The art of Kevin Blythe Sampson

THE ART OF
KEVIN BLYTHE SAMPSON

6/29/12

Blow-up solar lantern lights up Haiti's prospects - CSMonitor.com

Blow-up solar lantern lights up Haiti's prospects

The elegant clear-plastic lantern, which charges itself when left out in the sun and emits the light of a 60-watt bulb, will bring a safe and inexpensive light source to those without electricity.

By Laurie Goering, AlertNet / June 26, 2012
Children at Edeyo School in Port au Prince, Haiti, examine Luci, a blow-up solar-powered lantern.
Courtesy of MpowerD
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RIO DE JANEIRO
What does sustainable development look like? It’s sitting in the palm of Jill Van den Brule’s hand.
She and a handful of other social entrepreneurs have come up with a blow-up solar-powered lantern that squashes flat like a child’s beach toy for easy transport. The elegant clear-plastic lantern has white LED lights that produce as much illumination as a 60-watt bulb, charges itself when left out in the sun, lasts a year, and costs $10 – a sum its inventors expect to be able to reduce.
“It cuts across a lot of problems,” says Van den Brule, who previously worked with United Nations children's agency UNICEF in Haiti following the country’s devastating 2010 earthquake and is now introducing the lanterns there.
RELATED: Top 5 nations that use renewable energy
Finding ways to create “energy for all” has been a focus at the Rio+20 sustainable development summit, which ended June 22 in Rio de Janeiro. The push, led by UN Secretary-General Ban Ki-moon, aims by 2030 to bring power to everyone around the globe, to double energy efficiency, and to double the share of renewable energy being used.
It has so far won commitments of more than $50 billion in private funding, as well as tens of billions of dollars of government, development bank, and civil society backing, UN officials said in Rio.
At least 1.3 billion people lack access to electricity, according to the International Energy Agency, and as many as 3 billion – half the planet – have only irregular access to power.
But a range of innovative efforts aim to change that – including projects like Luci, the solar lantern that Van den Brule is now rolling out with her partners at MpowerD, based in the United States and France.
Solar lanterns aren’t new – at least 10 are on the market today – but they will have a growing role to play in providing inexpensive and safe evening lights in parts of the world without the money or grid access for electricity, or in places looking for more sustainable sources of light, experts say.
Van den Brule said many children in Haiti study at night with kerosene lamps, which can cost at least $10 a month to run, produce toxic fumes, and can cause burns if knocked over.
Indoor smoke from cooking fires and lamps also contributes to nearly half of the world’s 2 million pneumonia deaths among children each year, and to cancer in women – two-thirds of female lung cancer victims in the developing world are nonsmokers, Van den Brule said.
The lanterns could also improve women's safety. Rape has been rampant in camps for families displaced following Haiti’s earthquake. But when lights were introduced into the camps at night, the number of rape cases per week fell from 57 to 2 in just one week according to UN statistics, Van den Brule said.
The lights used in the camp were not solar lanterns, but the value of access to portable lights at night, including for women or children going outside to toilets, is evident, she said.
There are other potential benefits. The lightweight lights could be included in kits for midwives. And the inventors are looking at creating a model that could also be used to charge mobile phones – a big demand in Haiti and many parts of the world – and at building the lanterns from recycled plastic bottles.
“We want the communities to come up with ideas of what they want,” Van den Brule said.
After early experimentation, a first batch of 10,000 lanterns are headed to Haiti soon, she said, and at least one UN agency is pondering carrying out a pilot project using them.
Van den Brule suspects the hand-held lights may eventually find another home in camping stores in the developed world and could even end up on fashion catwalks or hanging outside hotels to provide evening lights.
“We’re empowering communities but also creating things that are aesthetically nice,” she said. “There’s no reason something going to a developing country has to be ugly.”
This article originally appeared at AlertNet, a humanitarian news site operated by the Thomson Reuters Foundation.
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Blow-up solar lantern lights up Haiti's prospects - CSMonitor.com

TateShots: David Medalla | Tate

TateShots: David Medalla | Tate

6/22/12

Queens Tribune Caribbean Cultures Collide At Queens Museum Of Art

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Caribbean Cultures Collide At Queens Museum Of Art

BY MEGAN MONTALVO
shakepeare
Video Portrait “Kima Momo” on display at Queens Museum of Art.

Last Saturday marked the opening of the latest installment in the exhibition series “Caribbean Crossroads of the World” at the Queens Museum of Art. Complete with live musical performances and traditional Caribbean fare, the event attracted the attention of local residents, artists and fans of art world alike.

