Sunday, May 30, 2010

Monday, May 17, 2010

Help for Haiti's Art



The January 12th earthquake in Haiti was not only devastating to the people there, it also reeked havoc on the island's cultural treasures. Subsequently, the Smithsonian has organized a team of cultural organizations to help the Haitian government assess, recover and restore Haiti’s cultural materials. Lead by Haiti's Ministry of Culture and Communication and the Haitian President's Commission for Reconstruction, the 7500 sq. foot building in Port-au-Prince that once housed the United Nations Development Program will be leased by the Smithsonian. The three-story building will serve as a temporary conservation site where objects retrieved from the rubble can be assessed, conserved and stored. It will also be the training center for Haitians who will be taking over this conservation effort in the future.




The “Smithsonian Institution–Haiti Cultural Recovery Project” is conducted in partnership with the President's Committee on the Arts and the Humanities with assistance from several other federal agencies—National Endowment for the Humanities, National Endowment for the Arts and the Institute of Museum and Library Services. The project is also supported by contributions from The Broadway League, the international trade association for Broadway and the Broadway community. The U.S. Committee of the Blue Shield, a nonprofit, non-governmental organization dedicated to the protection of cultural property affected by conflict or natural disasters, is involved in the project as is the American Institute for Conservation of Historic and Artistic Works. Local Haitian cultural organizations and a number of international organizations will also be involved in the effort.

The rainy season in Haiti has already begun, and the hurricane season is on its way. Much of Haiti’s endangered cultural heritage is in destroyed buildings and is at risk of permanent destruction.

“The highest priority of the Haitian government and the international humanitarian communities has rightly been to save lives and provide food, water, medical care and shelter,” said Richard Kurin, Under Secretary for History, Art and Culture at the Smithsonian. “However, Haiti’s rich culture, which goes back five centuries, is also in danger and we have the expertise to help preserve that heritage.”
The long-term goal, according to Kurin, is to “rescue, recover and help restore Haitian art work, artifacts and archives damaged by the earthquake.”

The artifacts recovered and eventually conserved may include building features such as stained glass and historic murals as well as paper documents, photographs, artifacts and some of the 9,000 paintings from the Nader Museum, now in ruins from the quake.

“With this unprecedented inter-agency effort involving the major federal cultural institutions and the private sector, we express our collective belief that in times of great tragedy it is essential to help a country preserve and protect its cultural legacy for future generations,” said Rachel Goslins, executive director of the President’s Committee on the Arts and the Humanities.

In 2004, the Smithsonian Folklife Festival, under the direction of Kurin, highlighted the country in the program Haiti: Freedom and Creativity from the Mountains to the Sea, which featured more than 100 traditional Haitian artists and crafts people, performers, cooks, writers, researchers and cultural experts in performances, demonstrations, workshops and concerts. That collaboration with Haitian cultural leaders resulted in an ongoing relationship with the Smithsonian.

Saturday, May 15, 2010

Smells Like Teen Spirit - Kurt Cobain exhibit in Seattle



Grunge music is about as universally synonymous with modern-day Seattle as Starbucks and Microsoft, and no band symbolizes this movement more readily than Nirvana. The late Nirvana front man Kurt Cobain is easily the most recognizable icon from this period, famous for his heart wrenching lyrics, aggressive left-handed guitar playing, scraggly blond locks and premature demise. On view at the Seattle Art Museum from May 13 through September 6, 2010, the exhibition Kurt will reveal the extent to which his music and biography continue to exert a strong pull on our collective consciousness.


Please click HERE if you can't see the above-video.

Known as "Kurt," the SAM event "will explore the ways in which the grunge movement's most iconic figure continues to influence modern artists from a multitude of disciplines," according to an announcement by Darling. The curator also said that the exhibit "asks viewers to question why and how Kurt Cobain came to mean so much to a generation."


Alice Wheeler's photograph of Kurt Cobain at MTV's "Live and Loud" at Pier 63 in Seattle, 1993.

To be clear: This is not a display of Nirvana ephemera, guitars, CD covers, or the yellow gown Cobain wore on MTV. It's an exhibition of drawings, paintings, photographs, installations, and mixed-media works by artists — including Elizabeth Peyton, Douglas Gordon, and Daniel Guzman, as well as Northwest artists such as Scott Fife, Jeffry Mitchell, Jessica Jackson Hutchins — who are making some provocative, nuanced stuff right now.



All of the works of art began with some kind of connection with Cobain. Some of these connections are immediately, almost painfully, direct, as in Alice Wheeler's color-saturated photograph of Cobain in Seattle in 1993. Cobain is pale and scruffy beneath cherry-red sunglasses and multicolored tinsel garlands; the image captures Cobain's tendency to play with glamor and image, along with an underlying frailty.

Some of the works of art become more conceptually abstract, as in Gretchen Bennett's color pencil drawings. Bennett, who recently relocated from New York to Seattle, creates work out of a wide range of materials and often thinks about how environment, landscape and climate affect what can be produced. She was drawn to Cobain's story and "how Nirvana emanated from this landscape," but she was interested in taking a more "non-iconic, everyday approach." She searched YouTube for homemade videos of Nirvana in concert and isolated certain moments of gesture and lighting when Cobain became visually obliterated or pixelated. She further transformed these images by turning them into color pencil drawings that have a sweet ordinariness to them, despite all of the complex implications of mediation and image dissemination.

Might be worth the trip to the Emerald City to check it out.





Stacy Alexander