The soft afternoon air as you hold us all in a single death (To breathe full and Free: a declaration, a re-visioning, a correction)
The 1990s were a period of profound social, political, and economic transformation. From the dissolution of the Eastern Bloc to the rise of transnational trade agreements, the decade’s large-scale shifts ushered in an era of international connectivity and social upheaval. In the cultural sector, art exhibitions expanded and turned global, and dialogues around identity, especially by those who have suffered systemic oppression, were featured front and center in cultural debates. The forces of this pivotal decade also had a major effect on the production, circulation, and presentation of art from the Caribbean.
Is the first major group exhibition in the United States to envision a new approach to contemporary art in the Caribbean diaspora, foregrounding forms that reveal new modes of thinking about identity and place. It uses the concept of weather and its constantly changing forms as a metaphor to analyze artistic practices connected to the Caribbean, understanding the region as a bellwether for our rapidly shifting times.
Full Article: Slavery: Annual Bibliographical Supplement (2016)
The exhibition is curated by Carla Acevedo-Yates, Marilyn and Larry Fields Curator, with Iris Colburn, Curatorial Assistant, Isabel Casso, former Susman Curatorial Fellow, and Nolan Jimbo, Susman Curatorial Fellow. It is accompanied by an expansive catalogue featuring scholarship as well as extensive plate sections reproducing exhibition artworks in full color. It includes essays authored by Carlos Garrido Castellano, Genevieve Hyacinthe, Aaron Kamugisha, and Mayra Santos-Febres, as well as a roundtable conversation with Carla Acevedo-Yates, Christopher Cozier, MarÃa Magdalena Campos-Pons, and Teresita Fernández. The exhibition is designed by SKETCH | Johann Wolfschoon, Panamá.
Lead support is provided by the Harris Family Foundation in memory of Bette and Neison Harris; Zell Family Foundation; Cari and Michael Sacks; the Andy Warhol Foundation for the Visual Arts; Jana and Bernardo Hees; Mellon Foundation; Gael Neeson, Edlis Neeson Foundation; and Karyn and Bill Silverstein.
Major support is provided by Julie and Larry Bernstein, Robert J. Buford, Citi Private Bank, Lois and Steve Eisen and the Eisen Family Foundation, Marilyn and Larry Fields, Nancy and David Frej, the Jacques and Natasha Gelman Foundation, Anne L. Kaplan, Charlotte Cramer Wagner and Herbert S. Wagner III of the Wagner Foundation, and an anonymous donor.
Por Amor Al Arte: Anatol Brusilov
This exhibition is supported by Etant donnés Contemporary Art, a program from Villa Albertine and FACE Foundation, in partnership with the French Embassy in the United States, with support from the French Ministry of Culture, Institut français, Ford Foundation, Helen Frankenthaler Foundation, CHANEL, and ADAGP.
Deborah Jack, the fecund, the lush and the salted land waits for a harvest . . . her people . . . ripe with promise, wait until the next blowing season, 2022
The audio in this artwork consists of a woman speaking about mining salt as a youngster, string music, excerpts from a 1948 Dutch documentary on St. Maarten, and the sound of the ocean.
Portico Semanal 777
You know, I am—I can tell a little bit about the salt pond, what I know. In that time, in the salt pond time, they were good times. They were good times. The people was very industrious. And they didn’t have nothing, no other alternative but the salt pond. And everybody, everybody used to work their own garden. Everybody worked their own garden.
And when the time come for the salt, because you had to . . . You couldn’t leave the salt pond, just run like that, the sea go in, come out, go in, come out. They had—it had to be taken care of.
El audio consiste en una mujer que habla sobre extraer sal de joven, música de cuerda, unos extractos de un documental holandés de 1948 sobre San MartÃn y el sonido del océano.
Poésie Moderne Et Oralité Dans Les Amériques Noires. « Diaspora De Voix »
Yo soy . . . Yo les puedo hablar un poco sobre el estanque de sal, sobre lo que sé. Esa época, en el estanque de sal, fue muy buena. Qué buena época. El pueblo era muy trabajador. Y no tenÃan nada, ninguna otra alternativa; solo el estanque de sal. Y todo el mundo trabajaba en su propio jardÃn. Todos trabajaban en su propio jardÃn.
Y cuando llegaba la hora de la sal, porque habÃa que hacerlo… No podÃas salir del estanque de sal o simplemente salir corriendo. El mar entraba y salÃa, entraba y salÃa. Ellos tenÃan . . . TenÃamos que ocuparnos de eso.