  “We always try to find that perfect counterbalance between the art world and the real world,” said David Strauss, Director of External Affairs at the Queens Museum of Art, “and tonight is exactly that.”

  The exhibit, which was organized in conjunction with Manhattan-based museums, El Museo del Barrio and The Studio Museum in Harlem, presented paintings, still photos, video installations and garments created by artists from the Caribbean archipelago.

  Strauss noted that with the rich influx of Caribbean cultures in New York City, the theme of the Caribbean seemed not only fitting but long overdue. “The fact that we are able to really delve into what the Caribbean basin is in the arts through its history and come up with three very powerful museums full of wonderful artwork speaks volumes,” said Strauss.

  Within the larger, unified theme of the Caribbean, common topics of religion, gender roles and strained inter-cultural relationships between the islands echoed throughout many of the works.

  Inspired by an actual nun living in Curaçao, the painting of “The Black Nun” depicted the intricate contrast between the indigenous culture of the island and European influences.

  A native of Curaçao, painter Ariadne Faries said she first noticed the nun singing in a local Catholic church. “I was very inspired to see the combination of Africa, an origin that has a lot of gods, with the Catholic European robes she wore,” said Faries.

  Large crowds drew to a poignant video portrait entitled “Kima Momo” (translation the burning of King Momo), which exemplified the questioning of the roles of men and women in Carribean society.

  Of his work, artist Ryan Oduber said “The piece is a critical look on the carnival. It questions the way men are raised for being macho.”

  The Carnival is an annual Caribbean tradition in which a full-day festival is held to commemorate the celebration of life the on the day before Lent begins. Oduber, who was born in Aruba, said he noticed a drastic shift in social roles once he moved to Holland.

  “In Aruba the macho culture is very present, it’s very latino,” said Oduber. “But once you go study in Holland, it’s almost the opposite. The men are very feminine, they wash dishes, they look after kids, they discuss with women about the way they raise the kids and have the family.”

  The inclusion of Oduber’s piece marks a personal first for the artist who never before had his work on display in New York. “It’s amazing to be a part of something so big,” said Oduber. “To be exhibited in Queens is magical.”

  “Caribbean Crossroads” will be on display though January and the purchase of one ticket at any one of the three participating museums will grant admission to all three.

  Reach Reporter Megan Montalvo at (718) 357-7400 Ext. 128 or mmontalvo@queenstribune.com
Queens Tribune

6/18/12

Sculpture By Kevin Blythe Sampson (On Display Queens Musuem

Opening Reception for Caribbean: Crossroads of the World

Saturday, June 16, 6:00 pm – 9:00 pm, 2012
Leo Matiz, Pavo real del mar (Peacock of the Sea), 1939, Ciénaga Grande, Colombia, digital reproduction; Courtesy Foundation Leo Matiz, Alejandra Matiz
Leo Matiz, Pavo real del mar (Peacock of the Sea), 1939, Ciénaga Grande, Colombia, digital reproduction; Courtesy Foundation Leo Matiz, Alejandra Matiz
Join us for the opening reception of Caribbean: Crossroads of the World featuring live performances by Harmony Steel Band and Antoine International Mas, complimentary cocktails provided by Bacardi, and food for sale from Caribbean food trucks at our entrance. Free shuttle bus service is provided between CitiField/Willets Point 7 Train stop and the Museum. Opening in conjunction with Caribbean: Crossroads, Ada Bobonis: Stages, Mountains, Water will be on view in the Unisphere Gallery.
The exhibition Caribbean: Crossroads of the World is the culmination of nearly a decade of collaborative research and scholarship organized by El Museo del Barrio in conjunction with the Queens Museum of Art and The Studio Museum in Harlem. Presenting work at the three museums and accompanied by an ambitious range of programs and events, Caribbean: Crossroads offers an unprecedented opportunity to explore the diverse and impactful cultural history of the Caribbean basin and its diaspora. More than 500 works of art spanning four centuries illuminate changing aesthetics and ideologies and provoke meaningful conversations about topics ranging from commerce and cultural hybridity to politics and pop culture.
Caribbean: Crossroads is on view at the Queens Museum of Art from June 17, 2012 – January 6, 2013; El Museo del Barrio from June 12, 2012 – January 6, 2013; and the Studio Museum in Harlem from June 14 – October 21, 2012.
Presenting Sponsor
MetLife Foundation
Leadership Support provided by
Ford Foundation
Major support provided by
The Reed Foundation
Rockefeller Brothers Fund
Opening celebrations supported by
Bacardi
Additional support is provided by the National Endowment of the Arts, Bacardi USA, Institut Français, Consulate General of the Netherlands in New York,
Mondriaan Fund, Amsterdam, Christie’s, Inc., The Shelley and Donald Rubin Foundation, Tony Bechara, Ramón and Nercys Cernuda, Jacqueline L. Curiel, Susan R. Delvalle, Elena de Murias and Dr. Blas A. Reyes.
The exhibition publication is supported by The Dedalus Foundation and Patricia & Howard Farber Foundation. Exhibition programs are supported, in part, by public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a State Agency; Speaker Christine Quinn and the New York City Council.
Thirteen, a WNET.ORG station, and NYC & Company are the lead media partners for this exhibition. Additional media sponsorship is provided by Cablevision, MTA NYC Transit, WABC-TV, and WXTV Univision 41. Special thanks to ARC Magazine, Art Experience: New York City, Bomb, Christie’s, Inc., Flavorpill, and Urban Latino for their additional media support.
Presented by El Museo del Barrio in collaboration with the Queens Museum of Art and The Studio Museum in Harlem.

