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Orphaned transracial international ungrateful insurgent Class Bastard.

Posts tagged art

Aug 11 '14
"Women invented all the core technologies that made civilization possible. This isn’t some feminist myth; it’s what modern anthropologists believe. Women are thought to have invented pottery, basketmaking, weaving, textiles, horticulture, and agriculture. That’s right: without women’s inventions, we wouldn’t be able to carry things or store things or tie things up or go fishing or hunt with nets or haft a blade or wear clothes or grow our food or live in permanent settlements. Suck on that.

Women have continued to be involved in the creation and advancement of civilization throughout history, whether you know it or not. Pick anything—a technology, a science, an art form, a school of thought—and start digging into the background. You’ll find women there, I guarantee, making critical contributions and often inventing the damn shit in the first place.

Women have made those contributions in spite of astonishing hurdles. Hurdles like not being allowed to go to school. Hurdles like not being allowed to work in an office with men, or join a professional society, or walk on the street, or own property. Example: look up Lise Meitner some time. When she was born in 1878 it was illegal in Austria for girls to attend school past the age of 13. Once the laws finally eased up and she could go to university, she wasn’t allowed to study with the men. Then she got a research post but wasn’t allowed to use the lab on account of girl cooties. Her whole life was like this, but she still managed to discover nuclear fucking fission. Then the Nobel committee gave the prize to her junior male colleague and ignored her existence completely.

Men in all patriarchal civilizations, including ours, have worked to downplay or deny women’s creative contributions. That’s because patriarchy is founded on the belief that women are breeding stock and men are the only people who can think. The easiest way for men to erase women’s contributions is to simply ignore that they happened. Because when you ignore something, it gets forgotten. People in the next generation don’t hear about it, and so they grow up thinking that no women have ever done anything. And then when women in their generation do stuff, they think ‘it’s a fluke, never happened before in the history of the world, ignore it.’ And so they ignore it, and it gets forgotten. And on and on and on. The New York Times article is a perfect illustration of this principle in action.

Finally, and this is important: even those women who weren’t inventors and intellectuals, even those women who really did spend all their lives doing stereotypical “women’s work”—they also built this world. The mundane labor of life is what makes everything else possible. Before you can have scientists and engineers and artists, you have to have a whole bunch of people (and it’s usually women) to hold down the basics: to grow and harvest and cook the food, to provide clothes and shelter, to fetch the firewood and the water, to nurture and nurse, to tend and teach. Every single scrap of civilized inventing and dreaming and thinking rides on top of that foundation. Never forget that."
Violet Socks, Patriarchy in Action: The New York Times Rewrites History (via o1sv)

(Source: sendforbromina)

Jul 7 '14
"Black music has always known, and not been afraid to acknowledge just how high the stakes of Black thought are. To summarize the final soliloquy of Clay, the protagonist in LeRoi Jones’ (aka Amiri Baraka’s) play Dutchman. You’d better be glad Charlie Parker could play him some horn and Bessie Smith could sing, because if they didn’t make music they might murder you. One would be hard pressed to find another group of people on this planet whose music is a surrogate for murder. One would be hard pressed to another group of people on this planet whose life is a proxy for death."
 Frank B. Wilderson, III “Do I Stank or was it already Stanky in Here?” or  ”Notes from an Impossible Negro” (via el-quilombo-negativo)
Jun 27 '14

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

"We have a word for that in Japanese," he said. "It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

"I don’t think it’s like the pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness. But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.

Rogert Ebert, on Hayao Miyazaki (via thymoss)

(Source: improv-is-easy)

Jun 6 '14

I came up in a time when white intellectuals were forever making breathless pronouncements about their world, about my world, and about the world itself. My life was delineated lists like “Geniuses of Western Music” written by people who evidently believed Louis Armstrong and Aretha Franklin did not exist. That tradition continues. Dylan Byers knows nothing of your work, and therefore your work must not exist.