The audio in this artwork consists of howling winds as well as excerpts from Burning Spear’s song “Columbus” and the 1984 documentary
Festival Internacional PoesÃa En Voz Alta.15 (mexico City April 2015)
Not the discovery of a brave new world. Not glorious Spanish conquistadors. The plantations, which followed Columbus and slavery. Contact with Europe is still seen as having brought with it little but disease, servitude, and deprivation. The destruction of Native peoples and culture.
SPEAKER 2: The Indians couldn’t hang on no longer. The Indians couldn’t hang on no longer. Here comes Black man and woman and children. Here comes Black man and woman and children.
SPEAKER 2: What about the Arawak Indians? The Indians couldn’t hang on no longer. Here comes Black man and woman and children. Here comes Black man and woman and children.
El Caballero Andante Don Quijote (paperback)
SPEAKER 3: The overseas economies of European powers like England, France, Holland, and Portugal. The overseas economies of European powers like England, France, Holland, and Portugal profited mightily from sugar and from the slave trade needed to produce it.
SPEAKER 2: The Indians couldn’t hang on no longer. Here comes Black man and woman and children. The Indians couldn’t hang on no longer. Here comes Black man and woman and children.
SPEAKER 3: The meeting place of the old world and the new was here. The meeting place of the old world and the new was here.
Portuguese Portraits, Aubrey F. G. Bell
El audio de esta obra de arte consiste en unos vientos soplando fuertemente además de unos extractos de la canción “Columbus” de Burning Spear y del documental de 1984
Takes the 1990s as its cultural backdrop, gathering artworks by thirty-seven artists who live in the Caribbean or are of Caribbean heritage, or whose work is connected to the region. The exhibition is anchored in the concept of diaspora, the dispersal of people through migration both forced and voluntary. Here, diaspora is not a longing to return home but a way of understanding that we are always in movement and that our identities are in constant states of transformation. This idea is seen in the artworks shown, which suggest movement and travel through forms, materials, and techniques.
Also proposes that the Caribbean is a way of thinking, being, and doing that extends beyond its geographic borders, challenging our assumptions about Caribbean culture and its representation and reframing the relationship between identity and place. The exhibition also presents an idea through its title: that the Caribbean inaugurated the modern world, and that forms and their aesthetics allow us to analyze the histories and forces that continue to shape our contemporary moment, from emancipation and human rights to colonialism and climate change.
A Companion To Us Latino Literatures Monografias A Monograf As A
Is curated by Carla Acevedo-Yates, Marilyn and Larry Fields Curator, with Iris Colburn, Curatorial Assistant, Isabel Casso, former Susman Curatorial Fellow, and Nolan Jimbo, Susman Curatorial Fellow. The exhibition is designed by SKETCH | Johann Wolfschoon, Panama.
The body is our first dwelling and the carrier of our personal and collective histories. Artist Zilia Sánchez, whose work is in this gallery, declares: “Soy isla, ” or, “I am an island, ” rethinking her own body and identity through place.
Although the word “territory” is often understood as a political concept, like nations and fixed borders, it is also a way to describe the psychic landscapes, or inner worlds, that inform our shared experiences. Whereas diaspora starts as the physical movement of people, its process results in new personal, cultural, and historical territories. Artists in this section approach these shifting territories using processes of transfer, layering, and concealment. Some artists take the body as a point of departure to mark time and space through movement, whereas others create abstract landscapes both real and imagined.
Industrial Design And Artistic Expression In: Industrial Design And Artistic Expression
The works on view here all suggest movement—not only depicting or capturing bodies in motion but also emphasizing movement through formal choices, materials, and techniques. Some artists in this section express the dynamism and energy of movement using color and gesture while oscillating between recognizable and abstract forms. Others include movement in their art-making processes, transferring materials from one place or surface to another. Each of these artistic strategies is a metaphor for how identities are shaped by constant transformation.
Historically, the Caribbean has been a place of cultural exchange and economic exploitation, from the plantations of the colonial era to the tourist and oil industries that undergird today’s global economy. Culturally, the Caribbean is constantly being reconfigured through migrations and geopolitical relations with the Arab world, Asia, and the Americas, among other regions. In the works in this section, place is difficult to locate, as geographies collapse into one another and images question fixed origins and identities.
Making images and repurposing images from archives are important ways to create and preserve memory. Archival photography and video both serve this purpose, and artists often use them as source materials to
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