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Self-Portrait

Albert Huie 1943

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Happy birthday to Wifredo Lam, a native Cuban of Spanish, African, and Chinese descent who became associated with Surrealism beginning in the late 1930s. His attraction to the voodoo magic and witchcraft aspects of Afro-Cuban religious practices paralleled the Surrealist fascination with the ritual cultures of non-Western, often colonial, lands. #TheSurrealists This haunting image by Lam is now on view in the exhibition “The Surrealists: Works from the Collection” “The Spirit of Morning,” 1942, by Wifredo Lam. © Artists Rights Society (ARS), New York/ADAGP, Paris

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THIS IS AN ART PIECE CALLED:

"NUDE: WHOSE FUCKING SKIN COLOR IS THIS, BECAUSE IT SURE AINT MINE"

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Ambidextrous by Brianna McCarthy, an artist who lives and works in Trinidad and Tobago

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Not long after the University of the West Indies was founded, Professor Philip Sherlock, vice-principal of University College, was travelling through Bog Walk in Jamaica. As he admired the view, he turned to his colleague Kenneth Croston, the university’s first professor of English, and said, “Beautiful, isn’t it?” Croston, an Englishman, replied: “It’s like a meaner sort of Wye Valley.” A bright young undergraduate named Derek Walcott was listening to this conversation, and he understood instinctively the assumptions behind this faint praise. Many years later, at a reading of “The Star Apple Kingdom”, the poet remembered for his Trinidadian audience how much the Englishman’s tone had annoyed him. At the time, it had felt as though “the Jamaican landscape [could] break its ass trying but it would never quite achieve the effort required …[it should] have shrunk itself, tipped its hat, and said: ‘Sorry, Professor Croston, that is the best we could do today.’”*

A view of one’s own by Brendan de Caires

(via caribbeancivilisation)

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“This idea of repetition and revision is central to my working process—this idea of stacking and layering and building up densities and recoveries. He’s been altered in a way that the-character-that-is-now-my-conscripted Isaac Hayes should be altered to be in my lexicon.” —Ellen Gallagher

Ellen Gallagher, currently featured for 100 Artists, is seen here at Two Palms Press in New York working on Isaac from her series DeLuxe (2004–2005), as featured in our Season 3 episode, Play (2005).

The artist’s printmaking process involved multiple techniques—including lithography, tattoo engraving, and laser-cutting—and materials such as crystals, gold leaf, velvet, and plasticine.

WATCH: Ellen Gallagher in Play [available in the U.S. only] | Exclusive: Ellen Gallagher: Master Printer Craig Zammiello

IMAGES: Production stills from the Art in the Twenty-First Century Season 3 episode, Play, 2005. Segment: Ellen Gallagher. © Art21, Inc. 2005.

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Disrupting the borders 

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just watched the basquiat documentary.

so radiant.

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I have a bias: I think the Caribbean is the centre of the world. Not because it’s where I live and work, but because the rest of the world could learn much from us.

Dylan Kerrigan, Creole to the world

(via caribbeancivilisation)

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reminds me of briana mccarthy's work, particularly the paper queens.

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 You forget that we are prisoners of conventional forms, academic poetry, and even the most beautiful of this poetry … it wasn’t what we wanted. 

—Aimé Césaire

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christopher cozier

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Glenn Ligon, Untitled (I Feel most Colored…), 1990

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my wish for myself.

Linton Kwesi Johnson performs “If I Woz A Tap Natch Poet”

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work of Jamaican artist Zoya Taylor