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brooklynmuseum · 4 years ago

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Closing out National Poetry Month, our Spring Interns paired some of their favorite poems with works from our collection. We hope you enjoy!

— Jeffrey Alexander Lopez, Curatorial Intern, American Art & Arts of the Americas

Image: Suzuki Harunobu (Japanese, 1724-1770). Page From Haru no Nishiki, 1771. Color woodblock print on paper. Brooklyn Museum, Gift of Peter P. Pessutti, 83.190.1

from Citizen: “Some years there exists a wanting to escape...” [Excerpt] By Claudia Rankine

I they he she we you turn only to discover the encounter

to be alien to this place.

Wait.

The patience is in the living. Time opens out to you.

The opening, between you and you, occupied, zoned for an encounter,

given the histories of you and you—

And always, who is this you?

The start of you, each day, a presence already—

Hey you—

— Halle Smith, Digital Collections Intern Catherine Green (American, born 1952). [Untitled] (West Indian Day Parade), 1991. Chromogenic photograph, sheet. Brooklyn Museum, Gift of the artist, 1991.58.2. © artist or artist's estate

Ode to Enchanted Light by Pablo Neruda

Under the trees light has dropped from the top of the sky, light like a green latticework of branches, shining on every leaf, drifting down like clean white sand.

A cicada sends its sawing song high into the empty air.

The world is a glass overflowing with water.

Consuelo Kanaga’s black and white photograph captures a dazzling, yet fleeting moment from everyday life. Three textured glasses cast shadows whose patterns are almost kaleidoscopic in effect. We can imagine Kanaga passing by her kitchen table, as she is brought to a halt to take a closer look at, and ultimately to photograph, the simple beauty generated by the play of light and everyday objects. The close-up scale of this image emulates the singularizing framing techniques deployed by Surrealist photographers, who also took parts of everyday life and blew them up in the photographic frame, thereby encouraging their viewers to look at life around us from a different angle. It is a way of saying: Here, take a closer look. Viewing the world with wonder, along with the joy that this act brings, are encapsulated in Pablo Neruda’s poem Ode to Enchanted Light. The speaker observes the way light passes through trees and creates enchanting patterns. He not only observes, but feels the beauty in the simple details of life, from the way light falls from the sky, to the sheen of leaves, to the buzzing of cicadas. Approaching life through such a hopeful lens evokes a glass-half-full perspective. In fact, the speaker is so hopeful that he believes “The world is/a glass overflowing/with water.” I think Kanaga would have felt the same way.

— Kirk Testa, Curatorial Intern, Photography Consuelo Kanaga (American, 1894-1978). [Untitled] (Glasses and Reflections). Gelatin silver photograph. Brooklyn Museum, Gift of Wallace B. Putnam from the Estate of Consuelo Kanaga, 82.65.25

Easter Wings By George Herbert

Lord, who createdst man in wealth and store,

Though foolishly he lost the same,

Decaying more and more,

Till he became

Most poore:

With thee

O let me rise

As larks, harmoniously,

And sing this day thy victories:

Then shall the fall further the flight in me.

My tender age in sorrow did beginne

And still with sicknesses and shame.

Thou didst so punish sinne,

That I became

Most thinne.

With thee

Let me combine,

And feel thy victorie:

For, if I imp my wing on thine,

Affliction shall advance the flight in me.

Easter Wings by George Herbet and Martin Bach’s flower vase from the Brooklyn Museum’s Decorative Arts collection reveal the interrelationship between form and function. In Easter Wings, Herbert strategically varies the line length to create an image that enhances the meaning of the poem; when you turn the poem on its side, it resembles the wings of a bird, of which are symbolic of the atonement of Jesus Christ. In doing so, the author is not only telling us his message, but he is showing it visually as well. Similarly, the vase takes the visual form of its function. Its floral design amplifies the meaning of the object, as the vase is meant to hold flowers. In both instances, we see how aesthetic properties of a work echo the meaning and function of the work itself.

— Amy Zavecz Martin Bach (American, 1862-1921). Vase, ca. 1905. Opalescent glass. Brooklyn Museum, Gift of Mrs. Alfred Zoebisch, 59.143.16. Creative Commons-BY

I am the Earth (Watashi wa chikyu) [Excerpt] by Kiyoko Nagase, Translated by Takako Lento

I am warm, moist soil I am a single supple stalk I draw my life all the way up into corollas of wild berries on the roadside

I am amazed at a breast of water welling to flow into the inlet of a muddy rice paddy I am amazed at myself being hot steam blowing fire and sulfur up from the bottom of the great ocean, deep indigo. I am amazed at the crimson blood flow covering the earth’s surface in human shape; I am amazed that it swells as the tides ebb and flow, and gushes out monthly under distant invisible gravity … I am the earth. I live there, and I am the very same earth.

In the four billionth year I have come to know the eternal cold moon, my other self, my hetero being, then, for the first time, I am amazed that I am warm mud.

The vivid imagery conjured up by Kiyoko Nagase’s poem is beautifully visualized by Emmi Whitehorse’s painting. The emphasis on deep Earth tones and abstract corporeality in both the poem and the painting really creates an intense metaphysical link between the environment and the self.

— Amanda Raquel Dorval, Archives Intern Emmi Whitehorse (Navajo, born 1957). Fire Weed, 1998. Chalk, graphite, pastel and oil on paper mounted on canvas. Brooklyn Museum, Gift of Hinrich Peiper and Dorothee Peiper-Riegraf in honor of Emmi Whitehorse, 2006.49. © artist or artist's estate

Seventh Circle of Earth by Ocean Vuong

On April 27, 2011, a gay couple, Michael Humphrey and Clayton Capshaw, was murdered by immolation in their home in Dallas, Texas.

