aadatart:

Winners of POPCAP’14 Announced

Anoek Steketee is a photographer from The Netherlands, who is one of the 5 Winners of POPCAP’14. Anoek won the award for the 2014 series titled, Love Radio.

Set in Rwanda, Love Radio – Episodes of love and hate, is a multimedia project about the complex process of reconciliation, based on a popular radio soap. The story line in Musekeweya takes place in Muhumuro and Bumanzi, two fictional villages that hate each other’s guts. Musekeweya seems to be a fairly normal soap at first, full of romances, intrigues and villains with resounding names like Rutaganira and Zaninka. The love between Shema en Batamuriza is like a Rwandan ‘Romeo and Juliet’.

But there is a major difference: the soap is supposed to do more than just entertain; it is also intended to convey to listeners how violence begins and how it can be prevented. While the radio show has an idealistic premise, this project also raises some questions. Can fiction get people to reconcile? Or is this positive voice merely a veneer in a country still coping with the traumas of the genocide? And what does reconciliation actually mean?

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latinocaribbeanartists:

Louisiane Saint Fleurant (1924-2005) was a Haitian painter and one of the founders of the Saint-Soleil art movement. 

In 1972 she began working as a cook in the art colony of Saint-Soleil in the mountains above Petionville. Inspired by the art she saw around her, she began to paint, and eventually became one of the best-known of the Saint-Soleil painters. She also made and painted small ceramic figures which she sold from her modest house on the Rue Magny, bordering the Petionville market. In 1989 she was a founding member of “Cinq Soleils”, a group that included former Saint Soleil artists Prospere Pierre-Louis, Levoy Exil, Denis Smith and Dieuseul Paul. The early 1990’s were marked by personal tragedy as three of her children died in a five year period , including her son Stivenson Magloire who was an internationally known painter. He was stoned to death by personal enemies on October 9, 1994 during the chaos surrounding the return of Jean-Bertrand Aristide. Stivenson was 31 years old. Her one surviving son, Ramphis Magloire, is also a well-known painter as is one of her daughters, Magda Magloire. Louisianne suffered a stroke around 1997 but recovered sufficiently to resume painting her brightly colored pointilistic portraits of people and vodou spirits.

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abbensettsstudio:

2 & 1/2 Days to go.  It’s only fitting that with a show called - Spirit- that we should have the right spirits to celebrate my art. Give thanks to @duncsmillrum and #Guinness for providing and being drink sponsors for the show. As you know I am a rum drinker so I am gonna be enjoying some #duncsmill rum.
07.22.14 /22:27/ 5
onthecoverbrotha:

Untitled Species IV (Bazile Paw) by Ebony G. Patterson. International Review of African American Art, Volume 24, Number 3A, 2013. 
07.22.14 /00:17/ 44
betype:

40 Ways To Stay Creative by Layerform Magazine.
07.20.14 /22:07/ 3845

saoirsecreanartdiscourse:

Art on the internet is a mirror, but more like a pond than a bathroom mirror. If you get up close on a calm day you can see your reflection in it, and if you throw a stone in it the waves will distort your reflection. When millions of people throw stones in the pond simultaneously the waves…

freshmilkbooks:

By: Katherine Kennedy

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There is an undeniable relationship between validity and visibility. As quietly confident, assured or competent as one can be, there is something about gaining recognition that feeds the feeling of being appreciated and understood – of being seen. I already feel slightly uneasy and egotistical trying to articulate this in a way that doesn’t trigger little accusatory voices in the back of my mind hissing ‘vain!’ or ‘insecure!’…concepts that by all logic should be mutually exclusive, but the idea of needing validation from external sources manages to connote both. Maybe a less self-destructive approach is to delve into something relevant to, yet larger than myself, through the honest and brave work of the artists featured in See Me Here: A Survey of Contemporary Self-Portraits from the Caribbean.

In her critical essay for the publication, Marsha Pearce referred to the introspection practiced by these artists as a “rebranded narcissism,” not founded in selfishness and inaccessibility, but using their own distinct and diverse narratives to implicate a collective self borne from the cultural influences of living in a region that has historically been oppressed and segregated to quash identity, preferring to lend credence to stories told by outsiders. This again places emphasis on extraneous opinions and how they affect our self image; particularly problematic when we are being grossly mis/underrepresented by these projections.

See Me Here confidently answers back to imposed ideas of who we are – and it is not shy about doing so. The cover is bold, bright and loud, featuring work by Barbadian artist Sheena Rose. Before even seeing the piece in its entirety or reading a statement, the strong graphic lines and belligerent expression on the face of the painting’s subject sends a very clear message that the artists are here, ready to speak with clarity and conviction. This is not to say that the stories and messages being told have all reached solid conclusions; on the contrary, as stated in the book’s foreword, the only real certainty is the desire to question “How do we really see ourselves? How accurate is the image we present?”

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Part of the process of charting Caribbean identity is that we become the masters of its construction. Vincentian artist Nadia Huggins even has a piece in the book called The Architect (2006). She says in her artist statement, “There is a sense of control and authority over the outcome of the image in the beginning, but in reality it is just the body that I assert control over.” In contrast, for example, to Sheena’s cover piece, Nadia’s photographs use subtlety, employing natural light and muted tones to blend her body into her environment. By exercising control over atmosphere and composition to camouflage herself and create harmony, this makes the anomalies and the uncontrollable variables in the work all the more evident. Emotions laid bare are much more conspicuous than exposed anatomy, and this conveys a truth about expressing identity, even when it is consciously constructed – no one has total control. But as Nadia states, relinquishing this control is also a catalyst to “mend, heal, learn and grow.”

Marsha Pearce calls the work amassed in See Me Here “cartography of self.” Yes, we are placing ourselves on the map to be acknowledged as more than stereotypes, but the fact that we are fighting those views in the first place means we need to look inwards first, cater to our own needs and conduct investigations as artists to test, create or reject limitations of our own accord. To map out and contribute to the discourse about an identity in its formative stages, cultural experimentation needs to be carried out – and what better way to conduct human trials than through self-portraiture.  

Source: See Me Here: A Survey of Contemporary Self-Portraits from the Caribbean. Eds. Archer, Melanie and Brown, Mariel. Trinidad & Tobago: Robert and Christopher Publishers, 2014. Print.

See Me Here is available by request at our library. - FMB

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Canvas  by  andbamnan