6/17/12

Emma Wilcox - Reviews - Art in America

Emma Wilcox

6/7/12
Philadelphia
"Where it Falls" presents 15 black-and-white photographs that Emma Wilcox shot in Newark, N.J., between 2006 and 2012. These subtle but haunting images, all measuring 20 by 24 inches and taken with a 4x5 camera, document the current state of an American city and its decay in two ongoing series. Displaying the pictures in a single row that wraps around the walls of the Print Center's second-floor galleries, the deliberate and restrained installation permits viewers to witness the artist's movement through and above the cityscape.

"Eminent Domain" (2006–) features aerial views from a helicopter that show texts Wilcox painted in giant letters on rooftops and across empty lots. The artist, born in 1980 in Cambridge, Mass., started this project when she was about to lose her Newark home to eminent domain. The sentences and phrases she uses are drawn from a variety of sources, including interviews with local residents, legal documents, signage and poetry. Eminent Domain No. 3 (2006) depicts the top of Wilcox's former apartment building, with the painted message "MY MEMORY GETS IN THE WAY YOUR HISTORY"-a personal and political cry from a home that has since been torn down. Wilcox's missives firmly resist the havoc wreaked by developers on the physical and emotional topography of the city.

In "Forensic Landscapes" (2002–), we see intimate glimpses of the city at street level. The moody and eerie photos-of disused movie theaters, old cars, unplugged neon bar signage, abandoned grocery carts, shoes partially buried in dirt-were taken with long exposures at nightfall. They acknowledge the city's past as well as its struggles to survive amid the challenges of the present.

Also on view are five peculiar sentence fragments appropriated from the original 1713 survey of the city. Printed in dark gray vinyl low on the wall, the lines-for example, "A BLACK CHERRY TREE MARKD WITH Y LETTERS N ON THE ONE SIDE & E ON THE OTHER"-supply physical descriptions of Newark in its preindustrial state. But they read like beautiful snippets of poetry and provide a counterweight to the dense photographs, which echo the atmosphere and sets of 1950s B movies. Another installation plots the GPS coordinates of the texts that Wilcox has installed or plans to install on rooftops. They are arranged across a single gallery wall in their relative locations, creating a rough map of downtown Newark.

Wilcox oscillates between past and present in her exploration of Newark's postindustrial archeology, and her resulting project conjures Robert Smithson's 1967 treatment of Passaic. (The Passaic River also runs through Newark.) This quiet and controlled work offers a personally driven yet universally relevant meditation on the fate of countless American cities.


Photo: Emma Wilcox: Eminent Domain No. 3, 2006, gelatin silver print, 20 by 24 inches; at the Print Center.