Dallas Voice

________________________________________________________

As if my finger, / tracing your collarbone / behind closed doors, / was enough / to erase myself. To forget / we built this house knowing / it won’t last. How / does anyone stop / regret / without cutting / off his hands? / Another torch

streams through / the kitchen window, / another errant dove. / It’s funny. I always knew / I’d be warmest beside / my man. / But don’t laugh. Understand me / when I say I burn best / when crowned / with your scent: that earth-sweat / & Old Spice I seek out each night / the days

refuse me. / Our faces blackening / in the photographs along the wall. / Don’t laugh. Just tell me the story / again, / of the sparrows who flew from falling Rome, / their blazed wings. / How ruin nested inside each thimbled throat / & made it sing

until the notes threaded to this / smoke rising / from your nostrils. Speak— / until your voice is nothing / but the crackle / of charred

bones. But don’t laugh / when these walls collapse / & only sparks / not sparrows / fly out. / When they come / to sift through these cinders—& pluck my tongue, / this fisted rose, / charcoaled & choked / from your gone

mouth. / Each black petal / blasted / with what’s left / of our laughter. / Laughter ashed / to air / to honey to baby / darling, / look. Look how happy we are / to be no one / & still

American.

Ocean Vuong’s “Seventh Circle of Earth” has persisted as one of the great, affective moments of poetry in my life since I first heard Pádraig Ó Toama’s gorgeous reading and discussion of it on his podcast, Poetry Unbound. I decided to pair Vuong’s poem with Mary Coble’s Untitled 2 (from Note To Self) because both works are urgently immersive into the violence and experience of LGBTQ people in the U.S., and for how each work uses text and physicality to address presence, pain, and erasure. Vuong’s poem is actually footnoted to a quote from a news article about a gay couple murdered in Texas. The page is thus blank, absent of text. The reader has to sink below the main stage, the accepted space of word and story, to find the voices of this couple and the depth of their story’s tenderness, eroticism, and utter devastation. Coble’s piece foils the structure and effect of Seventh Circle of Earth by taking what was subverted by Vuong—text and the narrative of violence—wholly to the surface. Her photograph captures her own legs tattooed without ink with the names of LGBTQ individuals victimized by hate crimes. I cannot help but think of Franz Kafka’s short story “In the Penal Colony,” in which prisoners’ “sentences'' are inscribed by the needle of a “punishment apparatus” directly onto their bodies. I was struck by how the curator’s note for this photograph describes Coble’s artistic endeavor here as “harrowing.” The needle in Kafka’s short story is indeed called “The Harrow”. The noun harrow is an agricultural tool that combs plowed soil to break up clumps of earth and uproot weeds and clear imperfections. The verb to harrow means to plague, and in the story’s original German the verb for “harrow”, eggen, is also translated as “to torment”. Kafka and Coble conflate these definitions of “the harrow” in their respective works: they use a needled device, like the true noun definition, as an instrument of torment because of someone else’s idea of punishment and justice. Here, violence is brought to the surface, intimate in as much as we are brought right up to the artist’s skin and into the presence of her and her community’s pain. Together, one can see how each creator physicalizes their respective artistic space to tell the stories of LGBTQ people, of what is tender and harrowing, below the surface and written into the skin.

— Talia Abrahams, Provenance Intern, IHCPP Mary Coble (American, born 1978). Untitled 2 (from Note to Self), 2005. Inkjet print. Brooklyn Museum, Gift of the artist, 2008.10. © artist or artist's estate

To my daughter Kakuya by Assata Shakur

I have shabby dreams for you of some vague freedom I have never known. Baby I don't want you hungry or thirsty or out in the cold. and I don't want the frost to kill your fruit before it ripens. I can see a sunny place Life exploding green. I can see your bright, bronze skin at ease with all the flowers and the centipedes. I can hear laughter, not grown from ridicule And words not prompted by ego or greed or jealousy. I see a world where hatred has been replaced by love. and ME replaced by WE And I can see a world replaced where you, building and exploring, strong and fulfilled, will understand. And go beyond my little shabby dreams.

This poem is featured in Assata Shakur’s memoir, Assata: An Autobiography. It details her hope for a better world that her daughter can grow up in. This poem is positioned in the book when Shakur is facing increasing prosecution as a result of her activism and affiliations with the Black Panther Party and Black Liberation army. Being written more than 30 years after this picture was taken, the poem summons me to think about the trauma that many Black women face and how much of that trauma gets passed down to their children. The black and white photo of a mother and daughter provides a nice visual to the poem. “The image of a Black mother and child sitting on their luggage reflects the little-discussed history of segregated transportation in the northern United States. Through the 1940s, Penn Station officials assigned Black travelers seats in Jim Crow cars on southbound trains” (Brooklyn Museum). The photograph of train passengers waiting outside of Manhattan’s Pennsylvania Station especially echoes the verse “I don’t want you hungry or thirsty or out in the cold.” The overall optimistic tone of Shakur’s poem alters our relationship to the image as we imagine the mother pictured above hoping for the exact same things

— Zaria W, Teen Programs intern Ruth Orkin (American, 1921-1985). Mother and Daughter at Penn Station, NYC, 1948. Gelatin silver photograph, sheet: 13 15/16 × 11 in. (35.4 × 27.9 cm). Brooklyn Museum, Gift of Mary Engel, 2011.22.3. © artist or artist's estate

Crunch. By Kailyn Gibson

I retch as a mass of sinew lies between my lips. The sensation is unbearable. Fortunately, the jar of flies has gone missing again.

Slowly, surely, and yet never sure at all, the quiet of buzzing rings through the in-between.

It is a symphony wrought from blood and bone.

