DE CARNIVAL NOW START - PANORAMA SEMIS - IS WHEN THE ROAD IS MINE...

DE CARNIVAL NOW START -
PANORAMA SEMIS - IS WHEN DE ROAD IS MINE.

Yeah dread, we come in de tong sweet., pull up in Tranquility Secondary and get we park. We walk up de road and onto the track, the space was calm, de medium pan sides were on stage.
We chill ah bit den we get we tickets and we chill on the Grand Stand. Man this Panorama was cool, I felt that we finally getting it right.......here is the walk through 3pm to 10pm.....

WALKING UP FROM TRANQUILITY, PANS TAKE OVER THE STREETS, WE OWN THIS TOWN NOW AND THE NEGOTIATIONS AND INSTRUCTION WHERE PASSING AROUND,
"YOU MOVE TO THE LEFT",
"TELL HE DAT AH WHAT TO GET INTO DE SCHOOL, SO YOU MOVE UP."

THE POLICE WAS THERE, DOING THEIR THING, AS WE WAITED FOR A FRIEND AT THE BALISIER HOUSE.

YUH SEE THE INSTRUCTION START, WHAT I HAVE FOUND THAT IT IS AN INTERESTING WAY WE HAVE NEGOTIATED WALKING THROUGH THE STREETS AND CROWDS. AS I WAS TELLING MY BAJAN FRIEND. IT MUST BE GENETIC. THE IDEA OF WALKING THROUGH A CROWD, WITH A CUP, IN ONE HAND A MEAL IN THE OTHER AND KEEPING AN EYE OF THE GROUP, IS THE TEST.

AH THE SAVANNAH, IT WAS LOOKING BRIGHT. THESE NEW HUTS HAVE MADE A BIG DIFFERENCE TO THE AMBIANCE TO THE AREA.

HERE IS A POSSIBILITIES TO DESIGN A MODULAR HUT
THAT CAN GO UP WITHOUT EASY LIKE THAT. IF YOU EVER SEE THEM PUT UP THE HUT, YOU CAN SEE HOW IT REAL DANGEROUS, NAIL STICKING OUT, THE WOOD HEAVY AND THEY LOOK LIKE IF IT FALL ON YUH FOOT, IS AH BAWL OUT.....

WE ON THE TRACK, I LIKE THE LOOK, THE LAY OUT NEAT. THE HOUSING LOOKING TUCKED AWAY.

PANORAMA HAS CHANGED

THE EAST ENTRANCE TO THE STAGE.

THE FAMOUS NORTH STANDS,
WAS PACKED EVEN AT THIS TIME, TO THE RIGHT, I THINK THAT IS THE PRESIDENT CAR...HE WAS PUMPING IN THE NORTH STAND. 

HA, THEY SAY THEY HAVE TO ENCOURAGE THE YOUTH, THEY SAY THAT THE PEOPLE ARE NOT ORGANIZED. HERE THE PAN AND THE CARNIVAL PRESENT EXAMPLES OF THE SECOND ECONOMY. WHERE, PEOPLE PUT IN PLACE SOCIAL AND ECONOMIC PLANS TO MOTIVATE DREAMS. ARTISTS EMPOWERING THEMSELVES. AS ONE PERSON MENTIONED; MAJORITY OF PANS ARE NOT SPONSORED...... 

IF YOU LOOK CLOSELY AT THE PAN SIDE THERE THEY WERE ALL YOUNG; MAYBE 9-12? BUT THEY WERE YOUNG AND READY TO PLAY

THE INFAMOUS PRINTS.
 ART WAS PRESENT, THAT WAS NICE,
RANKIE GET A COMMISSION.
ITS IN THESE SITUATIONS THAT ART THAT WAS COMMISSIONED FOR SUCH A SPACE, SITE SPECIFICITY, BECOMES RELEVANT, AS THIS WORKS WHERE DONE IN AIR BRUSH, MADE WITH THAT IN MIND.
WE CAN HAVE A DISCUSSION ON THE SPECIFICS OF SITE AND ON AND ON.