Emma Wilcox - Reviews - Art in America

6/16/12

To save a schoolhouse -- and history - CNN.com

To save a schoolhouse -- and history

By Jamie Gumbrecht, CNN
updated 4:09 PM EDT, Sat June 16, 2012
"You Need A Schoolhouse" author Stephanie Deutsch and Noble Hill-Wheeler Memorial Center curator Mariann Coleman talked during a visit to the schoolhouse museum in March. It was one of several Rosenwald schools Deutsch visited since she began to research her book abotu the schools. "You Need A Schoolhouse" author Stephanie Deutsch and Noble Hill-Wheeler Memorial Center curator Mariann Coleman talked during a visit to the schoolhouse museum in March. It was one of several Rosenwald schools Deutsch visited since she began to research her book abotu the schools.
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Saving a Rosenwald school
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STORY HIGHLIGHTS
  • There's fresh energy in an effort to preserve historic Rosenwald schools in the rural South
  • About 5,000 schools were built to educate black children; about 800 remain
  • 10 years ago, Rosenwald schools were on the "most endangered places" list
  • Preservationists and alumni meet to discuss how to save more of the buildings
Cassville, Georgia (CNN) -- The little white building with tall windows is off a main road, miles from the busier patches of town. This was the school where Marian Coleman sang nursery rhymes, the same school where her parents met when they were just kids.
For about 30 years, any black child in this northwest Georgia community came here to learn to read and write, to understand math, geography and health. They shared books, brought their own lunches and shared those, too.
At recess, kids played in the woods just outside. In the morning, those who arrived first lit the stove with wood parents donated.
But the Noble Hill School shut down in 1955 -- after four teachers and seven grades had been crammed into the two-room schoolhouse that lacked electricity and water and the Supreme Court had ruled against segregated education for white and black students. It was more than 10 years before the local public schools integrated, Coleman remembers, but there was no pretending the 1923 building was equal.
For decades, the little white building sat empty. It became a storage garage and then a memory. Grass and weeds grew tall around it. The paint chipped away and wood sagged. Windows disappeared.
So it went for most Rosenwald schools, a collection of about 5,000 schoolhouses built between the early 1910s and early 1930s. Their creation stemmed from philanthropy and community cooperation that were rare for the time -- matching funds provided by Sears, Roebuck and Co. leader Julius Rosenwald, educational direction by Tuskegee Institute leader Booker T. Washington and financial support from local black families and white-led school districts.
Their purpose: Educate black children in the rural South.
They were modern schoolhouses for the time, designed by Tuskegee Institute architects with ventilation, gathering space and windows large enough for reading light.
"You need a schoolhouse," Washington told his Tuskegee students. "You cannot teach school in log cabins without doors, windows, lights, floor or apparatus. You need a schoolhouse, and, if you are earnest, the people will help you."
With seed money from Rosenwald, the rural school building program led to significant educational gains for rural Southern blacks, Federal Reserve of Chicago researchers wrote last year, with great effects on cognitive test scores, literacy and years of schooling. As the black-white education gap narrowed between the World Wars, educated African-Americans were more likely to move to areas with stronger labor markets -- mostly cities in the North -- which helped to shape the Great Migration and the 20th century economy.
When the school building program ended in 1932, it had served more 660,000 students in 15 states, according to the National Trust for Historic Preservation.
"People were so hungry for schools," said Stephanie Deutsch, author of a book about Rosenwald Schools, "You Need a Schoolhouse." "There were so many places in the rural South where there just weren't any schools."
But the history was forgotten by those who didn't know or ignored by those who didn't care. Some Deep South communities tore down the schoolhouses to make room for larger buildings they hoped would sustain separate-but-equal education, preservationist said, or to make room for cities and suburbs that sprang up on old farmland.
It has been 10 years since the National Trust listed Rosenwald schools among the most endangered historic places. Since then, the National Trust launched the Rosenwald Schools Initiative to help school groups share resources and channel millions in grant money. The Smithsonian Institution's National Museum of African-American History and Culture has been acquiring Rosenwald school artifacts. The broader history of the schools has become better known, leading more alumni and communities to question whether their rickety old buildings are part of a bigger story.
There's renewed energy in the fight to restore the old structures, preservationist said. Their current status, as far as the National Trust is concerned: Favorable.
That doesn't mean it'll be easy.
National Trust for Historic Preservation officials estimate about 800 Rosenwald schools still stand. But just like when they were built, their survival requires broader community support.
First, they need help finding them.
The schools were built to serve rural students and often went without addresses, or even roads. Local government and school records are sparse, if they exist at all, preservation workers said. Even those still standing are sometimes so worn by weather and time that they aren't recognizable; it's tough to prove a wooden structure in an overgrown field matches a decades-old memory and the Rosenwald Fund's school records.
The Noble Hill school was among the first Rosenwald schools to be preserved. Its alumni and their descendents began talks to restore the school in 1982, decades before the story of the schools spread. It took years to secure the land and building, gather support from local and state officials, prove historic significance and raise $200,000 needed for improvements.
