Healing crisis is a constant necessity in today's complex, stratified, divisive society. The events that unfolded 9 days ago in #Parkland, near Coral Springs, Florida have pushed many of us to the tipping point. And yet, in communities throughout Florida and the US and around the world, crisis, especially children in crisis is an ongoing issue that has required attention for a very long time... generations in fact.
This week, while our attention south of the border has been on dealing with grief, funerals and the immediacy of school safety issues within the nation's sixth largest public school district, our neighbors to the north were dealt two completely independent court decisions in which the killing of two Indigenous youth by two different people, in two different provinces, in two very distinct circumstances, both resulted in European males receiving not guilty verdicts, while the children victims are no longer alive to tell their side of the story.
It is imperative that we all employ our intrinsic critical thinking skills in everyday decision making. Especially so in this day and age. It is equally important that we also take time to allow the growth, repair and healing of our emotional skills as well.
We need both, together, integrated and healthy. After a week like this, wholeness and restoration of wellbeing is going to take some time and effort. The students, teachers, healers, counsellors, administrators and decision makers must all be included in efforts to intentionally regain wellness, within our selves, families and communities.
Here are a couple of resources courtesy of thunderbirdpf.org that have helped other communities move forward after experiencing traumatic crises. Check em out. See what you think. Call,text, msg. Reach out. Let's chat. Let's build together!!
Strolling along what seemed like an endless sidewalk down Dade Avenue on this 200th anniversary of the start of the Seminole Wars... I happened to spark up a conversation with one of my co-walkers. Till that moment, I truly had no idea so many of the fair goers were out-of-towners travelling to South Florida just specifically to take in #art. Art Basel 2017 is officially a wrap having shown approximately $3.5 billion work of art, and seeing over 82,000 participants [see press release and end of show report] .
...reminds me of #CometotheWell
(photo: T. Chadwick)
According to artsy.net, the Pace Gallery had a successful run, placing one work worth $12 million. The show’s new layout was so much easier to
follow and navigate, with beautiful hanging garden center lounge areas. I did miss
the delicious, stadium priced lunch offerings, although the BC taco truck
outside did a wonderful job of filling the afternoon void with delicious shrimp
tacos and “avocado salsa.”
Pace Gallery (photo: T. Chadwick)
Inside the walls of Art Basel, I found a whimsical and
wondrous survey that pushes my boundaries of contemporary art. From plastic
bags to classic painting and sculpture to, my favorites:
performance, kinetic and live painting, this show truly had something for
everyone to enjoy.
Mexico City Mural in Miami Beach
(Thursday photo: T. Chadwick)
Mexico City Mural in Miami Beach
(Friday photo: T. Chadwick)
Of these, I really enjoyed watching the mural in process
presented as part of Mexico City's #RestorationofaMural. To my North American eye, the overlays of
vellum on painted campaign slogans was unexpected, a little jarring, and,
similar to my own recent political experiences, I couldn’t figure out if the
art was for or against the will of the majority of the people. The tools,
brushes, and process of creating circles and lines took me back to the 9th
grade computer class called “data,” where everything we ever wanted to program had
to be rendered as a circle or a line. Watching the muralist and assistant add
elements of the mural was almost like watching an archaeological excavation in
reverse. Careful measurements, ancient techniques, tools for the future.
#Reparations David Castillo Gallery
(photo: T. Chadwick)
‘This year’s show definitely had a great energy with its new look, and our booth was extremely well-received. Within the first two hours of the fair, some of our gallery’s most important clients came to the booth. With the sale of a major Lyle Ashton Harris piece and an important group of clients visiting us early on in the fair, it is clear that this year’s fair was punctuated by significant collectors in attendance and as always, there was interest from buyers early on in the show.’ David Castillo, Owner, David Castillo Gallery, Miami Beach (In quotes from Art Basel post show press release.)
...miscellaneous unnamed photos, except for Maggie by #ChuckClose...