Saliva drips from bleeding, hungry gums, And the crunch of glass echoes the grinding of molars.

If I proffered a sanguine smile, would masticated shards look like teeth? Would they gleam just as prettily?

The flies ring, and the rot calls.

— Kailyn Gibson Edgar Degas (French, 1834-1917). Portrait of a Man (Portrait d'homme), ca. 1866. Oil on canvas. Brooklyn Museum, Museum Collection Fund, 21.112

Excerpt from Autobiography of Red A novel in verse by Anne Carson

7. If Helen’s reasons arose out of some remark Stesichoros made either it was a strong remark about Helen’s sexual misconduct (not to say its unsavory aftermath the Fall of Troy) or it was not.

8. If it was a strong remark about Helen’s sexual misconduct (not to say its unsavory aftermath the Fall of Troy) either this remark was a lie or it was not.

9. If it was not a lie either we are now in reverse and by continuing to reason in this way we are likely to arrive back at the beginning of the question of the blinding of Stesichoros or we are not.

10. If we are now in reverse and by continuing to reason in this way are likely to arrive back at the beginning of the question of the blinding of Stesichoros either we will go along without incident or we will meet Stesichoros on our way back.

11. If we meet Stesichoros on our way back either we will keep quiet or we will look him in the eye and ask him what he thinks of Helen.

12. If we look Stesichoros in the eye and ask him what he thinks of Helen either he will tell the truth or he will lie.

13. If Stesichoros lies either we will know at once that he is lying or we will be fooled because now that we are in reverse the whole landscape looks inside out.

This excerpt comes from Appendix C of Anne Carson’s Autobiography of Red, a novel in verse. A translator and classicist herself, Carson mixes fact with fiction in her unconventional retelling of the myth of Geryon and Hercules, beginning with a roundabout introduction to the poet Stesichoros. Autobiography presents a captivating example of recent Queer projects that take up Classical material as their basis. A fascination with the Classical past has pervaded our modern conception of sexual identity politics, down to the very etymology of the word “lesbian.” In this fascination, I see the same desire to capture Classical imagery as cultural heritage which has also pervaded American museums, albeit with significantly different aims. The fresco pictured above comes to mind, which passed through many collectors and was even purchased by the museum before anyone pegged it as a modern piece—not an original Roman fresco. John D. Cooney, a 20th century curator of our Egyptian, Classical, and Ancient Near Eastern Art collection, wrote that “the unclad and somewhat winsome charms of the lady [probably] diverted objective glances.” Both in the case of the fresco and Carson’s novel, the “unclad and somewhat winsome charms” of the Classical past shape and reshape our understanding of history.

— Kira Houston, Curatorial Intern, Egyptian, Classical, and Ancient Near Eastern Art Modern, in the style of the Roman Period. Part of a Fresco, early 19th century C.E. Clay, paint. Brooklyn Museum, Ella C. Woodward Memorial Fund, 11.30.

Late Fragment by Raymond Carver From A New Path to the Waterfall, Atlantic Monthly Press, 1989.

And did you get what you wanted from this life, even so? I did. And what did you want? To call myself beloved, to feel myself beloved on the earth.

— Shori Diedrick Brackens (American, born 1989). when no softness came, 2019. Cotton and acrylic yarn. Brooklyn Museum, Purchased with funds given by The LIFEWTR Fund at Frieze New York 2019, 2019.12. © artist or artist's estate

Jaguar By Francisco X. Alarcón

some say dicen que ahora I'm now almost estoy casi extinto extinct in this park por este parque but the people pero la gente who say this que dice esto don't know no sabe that by smelling que al oler the orchids las orquídeas in the trees en los árboles they're sensing están percibiendo the fragrance la fragancia of my chops de mis fauces that by hearing que al oír the rumblingc el retumbo of the waterfalls de los saltos

they're listening están escuchando to my ancestors' el gran rugido great roar de mis ancestros

that by observing que al observar the constellations las constelanciones of the night sky del firmamento

they're gazing están mirando at the star spots las motas de estrellas on my fur marcadas en mi piel that I am and que yo soy always will be y siempre seré the wild el indomable

untamed espíritu silvestre living spirit vivo de esta of this jungle jungla

While the author of the poem speaks about animals, their words can also speak on behalf of the erasure of indigenous peoples in South America. Much like the jaguar, indigenous traditions and culture are very important to life in South America. Despite their marginalization, Indigenous peoples throughout the Andes used coca leaves to help with the altitude. The use and cultivation of coca are criminalized throughout most of South America despite it being essential to indigenous cultures. This vessel was used to contain lime which would activate the coca leaves. Much like the jaguar, indigenous traditions are also faced with endangerment despite being woven into the fabric that is Latin America. Through the opposite man and woman figures, the vessel shows the duality that is important to the Quimbaya people which is still relevant to Colombians today.

Aunque el autor del poema habla sobre los animales, sus palabras también comunican el sentimiento común de la supresión de los indígenas en Suramérica. Con la mención del jaguar, se puede entender en el poema que la cultura y las tradiciones de las personas que son indígenas son sumamente importantes para la vida en Sudamérica. A pesar de su marginación, los indígenas en Los Andes utilizan la hoja de coca para ayudar en la altura de las montañas. El uso y el cultivo de la hoja de coca fue criminalizado (penalizado) a través de Sudamérica, aunque su uso para los indígenas era vital y esencial para su cultura. Este recipiente que se utiliza contiene limón lo que activa la hoja de la coca. Similarmente al jaguar, las tradiciones de los indígenas siempre estaban en peligro aunque estuvieran entrelazadas en las telas de lo que sería Latinoamérica. A través del hombre opuesto y las figuras de mujeres, el recipiente muestra la dualidad de lo que es importante para las personas que son Quimbaya, algo que todavía hoy es relevante para los Colombianos.

