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I swear to Dog, this week… Culmination of a shitty few months, or harbinger of worse things to come?
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Not really. I know that Cadbury eggs are at least on sale. No word on other types of candy yet. I don’t know if what’s all on sale is worth it. Sorry. :/
I do like cadbury eggs (the mini ones are delish, if horrible healthwise—I binge on sweets). I *really* want the Passover goodies—jelly slices, specifically, the rest are meh. But those are way too expensive. Okay, I love the marshmallows too, but my store only carries the coconut-covered Passover marshmallows. I feel like a reese’s egg might be a reasonable brownie substitute?
I dunno. I just ate frittata, and boy am I not used to eating significant amounts of egg outside of desserts. Oof. So I should take a walk at some point anyway or my tummy will get extra pissed at me. If I *happen* to stop by Duane Reade on the way, well…
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Just for clarification. I could use a more official endorsement of my choices.
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'Cause I'm completely done with the universe. I want to make brownies, but alas, no brownies until Tuesday night. So maybe shitty easter chocolate instead. Although it would mean getting dressed, which, meh.
Contemporary Art Week!
Anyway here is a cancelled project by Fred Wilson that you will hopefully find interesting and complicated anyway, and that deals directly with the kind of historical art and sensibilities that are at the core of this blog.
Wilson did observe that the sole black figure represented on all those many monuments is that of a freed slave — seated at the feet of his liberators and clutching his manacles in a raised right fist — included on the 284-foot-high Soldiers and Sailors Monument in the heart of downtown Indianapolis. Wilson proposed to replicate and “reimagine” the freed slave, replacing the manacles with a multicolored flag representing the African Diaspora, elevating the figure atop a tall angled base that would render the pose more assertive, and siting the new monument at the City-Country Building, the seat of local government. Like the figure, the work’s title — “E Pluribus Unum,” Latin for “One out of many” — was appropriated, the motto of the new nation made of former colonies being claimed to describe the unity of a once enslaved and dispersed black people.
The opposition to Wilson’s design — largely but not exclusively voiced by the black community — appears to have been ignited by a September 16, 2010, letter to the editor published in theIndianapolis Recorder, the city’s black-owned daily, submitted by Leroy Robinson, a high school history teacher and, since the November 2011 elections, a city councilman. Robinson objected to the replication of a negative black image and particularly to the figure’s apelike facial features. (Raise your hands if you recall the derisive Obama sock monkey from the 2008 campaign.) He made an analogy between Wilson’s project and erecting a giant black lawn jockey, a remark that went viral and, for a time, fueled the belief that Wilson had proposed erecting just such a derogatory figure. During the ensuing months of protests and hearings, others pointed out that the City-County Building houses not just the powerful but also the powerless: the jail is located there. Given the incarceration rate of young black men across the country, it was argued, the monument’s figure might appear more impotent than defiant. Offers by CICF to re-site the work did not appease the opponents, nor did the fact that an information kiosk would be provided to explain (lengthily, no doubt) Wilson’s intentions and the work’s critical implications.
The decision to cancel the project elicited expressions of sadness and indignation from arts professionals — and a certain amount of grandstanding, too. Tyler Green, in his blog (hosted on ARTINFO), has been flogging Bryan Payne, CIFA’s president and CEO, for mishandling the process and for cowardice in backing away from support of Wilson’s project, as if the cancellation of a public art project — which is to say an outdoor work that is on view 24/7 — were as cut-and-dry an offense as yanking a David Wojnarowicz video from a temporary exhibition which viewers attend of their own volition. Green cites Christopher Knight of the L.A. Times as having issued the following judgment: “Not only is this one of the most provocative ideas he’s [Wilson’s] come up with, it’s one of the most compelling ideas for a public art project that I’ve encountered in a very long time.”
"E Pluribus Unum" may indeed be provocative and compelling for public art, but the strategies that propel the work are well established in critical artistic practice. One is reminded of Michael Asher’s 1979 transfer of a statue of George Washington, a weathered bronze cast of Houdon’s marble original, that stood at the entrance of the Art Institute of Chicago to the museum’s French decorative arts galleries, a transfer intended to highlight the ideological forces at play in the placement and evaluation of objects. More pointedly, the shackles-to-flag transformation of an abject stereotype into a figure of empowerment owes much to Betye Saar’s fundamental "The Liberation of Aunt Jemima" (1972), in which the mammy figure has ditched the white baby she typically holds in favor of a shotgun. Wilson’s practice has long centered on the exposure of institutionalized racism in art, a campaign that earned widespread attention in 1992 with his revelatory exhibition “Mining the Museum” at the Maryland Historical Society. For one of the displays that dealt with the exclusion of blacks from state history as constructed by the museum, Wilson installed three empty pedestals for hypothetical busts of black Marylanders of accomplishment: Benjamin Banneker, Frederick Douglass, and Harriet Tubman.