(photos: T. Chadwick)
Basel blog – Art Basel Conversations
#EdgarHeapofBirds discussing #Indigenous #Art
(photo: T. Chadwick)
One of the problems I’ve had with Art Basel and contemporary
art in general, is that distinction between what one of the art experts this
week describes as “pastoral” art versus the elevated stature and value of
“fine” art. For example, there were many examples of fabric art during this
year’s Art Basel show, one of these was a giant, larger-than-life
pseudo-dreamcatcher created by an artist in the UK. When I first set eyes upon
the purple and black mass I was surprised, since generally in fine art shows
such as Art Basel, this type of work is relegated to the low rank of “craft” or
“tribal art.” Immediately I looked closer to see if I could see the origin
story of the dreamcatcher woven within the fabric. As I surveyed the types of
twists and turns used in the weaving, sadly, I saw nothing representing the
cultural teachings or history that traditional dreamcatchers convey, in fact to
me this weaving was empty. An empty shell, a hollow reproduction of a
traditional art form containing nothing of the beauty and love that it is meant
to hold. I still wonder about the artist and their intent in making this piece,
but more, I wonder about the gallery that decided to choose this as their main
showcase. What were they thinking? That Indigenous art forms co-opted by white
European artists are flattering? Honoring? Even when indigenous people
themselves are not welcomed to participate as artists, curators or even spokes
people?
#RichardHughes Birmingham, UK
(photo: T. Chadwick)
Seeing the Art Basel Conversation titled “What of Indigenous
Art Now” was a boon to me. I was so excited that someone decided to bring this
topic to the conversation. For too many years, I’ve seen incredible Indigenous
artists, with traditional, folk and contemporary styles, struggle to make ends
meet… invisible in the art magazines… absent from the juried shows… neglected
by collectors and curators. This is changing. But way too slowly. And still,
European artists using Indigenous themes get much more recognition and
appraisal value than Indigenous artists using any theme.
#Oaxaca
(photo: T. Chadwick)
I was so glad to be
able to take part in this conversation. In fact, it was, in part, a
retrospective on Indigenous Art over the past #525yearsofresistanceandsurvival,
it’s been 25 years since 1992. Many of the prominent Native owned and operated
galleries have since closed their doors. But there are a few still in
operation, and a few that have opened since the Sesquicentennial resurgence of
Indigenous art. In my view, the more we have conversations that lead to strategies
for how the arts and business community can best support artists and especially,
Indigenous artists, the stronger our community will grow together.
[Links to the program are available here: ... Indigenous Art Now... and below you can watch the official recording of the "What of Indigenous Art Now?" #ARTBASEL conversation - my remarks can be heard at minute 42]
Basel Blog – #ArtMiami
#ArtMiami / #Context
(photo: T. Chadwick)
This year, once again, I didn’t get to Pinta, Superfine, Red
Dot, Context, Untitled or Scope. I really do wish I’d had time to make it over
to Scope, as I enjoyed the Conversation with Edgar Heap of Birds about
the interconnection between art and history. I particularly wanted to see the “sign
post” he did marking this land as Tequesta territory, a site specific artwork
in relation to the Miami Circle just a few miles away.If anyone happened to snap a pic of it, I’d
surely appreciate having a glimpse!
#AndyWarhol at super stuffy Archeous/ Post Modern
(photo: T. Chadwick)
I also wanted to get to Context because I’m interested in
comparing the overall content between each show. Surprisingly, I found Art Miami
to have a more standoffish feel than Art Basel, something I was definitely not
expecting! My favorite aspects of this show, like Basel, were in the margins… “Unleashed”
had an inspiring piece in the entry way featuring a world map in thread, surrounded
by fabric strips of messages by fair goers, flanked by multiple display screens
flashing still and video images of colourful fashions and wearable art from
India and Asia.
#Unleashed #ConnectingThreads @ Art Miami
(photo: T. Chadwick)
My other favorite piece from Art Miami was “DeepSee,” an incredible
collaborative experience integrating natural vegetation, visual art and visual
reality, all with an action based intended outcome of raising awareness,
interest and motivating everyone to set a goal to take at least one action to support
the earth’s ability to heal herself from the daily stress we inflict upon
her.I loved being able to literally
step inside of the beautifully painted canoe and although I generally dislike
the popular innovation of virtual reality imaging, this VR canoe journey was so
very beautiful with its overlapping integration of earth, space and water
travel, it was impossible not to love.Congrats to Dita, Jared, Houston and the FIU advisory council for
creating this inspiring experience.
Although I’m fairly new to the Art Basel scene (this was
only my 3rd year attending events at Miami’s signature week of high profile,
contemporary art fairs which include but are certainly not limited to the
world-renowned #ArtBasel,) I loved my inaugural experience
with the Basel House Mural Festival.
#SFLBloggers
(photo: T. Chadwick)
Even before attending my first Miami Art Week events three
years ago, I’d heard the perspective of local South Florida artists who too
often struggle for recognition, attention of gallery and representatives, and interest in their work
from the local and global community. Basel House set out to address this
problem by showcasing a few of the artists that have infamized the walls of
Miami’s Wynwood Arts District.