— Jeffrey Alexander Lopez, Curatorial Intern, American Art & Arts of the Americas Quimbaya. Poporo (Lime Container), 1-600 C.E. Tumbaga. Brooklyn Museum, Alfred W. Jenkins Fund, 35.507. Creative Commons-BY

#national poetry month #poetry #art #poems #art history #brooklyn museum #bkminterns

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theknifeinyou · 11 days ago

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Cat believed she could win anyone over, even though that wasn't necessarily true. Noticing his jaw set, she shifted uncomfortably in her seat. It was difficult to explain her mother's past to anyone, but she tried whenever she could. "You should talk to the other people in her past. One little argument and she was tossed aside like trash for someone else. You don't understand, and that's not what I meant to say. I know you would at least have the decency to tell me to my face. I'm sorry."

Sometimes, it was better to just leave your family out of an equation. Especially if you were a Black. The likelihood that he just cut his family out altogether one day was high. Why put her through the abuse of enduring a woman who would never think Catherine was good enough for her son? "I see." He replied, his jaw set, his expression difficult to read. He didn't like that her mother had jumped to that conclusion but didn't know what to do about someone else's reaction to things. "I didn't think it was that bad of an argument. One can always work through such trivial things. I'm sorry she's been traumatized like that." Regulus' frown deepened when she continued speaking, "Do I strike you as that type of man?"

#thefvrious #catherine wallace: threads #catherine wallace and regulus black #your numbers queued

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tasksweekly · 7 years ago

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[TASK 078: ZIMBABWE]

In celebration of Black History Month, here’s a masterlist below compiled of over 290+ Zimbabwean faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

Dorothy Masuka (1935) Zimbabwean - singer.

Stella Chiweshe (1946) Zimbabwean - musician.

Sekai Nzenza-Shand (1959) Zimbabwean - writer.

Busi Ncube (1963) Zimbabwean - singer.

Rozalla Miller / Rozalla (1964) Zambian, Zimbabwean - dancer.

Leonard Zhakata (1968) Zimbabwean - singer-songwriter and dancer.

Masasa Moyo (1970) Zimbabwean / Irish, German - actress.

Eska Mtungwazi / Eska (1971) Zimbabwean - musician.

Shingisai Suluma (1971) Zimbabwean - singer-songwriter.

Petina Gappah (1971) Zimbabwean - author.

Thandie Newton (1972) Zimbabwean / English - actress.

Maggie Lloyd Williams (1975) Zimbabwean - actress.

Ivy Kombo (1975) Zimbabwean - gospel artist.

Anna Mudeka (1976) Zimbabwean - musician.

Chipo Chung (1977) Zimbabwean / Chinese - actress and activist.

Danai Gurira (1978) Zimbabwean - actress and playwright.

Kudzai Sevenzo (1979) Zimbabwean - actress and musician.

Edith WeUtonga (1979) Zimbabwean - musician.

Tinopona Katsande / Tin Tin (1979) Zimbabwean - actress, radio and television personality.

Jamelia Niela Davis / Jamelia (1981) Zimbabwean / Jamaican - actress and recording artist.

Shingai Shoniwa (1981) Zimbabwean - musician.

Fungisai Zvakavapano Mashavave (1981) Zimbabwean - musician.

Pauline Kamusewu / Pauline (1982) Zimbabwean / Italian - singer.

Mathira Mohammad / Mathira (1982) Zimbabwean / Pakistani - model, actress, singer, dancer, and hostess.

Lucia Evans (1982) Zimbabwean, Irish - singer.

Cynthia Muvirimi (1983) Zimbabwean - model.

Caroline Marufu (1983) Zimbabwean - Miss Zimbabwe World 2007.

Selmor Mtukudzi (1983) Zimbabwean - musician.

DJ Zinhle (1983) Zimbabwean - musician.

Natalie Gumede (1984) Zimbabwean - actress.

Velile Tshabalala (1984) Zimbabwean - actress.

Barbara Mamabolo (1985) Zimbabwean - actress and singer.

Prudence Mabhena (1986) Zimbabwean - singer.

Ropa Garise (1986) Zimbabwean - model.

Tarisai Vushe (1987) Zimbabwean - singer.

Vimbai Mutinhiri (1987) Zimbabwean - actress, model and television personality.

Taps Mugadza (1988) Zimbabwean - singer.

Chenegeto Brown (1988) Zimbabwean - musician.

Ruvheneko Parirenyatwa (1988) Zimbabwean - radio personality.

Silibaziso Dube / Sli Dube (1989) Zimbabwean - model.

Sibongile Mlambo (1990) Zimbabwean - actress and model.

Ericah Sabi / Empress Massina (1990) Zimbabwean - musician.

Alexandra Govere / Andra (1990) Zimbabwean, Unspecified Native American, French - singer-songwriter, producer, reality tv personality, gymnast, and journalist.

Mimi Ndiweni (1991) Zimbabwean - actress.

Sandra Muchaneta Gazi / Lady Squanda (1991) Zimbabwean - actress.

Kristine Musademba (1992) Zimbabwean / Filipina - ice skater.

Moe Makaya (1992) Zimbabwean - model.

Letwin Tatenda Tiwaringe (1992) Zimbabwean - model.

Shalvin Kundai Chakwada / Empress Shelly (1992) Zimbabwean - musician.

Tinashe Kachingwe / Tinashe (1993) Zimbabwean / Irish, Norwegian, Danish, English - singer, dancer, actress and director.

Lynette Lisa Musenyi / Bounty Lisa (1993) Zimbabwean - musician.

