Sexypink is THE definitive site for Art from Trinidad & Tobago, the Caribbean & the Americas. The objective is both to enjoy imagery, feature quotes and continue in the vein of Sexypink of the past.

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Miami-based filmmaker Jonathan David Kane debuts his documentary set in Haiti, titled ‘Papa Machete’. The film explores the obscure martial art of tire machét- Haitian machete fencing- and lends the spotlight to a struggling Haitian farmer who has mastered the art, Alfred Avril. 

'Papa Machete' premiered at the Toronto International Film Festival (TIFF) on 6th September 2014, making it the first time the prestigious festival featured films out of Canada. Kane's documentary is one of only six U.S. productions to be featured at #TIFF, and the only short film set in the Caribbean.

Miami-based filmmaker Jonathan David Kane debuts his documentary set in Haiti, titled ‘Papa Machete’. The film explores the obscure martial art of tire machét- Haitian machete fencing- and lends the spotlight to a struggling Haitian farmer who has mastered the art, Alfred Avril.

'Papa Machete' premiered at the Toronto International Film Festival (TIFF) on 6th September 2014, making it the first time the prestigious festival featured films out of Canada. Kane's documentary is one of only six U.S. productions to be featured at #TIFF, and the only short film set in the Caribbean.

hifructosemag:

Kehinde Wiley’s (Hi-Fructose Vol. 29) opulent portraiture subtly stirs the status quo. As an American artist, Wiley honed his craft in accordance with a legacy of Euro-centric art history that left him simultaneously awed and alienated. One would be hard-pressed to find a grandiose portrait of a person of color in the works of the Renaissance masters in the Met or the Louvre. This is the motivating factor of Wiley’s oeuvre: to elevate images of average people of African descent through his ornate depictions, exposing the singular beauty of his subjects through dramatic compositions that evoke the Baroque period.

While he started out this aesthetic exploration by scouting subjects in major US cities, Wiley’s art has taken him all over the world to work with people of the global African diaspora. His latest series, “The World Stage: Haiti” is currently on view at Roberts & Tilton Gallery in Culver City and features 12 new paintings based on his recent travels. Read more on Hi-Fructose

nichelavideoart:

CALL FOR VIDEO ART: Multiple Feeds
Multiple Feeds is an online and gallery video opportunity that will feature video pieces by LAAA artists Dani Dodge, Tanya Nolan and Kristine Schomaker. 
These videos are posted online here and will be later presented in person starting October 11, 2014 at LAAA’s Gallery 825. 
Multiple Feeds unique design will allow the viewing audience to create and post their own video content in response to the videos by Dodge, Nolan and Schomaker. Viewers’ videos will be posted online within 48 hours of submission. 
This effort will culminate in an exhibition at LAAA’s Gallery 825 on October 11, 2014, The LAAA artists’ videos will be played alongside the videos created in response, creating a dialog between the LAAA artists and the audience.
Eligibility:  Open to all video artists.
Artists may submit 1 video response to  each of the posted video works by Dani Dodge, Tanya Nolan and Kristine Schomaker by uploading your video to YouTube and sending the URL tomultiplefeedslaaa@gmail.com
Videos may not exceed a running length of 2 minutes.
Application Form: http://form.jotformpro.com/form/42585408686972

nichelavideoart:

CALL FOR VIDEO ART: Multiple Feeds

Multiple Feeds is an online and gallery video opportunity that will feature video pieces by LAAA artists Dani Dodge, Tanya Nolan and Kristine Schomaker.

These videos are posted online here and will be later presented in person starting October 11, 2014 at LAAA’s Gallery 825. 

Multiple Feeds unique design will allow the viewing audience to create and post their own video content in response to the videos by Dodge, Nolan and Schomaker. Viewers’ videos will be posted online within 48 hours of submission. 

This effort will culminate in an exhibition at LAAA’s Gallery 825 on October 11, 2014, The LAAA artists’ videos will be played alongside the videos created in response, creating a dialog between the LAAA artists and the audience.

Eligibility:  Open to all video artists.

Artists may submit 1 video response to  each of the posted video works by Dani Dodge, Tanya Nolan and Kristine Schomaker by uploading your video to YouTube and sending the URL tomultiplefeedslaaa@gmail.com


Videos may not exceed a running length of 2 minutes.

Application Form: http://form.jotformpro.com/form/42585408686972

(via revolutionaryperformance)

laurenhinds:

Helpless

laurenhinds:

Helpless

Peter Jackson, 2 December 1889. Born in 1860 in St Croix, then the Danish West Indies, Jackson was a boxing champion who spent long periods of time touring Europe. In England, he staged the famous fight against Jem Smith at the Pelican Club in 1889. In 1888 he claimed the title of Australian heavyweight champion.
Photograph: Hulton Archive/Getty Images

Peter Jackson, 2 December 1889. Born in 1860 in St Croix, then the Danish West Indies, Jackson was a boxing champion who spent long periods of time touring Europe. In England, he staged the famous fight against Jem Smith at the Pelican Club in 1889. In 1888 he claimed the title of Australian heavyweight champion.
Photograph: Hulton Archive/Getty Images

dboodoofortune:

“But down deep, at the molecular heart of life, we’re essentially identical to trees.” —Carl Sagan
"Untame Things" 2013

dboodoofortune:

“But down deep, at the molecular heart of life, we’re essentially identical to trees.” —Carl Sagan

"Untame Things" 2013

Art Connect is a feature length documentary film that reveals and illuminates how creativity has inspired and changed the lives of “at risk” kids.
Plot outline
Art Connect is a feature length documentary film that reveals and illuminates how creativity has inspired and changed the lives of “at risk” kids, aged twelve to sixteen, living in the disenfranchised and volatile area of Laventille — Port of Spain, Trinidad.

briannamccarthy:

aaaaaa

Henrique Oliviera. Sculpture

Henrique Oliveira was born in Ourinhos, Brazil in 1973. He received a BFA in painting in 2004 and a Masters in Visual Poetics in 2007 from the University of São Paulo, Brazil. Oliveira has exhibited in numerous solo and group exhibitions in Brazil and in 2008 participated in Something from Nothing, an invitational exhibition organized by the Contemporary Arts Center, New Orleans, Louisiana. He lives and works in São Paulo.

Oliveira uses tapumes, which in Portuguese can mean “fencing,” “boarding,” or “enclosure,” as a title for many of his large-scale installations. The term makes reference to the temporary wooden construction fences seen throughout the city of São Paulo where Oliveira lives. It also refers to the weathered wood Oliveira uses as the primary material in his installations. Early on, Oliveira experimented with the surfaces of his paintings by gluing newspaper onto a canvas and scraping it, or mixing sand with the paint. A breakthrough occurred while he was a student at the University of São Paulo, where for two years the view from his studio window was a wooden construction fence. Over time Oliveira began to see the deterioration of the wood and its separation into multiple layers and colors as similar to the process of painting. One week before the final student show opened, the construction was finished and the worn out plywood fence was discarded. Oliveira collected the wood and used it in his first installation.
Oliveira’s installations, which he refers to as “tridimensionals,” have evolved into massive, spatial constructions that combine painting, architecture, and sculpture. In some installations he uses walls as supports, attaching and shaping lengths of PVC tubing to create enormous, protruding forms over which he layers thin sheets of wood. In others, he arranges thousands of pieces of painted wood into gestural abstract “paintings” that spill off the wall into the viewer’s space. The constants in Oliveira’s work are the visual and tactile qualities of wood that has been exposed to the elements, and though he incorporates new, flexible plywood into his work, his primary material remains the discarded wood collected on the streets of São Paulo.