PANORAMA USED TO BE A HUSTLE AND A BUSTLE,
DE SPACE WAS JAM AT A TIME AND PEOPLE ON YOU BACK, AT A CERTAIN TIME THE CROWD THAT WAS OUTSIDE WAS INSIDE, ISLE SWELL UP WITH PEOPLE, YUH HOLDING YOUR DRINK IN ONE HAND,  BOIL CORN IN THE OTHER, LOOKING FOR WHERE, YOUR SEAT IS, AND IF IT STILL THERE, PLENTY CUSSING FOR THEM IN THE ISLE WHO BLOCKING YOU VIEW.   

THE GRAND STANDS.
I WAS A NORTH STAND MAN, NEVER MISS A RAMA SINCE I WAS 13, ONLY FOR WHEN I WAS IN TORONTO. RELATIONSHIP, BRING ME TO THE GRAND STAND. WHICH WAS ALWAYS ATTRIBUTED TO THE MATURITY OF CROWD, THE REAL PEOPLE WHO WANT TO LISTEN TO THE MUSIC, WHILE THE NORTH STAND WAS AND STILL IS THE UNRULY REVELLERS OF PAN. HAVE COME TO LOVE THE SEDATED EXPERIENCE OF THE GRAND STAND, THE EASY ACCESS TO WHERE I WANT TO GO.

THE GRAND STAND MURAL

GRAND STAND ENTRANCE.
IT IS INTERESTING TO NOTE, AS WE WERE LEAVING, WE WERE ASKED;
 "ARE YOU COMING BACK?"
"YEAH WE MIGHT"
"YUH MIGHT? YUH NOT SURE"
"WHY?"
"IF YOU WANT TO COME BACK IN, WE WILL HAVE TO TAKE YOUR PICTURES"
"HUH"
"YOU HAVE TO TAKE OUR PICTURES"

WHICH THEY DID, TECHNOLOGY, REACH.

YOU WHERE GIVEN A STUB TICKET WITH BARS AND THEY TOOK YOUR PICTURE.

YEAH, IN THE BOX.
WHERE YOU GET SERVICE. DIDN'T HAVE TO WALK WITH MEH DRINK IN ONE HAND, BOIL CORN IN THE OTHER AND LOOKING FOR MY SEAT. THEY BROUGHT THAT TO YOU HERE, DREAD.

DE GREENS.
AS THE FESTIVAL WENT ON THE ANNOUNCER HAD TO TELL THE NORTH STAND. TO SIMMER DOWN THEIR RHYTHM SECTIONS.
FOR ME I WAS HEARING MUSIC COMING FROM THE GREENS.

THE EAST VIEW

THE WEST VIEW

ONE OF THE MANY USHERS,
THEY WHERE ALL WOMEN. THERE WHERE ALOT..

RENEGADES

RENEGADES
DEM HARD CORE, DREAD...

RENEGADES.
DEY ORGANIZED LIKE DAT.

RENEGADES - PULL UP SELECTOR

RENEGADES -
NOW THEY READY

RENEGADES - COME 3RD, WHA DE F*&K.
OK PHASE 2 AND DAT ODDER ONE PLAY SWEET TO.
BUH, DIS YEAR HAVE TO BE AH SOMETHING FOR
RENEGADES

ENTRANCE NOW EXIST - 10PM 

HALL WAY

YOU SEE THE LINE IN THE BACK. THERE IS A POSSIBILITY FOR A FLOOR STYLE

ART BRO, ART BRO -
WHAT WAS HE PAID, THERE WAS ALOT OF WORK.. I MUST ASK THAT QUESTION

SO THE RAMA WAS SWEET,
ONE OF THE BEST ORGANIZED,
LIKE ONE MAN SAY, THEY FINISHED ON TIME; HE DIDN'T KNOW WHAT TO DO; YOU USED TO GO FROM PAN TO WORK.

 THERE ARE TWO THINGS.
1. THE MODULAR HUTS - AS A DESIGN PROJECT.
2. THERE IS THE POSSIBILITY FOR A DESIGN TWEAKING, THE FLOORS AND THE EDGES OF THE BUILDING.
 THEY MENTIONED THAT THE SPACE HAS OUT LIVE THE MAS, MONDAY AND TUESDAY. SO THE QUESTION OF THE CARNIVAL HOME COMES UP.