Scola Dondo / Strawberry Ripples Let's Get Healthy (1995) Zimbabwean - youtuber.

Tkay Maidza (1996) Zimbabwean - singer-songwriter.

Thando Sikwila (?) Zimbabwean - singer-songwriter and actress.

Yolanda Yona (?) Zimbabwean - model and beauty pageant contestant.

Catherine Makaya (?) Zimbabwean - model and beauty pageant contestant.

Charity Zisengwe (?) Zimbabwean - singer-songwriter.

Nyasha Matonhodze (?) Zimbabwean - model.

Carol Mujokoro (?) Zimbabwean - musician.

Michelle Wallace (?) Zimbabwean - model.

Violet Makunike / Viomak (?) Zimbabwean - musician.

Tholakele Dlamini (?) Zimbabwean - model.

Sibo Bero (?) Zimbabwean - model.

Hannah Chikosi-Mapepeta (?) Zimbabwean - singer-songwriter.

Rosanna Hall (?) Zimbabwean - model.

Teurai Chanakira (?) Zimbabwean - model.

Olivia Charamba / Mai Charamba (?) Zimbabwean -

RuTendo DeNise (?) Zimbabwean - model.

Sophia Leonie (?) Zimbabwean / English, German - actress.

Charmaine Bingwa (?) Zimbabwean - actress.

Chiedza Mhende (?) Zimbabwean - actress.

Portia Gwanzura (?) Zimbabwean - singer.

Ginny Holder (?) Zimbabwean - actress.

Melissa Mashiki (?) Zimbabwean - musician.

Pokello Nare (?) Zimbabwean - reality star.

Ammara Brown (?) Zimbabwean - musician and actress.

Hope Masike (?) Zimbabwean - musician.

King Lo / Locnation (?) Zimbabwean - producer.

Mbo Mahocs (?) Zimbabwean - socialite.

Candice Mwakalyelye (?) Zimbabwean - radio personality.

Daruler / Mambokadzi (?) Zimbabwean - musician.

Nonku Vundla / Black Bird (?) Zimbabwean - rapper.

Kimberley Robinson (?) Zimbabwean - model.

Greatmore Chatya (?) Zimbabwean - model.

Rachel Stuart (?) Zimbabwean - model.

Nicole Ncube (?) Zimbabwean - model.

Natasha Ndlovu (?) Zimbabwean - model.

Petronella Tayamika Mahachi / Taya (?) Zimbabwean - fashion designer.

Nomathamsanqa Mkwananzi / Nkwali (?) Zimbabwean - fashion designer.

Pah Chihera (?) Zimbabwean - model.

Linda Gabriel (?) Zimbabwean - poet.

Namatai Mubariki (?) Zimbabwean - musician.

Bethany Pasinawako-Ngolomi (?) Zimbabwean - musician.

Chiedza Babra Maswera / Blacperl (?) Zimbabwean - musician.

Bonnie Deuschle (?) Zimbabwean - musician and author.

Dorothy Karengo / Darula (?) Zimbabwean - musician.

Tariro Kadandara / Queen Kadjah (?) Zimbabwean - musician.

Everjoy Takudzwa Kawadza / Eve Kawadza (?) Zimbabwean - musician.

Edeline Mapuranga / Juwela (?) Zimbabwean - musician.

Lady Storm (?) Zimbabwean - musician.

Joseph Magundwane / Mechanic Manyeruke (1942)

Thomas Mapfumo (1945) Zimbabwean - singer-songwriter.

Sam Mangwana (1945) Zimbabwean / Angolan - musician.

Dominic Kanaventi (1950) Zimbabwean - actor.

Oliver Mtukudzi / Tuku (1952) Zimbabwean - guitarist.

Cosmas Magaya (1953) Zimbabwean - mbira player.

Lovemore Majaivana (1954) Zimbabwean - musician.

Jonathan Wutawunashe (1955) Zimbabwean - keyboardist, guitarist, and songwriter.

Bob Nyabinde (1955) Zimbabwean - musician.

Zeke Manyika (1955) Zimbabwean - drummer and singer-songwriter.

Louis Mhlanga (1956) Zimbabwean - guitarist, singer, and producer.

Solomon Skuza (1956) Zimbabwean - musician.

Tendayi Gahamadze (1959) Zimbabwean - mbira player and songwriter.

Peter Muparutsa (1959) Zimbabwean - musician.

Garikayi Tirikoti (1961) Zimbabwean - mbira player.

Keith Thompson (1962) Zimbabwean - musician.

Chirikure Chirikure (1962) Zimbabwean - songwriter, poet, and writer.

Albert Nyathi (1962) Zimbabwean - poet.

Forward Kwenda (1963) Zimbabwean - mbira player.

Alick Macheso (1968) Zimbabwean - singer-songwriter, guitarist, bassist, and dancer.

Leonard Zhakata (1968) Zimbabwean - musician.

Calvin Gudu (1968) Zimbabwean - musician.

Josphat Somanje (1968) Zimbabwean - musician.

Edgar Langeveldt (1969) Zimbabwean - actor, singer-songwriter, and comedian.

Charles Mudede (1969) Zimbabwean - filmmaker.

Musekiwa Chingodza (1970) Zimbabwean - mbira and marimba player.

Clive Mukundu (1970) Zimbabwean - musician.

Christopher Mlalazi (1970) Zimbabwean - writer.

Daniel Dumile / MF Doom (1971) Zimbabwean / Trinidadian - recording artist and producer.

Connie M’Gadzah (1971) Zimbabwean - actor.

Ignatius Mabasa (1971) Zimbabwean - musician, writer, and storyteller.

Willbroad Muponda / Willom Tight (1971) Zimbabwean - musician.

