Art: Defining Our Values

“West Street” by Hildegarde Hamilton

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

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

Climate Refugees: On Becoming Climate Refugees or Building Back Differently

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

Gaia Reimagined: “Mother Earth” (1992) by Clive Stuart

Art Documenting History: Intersecting complex histories with art

Art’s healing properties