GUYANA – LATEST NEWS – 03 May 2016 – Kaieteur News
(see other News sources at the end of this entry)
- GNBA against political parties holding Broadcast Licence
- OAS pays tribute to Sir Ron Sanders
- State must withdraw from competing with Private Media – Granger
- Forensic audit recommends…Ministry of Citizenship should have central location
- Ed Ahmad says he cooperated, deserves more time a free man
- Corruption is staunching the existence of a manufacturing industry in Guyana
- Mahdia Authorities meet as flash floods hit community- residents may have to be evacuated
- … See more article links below …… Continue reading
Hew Locke’s Wine Dark Sea – A VQR TrueStory Essay – By Gaiutra Bahadur
Hew Locke’s Wine Dark Sea – A VQR TrueStory Essay – By Gaiutra Bahadur
April 18 2016 – VQR: A National Journal of Literature & Discussion
Boats in Manhattan’s Edward Tyler Nahem Fine Art gallery.
Nave (as in a church) has as its root the Medieval Latin word for ship, “navis.” The etymology cues a tradition dating back to at least the fifteenth century: Survivors of shipwrecks and captains prosperous at sea would donate miniature models of boats to churches. Hung from the eaves of European—particularly Scandinavian—cathedrals, these votive boats were a form of thanks but also prayer. They’ve inspired art before, Renaissance painter Vittore Carpaccio’s “The Apparition of the Ten Thousand Martyrs,” for one. British artist Hew Locke didn’t know of the boats until encountering them in a Portuguese fisherman’s chapel in 2009. Ships had long been in his visual vocabulary, but in that sacred setting he saw them anew: In constellation, in the context of journeys so difficult they require either pleas or gratitude to the gods.
That lens illuminates his work, most recently with the flotilla of thirty-five boats that hang from the ceiling at Manhattan’s Edward Tyler Nahem Fine Art gallery. Cruise ships, gold-filigreed galleons, a Coast Guard boat, a dugout canoe, and sailboats all careen together in suspended motion, in an installation consecrated to refugees from Syria and Iraq. Locke christened it “The Wine Dark Sea” in homage to Homer’s “Odyssey” but also to Derek Walcott’s epic poem “Omeros,” which recasts the ancient Greek tale in the Antilles. The title “bends together two seas,” Locke tells me—the Caribbean and the Mediterranean, both scenes of precarious migrant crossings. [Read more]
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