Charles Charamba (1971) Zimbabwean - musician and songwriter.

Allan Chimbetu (1972) Zimbabwean - musician.

Brian Chikwava (1972) Zimbabwean - musician and writer.

Sabhuku Vharazipi / David Mubaiwa (1973) Zimbabwean = socialite, actor, writer and comedian.

Herbert Schwamborn (1973) Zimbabwean / German - producer and rapper.

Victor Kunonga (1974) Zimbabwean - singer-songwriter.

Sean Fletcher (1974) Zimbabwean / English - journalist and radio personality.

Ramadu (1975) Zimbabwean - musician.

Togara Muzanenhamo (1975) Zimbabwean - poet.

Adam Croasdell (1976) Zimbabwean - actor.

Audius Mtawarira (1977) Zimbabwean - singer-songwriter.

Progress Chipfumo (1977) Zimbabwean - singer and guitarist.

Alexio Kawara (1978) Zimbabwean - musician.

Blessing Shumba (1978) Zimbabwean - musician.

Dino Mudondo (1978) Zimbabwean - musician.

David Chifunyise / D-va (1979) Zimbabwean - musician and songwriter.

Leroy Gopal (1979) Zimbabwean - actor.

Buffalo Souljah (1980) Zimbabwean - musician and songwriter.

Alishias Musimbe / Maskiri (1980) Zimbabwean - rapper.

Obi Mhondera (1980) Zimbabwean - songwriter and producer.

Desmond Chideme / Stunner (1980) Zimbabwean - musician.

Nyasha Hatendi (1981) Zimbabwean - actor and producer.

Tongayi Chirisa (1981) Zimbabwean - actor and musician.

Peter Mujuru / Mashasha (1982) Zimbabwean - guitarist, bassist, percussionist, singer-songwriter, and producer.

Sulumani Chimbetu (1982) Zimbabwean - musician.

M. K. Asante (1982) Zimbabwean - author, filmmaker, recording artist, and professor.

Eric Moyo (1982) Zimbabwean - singer.

Lamont Chitepo (1982) Zimbabwean - musician.

Ngonidzashe Kambarami / Ngonie (1983) Zimbabwean - singer, guitarist, keyboardist, and drummer.

Dereck Chisora (1983) Zimbabwean - boxer.

Ngoni Kambarami (1983) Zimbabwean - musician.

Tawanda Sibotshiwe / Jusa Dementor (1983) Zimbabwean - musician and producer.

Winky D (1983) Zimbabwean - musician.

Leonard Mapfumo (1983) Zimbabwean - rapper.

Michael Mahendere / Mic Inity (1983) Zimbabwean - musician.

Tinashe Fazakerley / Rationale (1984) Zimbabwean - singer-songwriter.

Mkhululi Bhebhe (1984) Zimbabwean - singer.

Shingirai Kaserera / Sugaspott (1984) Zimbabwean - rapper.

Flint Bedrock (1985) Zimbabwean - singer-songwriter.

Desire Sibanda / Dizzy Dee (1985) Zimbabwean - musician.

Sanii Makhalima (1985) Zimbabwean - musician.

Rockford Josphat (1985) Zimbabwean - musician.

Simbarashe Muswere / Mystik Becyad (1985) Zimbabwean - musician.

Munya Chidzonga (1985) Zimbabwean - actor and filmmaker.

Tehn Diamond (1985) Zimbabwean - rapper and singer-songwriter.

Rockford Josphat / Roki (1985) Zimbabwean, Malagasy - singer-songwriter, dancer, and actor.

Terrence Kudakwashe Tichapondwa / Tryt (1986) Zimbabwean - musician.

Radzi Chinyanganya (1986) Zimbabwean / Scottish - presenter.

Rudi Schwamborn / Carlprit (1986) Zimbabwean / German - rapper.

Jah Prayzah (1987) Zimbabwean - musician.

Mukudzeyi Mukombe (1987) Zimbabwean - musician.

Abraham Wilson (1987) Zimbabwean - musician.

Martin Tawanda Gosha / Kazmik Chamakanda (1988) Zimbabwean - musician.

Pacharo Mzembe (1988) Zimbabwean - actor.

Biggie Tembo Jr. (1988) Zimbabwean - musician.

Mathias Mhere (1988) Zimbabwean - musician.

Energy Sylvester Chizanga / Free,am (1988) Zimbabwean - musician.

Prince Kudakwashe Musarurwa (1988) Zimbabwean - singer-songwriter.

Tendekai Philemon Tati / Madzitatiguru (1989) Zimbabwean - spoken word artist, slam poet, writer, and comedian.

Gerald Masanga / Jerry B (1989) Zimbabwean - musician.

Alfred Nenguwo (1989) Zimbabwean - singer-songwriter.

Regé-Jean Page (1990) Zimbabwean - actor.

Emmanuel Manyeruke / Guspy Warrior (1990) Zimbabwean - musician.

Nyabulo Mayibongwe Nkomo (1990) Zimbabwean - musician.

Kelvin Kusikwenyu / Killer T (1990) Zimbabwean - musician.

Wilton Isheasnesu Doba / Legion (1990) Zimbabwean - musician.

Elisha Matarirano / Legend Elly (1990) Zimbabwean - musician.

Tinashe Gamure Munengami /Cello Culture (1990) Zimbabwean - musician.

Nib Crouch (1991) Zimbabwean - rapper.

Phillip Kembo (1991) Zimbabwean - producer.

Brian Soko (1991) Zimbabwean - songwriter and producer.

Tafadzwa Mwandira / Celscius (1991) Zimbabwean - musician.

Lovejoy Matare / L kat (1991) Zimbabwean - rapper and lyricist.