"A lot of people would have given up," said Coleman, the one-time student.
Coleman is now curator of the museum inside the schoolhouse. It re-opened in 1989 as the Noble Hill-Wheeler Memorial Center, a museum of black culture that hosts hundreds of school children every year.
"It's part of our history, so we can look back and see where we came from, how far we've progressed," said Coleman, who never attended integrated schools and eventually went to Atlanta to further her education. "I tell a lot of the kids they're blessed. Some things that happened in history time, you wouldn't want repeated."
Since Noble Hill's restoration, Georgia preservation officials have located 50 more Rosenwald schools -- a sliver of the 242 built there, but more than many other states have found, said Jeanne Cyriaque, African-American programs coordinator for the Georgia Department of Natural Resources Historic Preservation Division. Cyriaque has sent people tromping through fields to check out rumors of buildings, she said, but the search had changed in recent years. As the story of the Rosenwald schools spread, she began to hear from alumni who'd just realized their schools had a history beyond their small towns.
"People would call in and say, 'I think I have a Rosenwald School. Can you help me?'" Cyriaque said.
The struggles they face now can be even greater than Noble Hill's -- buildings are older and deeper into disrepair. Restoration money is hard to come by. Even the most well-meaning alumni are rarely prepared to babysit a historic building.
African-American history only sparked the interest of historians in recent decades, preservationists say, and many communities are now trying to make up for lost time.
"It has to do with the understanding -- the mainstream America understanding -- that our histories are all interwoven. You can't separate the strands and shouldn't separate the strands of our collective history," said Tracy Hayes, field officer with the National Trust's Rosenwald Schools Initiative. "Everyone can have their own individual experience, but it's not individual at all; it's all part of the larger tapestry.
"It crosses the boundaries of African-American history, Jewish philanthropic history, Northern philanthropic history. It takes us into the history of education, of rural areas, the whole population of people becoming educated, the population that became the leadership in civil rights movements and moving people forward in gaining equality."
Some communities aren't interested in the saving the Rosenwald schools or the memories they represent. For a long time, black and white communities struggled with emotions dug up by the old buildings.
"We're trying to get communities to recognize these are not just African-American stories. It's their community's history," Cyriaque said. "In the African-American community, if a building was associated with slavery or Jim Crow, it was somewhat devalued."
It's no coincidence, she said, that Atlanta's Sweet Auburn district, once known as "the richest Negro street in the world," appeared on the National Trust's list of most endangered places released last week, she said.
But the memories of the safe, loving community around the Rosenwald schools is exactly what drives some local preservation groups.
"It took a while for me to understand that affection, that it was a loss," said Deutsch, the author, who is married to a descendent of Julius Rosenwald. "'Everything in this little town was segregated. We couldn't go to the library or do anything. This was everything. There's solidarity in being together, facing something difficult together."
Community members who worked to save the Noble Hill school are memorialized inside the museum.
Community members who worked to save the Noble Hill school are memorialized inside the museum.
This weekend, preservationists, historians, alumni and builders gather in Tuskegee, Alabama, for the National Rosenwald Schools Conference. It's their chance to share what they've learned and consider how other rural communities manage their Rosenwald schools. For some, it's a crash course in preservation: How to pay for it? What's the maintenance like on an 80-year-old building?
Most importantly, preservationists said: What can the building do to sustain its own survival?
"I hear it all the time. I'll go visit a school, 'We want our school to be a museum,'" Cyriaque said. "I say, 'What else is it going to do?'
"A lot of people, when they first get into it, think the hardest part is saving the building. Really, it isn't in the end. It's how you're going to keep it alive."
Many museums struggle to stay open, staffed and funded. Some school buildings are successfully used now as preschools or private residences. The 1929 Carroll School in Rock Hill, South Carolina, is used by fifth-graders doing field studies about life during the Depression. The former Walnut Cove Colored School in Stokes County, North Carolina, is used as a senior center. The six-classroom Highland Park School in Prince George's County, Maryland, opened in 1928, and is now part of a larger elementary school.
Most of the usable buildings in Georgia serve as community centers, although some have served as town offices, libraries and studios for dance classes, Cyriaque said.
At the Noble Hill Wheeler Memorial Center in northwest Georgia, Coleman has heard it all. Kids are shocked by the idea of outhouses and three-mile walks to school, but older folks come there to reminisce. Even if they grew up somewhere else, older visitors recognize the wood floors, the blackboards, the high block of windows and wonder what happened to their old school.
"When they come in and we start talking, and it starts bringing back a lot of memories, I get a lot of information that way," Coleman said.
"Sometimes, it just takes something to stir it up."
Do you or any of your family members have a memory connected to these schools? Share with us in the comments below.
CNN Radio's Emma Lacey-Bourdeaux To save a schoolhouse -- and history - CNN.com

