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Sitting with the Dead: “Medium,” a show of Bahamian Religion and Spirituality

Art Documenting History: Intersecting complex histories with art

Aftermath: Field Notes on Loss and Belonging

Re-membering the past: Margot Bethel and Nicolette Bethel take on Transforming Spaces 2015 family-style

Cultural Tourism on Exuma: A Gem for Few, a Gem for All

A mélange of culture: Prominent intuitive artist documents heritage

Striking the Balance: Reagan Kemp’s Emi

Everybody and Dey Grammy

Majority Rule: A Snapshot of Our Identity

Rebirth: Field Notes on Loss and Belonging

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

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

This has all been said before: Art, Racism and the words of representation

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

Indigeneity and Art: Defining our Values

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

Considering the African Culture: Not forgetting the Asue

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

From the Collection​: “North Star” (2007-8) by Heino Schmid

Allan Wallace’s ‘Let There Be Order’

The Wisdom of Amos Ferguson: Reflections on “Hard Mouth: From the Tongue of the Ocean”

A Death Foretold: Whitehead & Pratt on Beauty and Loss

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

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

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

“Burma Road” (c2008) by Maxwell Taylor

The Role of the Arts in Addressing Climate Change

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

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

Are We One With Nature? G. Paul Dorfmuller’s Nassau Corner

So Close Yet So Far

From the Collection: “Untitled (Boat Scene)” (c.1920) by James “Doc” Sands

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

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

’21st-Century Needs’: The cultural task to survive and thrive

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

From the Collection: “The Deanery” (1979) by Alton Lowe

Vulnerable ecologies: This Woman’s Work

Re-Encounter: Thoughts of a Mad Mind

Beauty in Bain Town: How does Over-the-Hill Fit Into the Bahamian Picturesque?

Civil Engagement as Culture: Unearthing Voices

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

A Bahamian Aesthetic: Defining the Local in the Global

Urban Scrawl: The potential for public art projects in Nassau

How To: The Proper Conservation and Preservation of Paintings

Owning our Image: Radical reclamation of self

Sorry for What: I am not the sugar in your cup of tea

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

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

From the Collection: “Built on Sand” (2003) by Dionne Benjamin-Smith

Traditional Knowledge Living in the Tropics: Respecting Lifeways

“Water: The giver and the taker of life”: Edrin Symonette’s “Salt of the Earth”

Preserving the Forgotten

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

Both Sides of the Coin

“The Story of “ETA”: Blue/Green Ragged Island” Ideation in Art and Design

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

The writing on the wall

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

NAGB at FUZE Caribbean Art Fair

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

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

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

Gender and the Dream: Confronting Stereotypes in Black Masculinity