Matthew C. Martino (1992) Zimbabwean - actor and producer.

Obey Makamure / Tocky Vibes (1993) Zimbabwean - musician and songwriter.

Darlington Zhanje / Dhadza D (1993) Zimbabwean - musician.

Maligakini Saizi / Kinnah (1993) Zimbabwean - musician.

Gary Tight (1994) Zimbabwean - musician.

Godknows Shumba / Magical (1994) Zimbabwean - musician.

Tinotenda Chitapa (1995) Zimbabwean - musician.

Kelvin Jones (1995) Zimbabwean - singer-songwriter and multi-instrumentalist.

Gift Lihlohonolo Ndlovu (1996) Zimbabwean - musician.

Takura Chiwoniso / Blot (1996) Zimbabwean - musician.

McDon Vladmire Woodburn / Mcy Ghost (1998) Zimbabwean - musician.

Fisher Masango (?) Zimbabwean - model.

Alton Edwards (?) Zimbabwean, British - singer.

Zuva Martens (?) Zimbabwean / Dutch - actor and comedian.

Mathias Muzaza (?) Zimbabwean - singer and percussionist (Mokoomba).

Trustworth Samende (?) Zimbabwean - singer and guitarist (Mokoomba).

Abundance Mutori (?) Zimbabwean - singer and bassist (Mokoomba).

Ndaba Coster Moyo (?) Zimbabwean - singer and drummer (Mokoomba).

Miti Mugande (?) Zimbabwean - singer and percussionist (Mokoomba).

Donald Moyo (?) Zimbabwean - singer and keyboardist (Mokoomba).

Kwayedza Kureya / Kwaye (?) Zimbabwean - singer-songwriter.

Tiwai Muza (?) Zimbabwean - actor.

Rise Kagonaa (?) Zimbabwean - guitarist.

Takura Tendayi / Takura (?) Zimbabwean - singer-songwriter.

Kenny Chitsvatsva (?) Zimbabwean - musician.

Shakespeare "Shakie" Kangwena (?) Zimbabwean - musician.

Chartwell Dutiro (?) Zimbabwean - mbira player.

Kudaushe Matimba (?) Zimbabwean - musician.

Tendayi Jembere (?) Zimbabwean - actor.

Steve Makoni (?) Zimbabwean - guitarist, songwriter, and comedian.

Kwasi Songui (?) Zimbabwean - actor.

Mr. Lion / Gazzully (?) Zimbabwean - DJ.

Clemmence Rice (?) Zimbabwean - bass mbira player (Mbira dzeNharira).

Chaka Chakandika (?) Zimbabwean - kalimba player (Mbira dzeNharira).

Takawira Devera (?) Zimbabwean - lead mbira player (Mbira dzeNharira).

Tendai Kazuru (?) Zimbabwean - hosho player (Mbira dzeNharira).

Mudiwa Hood (?) Zimbabwean - musician.

Douglas Vambe (?) Zimbabwean - musician.

Ngugi Vere (?) Zimbabwean - fashion designer.

Enock Munhenga / ExQ (?) Zimbabwean - musician.

Syfo fame (?) Zimbabwean - musician.

Clyde Macathur Chirikure / Clyde Banks (?) Zimbabwean - musician.

T Makwikwi (?) Zimbabwean - musician.

Antony Munetsi Matambanadzo / mUnetsi (?) Zimbabwean - musician.

Lloyd Charles Muponda / King Labash (?) Zimbabwean - musician.

Tawanda Zarzu Tichareva (?) Zimbabwean - musician.

Tinashe Makura (?) Zimbabwean - musician.

Kudzayi Mhlanga (?) Zimbabwean - musician.

Thembani Mubochwa (?) Zimbabwean - fashion designer.

Ara Kani (?) Zimbabwean - fashion designer.

Doc Vikela (?) Zimbabwean - comedian.

Calvin / Cal_Vin (?) Zimbabwean - musician.

Michael Kudakwashe (?) Zimbabwean - actor and comedian.

Muzi Mangena (?) Zimbabwean - musician.

Dumi Maraire Jr / Draze (?) Zimbabwean - musician.

Zadzisai Chikwanyanga / G.I.L (?) Zimbabwean - musician.

Ian Makiwa / Platinum Prince (?) Zimbabwean - musician.

Nicholas Muchinguri / POY (?) Zimbabwean - musician.

Sam Dondo (?) Zimbabwean - musician.

Tinashe Gonzara / Ti Gonzi (?) Zimbabwean - musician.

Trevor Dongo (?) Zimbabwean - musician.

Blessed Zikhali / 8L (?) Zimbabwean - musician.

Willis Afrika Wataffi (?) Zimbabwean - musician.

Baba Harare (?) Zimbabwean - musician.

Newton Gwanangura / Badman (?) Zimbabwean - musician.

Albert Mushore / Boom Beto (?) Zimbabwean - musician.

Brian Sibalo (?) Zimbabwean - musician.

Calisto Nyamhute (?) Zimbabwean - musician.

Calvin Malunga / Crystal (?) Zimbabwean - musician.

Daniel Mazhindu / Decibel (?) Zimbabwean - musician.

Delani Makhalima (?) Zimbabwean - musician and producer.

Dereck Mpofu (?) Zimbabwean - musician.

Tamuka Mponda-Makuluni / DJ Tamuka (?) Zimbabwean - musician.

Dumalisile Mehlomakhulu (?) Zimbabwean - musician.

Douglas Chimbetu (?) Zimbabwean - musician.

Fungai Paradzayi / Fun F (?) Zimbabwean - musician.

Resilience Chekera / GZE (?) Zimbabwean - musician.

