Thursday, November 14, 2013
Friday, October 18, 2013
Tuesday, September 24, 2013
Saturday, September 14, 2013
Where can you find Dan Flavin/Vladimir Tatlin, Ethiopian scifi, and Albrecht Durer all in one? This video.
Look for the art references:
Dan Flavin, “monument” for V. Tatlin, 1969
Albrecht Dürer, Self-Portrait as Christ, 1500
Speaking of which, next time I'll blog about artist-as-Christ identifications. Yeezus, anyone?
Tuesday, September 10, 2013
Chris Hedges: Cornel West and the Black Prophetic Tradition.
Monday, September 9, 2013
As we work with the youth of America on behalf of the Skyhook Foundation Mr. Abdul-Jabbar wanted to share this photo of himself with educattors across the country. He met MLK Jr. when he was 17 years old and became inspired to become a writer. He attended this press conference as a reporter representing the HARYOU Act (Harlem Youth Opportunities Unlimited) in 1965. Please let me know if you need anything else.
Deborah Morales | iconomist |
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Leading Icons from Success to Significance
Representing the NBA's All-Time Leading Scorer Kareem Abdul-Jabbar
BC:"This is not just about race. It's about ethics and education and economics. It's about kids being divorced from the life we want them to live."
Thursday, September 5, 2013
Look for him!!!!
80s nostalgia= headbands and bandanas with the wartime japanese flag. (which ive always liked design wise not so much colonialism wise)
harkens back to my other fave badasses.
RIP Kriss Kross' Chris Kelly (overdose)--i appreciate the backward pants yo. subvert the patriarchy of front facing pants!
RIP Lisa LeftEye Lopez (car crash/angel of death). You were a bright star of fast rhymes amidst sultry diva-beltin.
This post dedicated to all the dearly departed music icons everytime I watch music videos that are near to my heart.
tenuous precious connections, but really just an excuse to listen to music and this post presupposes, you will too?
Wednesday, September 4, 2013
key and peele. so smart. and funny.
But if you look at the previous post....Does a conscious hip-hop need to be separate from a gangsta rap aesthetic? Maybe not. Subvert the overall gangsta-misogynist-homophobic-minstrelsy(?)-mode and go for the subtle thrill of incorporating black history, civil rights, awareness of police brutality, etc.
WARREN G I LOVE YOU!
And not just you, Harding, or Magnusen.
Monday, August 26, 2013
Good on Warren G for quoting "bicentennial Blues by Gil Scott-Heron. Yesss.
Friday, August 23, 2013
Stieglitz found himself looking at the low-class deck called the steerage (full of immigrants):
"There were men and women and children on the lower deck of the steerage. I longed to escape from my surroundings and join them. Round straw hat, the funnel leaning left, the stairway leaning right, round shapes of iron machinery...I saw a picture of shapes, and underlying that, the feeling I had about life."
On second listen I'm not sure if he wants to be among the lower class or just is fascinated by their shapes, as an artist.
Tuesday, August 20, 2013
Under My Skin: Artists Explore Race in the 21st Century
On display May 10 to November 17, 2013
The NAAM's upcoming community response forum on Trayvon Martin soon!...details TBD, stay tuned!
RACE: Are We So Different? On Exhibition September 28, 2013 - January 5, 2014
even cooler lady featured in the story of course.
I first learned about Kochiyama from this documentary about Kochiyama and also Angela Davis.
Friday, May 31, 2013
U of Chicago Exhibition/Black Is, Black Ain't.
There are so many things I love about this.
Friday, May 17, 2013
Friday, March 15, 2013
Monday, February 18, 2013
"Mr. Lee-Smith's paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio de Chirico and Edward Hopper."
Untitled (Two Figures and Beach), 1955
While I totally agree with the quote above (from Wikipedia) I like that Lee-Smith lets the brushstrokes show a little more, is expressive and less 'clean' than hopper and de chirico (both very polished while like Lee-Smith, contain elements of loneliness and mystery). I also like that this composition has approx. equal amounts sky and land, the big house at left balanced with the distant houses at right, the male figure and the caped figure, and the tall pole/tree at right contrasted with the small horseshoe shape at lower left.
Tuesday, February 12, 2013
Seattle's Congress Of Racial Equality (CORE) used these signs in successful picketing and boycott againstemploymentdiscrimination in October 1961. At the start only 6 out of 1,700 Safeway employees were black; three months later, there were 28.
Monday, February 11, 2013
Adrian Piper is a conceptual artist and philosopher. Cornered was at the SAM recently and she also had a piece at the Henry in The Talent Show.
When installed, there are two birth certificates for the same person on either side of the screen hung on the wall. The video was installed on a CRT tv in the corner of a room, with successively larger rows of chairs in front of it,starting with one chair right in front of the screen. The screen is cornered in by a big table so that Adrian speaks to you from a 'trapped' position. She remains deadpan, serious, and forthright throughout the message. One birth certificate listed "white" and one listed "octoroon."
Sunday, February 3, 2013
Monday, January 28, 2013
Sunday, January 20, 2013
Saturday, January 19, 2013
People may be surprised to know how much bell hooks loves men–especially black men–but she does.
I say surprised, because the general tendency–especially among men–is to confuse feminist politics and political activism with being anti-men.
So if you couple this tendency (to conflate feminist politics with being anti-men) with the undeniably harsh realities that confront black men in America, then it is easy to see how decades of political activism to teach and educate about patriarchy and sexism in the lives of black folks could cause some people to view bell hooks as being anti-black men.
But nothing could be further from the truth.
In fact, a very important part of bell hooks’ intellectual and political project over the years has been to create spaces for men–especially men of color–to do the critical work of examining masculinities and sexualities.
On the one hand, black feminist scholars and activists have always had to point out the systematic advantages that black men have in relation to black women. On the other hand, not many have taken the time to dedicate an entire book to exploring the complex issues that black men face in America.
Yet, this is precisely what bell does in her book We Real Cool: Black Men & Masculinity.
But she does expect men to be part of the movement. In her essay, “Men in Feminist Struggle–The Necessary Movement” she points out the limitations of traditional feminist theory in it’s inability to engage and re-conceptualize masculinity, and she talks passionately about her “deeply felt conviction” that men must play an active role in feminist struggle.
"Scott claims that it was more of an interaction, a mutual exchange of ideas, values, codes, goods, and bodily fluids."
I wonder if it's John Wayne-Sherman Alexie style fluid swapping or Disney Pocahontas/Dance with Wolves type fluid swapping (is there a difference?)
"When one group meets another, both are transformed by the experience. The pioneers did not just impress their culture on the locals and the landscape, but were changed by both into something new, something other than what they were to begin with. There is no purity, just mixture—Scott is committed to this position."
Check out this clip on the World's Largest Brothel:
Also cf. a Lacanian analysis of the Alexie story, "The entire story of John Wayne and Etta revolves around the logic of symbolic identification and of enjoyment that Zizek describes in 'The Loop of Enjoyment' in Tarrying With the Negative. Both Native American and European in this story are cautious about one another’s culture. The Other – for the European, the Native American, and for the Native American, the European – occupies a space of desire outside one’s own community, a space that is fantasmatic and characterized by either excessive fear and alienation or excessive pleasure. Zizek indirectly describes perfectly John Wayne’s fascination with Etta as the Native, and perhaps even her own fascination with John Wayne. They are fascinated with each other as an Other, and at the same time, they feel threatened by their very fascination for each other, as though they were violating their own tribal-national-ethnic identity (Zizek 203)."