THE SOCIETY - IN THE ART OF NEO-LIBREALISM - THE COZIER COMMENT

THE SOCIETY - IN THE ART OF 

NEO- LIBERALISM.

 

Neoliberalism is a political philosophy whose advocates support economic liberalizations, free trade and open markets, privatization, deregulation, and enhancing the role of the private sector in modern society

 

It seems that some of us haven't realized how our past actions can and have affected the present manifestation of how people transact and interact with art. Art in this modernity has strong economic portfolios; commanding mad dollars and pushing the visual artists, designer to pop icon celebrity. With that in mind, people seem not to understand that past badly managed projects, presented to popular culture; sets a tone for how we communicate, translate and transact with the product and the artists.

THE OVAL WALL MURAL - did this, placing in stone the future enfolding actions of the state and the private sector involvement with
1. - the Art
and
2. - the Artists

These projects have placed financial gain for one, business and advertising agencies,
not the artists!
REPEAT NOT THE ARTISTS!
SO ALL ARTIST WHO FEEL THEY WILL GET SOMETHING OUT OF THESE ILL CONCIEVED PROJECTS. NO.

so my first quote below. Tell how the middle class can unwittingly end up serving the capitalist agenda

 

 

QUOTES 1

"As an example, Zweig mentions the family doctor, a traditional representative of the middle class. Organized around private practices, doctors have had a great deal of independence and freedom. But as more and more doctors work for large health-care conglomerates, their position has changed dragging the medical profession towards the working class. Conversely, if a doctor's personal practice grows to the point where she is more concerned with administering the labor of others and maximizing the profit of the whole enterprise in the name of competition, then she has ceased to function as a middle-class agent and becomes a full-on representative of capital."

Ben Davis

9.5 Theses on Art and Class

QUOTE 2

 

"Something similar happens when we talk about the "creative industries" in the way the NEA; (National Endowment for the Arts) does, dumping together visual art, which is created relatively autonomously, with the work produced by workers hired by large corporations and media companies. the term "artist" has connotations of freedom and personal satisfaction that can be used to obscure real realtionships of exploitation when it is overgeneralized to apply to any type of labor that is remotely creative. (An infamous example comes from the early days of Hollywood, when executives conciously encouraged actors, cinematographers, directors and writers to identify their work "as skilled artistry rather than labor" in an effort to stave off a wave of unionization hitting their industry.)

Ben Davis

9.5 Theses on Art and Class

 

QUOTE 3

 

 

"This expansion, in turn, give birth to bohemian society and the modern art movement, symbolically inaugurated by the "Salon des Refuses" of 1863, when a number of important artists rejected by the salon demanded to be heard on their own (including heroes of subsequent art history like Edouard Manet and James Abbott McNeil Whistler): "Having prompted many people to turn to art as a career and attracting large numbers of them to Paris, and having vastly expanded the audience for artworks, the French Salon system contributed to its own demise by creating demands it could not satisfy"

Ben Davis

9.5 Theses on Art and Class

 

QUOTE 4

 

from: Christopher Cozier
Date: 2009/2/20
Subject: Re: Hyatt/Waterfront Project
To: Courtenay Williams


Hello Courtney
Thanks for informing me about this project. I have seen the enlargements
outside the oval. I was in fact wondering what was going on. Honestly, as an
artist, I cannot say that I understand the purpose of this project. It felt
like yet another affirmation/assertion of the standards of the local art
market as it currently persists rather than an engagement of the local art
world as it has existed since the early 80s. To me, one is about the
expediency of picture shops and/or picture selling and the other about
visual investigation and ideas in a developmental narrative. The two worlds
drifted very far apart as the 90's unfolded.
The overwhelming imbalance, I find distressing and alienating. I am sure,
however, that the general public would be intrigued and find it  "nice" in
contrast to the usual products and brands like b-mobile or Carib plastered
everywhere else. This must be good and alleviating for them but I have other
concerns.
Maybe one day, for another generation, these polarized worlds will again
intersect or find accommodation.
I also wondered if simply enlarging images - pictures intended initially for
private or corporate purchase would serve the need of artists to connect to
people driving and, to some degree, walking by. I wondered whether artist
projects designed specifically for public view at that scale could have been
requested instead. There seems to be some kind of contradiction around
intent for the artists perhaps ?
Currently I am not confident that it would be in my interest to participate.
Chris

