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“Poem Number Two on Bell’s Theorem, or The New Physicality of Long Distance Love” by June Jordan

There is no chance that we will fall apart There is no chance There are no parts.

Poem: https://poets.org/poem/poem-number-two-bells-theorem-or-new-physicality-long-distance-love

Art: Forbidden Fruit picker by Wangechi Mutu, 2015. 

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Wangechi Mutu’s Sculptures in Bronze Populate Storm King Art Center with Mythical Beings

Storm King Art Center is situated on the ancestral homelands of the Lenape, a reference point that Kenyan-American artist Wangechi Mutu returns to for a new exhibition at the outdoor museum in Hudson Valley. Comprised of her signature sculptures of immense hybrid figures, the largely bronze body of work addresses settler-colonialism and the inextricable tie between people and the land.

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Wangechi Mutu, Water Woman, 2017

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Wangechi Mutu: Intertwined at New Museum

The photographs don’t capture the scale of these pieces. The first two are from an imposing set of close to human scale figures. The natural materials of soil and hair give them a believability despite the alien appearance. The bronze works are monumental in scale.

Would be awesome to see her work in public spaces someday.

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The Seated, 2019, Wangechi Mutu

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'mamaray,' 2020 in wangechi mutu - adrienne edwards, courtney j. martin, kellie jones + chike okeke-agulu (2022)

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Period Details in a Cozy London Apartment in a Victorian Tenement Building

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Hands of the Old Straw Weaver, St. Croix, Virgin Islands. 1970.

Photography by Fritz Henle

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Hands of the Old Straw Weaver, St. Croix, Virgin Islands. 1970.

Photography by Fritz Henle

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Riley Holloway

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Lidar-Derived Aerial Maps Reveal the Dramatic Meandering Changes in River Banks Over Millennia

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ripe

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“She went back to eating earth. She was getting back her ancestral appetite, the taste of primary minerals.”

— GABRIEL GARCIA MARQUEZ, One Hundred Years of Solitude

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“La photographie permet de voir ce qu'on n'a pas le temps de voir, car elle fixe. De plus, elle mémorise, elle est mémoire.”

Pierre Verger, Congo, 1951