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Present Tense: Five Centuries of Colonialism in Latin American and Caribbean Art

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Present Tense: Five Centuries of Colonialism in Latin American and Caribbean Art
n a sign that COVID-19 is lessening its grip, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced today that it is reopening Sunday, May 2, 13 months after it shut its doors.
The museum will be open three days a week Friday, Saturday and Sunday and will reduce its ticket prices from $14 to $10, implement a timed-ticket system, require face masks, and limit occupancy to 25% capacity, among other safety measures.
“As BAMPFA begins the process of safely reopening this spring, we’ll be doing so with an enormous sense of appreciation for the dedicated community of art and film lovers who have stayed connected with the museum throughout this tumultuous year,” recently hired BAMPFA Director Julie Rodrigues Widholm said in a statement. “We believe that art can provide respite during uncertain times, and in that spirit, we’re looking forward to off ....

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The Berkeley Art Museum will reopen with reduced admission in May

BAMPFA will reopen May 2. Photo: Iwan Baan/courtesy Diller Scofidio + Renfro and BAMPFA
In a sign that COVID-19 is lessening its grip, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced today that it is reopening Sunday, May 2, 13 months after it shut its doors.
The museum will be open three days a week Friday, Saturday and Sunday and will reduce its ticket prices from $14 to $10, implement a timed-ticket system, require face masks, and limit occupancy to 25% capacity, among other safety measures.
“As BAMPFA begins the process of safely reopening this spring, we’ll be doing so with an enormous sense of appreciation for the dedicated community of art and film lovers who have stayed connected with the museum throughout this tumultuous year,” recently hired BAMPFA Director Julie Rodrigues Widholm said in a statement. “We believe that art can provide respite during uncertain times, and in that spirit, we’re looking forward to offering our aud ....

New York , United States , Edie Flake , Iwan Baan , Ulrike Ottinger , Gavin Newsom , Frances Dinkelspiel , Diller Scofidio , Julie Rodrigues Widholm , Rosie Lee Tompkins , Berkeley Art Museum , New York Times , Pacific Film Archive , Berkeley Art , Buddhist Art , Northern India , North American , Five Centuries , Latin American , Caribbean Art , South America , Trans Elders , Bay Area , புதியது யார்க் , ஒன்றுபட்டது மாநிலங்களில் , கவின் செய்தி ,

Strengthening Harlem's Art Scene

By
Roger Clark
Manhattan
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Even though Atim Annette Oton s Calabar Gallery in Harlem has only been officially open for eight months, she has plenty of art in the corner spot on 134th Street and Frederick Douglass Boulevard, where the spotlight is on African American, African and Caribbean artists.
The goal was to make the gallery focus around a local community and a global community, said Oton, who is from Nigeria and attended college nearby at City College.
She was an architect and worked in the academic world before opening her first business 16 years ago. Calabar Imports has two locations in Brooklyn. She had curated art shows there, but at this Harlem location, the focus is on being a gallery. ....

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New Book: "Alleviative Objects" – Repeating Islands

David Frohnapfel’s
Alleviative Objects: Intersectional Entanglement and Progressive Racism in Caribbean Art is now available. [The stunning cover art features Mario Benjamin’s “The Shrine” (1989).]
Description: The global field of contemporary art is shaped by inter-racial conflicts.
Alleviative Objects approaches Caribbean art through intersectional entanglements and combines decolonial epistemologies with critical whiteness studies and affect theory in order to rethink `Euro- and U.S.-centric’ perspectives on art, race, and class. David Frohnapfel shows how progressive racism in the discourse on Haitian art recenters Whiteness by performing benign identifications with the artist group Atis Rezistans. While the study turns critically towards Whiteness, it also turns away from it and towards the compelling contributions of Haitian curators and artists to the decentralization of contemporary art. ....

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