Amid recollections of a joint trip to Haiti, photographer Deana Lawson and painter Henry Taylor parse the art of portraiture in each of their different mediums.
The obsession with documentation and online sharing might have caused K8 Hardy to press pause on performing, at least for now. Hardy discusses, with poet Raines, the runway show she’s producing for the Whitney Biennial.
Ned Sublette discusses the history, art, and artistic religion of Haiti.
Where sacred slams into secular, you’ll find the sequined banners of Haiti.
That night, Sophonie conceived at the height of the downpour.
Damas “Fanfan” Louis is both master drummer and houngan asogwe, high priest of Vodou. The painter Michael Zwack, caught up with him in New York to discuss Haitian rhythms and Fanfan’s involvement in a cultural center for dance, drums and Vodou.
Haitian choreographer and drummer Peniel Guerrier was trained in traditional Haitian and African movement, and his choreographies acknowledge each tradition’s rhythms and rituals while fusing them in unexpected ways.
Maksaens Denis, a multimedia artist from Haiti who divides his time between Port-au-Prince and Paris, is also a dj and vj who comes from a classical music background. Appropriately, what might first appear to be unwieldy about his work has the exactitude of classical composition.
Sometime in the late 1990s, when I was touring the Cap Haïtien area in a rented 4×4, I was asked to transport a friend of a friend, who had been victim of a spiritual attack, for treatment at the house of a bokor somewhere among the low-lying cane fields of the Plaine du Nord.
Ned Sublette on Michael Zwack’s commitment to Minokan Vodou culture and his quest to paint “the whole world.”
I should begin by saying I am always looking for films that support the notion that there is, as has been said by more than one influential writer on the documentary, the possibility of a creative use of actuality.
The world of Michael Zwack’s paintings exists in spirit; places inhabited by esoteric knowledge.
“Nietzsche says we can’t see around our own corner. I only think that it’s very, very hard.”
“I’m sure I have suffered much more and experienced much more poverty than many of those who go around today feeling sorry for themselves. But no one has ever heard me complain at conferences, or found these laments in my books. One should be more modest, and less arrogant than that.”
For Kerry James Marshall, 1997 was a good year: a MacArthur Fellowship, the Whitney Biennial and Documenta X. He spoke with Calvin Reid about the future of painting.
Artist Tina Girouard spent several years traveling to Haiti to work with Vodou sequin artists. Along the way, she became a “Mambo of Art,” inducted into the Vodou ceremony. Excerpts from her journal.