Warped Images from Garry Pierre-Pierre's Lens

Rebuttal from Andre Juste
Sunday, May 3rd 1998

Many of you Corbetters might have seen the New York Times article by Garry Pierre-Pierre ("Haitian Art Bursting Out," April 17, 1998). Despite the photograph of myself and my work right on the cover of the Weekend Fine Arts/Leisure section, I'm hardly elated about the piece. In some of Pierre-Pierre's coverage of the Haitian community, not only does he play fast and loose with facts and indulges in boldface favoritism, he reveals that he is quite cavalier about researching his topics:

• It was not simply the 1978 Brooklyn Museum exhibit of Haitian art, which Pierre-Pierre uses as backdrop for the new art that's "bursting out," that "thrust those featured [in it] on the international scene...." International recognition had already been bestowed on many of the artists since the mid- forties. Andre Breton's "Surrealism and Painting," which contains a chapter on Hector Hyppolite, came out in 1947, and Selden Rodman's "Renaissance in Haiti," in 1948. And to cite but two examples of Haitian exhibits outside of Haiti in 1946:
  • "Exposition of International Paintings," in Paris.
  • "Paintings from the Centre D'Art," shown in New York and Washington D.C.. A cursory glance at Ute Stebich's catalog for the 1978 show, "Haitian Art," would have revealed some of these facts to Pierre-Pierre
  • The "shifts" in Haitian art-- away from "traditional depictions of voodoo or simple village and market scenes, rendered in vivid colors"--did not develop after the 1978 show or twenty years later, as Pierre-Pierre implies. They were quite apparent since the forties in Haiti itself. Note the relatively abstract or "modern" works of Lucien Price and others whom Selden Rodman discounted as being too derivative of modern European masters.
• Though Pierre-Pierre is no art critic, it wouldn't have been too taxing for him to show-- even superficially--how the new art connects with that of non-Haitians artists and how it differs concretely from the Haitian art "stereotypes." Not to convey clearly such points--especially in an article about "broad changes" in Haitian art--is, paradoxically, to further stereotype and ghettoize the art by relegating it to an ahistorical limbo.
• As far as my work, "Pedro's Fire," is concerned:
• It is not a "homage" to my uncle. Pierre-Pierre simply assumes this point. If he were even superficially curious about the work, I would have told him that it is basically an attempt to conflate my subjective view of my deceased uncle (nicknamed "Pedro") with the mythical Don Pedro/Petro that Alfred Metraux alludes to in "Voodoo in Haiti."
  • The fourteen rum bottles in the work are not "empty," as he states. They are full.
  • I did not use "found objects" to create the work-- I bought my materials from hardware stores etc. .
  • My studio is not located at the "foot of the Brooklyn Bridge"--it's under the Manhattan Bridge overpass.

Since Pierre-Pierre article is about Haitian artists breaking out of the traditionnal naive self-taught mode and was given folders resumes critical articles slides etc. on both myself Vladimir Cybil--is following simply a matter shoddy journalism his part:

• He alludes to The education or jobs that other artists presented In article have had-- Rejin Leys degree art illustration from Parsons Antoine Obin sometimes work as a nurse aid Carlo Thertus former construction worker/builder. is it Pierre-Pierre might ennobled me too much mentioned I B.A. English and an M.F.A. fine arts? for all worth taught both past fifteen years received quite favorable reviews Times at least three occasions by critics Michael Brenson Vivien Raynor?
• Would been generous Vladimir Cybil artist who happens be my wife little more than appendage? (Though about male two women ilustrated works of males only.) After receiving her School Visual Arts she attended on full scholarship Skowhegan Painting Sculpture. Last year Artist-in-Residence Studio Museum Harlem exhibited twice there.

When Pierre-Pierre first called me up and requested an in-depth interview for his article (He actually interviewed Vladimir Cybil about two hours suggested he had enough information.) I pointed out to him then there my objections specifically articles written on the Haitian community: Haitians Leadership Split is a Generation Gap (Sept. 24 artists Colony Flourishes in Queens (April 8 1995). conveyed this regarding April article: that of nine presented accompanying photograph--three them quoted at least twice--none however identified caption--except owner Active Art Gallery Joseph Kern--who happens be white. editors responsibilities me. Fair perhaps. But could have stated as well little do with being padded dubious factual information. If fact atticle enclave what Emmanuel Merisier--from East Orange New Jersey--and Eric Girault--from upper Manhattan--doing in the photograph that caps piece? and they not even mentioned article. Why does Pierre-Pierre devote six paragraphs (more than on anybody else) Paul Gardere a Haitian-born artist from Brooklyn--who certainly deserves praise for his accomplishments success But he judging many art shows I seen past twenty years has hardly--if at all--exhibited with other Haitian artists York much less being somehow connected an enclave of Queens.

Much worse than the article about Queens artists is Pierre-Pierre Split piece. in it he almost explicitly favors one faction of New York Haitian community--The American Alliance--a group relatively young upwardly mobile professionals. Supposedly they constitute a mainstream can-do TYPE leadership. But real target Left within community represented person Ben Dupuy director weekly Haiti Progres. distorted and overly simplified picture that Pierre- Pierre presents quite evident If leaves aside political issues presented article--that guard (read general) too focused on generation Alliance more willing to tackle affects Haitians living York. indeed supposed be between leaders why didn present views some well known right-wingers old younger activists? This would have resulted credible less revolting article.

Perhaps taking their cues from Pierre-Pierre bias the Times editors capped article with two telling photographs: on one hand there is Ben Dupuy In a checkered open-necked shirt gazing blankly nondescript office space. contrast Alliance represented by seemingly polished bow-tied young lawyer named Vladimir Rodney. he sits behind desk adorned what looks like computer keyboard And other gadgets. Confidently wielding pen paper stares benignly at viewer. it now seems to me that Madison Avenue could hardly have done better job image. I beginning wonder would take--if not already too late--to get Garry my side.

Andre Juste