#Wynwood #Wall Tag
(photo: T. Chadwick)
As a kid, this was the factory outlet side of town – large, vacant industrial lots, warehouses, some still used for direct and commercial sales of shoes, washing machines, and bric-a-brack, now almost unrecognizable due to the incredible splashes of colour disguising every wall, coffee shops and cute little trendy places to eat, drink and be merry.
...before...
(Friday photo: T. Chadwick)
Basel House Mural Festival took place between the old RC Cola Plant and Wynwood Brewing Co. It was an homage to the street artists who work every day to bring color and consciousness to our concrete jungle. Featured artist Ruben Uribe is a masterful installation and graphic artist who describes his style as “post graffism popular urban art.”
The opening was unlike any other I’d ever experienced
complete with Rolling Stones sponsored ice cream, a delicious dinner bar
of salad, quinoa and paella, and as much kombucha as you dared to consume… One
of the marketing pieces I enjoyed was the live screen printing of Basel House cloth
tote bags to hold all your swag for the night.It was a great evening to connect with the beauty of what local mural
art brings to Miami during Art Basel and all year through.
I love art, but I’m not one to party much… don’t get me
wrong, I love dressing up as much as the next kid, but I’d rather go see a live
orchestra, ballet or jazz performance than try to strike up meaningless
conversations with a thousand people I don’t know and still won’t know
tomorrow.That said, I did enjoy the hubbub
of going to the “Basel Brunch” at the Sagamore this weekend. Rain pouring. Wind
whirling through what’s left of the art deco buildings my grandmother skipped past
as an 8-year-old in 1931, on her way to spend her day on the beach while her
mother tended her ailing father under a prescribed winter in Florida, the antidote
to his WWI inflicted health issues. The rivers of rainwater filled the streets
as we searched for a semi-safe spot to cross the deluge.
Our first stop was the Muse Art Exhibit, a miniature version
of the much-anticipated Muse Art Fair, scheduled for launch during Art Miami
Wee 2018. Housed in the front lobby of the Hampton Inn, curator and lead
organizer Q stopped to chat about the exhibit and plans for the 2018 art fair.
Then we dashed off in the rain across the street to the
Sagamore. It was my first time to the iconic beach front property... filled
with a warm mass of dripping wet bodies, this brunch was jam packed with
several hundred of the most hard and happy art lovers on the beach. Despite the
torrential downpour outside, Basel Brunch goers were chipper, friendly and happy
to be inside. Pastries and mimosas abounded and freshly made crepes were the
finishing touch to a very well attended event, especially considering the extremely
wet weather. On our way out the door, turkey and cheese crepes in hand, we
noticed that the late arrivers were all lined up outside, being kept at bay by
the doormen relating that the space was at capacity and could hold no more. Grateful, we stepped back out into the torrent.
I did’t get to Prizm Art fair last weekend, but it’s not too
late! Prizm, like Art Africa Miami, which I was able to attend during Miami Art
Week, are both still open to the public. I am so glad
about this because last year I found more art I loved at Prizm than at Basel. Prizm is open through this Sunday, December 17th so don't miss it.
Similarly,
Art Africa Miami was filled with large scale treats for the senses. Fabric paintings,
sculptures, etched light box prints… two galleries full of fantastic fun and
fearless art.These bold works spoke
volumes about our place, as people of color, living in the United States, Miami
in particular, reflecting our current circumstance and bringing with us an unbreakablebond to our ancestors and the ancestral
homelands that continue to nurture and sustain us over the course of
generations….
This month, Fort Lauderdale Historical Society has the
distinct honor of featuring the photographic work of JohnBob Carlos in the
world premiere of his first solo show: Healing Waters. JohnBob’s work focuses on the intrinsic and often unseen
beauty of the imperiled Florida everglades. During the opening held last week,
JohnBob shared stories of the multi day journeys he took to capture each intriguing
image, often encountering pieces of our history long forgotten.
At a special encore of the opening preview, in celebration of International Human Rights Day, Miccosukee Grandmother Betty Osceola shared her thoughts about the exhibition and the images that reflect the home, lifeways and future of her people. “We are a reflection of the earth,
we are the earth. If we heal ourselves, then we will also heal the earth.”For Betty, the images remind her of being in
those places, and of the life that surrounds us.“These everglades, they belong to all of us.
