Trinidad Guardian

Trinidad Guardian

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  2. Published: 
    Tuesday, January 23, 2018

    The 2018 season of the IPL will begin on April 7 at the Wankhede Stadium in Mumbai, India, with the final scheduled for May 27 at the same venue. Defending champions Mumbai Indians will play the tournament opener and their opponent will be revealed when the IPL releases the match schedule this week.

    Another significant decision taken by the IPL Governing Council on Monday was to change the start times for the matches. From this season on, afternoon matches will be begin at 5.30 pm, and night games will commence at 7 pm. Until last season, these matches began at 4 pm and 8 pm respectively. This means that the second innings of the first match and the first innings of the second will overlap on double-header days.
    It is understood the shift in timings was agreed to by Star India, which in September bagged the global broadcast rights for the IPL for the next five years.

    The IPL has also finalised the venues for the home matches for Kings XI Punjab and Rajasthan Royals. Kings XI will play four of their seven home matches at their home base in Mohali and the remaining three in Indore. As for Royals, Jaipur remains the franchise’s first-choice venue, but the IPL has decided to wait for the court hearing on January 24 at the Rajasthan High Court. The hearing concerns the unanimous adoption of the Lodha Committee recommendations by the Rajasthan Cricket Association, which is housed at the Sawai Mansingh stadium in Jaipur.

  3. Published: 
    Tuesday, January 23, 2018

    Trinidad-born Kynaston McShine, an audacious museum curator who organised some of the most influential contemporary art exhibitions of the late 20th century, died on January 8, in Manhattan. He was 82.

    His death, at the Mary Manning Walsh Home, was announced by the Museum of Modern Art, where he worked for over 40 years until 2008. No cause was given.

    McShine cut a distinctive swath through the art world. A West Indian, he held a highly visible curatorial position when the ranks of art museum curators in the United States were almost entirely white.

    Known for his wit and elegance, he spoke with an upper-crust British accent, was fiercely private and rarely gave interviews. He could be brusque and imperious one moment, charming and conspiratorial the next.

    Especially in the 1980s and ’90s, McShine exercised a great deal of influence on what the Modern acquired in the way of postwar and more recent art, and applied a keen eye to its instalation in the permanent collection galleries.

    He organised two exhibitions that have become part of art history. The first was Primary Structures: Younger American and British Sculptors, a show of new abstract sculpture at the Jewish Museum in Manhattan in 1966, during a hiatus from the Modern.

    It was one of the first museum exhibitions devoted to the movement that was becoming known as Minimalism, which the show’s success accelerated.

    Primary Structures achieved such historic status that in 2014, as its 50th anniversary approached, the Jewish Museum revisited it with an exhibition centred on a beautiful scale model of the museum’s galleries as they existed in 1966, complete with miniature sculptures.

    By 1968 McShine was back at the Modern, this time in the department of painting and sculpture as an associate curator.

    In 1970 he made a second, bigger splash with Information, an international survey of about 130 artists, filmmakers and collectives that explored the tangled strains of mixed-media, participatory and ephemeral works gathered under the umbrella of Conceptual art.

    Information was predicated on the idea that people were living in a new age, in which communication technologies connected them as never before and deluged them with images.

    Showing works that were overtly critical of the government and the war in Vietnam as well as of museums themselves, the exhibition set out to disturb the artistic and political status quo.

    That it was held in a museum as prominent and as Balkanized (in terms of art mediums) as the Modern made it all the more effective.

    Information was rife with unfamiliar artists, but there were also plenty of Downtown Manhattan stalwarts, among them Richard Serra, Robert Smithson and Yvonne Rainer, as well as the art critic Lucy R Lippard.

    She had given McShine access to her extensive files on art’s new directions while he was working on the show.

    Those files became, in 1973, the basis for Lippard’s book Six Years: The Dematerialisation of the Art Object From 1966 to 1972. Primarily a densely annotated chronology, it includes Information.