Returning to that incendiary letter to the Indianapolis Recorder, we find Robinson calling for “E Pluribus Unum” to be replaced by a monument that honors the accomplishments of a black resident of Indianapolis. He names some candidates, too, including Tuskegee Airman Walter Plamer and the beauty products entrepreneur and philanthropist Madam C.J. Walker. His point — which was exactly Wilson’s point in 1992 — is well taken, and begs the question: Should Indianapolis welcome a public artwork that embodies a critique of past neglect, or should it commission a public work that actually corrects past neglect?
And so it was cancelled. I don’t know if this is the best writing on it out there but it’s what turned up when I looked it up quickly.
and, like, I’m shocked that I need to say this, given the circumstances, but a post like this? About MYSELF, my depression, how I feel like shit today?
You should not be reblogging this, or anything like this. Respect people’s shit.
"No business which depends for existence on paying less than living wages to its workers has any right to continue in this country." ~ Franklin D Roosevelt
@swagjohncage is upset because to those of us who work in it, “Contemporary Art” means something different and distinct from fantasy illustration.
It’s a field where people of colour have to fight for recognition as much as any other cultural field, and so recognizing them their specifically is an important thing: aside from barriers to entry, they have to deal with on the one hand the dangers of a broader culture that rejects their ideas (see: continual attacks on the NEA or other institutions over support for artists of colour and queer artists’ work), and a world of big money and privilege on the other that sees “the right kind” of artists able to climb their way up social ladders.
I’m going to publish your submission. But first let’s address your assumption that I don’t know what you and your buddy are getting at. Here’s the post you’re mentioning for reference.
I have to be totally honest. Your weak attempt above to Explain To Me The Thing taps into a font of extremely personal and visceral rage, partially due to the assumption that I am unaware that “artists of color struggle”.
Because I come from that world. I was a working artist for nearly a decade (and the struggle to even get to that point is another tale in itself) before I was forced to change career paths to survive around 2008-2009. The collapse of the economy drove artists who had degrees and previous success as contemporary artists to snap up the jobs I’d been surviving on, and they they were “too good for”, right out from under me. Including fantasy illustration, as well as commissioned portraiture, tattoo design, graphic design, advertising design, you name it.
Because when you need to put food on the table, a job is a job. And when you could hire Mister Had His Own Show in NYC to draw your kids for peanuts, that means Your Humble Narrator’s brown, disabled, queer self gets the new shiny title of Retail Sales Associate.
When I first decided to go back to school, even at my advanced age I was accepted into one of the most prestigious Fine Arts private institutions in the country…and had to turn down the opportunity to “learn how” to do things I had become accustomed to being paid to do for years when it comes with a $58,000/year price tag attached.
You see, the taste of this particular kind of arrogance is nostalgic and familiar, seeing as I got to eat my own arrogance for breakfast, lunch, and dinner, washed down with a glass of poverty and shame, for quite a long time. Something inside you cracks when you’re outside the poetry/art show in a tiny gay bar in downtown Saint Petersburg or Ybor, flushed with drink at 1 o’clock in the morning, and watch an entire homeless family walking by, the five- and two-year-olds holding hands between a mother and father, wandering the 80-degree streets because the police broke up the tent-town last week,or because the newest tent-town won’t accept families.
But it’s the second homeless family that passes by 20 minutes later that finishes breaking you. And it’s the bag of rice in your cupboard that keeps shrinking, the $25 increase in the rent, the “no” on the phone when you ask your mother if you can move back in, the 8-hour wait in the emergency room, and the knowledge that the 1am streets will be your new home too very soon that sends you a thousand miles northward.
Or maybe it has something to do with the most recent hammered millionaire who staggered into your display at your last big show, shattering the glass frame you took an extra day at Big Retail to pay for. He laughed. He didn’t buy anything.
So you run. You run from the tent towns, the tuberculosis outbreaks covered up by the governor, from the gauntlet of starvelings who linger outside your retail job trying to get any piece of the 7.25/hour you’re making. And you run into an entirely new and different kind of struggle…how I got here is another story, for another time.