The are all our responsibility…The
everglades are the kidneys of the world, just like the Amazon are the lungs of
the world. What will we do if these kidneys stop working? Put them on a
machine? Well, eventually we know, machines will break down. So, what then…?”
Take a moment to come experience these inspired images and
take home a print of your favorite one to remember: if we heal ourselves, we
will heal the earth.
Healing Waters: The
Photography of JohnBob Carlos
On view at
HistoryFortLauderdale.org
Through January 28th
Basel blog – action!
The role of art in our societies no matter where on the
earth or at what point in history, has always been to inspire, to reflect, to
communicate, and to express…Life is
art. Art is life. Let us rise up together and take hold of both. Put aside all
the myriad daily tasks that must still get done. And take the time, just for a
moment or two, to enjoy the art that exists all around us and the effect it has
on our bodies, minds and spirits. Let’s take a second or two to be thankful for
that “food” that art brings to our lives. And then pick up the phone or open up
a blank email and communicate to our own state legislators that we value art
and the artists who make art, and we want to support art, artists and arts
organizations to continue flowing, through tax programs, charitable donations
that are tax deductible, grant programs, investment and incentives that
encourage and support art.
Yours truly #ByeBasel #selfie
Beyond Basel Saturday, December 16th, Tara Chadwick
will be sharing some of her particular style of "performance" art with the community in the Sistrunk
Neighborhood, everyone is welcome to attend. And on Tuesday, December 19th, a community tour of the #NativeArtattheCannonball exhibit is being offered to #Sistrunk residents and the public at 2 pm.
This autumn has flickered by so quickly. It seems we went straight from Hurricane prep and aftermath to the rapid swing of the holiday season. Dia de los Muertos, Garifuna Settlement Day and now the true start of the spending spree... Thanks Giving.
Ironic as we enter this time where philanthropy is king, tax reform bills threaten all the tiny things that add up to the level of poverty with which we are running our businesses, organizations and families. Just in time for #GivingTuesday. It is searingly obvious that integrity, grit and honor have far different definitions throughout our great experiment in democracy.
Let us recall that two hundred years ago, the great tourism destination we now know as Florida was just a mark and label on the map of New Spain.... a territory stretching from the Dry Tortugas to Cabo de Bacalao and from El Rio Nuevo to the edge of the land of the Chichimeca. I am excited about the newly acquired #Mesoamerican map now available via the Library of Congress.
The question before us still remains... what map shall we draw in anticipation of how our migrations will look two hundred years into the future...
How to get social justice moving through your veins or Warrior Training 101 #MesoamericanDanza workshop held at #PAMM on November 11 as part of #PeaceJamMiami.
This month, just a quick note of thankfulness... for our a perilous yet graceful brush with Hurricane Irma... for a strong, resilient community... and for the recognition that came on the anniversary of the formation of the United Nations. For all who continue the struggle to leave something good behind for all our children, thank YOU!
Really, this process of preparing for the arrival of Hurricane Irma is a lot like birthing a baby. You buy lots of stuff, you're not really sure exactly what you're preparing for... not certain you can handle what's coming... and you can never be sure how, when or in what condition you will emerge with this new life...
It takes a lot of energy and effort, because producing life IS a lot of energy! We forget. We mothers, we humans... so very forgetful! About how precious life his... how hard we worked to get it here and how much it means to us. How we depend on one another... How we need to take time to be kind to one another. We are all so addicted and distracted, busy with so many things. It takes a potentially devastating catstrophe to shake us from our slumber long enough to look up and smile at a stranger.
It's been 525 years since the arrival of Cristobal Colon... 3000+ years since the starting point of the counting of days in the Mesoamerican calendar. Four and three quarters years since the winter solstice of 2012, marking the completion of a 52 year cycle of baktun year bundles. Two weeks since the solar eclipse, two days past the September full moon, and, less than two weeks from my 45th birthday.
There are wildfires burning in the nine western most states in the US, three category 4 hurricanes in a row and early this morning, an 8.2 earthquake rattled in to Chiapas and surrounding areas.
4:45 pm
The rain is falling, the wind is blowing and yet today is a joyful day for us... the 7th anniversary of the day my son was released from a week long hospital stay and I am forever grateful!