6/15/12


Too Many Paths Leading Every Which Way at Caribbean: Crossroads of the World

Arnaldo Roche Rabell, "We Have to Dream in Blue" (1986), oil on canvas (via elmuseo.org)
Spending all day being party-bused between the three museums — El Museo del Barrio, the Studio Museum in Harlem and the Queens Museum of Art — who are hosting the self-proclaimed landmark exhibition Caribbean: Crossroads of the World, I was repeatedly told by the museum directors, curators and artists just how significant and groundbreaking the exhibition is. However, I left the final museum feeling confused by the jumbled mix of artistic styles and periods shoved together.
Organized thematically with two themes per museum from “Fluid Motions” at the Queens Museum, focusing on the importance of water and coastal areas on the Caribbean’s art and culture, to “Shades of History” at the Studio Museum, studying the impact of race and race relations, the exhibition seemed to fall into the same trap many identity or location-based exhibitions do — by attempting to show every single work that could fit into the exhibition space without a thought to how they might translate to the viewer.
By trying to stick to a strict thematic structure without explanation of individual works of art, I came out of the day long viewing not knowing anything more about Caribbean art, which is unfortunate since my knowledge of the topic is sparse. The museums are also joining together to create a 500-page catalogue, which would reputedly be the first major survey publication on Caribbean art yet, but the book was not available for the opening of the exhibition and there was little to offer insight into the art on display.
Jean-Michel Basquiat, "Untitled (Red/Green Skull)" (1982), acrylic and oilstick on paper (all photos by author unless otherwise noted)
Beginning at the El Museo del Barrio, exhibition focused on the effect of the economic development in the Caribbean from the sugar, fruit and tobacco trade and the impact of Creole culture. In both of these thematic rooms, the curators placed historic images next to contemporary art that reflects on the state of the Caribbean today.
Installation View at the Queens Museum of Art (photo by author)
While the importance of Caribbean art and its diaspora in art history from Impressionism with Camille Pissarro, who was born in the Caribbean, to Jean-Michel Basquiat, who was of Haitian descent, cannot be denied, I’m not sure that there is a real reason for both these artists to be placed next to each other in an exhibition.

Similarly at the Studio Museum in Harlem and the Queens Museum of Art, their thematic rooms were overhung, organized salon-style in both museums, making it near impossible to view visually and contextually. The only explanations given were the small wall texts presenting each thematic portion of the exhibition, each individual work remained unexplained.  This lack of clear explanation for the general viewer leaves Caribbean: Crossroads of the World best suited for school groups, educational tours and other groups that may have a concise lesson plan related to the show or a tour guide.
Coco Fusco, "The Undiscovered Amerindians" (2012), drypoint etchings on paper
Even though I found the exhibitions organization overwhelming, I still found many works that illuminated the state of Caribbean culture and identity today without any need for explanation. I particularly liked Coco Fusco and Paula Heredia’s hysterical film “The Couple in the Cage: Guatinaui Odyssey” (video, 1993) and Fusco’s related etchings The Undiscovered Amerindians (2012). Dressed up as unidentifiable natives in cages placed in art galleries and other locations, Fusco and Heredia played on viewer’s interactions and cultural assumptions of them as savage natives. The etchings show some of the more notable reactions that are documented in the film, including the fact that a viewer offered to pay $10 to feed the artists a banana at the Whitney Museum.
Hubert Neal Jr, "Silent Scream" (2010) from the series "Dudu Chronicles," acrylic on canvas board
Leaving the press party-bus, which was by the way not much of a party, I felt frustrated that the exhibition revealed little. The curators and directors are clearly so proud of themselves by bringing together this many works that they forgot to create a clear, understandable way to for outsiders entree into the presentations. Rather than attempting to create the biggest exhibition on Caribbean art in history, I wish that the curators at all three museums had focused on making an exhibition that could be understood and appreciated by a general audience.
Caribbean: Crossroads of the World continues at El Museo del Barrio until January 6, 2013, the Studio Museum in Harlem until October 21, 2012 and the Queens Museum of Art until January 6, 2013.