Wednesday, January 18, 2017

i can't

I can't give a shit anymore about art that doesn't liberate. I'm fighting for my survival and right to psychic freedom and life. What are you doing?

Tuesday, January 17, 2017

Inescapably subaltern

If the aim of art is to transcend one's own body, what about those bodies invisible and left behind? If Roland Barthes' "death of the author" is precluded upon the invisibility, i.e. the non-death and non-life of non-white bodies, fuck that. White art, theory, and their progenitors need to address this rather arrogant loss of body: who has a body to begin with? White (authors') deaths matter.

Tuesday, December 27, 2016

important steps for white people/white art: investigating colonial blood, encouraging divestment from racist practice.

Found while googling "linnaeus taxonomy race"
STATEMENT
  from Sasha Huber

The primary incentive for my artistic work has been the exploration of my Swiss-Haitian roots and identity via colonial history. This approach has broadened out considerably to include a range of histories and postcolonial realities. 

"As an artist Sasha is like a time travelling heroine who draws attention to historic trauma and its ramifications in the present."  Bruce E. Phillips, Seniour Curator, Te Tuhi, Auckland, NZ


I think she does it better than Isabelle Pauwels. It would be great to see a white male do this kind of work.

 
See that last line? Nice! 
Ethics! Art! Wow!



PS: I would love to un-euro-name every mountain. I call Mount Tahoma Mount Tahoma instead of Rainier to my daughter intentionally. I look to Denali as an example.

dont underestimate taxonomic power

when you name something you have power over it a la adam. my favorites "so-called negro" and "asiatic," because 'we are what we are, but you want to put us in a box,' and 'asiatic' for solidarity reasons (see housing covenants in the US and 'whites only'/'no negros, jews, or mongoloids/mongolians' in the 1920s, see Carl Linnaeus)... Nomenclature, 2016, Presented at BAM (Brooklyn Academy of Music) as part of the group show, The Arch of My Eye's Orbit (curated by Hrag Vartanian)
"Here, Rasheed pairs a grid of 21 framed prints bearing the terms uncovered in her research with a print of a 1967 Ebony magazine spread entitled, "What's in a Name?" where Lerone Bennett Jr. reprints Du Bois' 1928 editorial response in a gesture to reignite the national debate over naming. In doing so, Rasheed carries this conversation into the 21st century, suggesting that issues related to the language of taxonomies and their role in race relations in the US is anything but resolved."

rad dark xmas cards

foreshadowing christ's betrayal and death? via Hyperallergic.

Monday, December 19, 2016

uhum

http://hyperallergic.com/346182/lgbtq-activists-attacked-by-trump-supporters-while-leaving-nyc-art-space/

art link roundup

Oaxacan artist collective 2017-2018 @ LA Central Library
"Los Angeles is often lauded as a diverse city, but rarely do the stories of the indigenous communities that make up the city’s history get the credit they deserve. If they do, they're overshadowed by their colonialist counterparts, garnering little more than a few textbook pages. But these communities play a vital role in an exhibition that's currently in the works for contemporary Angelenos to see.
On view from Sept. 16, 2017, to Jan. 31, 2018, “Visualizing Language: A Zapotec Worldview” features commissioned work from Oaxacan artist collective Tlacolulokos [Darío Canul and Cosijoesa Cernas] that will be on display at the Central Library’s rotunda. "












All-male-art-show (probably mostly white)see also, cited in article-sexism in art

"while feminism has propelled women forward, men are stuck in a standstill...Hector thinks a big part of the problem is that men aren’t being asked the same questions as women. While feminism has pushed women to reevaluate their traditional roles in society, Hector thinks “there’s been a lack of having similar conversations with men.” She’s curious about how men talk and think about themselves.

To get the conversation started, Hector generated an extensive list of questions and sent them to a racially diverse group of both straight and gay male artists. She asked the men to consider society’s expectations on them. Do they feel pressure to have a certain kind of picket-fence house, high earning job, wife, husband or family? She asked them if they felt stereotyped as men and whether or not they feel free to express themselves emotionally. She asked them if they think society should change its approach to raising boys, and how they feel feminism has affected their relationships and their perceptions of themselves.

'It’s interesting,' Hector says, 'a woman asking men these questions. I like seeing men be uncomfortable with their feelings.'"

Color @ Tulalip
Exploring color; exhibit geared toward Pre-K - 3rd Graders