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How To: The Proper Conservation and Preservation of Paintings

Considering culture: More than a smile

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

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

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

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

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

Considering the African Culture: Not forgetting the Asue

Lamenting Slavery: Unearthing our history through art.

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

Margot Bethel’s Portal: Unpacking Memories of Womanhood

Cultivating the Local: In the wake of change

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

Gender and the Dream: Confronting Stereotypes in Black Masculinity

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

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

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

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

Both Sides of the Coin

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

“West Street” by Hildegarde Hamilton

Chan Pratt’s Work Speaks to the Urbanisation of the Bahamian Landscape

Breezes through Long Cay: Chapter 2

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

So Close Yet So Far

From the Collection: “The Bussett and the Monkey” (1991) by Amos Ferguson

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

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

Max Taylor’s ‘What to Do?’

The art of connectivity: Sinking our roots further down.

A Body Of My Own: Anina Major reclaims the body

Aftermath: Field Notes on Loss and Belonging

A Choice Landscape: The Early Work of the Late Chan Pratt

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

Feature from the Collection: Burnside Crowns a King

A Garden: Letitia Pratt Creates New Folklore in Response to Biblical Patriarchal Storytelling

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

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

Kendal Hanna’s “Rainbow Explosion”: Finding Self Through Abstraction

Majority Rule: A Snapshot of Our Identity

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

A Death Foretold: Whitehead & Pratt on Beauty and Loss

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

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

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

When We Are Like the Trees

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

NAGB at FUZE Caribbean Art Fair

The Clapboard House: A Disappearing Relic within The Bahamian Landscape

Unearthing: Raising the Voices, Quieting the Noise

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

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

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

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

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

“Traversing the Picturesque: For Sentimental Value” – The Colonial Gaze

Re-Encounter: Thoughts of a Mad Mind

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

Mhudda: Jackson Burnside’s socially aware look at the struggles of the Bahamian “everyday”

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

The Grave Silence: Sonia Farmer and Shivanee Ramlochan give voice to victims of rape in The Caribbean

The Mark of a Woman: Portraits of black womanhood in the work of Gabrielle Banks.

Sitting Pretty Political: Amos Ferguson and the Reclining Women of Art History

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

From the Collection: “Woman With Flamingoes” (1996-97) by R. Brent Malone

Finding Our Voices: Resisting Violence and Oppression