Here is the machinery of racism—the privilege of being oblivious to questions, of never having to grapple with the everywhere; the right of false naming; the right to claim that the lakes, trees, and mountains of our world do not exist; the right to insult our intelligence with your ignorance. The machinery of racism requires no bigotry from Dylan Byers. It merely requires that Dylan Byers sit still.


Ta-Nehisi Coates on racism and what it means to be a public intellectual. (via theatlantic)

The right to insult our intelligence with your ignorance

(via amazing-how-you-love)

Jun 2 '14

Stars not where they seemed —A. SUN


Stars not where they seemed A. SUN

Jun 2 '14




May 31 '14
"You should be angry. You must not be bitter. Bitterness is like cancer. It eats upon the host. It doesn’t do anything to the object of its displeasure. So use that anger. You write it. You paint it. You dance it. You march it. You vote it. You do everything about it. You talk it. Never stop talking it."
Maya Angelou (via winterinter)

(Source: winterinter)

May 30 '14


Grace Jones by Jean-Paul Goude


(Source: just-art)

May 25 '14
May 15 '14

relict-hominid asked:

re: chromophobia... of course these chromophobes idolized a Greek/Roman past full of cool white marble.... which we've since discovered was actually a gaudily painted riot of color!






I always love seeing this fact pop up. Yeah, what we thought was the ancients just being really cool and aesthetic was actually the gaudy colors fading away over time. It’s like when people think that old houses were built better than they are now, when it’s really just that the shitty houses all fell down already.

Ummmm but the problem is not so much that they weren’t being “cool and aesthetic”; it’s that this entire western concept of aesthetics is built on a mistake.

The ask was in response to this article, which makes it 200 times funnier.

fittingly, I was just reading this:

The Parthenon marbles Elgin took to Britain do consist of marble, but a darkly pitted Greek marble rather than the smooth, snowy white variety more common in Italy.  Here lay an aesthetic problem: whiteness versus color.  The alarming history of European marble “cleaning” includes a chapter on this statuary describing a drive to make ancient Greek art white that nearly destroyed the art itself. In the 1930s workers in the British Museum were directed to remove the dark patina with metal tools on the mistaken assumption that their proper color should be white.  Such a “cleaning” seriously damaged the Parthenon marbles, prompting an inquiry by the museum’s standing committee that halted the work.

—Nell Irvin Painter, The History of White People, page 63

It’s particularly obnoxious given the claims by so many British people that the marbles had to be removed to Britain in order to protect them.

The bold: People should really know about that, too.

And yes, it is connected with this article about Chromophobia and colonialism

which is also connected to the Reformation.

Especially if you think about (at least in an American context) the way that Catholicism has been, to a large degree, racialized. And how the Catholic Mass and other traditions came to be associated with licentiousness and was condemned for its use of decoration (aside form legitimate gripes with corruption).

see also: Calvinist Iconoclasm:



Yes, all those aloof, “pure” white statues from Ancient Greece?

They actually looked like this:

Vinzenz Brinkmann, much to the apparent chagrin of Westerners everywhere, used ultraviolet light to reveal the original paint schemes of these statues that the millennia had washed away.

And to underscore the Chromophobia?

Check out this graphic that i09 made for their leading image for this story:

You can check out a video here to learn more about the methods used to discover the original paint schemes of these statues and reliefs.

In the summer of 1566, spurred on by the sermons of Calvinist preachers, zealous mobs descended on churches in the Netherlands, intent on ridding them entirely of their imagery. Many churches were literally white-washed.

All of these things are connected.

reblogging for someone who recently asked about this.

Someone also asked about over-cleaning or modifications made to various Greek and roman works in European Possession.

British Museum: Over-Cleaning of the Elgin Marbles

British Museum: Public Response

Like, they were literally dipping them in acid to make them “pure and white” as they imagined they were “originally”.

As for the Met, you can read here just how far art curators are willing to go to modify artworks to fit their ideas on how they SHOULD look.