    The disruptive spirit of the show was apparent in its catalog, which was printed on cheap stock using a typewriter font and gave each artist at least one full page to use as desired. The astounding range of creativity, irreverence and abstruseness that resulted was bracketed between endpapers with wide-angled views of masses of humanity: The first showed the 1963 March on Washington, the last the 1969 Woodstock festival.

    WHO WAS KYNASTON MCSHINE

    Kynaston Leigh Gerard McShine was born on February 20, 1935, in Port-of- Spain, the oldest of two boys of Austen Hutton McShine and the former Leonora Pujadas. His father was a bank president; his mother founded Trinidad’s League of Women Voters and was its first president.

    His large, well-off family had produced doctors, lawyers and a judge or two among its branches.

    Children in the extended family had nannies, and those not sent to boarding school in England—McShine and his brother were not—attended the prestigious Queen’s Royal College in T&T.

    McShine was one of the first in his family to attend college in the US rather than England, earning a bachelor of arts degree from Dartmouth College in 1958.

    McShine never publicly explained how his interest in modern and contemporary art began, but at Dartmouth one of his best friends was a son of Celeste G Bartos, the philanthropist and collector and a Museum of Modern Art trustee.

    McShine recounted that when he visited the family in Manhattan he would sleep on a Mies van der Rohe daybed beneath a painting by Joan Miró.

    In 1959, after a year of graduate work in English literature at the University of Michigan, he got a job in the Modern’s department of public information.

    From there he went to the museum’s department of circulating exhibitions.

    During the early 1960s, McShine attempted further graduate studies, this time in art history at the Institute of Fine Arts at New York University. But his heart already belonged to museums, and to presenting exhibitions there.

    (The New York Times)

  4. Published: 
    Tuesday, January 23, 2018

    An American television reporter recently indicated that he had difficulty understanding how Republicans who are supposed to be pro religion, pro-family, pro-decency and pro-honesty hated Obama and love Trump. It is easy to understand, our local politician, Basdeo Panday, answered that question years ago when he indicated that politics has a morality of its own. I have friends and family who swear that they don’t have a racial bone in their body but never voted outside their ethnicity and never will. They find all kinds of excuses to explain the ills of those they support.

    Our media are replete with calls for leaders with a vision for T&T, someone whose life is a history of service to people and whose dignity is unquestionable. They want a leader who can offer realistic, attainable solutions to crime, the economy, infrastructure and healthcare. If one were to be guided by their action one can easily question the sincerity of their pronouncements.

    In T&T we have scholars in our universities with opinions on a variety of topics. These people can offer refreshing new ideas and perspectives on a variety of topics. Our media, however, seem to prefer the same old personnel that we have been hearing for ages. Speak of any topic and you see the same old faces with their same old perspectives.

    It is no different with politics. One wonders if one must be bordering on outrageous, loud, quarrelsome and divisive to be invited to television to share one’s political views. The Democratic Party of Trinidad and Tobago (DPTT) is one of the few small political parties that fought a general election contesting 10 seats in the 2001 general election and continues to make suggestions for a better T&T. The views of its political leader are not outrageous, there has never been any effort to disparage anyone’s character or to veer off the track of seeking that which is best for T&T by its leader Steve Alvarez. Each week I write on a variety of topics that are relevant to the development of T&T. Some topics are published in the daily newspaper, but many are simply ignored.

    The last time I was on morning television on a regular basis, Paolo Kernahan, Andy Johnson and Dr Keith Clifford were the regular hosts. I am not seeking free publicity for the DPTT or myself. I am simply pointing out that if we are sincere in seeking that which is best for our nation we ought to look beyond the same personnel with the same old ideas and poor examples for our children.

    If the best we can portray are people who lack respect for our public office holders, persons who cannot criticise policies and management practices without disparaging the person’s character and persons whose track record is so outrageous that some are before our courts for a variety of reasons, then we are in a very sad place.

    It is time for us to look deep inside and ask ourselves is it possible to embrace that which is best for our nation and let go of the racial prejudices that plague us. Or is the morality of politics so biased that it is impossible to consider viable alternatives?

    God bless our nation.
    STEVE ALVAREZ

Miami Broward Carnival - 2017

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