The above quote is most important, as it was copied to me in conversation that was happening at that time, about the Oval Mural and Waterfront project. As it reads, Christopher Cozier, one of the Caribbean respected artist and critical thinker on art; pens a thought to one of the board members of the Artists Society, which was as the future would tell dismissed; as I have seen no retraction, no public statements or conversation placed in the community about the popularity of these projects.

 

The above quote bring up -

 

1. Democracy in art..

 

2. The Art Cabal.

3. The Advocacy for Art.

4. The Socialization of Art.


I have been a member of the artists Society

since the days of Carlisle Chang, I dropped out

due to situations of un-satisfaction. Here it is 

that same feeling...


In this all the Society, our society is at blame

our

Elder artists.

Cultural Organizations.

Art Education. 

 

 history sets tone's and stones for the future to deal with.

Dean - have stones, working on tones....

 

 

 

 

IN DEFENSE OF ARCHITECTURE - THE CENTRAL BANK MURAL PROJECT - ITS OFFENSE TO THE SKIN OF ARTDESIGN.

CENTRAL BANK OF TRINIDAD AND TOBAGO -
DESIGNED BY ARCHITECT - ANTHONY C LEWIS NOW ACLA WORKS

IN DEFENSE OF ARCHITECTURE  -

INTERIOR CENTRAL BANK - FACING NORTH

 

The Central Bank Mural Project and its Offence to the Skin of ARTDesign.

Central Bank – Architect : Anthony C. Lewis now ACLA WORKS .
www.aclaworks.com



THE ASSUMPTION CHURCH OF MARAVAL - ANTHONY C LEWIS -
AN ICON IN CARIBBEAN ARCHITECTURE

THIS IS ABOUT ART; NOT ARTISTS.

 

 

SYBIL ATTECK (LEFT), RALPH BANEY(LEFT).
TWO OF OUR FOUNDING ARTISTS;
 BARNEY BEING A SCULPTOR, HOW WILL HE FEEL ABOUT THIS.

 

Architecture is SculpturE, I get the same thrill watching a well designed building as I get watching a well formed sculpture. One of my fondest memories; was outside art school, at the corner there was a Henry Moore sculpture, we will sit on it while we waited for the tram car. I will witness lovers, children, people interacting with the sculpture in very intermit and personal relationship. In this way; is the wonder of architecture, it’s our second skin, wrapping us in a warmth of confidence from a world that can be frightening.

IMAGE - WWW.SKYSCRAPERCITY.COM

 

As a young man; of primary school, I walked to the Tatil Building to meet my Dad; who worked on the 8^th floor, I always looked forward to the adventurous time to be had on entering the building. At that time Tatil building was the tallest building in Trinidad and Tobago, it stood there a monolith to modern Trinidad and Tobago; a stature to my father. The Tatil Building holds a special space in my heart, my memories of my life within the building and how it played with my imagination; as I hovered over the city, peering into the public lives of people as they went about their savannah lives, or their bar lives, on their way home lives, I would sit there at the window wondering; caught in magical dreams that large buildings or mountains give us. Maybe that why there are always someone on the Mount St. Benedict looking over the Central Plains, pulling something, making love or just chilling with a bredren; pulling something.

 

Architecture are our modern mountains an honour to capitalism , as much as they were designed by one; they belong to the people, belonging not to the artists; or the purchaser; but to the space that it holds. Architecture is meant for one, but was designed from the very beginnings for pure functionality; to spark the magical powers of the human form. The skin of architecture has been known to revitalize cities, favalas, ghettoes, ignite the magical power of kings, dynasties, to shout eternal love, to bury in magnificence.

There is the argument to make our homes or building as conduits of cosmic energy.

   “Most hospitals are big square boxes. In this one, 75 per cent of the spaces have natural daylight,” says Ms. Reite, whose firm includes an engineer who has researched Scandinavian hospitals. “The biggest impact on people in hospitals is the natural daylight.”

