Another article from The New York Times special on-going "State of the Museums" report, that also includes "The New Guard of Museum Curators" (linked here) which New Creation reported on last week.
Behind this news came other news. One of Haiti’s proudest cultural monuments, the Episcopal cathedral of the Holy Trinity in the capital city of Port-au-Prince, had collapsed, destroying murals painted in the late 1940s by some of the great artists of what is often called the Haitian Renaissance: Philomé Obin, Castera Basile, Rigaud Benoit, Wilson Bigaud, Prefete Duffaut. Their images of verdant, fruit-colored tropical heavens had helped turn a politically volatile nation into a tourist destination, and art itself into an export industry.
The Centre d’Art, where these artists once met with André Breton, Aimé Césaire and Wifredo Lam, was seriously damaged, as was the Musée d’Art Haitien. Catastrophically, many of the 12,000 Haitian works, accumulated over half a century, in the Musée/Galerie d’art Nader were lost when the building that housed them, a family home, disintegrated.
Objects retrieved from the Centre d’Art and the Musée d’Art Haitien have been locked in containers. Nearly everything recovered will need conservation.
Far more difficult to assess is the survival of art produced outside the fragile museum and gallery network, though some of this work has relatively high visibility through commercial connections with the United States and Europe. A funky downtown section of Port-au-Prince called the Grand Rue was the scene, in December, of a first-time art event called the “Ghetto Biennial.” Based on international models but operating on a tiny budget, it brought in a few artists from abroad but was basically a showcase for a collective of Haitian sculptors who call themselves Atis Rezistans.