PRIZM 2022 All times EST

PROGRAM

Dec 3

5:00 PM

Kimberly Camp
Collecting and Community

IN-PERSON: LITTLE HAITI CULTURAL CENTER

JOIN US AS WE CELEBRATE KIMBERLY CAMP’S 40-YEAR PRACTICE AS AN ARTIST AND ADMINISTRATOR. KIMBERLY CAMP WILL BE IN CONVERSATION WITH DR. ANTONIO TILLIS, NOTED LITERARY SCHOLAR AND ART COLLECTOR.

Add to Calendar 12/03/2022 12:00 AM 12/03/2022 12:00 AM +00:00 Kimberly Camp

JOIN US AS WE CELEBRATE KIMBERLY CAMP’S 40-YEAR PRACTICE AS AN ARTIST AND ADMINISTRATOR. KIMBERLY CAMP WILL BE IN CONVERSATION WITH DR. ANTONIO TILLIS, NOTED LITERARY SCHOLAR AND ART COLLECTOR.

Nov 30

00:00

PRIZM X ART SEEN 365
JARED MCGRIFF

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Jared McGriff at his studio to learn more about his art-making process.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 PRIZM X ART SEEN 365

Prizm & Art Seen 365 visit Miami-based artist Jared McGriff at his studio to learn more about his art-making process.

00:00

PRIZM X ART SEEN 365
MARK FLEURIDOR

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Mark Fleuridor at his studio to learn more about his art-making process.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 PRIZM X ART SEEN 365

Prizm & Art Seen 365 visit Miami-based artist Mark Fleuridor at his studio to learn more about his art-making process.

00:00

PRIZM X ART SEEN 365
N. MASANI LANDFAIR

STUDIO SERIES

Prizm & Art Seen 365 visit Georgia-based artist N.Masani Landfair at her studio to learn more about his art-making process.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 PRIZM X ART SEEN 365

Prizm & Art Seen 365 visit Georgia-based artist N.Masani Landfair at her studio to learn more about his art-making process.

00:00

PRIZM X ART SEEN 365
SOFÍA CÓRDOVA

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Sofía Córdova at her studio to learn more about his art-making process.
Born in 1985 in Carolina, Puerto Rico, and currently based in Miami, Florida, Sofía Córdova makes work that considers sci-fi as alternative history, dance music’s liberatory potential, the internet, colonial contamination, mystical objects, and extinction and mutation as evolution, within the matrix of class, gender, race, late capitalism, and its technologies.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 PRIZM X ART SEEN 365

Prizm & Art Seen 365 visit Miami-based artist Sofía Córdova at her studio to learn more about his art-making process.
Born in 1985 in Carolina, Puerto Rico, and currently based in Miami, Florida, Sofía Córdova makes work that considers sci-fi as alternative history, dance music’s liberatory potential, the internet, colonial contamination, mystical objects, and extinction and mutation as evolution, within the matrix of class, gender, race, late capitalism, and its technologies.

00:00

PRIZM X ART SEEN 365
YANIRA COLLADO

STUDIO SERIES

Yanira Collado lives and works, Miami, FL. Collado identifies as a Dominican born in New York. She attended Miami’s New World School of the Arts for high school, studied at The School of the Art Institute of Chicago, and later pursued studies in Early Childhood Education.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 PRIZM X ART SEEN 365

Yanira Collado lives and works, Miami, FL. Collado identifies as a Dominican born in New York. She attended Miami’s New World School of the Arts for high school, studied at The School of the Art Institute of Chicago, and later pursued studies in Early Childhood Education.

00:00

IN THE STUDIO
MOREL DOUCET

STUDIO SERIES

Morel Doucet (b. 1990) is a Miami-based multidisciplinary artist and arts educator that hails from Haiti. He employs ceramics, illustrations, and prints to examine the realities of climate-gentrification, migration, and displacement within the Black diaspora communities. Through a contemporary reconfiguration of the black experience, his work catalogs a powerful record of environmental decay at the intersection of economic inequity, the commodification of industry, personal labor, and race.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 IN THE STUDIO

Morel Doucet (b. 1990) is a Miami-based multidisciplinary artist and arts educator that hails from Haiti. He employs ceramics, illustrations, and prints to examine the realities of climate-gentrification, migration, and displacement within the Black diaspora communities. Through a contemporary reconfiguration of the black experience, his work catalogs a powerful record of environmental decay at the intersection of economic inequity, the commodification of industry, personal labor, and race.

0:00

IN THE STUDIO
COLLECTING WITH CCH

STUDIO SERIES

Actress, Activist, and Consummate Collector, CCH Pounder, shares her 2020 collecting journey in support of artists in what has been an unpredictable year on many fronts. Enjoy a tour of her new acquisitions and her gallery Corentyne Cottage House

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 IN THE STUDIO

Actress, Activist, and Consummate Collector, CCH Pounder, shares her 2020 collecting journey in support of artists in what has been an unpredictable year on many fronts. Enjoy a tour of her new acquisitions and her gallery Corentyne Cottage House

0:00

REMEMBERING
DR.DAVID C. DRISKELL

Prizm Panels

In 2018, Prizm had the honor of hosting A living Legacy conversation featuring Distinguished University of Maryland Professor Emeritus of Art David C. Driskell in conversation with the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton as part of the “Living Legacy National Speaking Tour”. Their conversation highlighted Driskell’s contributions as an artist, scholar, and cultural historian and the contributions of African American artists to the American art canon. Dr. David C. Driskell was a giant, a mentor to many, and an unwavering ambassador for the arts.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 REMEMBERING

In 2018, Prizm had the honor of hosting A living Legacy conversation featuring Distinguished University of Maryland Professor Emeritus of Art David C. Driskell in conversation with the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton as part of the “Living Legacy National Speaking Tour”. Their conversation highlighted Driskell’s contributions as an artist, scholar, and cultural historian and the contributions of African American artists to the American art canon. Dr. David C. Driskell was a giant, a mentor to many, and an unwavering ambassador for the arts.