I started painting again recently for the first time in years. And you know, I’m proud to work in education, as I do now. I’m proud of my writing, and I’m proud of my work in activism. And I’m proud of my art. But these distinctions between “the right kind of artist/art”, “contemporary art”, “REAL art”, and “fantasy illustration”….coming from my experiences, there is a terrible disconnect in what you’ve said about the struggles of artists of color, when you’ve seen even the “right kind of artist” fighting us pigs for the slops. When the “fight for recognition” turns to a fight for survival.
The world of Big Money and Big Privilege that you describe doesn’t only create the danger of being snubbed, having your ideas rejected because of racism, sexism, classism, and a failure to conform to their ideas about what art is “supposed” to be. The danger can be a lot more immediate than that.
I fail to see how you and swagjohncage policing what is and isn’t “real” art is anything but a tool of the elitist world you seem to be criticizing. All I see is a narrowing of the tiny crack that ANY artists of color, whether or not they appeal to your aesthetic preferences in contemporary art OR Contemporary Art, can creep through and try to make a living. We live in a world that crushes our gifts out of us, makes them irrelevant, makes them laughable. “Art??? Why don’t you get a REAL job!” takes on a whole new tone when you come from one of Those Neighborhoods.
We already live in a society that devalues art and artists, frames our work and our struggles as a frivolous choice (“starving artist, ha-HA”), that devalues this especially when coming from artists of color, queer artists, disabled artists, that expresses actual outrage when we use whatever media we can:
THIS is the world that rejects us. THIS is our struggle. This is being pushed so far into the margins that we practically fall off the edge of the world. Because the work of an Egyptian artist in digital media, challenging our colonized notions of what IS and ISN’T art, is not about breaking into the world of Big Money and Big Privilege so much as it is reaching ourselves.
The rules dictate that we cannot succeed. Honestly, your submission, which I plan to post shortly, highlights that perfectly. So we’re breaking the rules.
I had high hopes, I suppose, that more people would understand that. Seeing this reaction does make my optimism flag, but if I did have an Optimism Flag, as I’ve said before, this might possibly be it:
[illustration by palaceofposey]
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don’t know if this helps, but when I view tumblr in firefox, there is no animation.
Firefox and I have never gotten along, for whatever reason. Maybe it’s the computer itself? I dunno, I always fuck up with firefox.
Anyway, it’s not such a big deal—I just have to test out a few more. Nothing catches *everything*, but usually I can cobble together 3 or 4 that will work; sometimes they just don’t cooperate, and then I have to try out different combos.
Thanks though! I always appreciate computer tips :)
I think there may be a perception floating around our culture that bisexuals are sort of a watered-down version of gay, and this is a big problem.
This perception enables mainstream cultural creators to think: Oh, I should have some LGBT representation, let’s stick in a bisexual girl (this would never happen with a bisexual boy, because of a host of issues around homophobia). Then that bisexual female character can have a fling with another girl to attract attention/check the “diversity” box, but meanwhile she can mostly be involved in a relationship with a man, so she largely appears straight. (This has been the story line of so many TV shows involving “bisexual” characters over the decades.)
In case it’s not clear, I want to underscore the fact that I think this is wrong. This kind of representation of “bisexual” women essentially erases the existence of people who are bisexual. It’s flat, two-dimensional, bad storytelling based on stereotypes that primarily serves to underscore even more stereotypes.
Jesus, probably. (via glossylalia)
Okay y’all, actual theological question: would the ‘brb’ apply to the Crucifixion, Resurrection, or Ascension? Or the Second Coming? Which times did he actually say ‘brb’? I took a course on Christianity in college, I know it was at least for one of those!
(also, hey, happy Easter if you’re celebrating!)
Well technically I would say it’s the resurrection or ascension since he never mentioned rising while he was mortal which is why the 2 Marys and Martha were surprised when he was no longer in the tomb when they came.
Thank you! It’s confusing to me because I remember there being one time he said brb, and another where he said brb but he didn’t actually come right back. But I don’t know if that’s real or my imagination/misremembering of some literature. And basically, I’m just much clearer on Crucifixion/Resurrection than Ascension/Second Coming (at one point I think I thought the latter set were a single phenomenon).
Muppets Most Wanted - Miss Piggy wears a wedding dress designed by Vivienne Westwood, inspired by 17th-century fashion at the court of King Charles II.
The sequined corseted number is accessorized with veil, diamanté tiara, satin opera gloves, pearl necklace with pendant and statement ring. Her silver glitter shoes with gold bows (made of plastic) were designed by Westwood as well and made in collaboration with the Brazilian brand Melissa.
Miss Piggy, always a fashionista.m
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