 

Health-care design - Hospital uses power of architecture to promote healing

http://www.theglobeandmail.com/report

 

 

 

 

There is well being that you get after a day of stress to be in the comfort of your home, stretch out on the couch, with a hot cup of tea to unwind. The modern world have understood what the tribal man knew all along, our living spaces are alive with energy and should be designed with that in mind. With these considerations,

buildings are alive!

 

THE HENRY MOORE SCULPTURE - OUTSIDE THE ONTARIO ART GALLERY. PEOPLE INTERACTION WITH THE SCULPTURE OPENED MY EYES TO THE NOBILITY OF ART.

 

 

“The ideal is that favelas become new neighborhoods, with different characteristics, but with all public services functioning," adds Bittar. "We don’t want the favela to look like the surrounding buildings, they have their own culture and history, their own architecture. We don’t care if houses are different, but we want them to be healthy, habitable. We want them to have quality of life.”

The Urbanization of Rio de Janeiro's Slums, a Model for Sustainable Development – Paula Alvarado, treehugger

THE PICTURE SHOWS THE MINIMALISM OF THE ARCHITECTURE, THIS SOLIDITY, TAKES A CERTAIN AMOUNT OF CAREFUL CONSIDERATION OF HOW YOU WILL INTERACT WITH THE BUILDING. IT WILL TAKE ANOTHER SOLID FORM TO BLESS OR SOFTEN THIS STRUCTURE.

Brazil, Columbia are two spaces where we can see how architecture can revitalize space, one other example is the Bilbao effect, with the construction of the Guggenheim Museum in Bilbao, Spain, by architect Frank Gherry. it’s  been hailed as one of the 21st century major architectural projects, that has led to the redevelopment of the city of Bilbao, which went through major financial challenges. The data, from Columbia, Brazil and even Nigeria in there urban development efforts at proves that architecture holds one of the keys to the issue of improving urban and rural lives.

 

AS YOU ENTER THE SPACE THERE IS ONE TO THE LEFT AND THEN TO YOU LEFT (BELOW PICTURE) AND A LEROY CLARKE TO THE IMMEDIATE RIGHT

 

RESPECT – to the Central Bank

All this is to say that we need to have manners for the line, breath, depth and form in the elements inherently present within the DNA of a building. There is a formality that needed when one attempts to interfere with this. When these formalities are not recognized or understood you erode the magnificence of the buildings. As much as we have this love hate relationship with NAPA, if management attempts to sticks posters onto its skin, you will automatic see that it won’t work.

EVEN THE NEWLY ADDED AIRCONDITION UNITS SITS INTERESTINGLY. BUT IT STILL RUBS IT THE WRONG WAY....BUT IT DOES POINT TO THE DIRECTION OF WHAT CAN BE DONE.
 

 

 

This is what has happened at the Central Bank Building, it has been traumatized and shocked out of its true magnificence by a project that considered their own egos rather than empathizing with the design, form of the building they inhabit. This implores a certain amount of arrogance and ignorance by an elite power that is unaware of the cultural language, needed to carry us into the 21^st century.

FACING NORTH

 

The Governor of the Central Bank, Mr. Jawal Rambaran, loves art, but has missed a great chunk of what art means and how it should be treated, managed, cradled and nurtured. All these things happen in dialog with other people who may know, I’m not sure if he consulted the Trinidad and Tobago Institute of Architects or even the architect who designed the building.

HOW SWEET WILL IT BE TO SEE A SCULPTURE WRAPPING AROUND.

 

 

“Buh for sure someting happen for he to buss dong a project, who dem was he taking to, me ent nah, buh dem is bald head an dey stear de man wrong boy!”Dat wha Johnny say .

AS I LOOK AT THE PRINT, THEN BEHIND, YOU SEE THE TRINIDAD AND TOBAGO, COAT OR ARMS. YOU IMEDIATELY SEE HOW THE RAISED FORM SITS ON THE SURFACE A LOT BETTER THAN THE PRINT.