The year I decided to prepare myself to ask to be made Midewiwin, I stood facing the south on the edge of a great ice age cliff overlooking that glacial lake we now know as Wabanew Gamee, Lake Ontario, not to far from where the #TIFF is going on today. That year, I stood in that spot at least once per day. Gathered my materials, lit a fire, and offered my thoughts of thanks and determination. That next year, once I'd been placed on the path of becoming Midewiwin, I moved home, to my mother's homeland. I returned to my ancestral roots in Mesoamerica. It was there that I faced hurricane Mitch. Then, as now, I prepared, and waited. Eventually, Mitch held fast, in place, for six days, and skirted around the country of Belize where I was. That was part of my journey to the doorway of the Midewiwin People of the Heart Way Teaching Medicine Society. Now we are here, at the edge of another massive swirl of wind and water.
Once again, I find myself standing on the highest hill, this time it's an elevation of several inches above the surrounding terrain. And I offer my thoughts once again... of compassion... of kindness... of hopefullness... that we, as a community of human beings, will remember that there is but once source of life and in that flow, we are all relatives no matter the diverse origins of languages, or birth places, or the length of time our ancestors have wandered across the beautiful lands of this planet we share. We all are children of Mother Earth regardless of the races, religions and identities we choose to wear. As my we'en Bawdwaywidun Banaise recalls his father saying... "all creation stories are true." It is my hope that these fires, and floods and shaking of the earth will remind us all of our responsibilities to one another to keep growing and learning and creating and caring for this beautiful land we are on... taking an active part in shaping and moulding our path to the future... standing up and being responsible for the actions we are allowing to happen in our selves, our families and our nations... and for each of us to ensure that those decisions on our behalf are resulting in the future we want for our children to inherit. That we will each bring our whole effort to work together and form a world of dignity, justice, equity and liberty, a world in which many fit.
Sometimes our time markers, memory markers all happen to converge. Today is one of those days. First day of school of the last year of middle school for my older son and the first day of kindergarten for the younger one.
Four and three quarters of a year past the completion of the bundle of years we know as the baktun cycle of the Mesoamerican calendar.
Our young people are getting healthy, standing up, using their voices. Unity is on the rise. It is definitely the beginning of an era.
Our ancestors across this continent had and continue to have many different ways of honoring the particular point in the infinite dance of our universe that we recognize today as eclipses. There are scrolls and charts, sculptures and symbols to account for the calculations of the passing of time and the various markers used to keep track of the many cycles we observe. In some cases, we don't know what types of ceremonies or commemorations were held, while in other cases, the ancient traditions are still practiced within vibrant cultural communities.
In my own pleuri-cultural family, lunar eclipses, like the phases of the moon that greet us every day of every month of every year, remain a special and sacred time of reflection, quiet contemplation, care and love. My grandmother would always stay up, notice, watch and sing a beautiful rendition of "big lady moon" in her low lullabye voice, while my grandfather would always join us for a moment, then retreat to his sleeping quarters. The instructions we are to follow as human beings remain clearly written on our hearts, we have only to clear our minds enough to follow them.
In the cities of our Maya ancestors, urban planners constructed cultural landscapes with central plazas in line with the location of the rising, setting and mid-day sun on the days of the summer and winter solstice. Some cities, known for their scientific prowess in tracking the cycles of the planets and starts, contain ancient observatories, perhaps they even functioned as building-sized pinhole cameras or camera obscura.
In 1979 when I was six years old, I attended a Miami-Dade County public school called Comstock Elementary. I loved my reading book, "It Happened This Way," featuring a pink flamingo who had swallowed a pretzel on the front cover. I hated the standardized testing I was introduced to that year. I loved earning cheeze it cracker treats from my teacher by sitting quietly when it was rest time. And I remember the day all the teachers were worriedly reminding us not to look up at the sun. It was Miami's last total solar eclipse, and my most memorable day of school, ever. Kudos to all the teachers, principals and administrators who will do their best to ensure that no kids get solar blindness on their watch today.
As for me, I'm going to take a deep breath, take a few moments to reflect, and prepare to welcome in the start of a new era... maybe, hopefully, the sun will shine on our people once more....
When I sit at the water's edge... I become water
As I walk among the plants of the pineland... I am the forest
If I close my eyes, I become the starry night sky.
I am my mother's daughter and grandmother to the generation yet to come
I live for the future with my thoughts planted firmly in the past.
I am the roots of the prarie grass reaching for the water
I am the footpaths of the nomads walking migrations in circles
I am the riverbanks undulating over the vast countryside
I am earth, water, stars, universe... we are me and she is we.
We are. We are all. We are here still, now, intact, full, perfectly imperfect.