0:00

REMEMBERING
MARVIN FABIEN

PRIZM PERFORM

In 2017, Nyugen Smith(USA/Trinidad/Haiti) and Marvin Fabien (Dominica/Martinique) presented, Lest We Forget, a multi-sensory performance derived from their on-going dialog related to the impacts of hurricanes and climate change in the Caribbean and the most venerable parts of the United States. Marvin Fabien had a penchant for, through his hypnotic use of sound, conjuring the aesthetics of the popular music culture of the Caribbean whilst simultaneously rendering hair raising Digital Performances that address key issues affecting the Caribbean region. Fabien was easily becoming an indelible force in the continued development of contemporary practice in the Caribbean/Global South. May we continue to remember his work through our continued efforts to amplify Diasporic narratives and perspectives.

View
Add to Calendar 11/30/2020 12:00 AM 11/30/2020 12:00 AM +00:00 REMEMBERING

In 2017, Nyugen Smith(USA/Trinidad/Haiti) and Marvin Fabien (Dominica/Martinique) presented, Lest We Forget, a multi-sensory performance derived from their on-going dialog related to the impacts of hurricanes and climate change in the Caribbean and the most venerable parts of the United States. Marvin Fabien had a penchant for, through his hypnotic use of sound, conjuring the aesthetics of the popular music culture of the Caribbean whilst simultaneously rendering hair raising Digital Performances that address key issues affecting the Caribbean region. Fabien was easily becoming an indelible force in the continued development of contemporary practice in the Caribbean/Global South. May we continue to remember his work through our continued efforts to amplify Diasporic narratives and perspectives.

VERNACULAR A LA MODE

VERNACULAR A LA MODE

VERNACULAR A LA MODE

VERNACULAR A LA MODE

Mark Delmont

Art began as a routine reflection for me. I was deep into music production and found myself leaning into
other mediums for inspiration. I had always danced around the idea of expounding upon art forms that
interested me. I had built such a solid foundation and following in music, that the transition seemed
pre-mature and “left-field”. However, the need to do so intensified. I began to notice how much
importance I placed in the marketing stages for my music releases. Keeping everything in-house is how I
picked up graphic design (website, logo, flyers, etc.), sketching, and painting. I studied and formulated
treatments and storyboard layouts. These initiatives started to take precedence over the music and I
found myself spending more time sketching than writing music. My transition into art would begin with
partnerships with brands like Scotch and Soda whereas I would lend my self-taught skills to creative
rollouts from clothes to promotional content.

In 2020, I initiated my shift into visual arts by taking a year hiatus from music, to study and craft. It
resulted in black and white abstract works of iconographic renderings from my Haitian & Jamaican
backgrounds. I fell in love with the heaviness of Japanese ink. I would use one thick black line in
juxtaposition to white canvas and paper to create the pieces. I found this technique to be the best to
show black shape(s) that seems like an accent at first glance. After careful inspection, I reveal to the
viewer how the black shape(s) drape the entirety of the canvas. Whoever is looking, can now unearth the
embedded images I have sketched into the substructure.

I was able to show some of those pieces via a solo exhibition curated by Art Movement Los Angeles in
2020 ‘Faces I ignored’ which featured some of those earlier works. My work had matured by the time I
was invited to be a part of a collaborative exhibition for Soho Beach House Miami in 2021 entitled
‘IMAGINE: An Anthology of Black thoughts’. That same year I was featured in Afropunk’s “Black Spring”

segment to speak about my practice and Afro-Caribbean influence on my work. 2021 would also be the
year I felt the itch to evolve again, which was sparked by reconnecting with Scotch and Soda for a panel
discussion and exhibition “The Style of a Black Man” (Soho Miami Beach House). Preparations for the
show motivated me to explore my fascination with textiles.

As a child, I would watch my father alter his clothes. I was intrigued by how he could transform pre-made
articles of clothing, designed to fit anyone who wears a large, to fit him, and only him. I taught myself
needlework and studied stitch patterns. My friend, colleague, and local poet Arsimmer McCoy
re-introduced to me, Faith Ringgold. It was Ringgold’s “Who’s afraid of Aunt Jemima” where I began to
understand the delicate intricacies that form when merging design and story. Similar to what I always
hoped to achieve when fusing visual art and music. I began creating exaggerated sketches of members
of my community, faces I passed, and family members.

In combining fabric, chicken wire, and wood framing, I am then able to bring those faces off the page to
speak. “Fiber structures” are my large-scaled homages to the physical and societal narratives of black
people. The pictures are portraits and scenes, overstated in upscaled fabrics and intentional tack
structuring; pulling the black face trope on its head, by turning it inside out. Replacing the mockery the
media slathers over black identities and instead pronounces them by adorning those identities in bold
silks, soft satins, and ornament. In June of 2021, I decided to go with this new approach at the request
for two commissioned pieces for the Historic Hampton House in Brownsville, Fl, for a program
commemorating Malcolm X’s birthday. ‘Detroit Red’ and ‘Brother X’ would be the catalyst for my way of
painting with textiles.

I have found myself recently playing between fabrics and hushed-hued oil paints, that run the gambit of
the pastel color wheel. I am involving more flesh, shadows, and exactness in the features. Drawing them
out with the addition of smudging, and torched burning. I mean to re-program the way we ingest our
personas while seeking to understand my process of cultivating the different tiers of my practice. I
understand that it is only through the edifying of the brilliance of the black diaspora, that we can combat
the continuous harmful propaganda forced on the black body. I consider my work an ode to the beauty of
the black face.