Baldwin’s lever

God gave Noah the rainbow sign,
No more water, the fire next time!

The Fire Next Time(1963)contains the essays – My Dungeon Shook: Letter to My Nephew on the One Hundredth Anniversary of the Emancipation (Progressive, 1962); Down At The Cross: Letter from a Region in My Mind (New Yorker, 1962).

School began to reveal itself, therefore, as a child’s game that one could not win, and boys dropped out of school and went to work. My father wanted me to do the same. I refused, even though I no longer had any illusions about what an education could do for me; I had already encountered too many college-graduate handymen. My friends were now “downtown,” busy, as they put it, “fighting the man.” They began to care less about the way they looked, the way they dressed, the things they did; presently, one found them in twos and threes and fours, in a hallway, sharing a jug of wine or a bottle of whiskey, talking, cursing, fighting, sometimes weeping: lost, and unable to say what it was that oppressed them, except that they knew it was “the man” — the white man. And there seemed to be no way whatever to remove this cloud that stood between them and the sun, between them and love and

life and power, between them and whatever it was that they wanted. One did not have to be very bright to realize how little one could do to change one’s situation; one did not have to be abnormally sensitive to be worn down to a cutting edge by the incessant and gratuitous humiliation and danger one encountered every working day, all day long. The humiliation did not apply merely to working days, or workers; I was thirteen and was crossing Fifth Avenue on my way to the Forty-second Street library, and the cop in the middle of the street muttered as I passed him, “Why don’t you niggers stay uptown where you belong?” When I was ten, and didn’t look, certainly, any older, two policemen amused themselves with me by frisking me, making comic (and terrifying) speculations concerning my ancestry and probable sexual prowess, and for good measure, leaving me flat on my back in one of Harlem’s empty lots. Just before and then during the Second World War, many of my friends fled into the service, all to be changed there, and rarely for the better, many to be ruined, and many to die. Others fled to other states and cities — that is, to other ghettos. Some went on wine or whiskey or the needle, and are still on it. And others, like me, fled into the church.

For the wages of sin were visible everywhere, in

every wine-stained and urine-splashed hallway, in every clanging ambulance bell, in every scar on the faces of the pimps and their whores, in every helpless, newborn baby being brought into this danger, in every knife and pistol fight on the Avenue, and in every disastrous bulletin: a cousin, mother of six, suddenly gone mad, the children parcelled out here and there; an indestructible aunt rewarded for years of hard labor by a slow, agonizing death in a terrible small room; someone’s bright son blown into eternity by his own hand; another turned robber and carried off to jail. It was a summer of dreadful speculations and discoveries, of which these were not the worst. Crime became real, for example — for the first time — not as a possibility but as the possibility. One would never defeat one’s circumstances by working and saving one’s pennies; one would never, by working, acquire that many pennies, and, besides, the social treatment accorded even the most successful Negroes proved that one needed, in order to be free, something more than a bank account. One needed a handle, a lever, a means of inspiring fear[my emphasis]. It was absolutely clear that the police would whip you and take you in as long as they could get away with it, and that everyone else — housewives, taxi-drivers, elevator boys, dishwashers, bartenders, lawyers, judges,

doctors, and grocers — would never, by the operation of any generous human feeling, cease to use you as an outlet for his frustrations and hostilities. Neither civilized reason nor Christian love would cause any of those people to treat you as they presumably wanted to be treated; only the fear of your power to retaliate would cause them to do that, or to seem to do it, which was (and is) good enough.

Miami Rail – The Look

The Look


Guccivuitton
April 19 – May 31 2014

On the evening that I saw this exhibition, the spiritual and sonic vibrations of Haiti pulsed through the gallery, emanating not from the work on display—a pared down yet far-reaching multigenerational survey of Haitian art in a variety of contexts—but from the church next door. The Look is self-aware on many levels. The art simultaneously basks in and skirts the pale gaze. The gallery, which has been open on 83rd and Ne 2nd for a few years now, is also aware of its conspicuous presence in the neighborhood. To break down those white cube walls, they’ve commissioned a mural from Serge Toissant, the only Miami street artist I’d like to see more of, and hosted concerts and get-togethers over the exhibition’s run. Had they planned it, the chants coming through the wall would have been a nice touch.

The title of the exhibition refers to Charlotte Rampling, the star of the sex-tourism film Heading South. A group of women go to Haiti expecting one thing, and getting the unexpected. As such, the show is rooted in understanding how one is seen from the outside, and then playing into that, or complicating it. The show pairs Haitian masters with contemporary artists, all of whom are of Haitian descent, with the exception of Pablo Gonzalez-Trejo, a Cuban painter who provides a facile defaced portrait of Francois “Papa Doc” Duvalier. Interesting that while politics tremble through The Look, the one explicitly political piece is also the show’s only misstep.

In the center of the show, both spatially and conceptually, is a long display of idols (2012-2014) made by the artist Guyodo. These foot-high figures are made of wood and whatever consumer-item detritus happens to be around: scraps of fabric, old ballpoint pens, bicycles tires, cell-phone parts. One rests in the bottom casing of a blender. Endlessly protean, they are cargo-cult fetishes, objects where the supernatural came shrink-wrapped. But they are also knowingly easy, made for tourism or export. And since many of the materials were salvaged from the rubble of the 2010 earthquake, Guyodo’s idols are stark reminders of how difficult it is to separate Haiti’s culture from disaster.

Running the perimeter of the gallery is a vibrant back and forth between traditional Haitian art and contemporary responses. The former group includes a lineage of metal sculptors coming out under George Liautaud (1899-1991). The other artists in this line, Gabriel Bien-Aimé and Murat Brierre, all work with cut sheets of metal depicting Vodou and folktales. However, the rusting industrial original of these pieces tempers any colonial whimsy outsiders might have. Painting wise, Felix La Fortune seemingly checks all of the Haitian boxes with a couple of oils on board. These depictions belief and domestic life contain crisp blocks of color, check, flattened space, check, and the reductive treatment of figures (simple while not simplistic), check.The contemporary pieces approach the same history, yet do so in highly nimble and coded ways. Marrron et Masqué (identified in the press release as “a collective,” but suspiciously reminiscent of Adler Guerrier) collaged bits of French text regarding style and culture. Not only do these works approach how folk painting (Haitian or otherwise) is read by a frequently illiterate population, the pieces are obscured by clouds of aerosol spray paint, a potential nod both to atmospheric perspective and to industrialization. Tomm El-Saieh and Rick Ulysse are two artists born in Haiti (1984, 1983 respectively) and based in South Florida. El-Saeih ran a space a few years ago, and Ulysse is currently in residency at the Museum of Art Fort Lauderdale (he was, quite similarly, in residency at MOCA as part of their 2012 partnership with Airbnb, Trading Places II). Here, they align the meshes of contemporary abstract painting (reductive, casual) with Hatian painting (flat and floral, up front) to allow the viewer to peer through both. Which is basically what The Look is all about.