I wish the day when I myself will gain the ability to be a little more humbled, I understand where the arrogance comes from, as men we sit at our portal, alive with our power and all else seems far away, even when the voices are that close to us, we fill our internal self with the voice that we’re doing this for the best of the child, even when the child screams, N0! I want that other.

 

LEROY CLARKE...WHAAAAA

THE TRINIDAD AND TOBAGO ARTISTS SOCIETY HAVE SHOT THEMSELVES AND THEIR MEMBERSHIP IN THEIR FOOT.

WHO ARE THEY FOR?

DEFINITELY NOT ART.

THE OTHER NOTE TO CONSIDER –

NO COMMISSIONS OF ORIGINAL ART;

since the Oval Mural Project, there has been little commissioning of artists work; even in the amazing spending frenzy in development projects that have been happening around Trinidad and Tobago; there has been the mural at outside Parliament. But worse in that scenario is the obvious absence of voice from the cultural organizations that should be there to protects art and design legacy in Trinidad and Tobago.

ART BEHIND BARS.

 

Where is the Artists Society of Trinidad and Tobago; who initiated the Oval Mural Project and had their hands in others. The plastic revolution is an abominable after effect of illiteracy by artists; who have willingly placed the gun nozzle to their heads and pulled the trigger.

 

 

The valiant artists struggle to pull canvass, sit for hours to settle brass, to carve out wood in form, to press print, sturdy rock steady concentration to stay alive, bread and tea sustaining hours that pass. All this is a waste; as by the hands of artists we have been killed in this moment...what for, a few silver coins, ah blue note; not to the artists, but to a machine, oiled by some friend...

I HAVE HEARD ARTISTS SAY THESE HAPPENING ARE GOOD FOR ART...

THERE IS A JUDAS AMONGST US...

THIS RECENT PHENOMENON OF PLASTIC ART,
 CAN BE TRACED BACK TO THE TRINIDAD AND TOBAGO ARTISTS SOCIETY-
HAVE THEY UNDERSTOOD WHAT THEY HAVE DONE?
WOULD THEY PUT OUT A STATEMENT ON THE PROLIFERATION OF THESE PROJECTS;
WHERE ARTISTS SEEM TO BE OUT OF COMMISSION'S.

 

 

CONTRACT RIGHTS?

FOR ARTISTS?

OR

RIGHTS FOR THE ARTS?

 

“ALL ARTISTS RESERVE ALL RIGHTS OF REPRODUCTION AND ALL COPYRIGHTS IN THE WORK, THE PRELIMINARY DESIGN, AND ANY INCIDENTAL WORKS MADE IN THE CREATION OF THE WORK. COPYRIGHTS NOTICE IN THE NAME OF THE ARTISTS SHALL APPEAR ON THE WORK, AND THE ARTISTS SHALL ALSO RECEIVE AUTHORSHIP CREDIT IN THE CONNECTION WITH THE WORK OR ANY REPRODUCTION THEREOF.”

 

 

“NON DESTRUCTION, ALTERATION AND MAINTENANCE. THE PURCHASER AGREES  THAT THE    PURCHASER WILL NOT INTENTIONALLY DESTROY, DAMAGE, ALTER, MODIFY, OR CHANGE THE WORK IN ANY WAY WHATSOEVER. IF ANY ALTERATION ON ANY KIND OCCURS AFTER RECEIPT BY THE PURCHASER, WHETHER INTENTIONAL OR ACCIDENTAL AND WHETHER DONE BY THE PURCHASER OR OTHERS, THE WORK SHALL NO LONGER BE REPRESENTED TO BE THE WORK OF THE ARTISTS WITHOUT THE ARTISTS WRITTEN CONSENT. THE PURCHASER AGREES TO SEE THAT THE WORK IS PROPERLY MAINTAINED.”

Model Commission Agreement – Fourth Edition – Legal Guide for the Visual Artist – Tad Crawford.

 

The last line is important o “The purchaser agrees to see that the work is properly maintained” even under the artists agreement to allow their work to be part of a project that is ill advised it is up to the institution; with their resources to seek certain advice from the relevant expertise; to advise them of the best course of “ maintaining” the “proper”integrity of their collection.

 

THIS IS ABOUT THE ART WORK, NOT THE ARTISTS.