Bessel Mugo Parewa / Hwindi Prezident (?) Zimbabwean - musician.

Jah Child (?) Zimbabwean - musician.

Jah Designer (?) Zimbabwean - musician.

Jah Signal (?) Zimbabwean - musician.

Jeremy Olivier (?) Zimbabwean - musician.

Jonah Moyo (?) Zimbabwean - musician.

Josh Kawara / Josh Kays (?) Zimbabwean - musician.

Shadreck Kwarire (?) Zimbabwean - musician.

Kireni Zulu (?) Zimbabwean - musician.

Achieve Moyo / Krimz Beatz (?) Zimbabwean - musician.

Lucky Kumene (?) Zimbabwean - musician.

Shelton Tutani / Maggikal (?) Zimbabwean - musician.

Ephraim Mushore / Lyrical Editor / Major E (?) Zimbabwean - musician.

Masta Reins (?) Zimbabwean - musician.

Problematic:

Dizzy Dee (1985) Zimbabwean - singer-songwriter and DJ - convicted of rape.

Soul Jah Love (1989) Zimbabwean - assaulted wife.

Washington Kavhai (?) Zimbabwean - musician - convicted of rape.

Tawanda Manyimo (?) Zimbabwean - actor - played a Japanese character in Ghost In The Shell when he is not Japanese.

#rph #fc list #underused fc #black fc #zimbabwean fc #task: 078 #task: zimbabwe

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amytavern · 8 years ago

Photo

Non Solus, 10,645 real and imitation pearls sent to me by 147 people, my own pearls, silk thread, 9″ x 7″ x 6.5″, with table 52" x 18" x 37", 2015 on-going participatory object

Non Solus is made of thousands of pearls, both real and imitation, donated by 147 people from around the US and 13 different countries. Using the internet as a way to dispense information and make a public request, I asked for donations of a single pearl from anyone, anywhere. I received contributions from near and far, from people I know and others I have never met. Many donations included multiple pearls and many were special in some way: a grandmother’s pearl necklace; a single earring, once part of a set given as a gift from a father to a daughter; poppy seed-sized antique pearls acquired when a young Spanish jeweler befriended a retired jeweler. Some pearls came with letters, others did not. Some were packaged in tiny boxes with ribbons, while others were padded in bubble wrap.

Starting with one pearl, the sculpture grew chronologically, donation by donation as each was stitched to the next. Every pearl was photographed, observed, and recorded before it was added to the piece. Non Solus is a on-going participatory object that will never be truly completed, much like how a pearl will grow indefinitely. It is about connection, participation, and collective memory.

Creating this piece was very special, to say the least. I never imagined it would grow into the complex work that it become, and continues to become. When I conceived the piece two years ago and put out my first call for pearls, I really thought a handful of people would respond and that the finished work would be the size of my fist. I never thought it would come to weigh 7 pounds and measure 9″ long! I also did not think I would receive the generous outpouring of care and generosity. I was given some truly unique pearls with heartfelt stories. I often found myself in tears as I opened a new package.

Discussing it in graduate school with peers and professors allowed me to see it in different ways and to inform it or situate it within historical context (Joseph Beuys and his “social sculpture”) and various art theories, movements, and philosophies (archival art, feminism, phenomenology). Learning about these connections served to create a foundation for the work and deepened the meaning for me.

I am especially grateful to all the people who sent me pearls. I can’t begin to express in words how I feel. Thank you to each of you for being a part of this piece.

Participants

Chris Keener, Huron, OH, Terry Taylor, Candler-NC, Lisa Norton, Shoreline, WA, Renee Zettle-Sterling, Coopersville, MI, Amy Hockett, Charlotte, NC, Bonnie Lambert, Helena, MT, Lucia Tremont, Syracuse, NY, Rebbecca Tomas, Seattle, WA, Charlene Schneider, Maineville, OH, Ellen Vontillius, Swannanoa, NC, Denise McCarthy, Houston, TX, Gill Miller, Lancaster Park, England, Shannon Cobb-Tappan, Dunedin, FL, Mark Fenn, Capel Iwan, Wales, Jowita Allen, Chevy Chase, MD, Baba Barnett, Raleigh, NC, Shava Lawson, Seattle, WA, Janna and Leah Marinelli, Traveler’s Rest, SC, Kelly Johnston, Bainbridge Island, WA. Kathy Clark, Reykjavík, Iceland, Laura Siegel, Brooklyn, NY, Jannie Rozema, Wageningen, Netherlands, Rachel Ehlers, Lake Ridge, VA, Tom McCarthy, St. Louis, MO, Anastasia Young, London, England, Jane Wells Harrison, Lenoir, NC, Janet Link, Raleigh, NC, Jenny Baughman, Roswell, GA, Lisa Juen, Utica, NY, Hilary Pfeifer, Portland, OR, Susie Luyet, Paia, HI, Sarah Powell, Oberhaching, Germany, Liz Willis, Pirton, England, Philip Sajet, Amsterdam, Netherlands, Jen Townsend, Pittsford, NY, Heather Allen, Raleigh, NY, Raissa Bump, San Francisco, CA, Michael Magno, Brooklyn, NY, Casey Shepard, Los Angeles, CA, Eileen Wallace, Athens, GA, Kathy Brughelli, Middletown, RI, Marianne Dages, Philadelphia, PA, Fritz Maierhofer, Vienna, Austria, Dan Price, Chicago, IL, Mary Quin, Decatur, GA, Claire Sommers Buck, Austin, TX, Linda Callahan, Gloversille, NY, Katie Rosenthal, San Diego, CA, David Chatt, Seattle, WA, Chris Boland, Sheffield, England, Rachel Davis, Milwaukee, WI, Kris Baker, Seattle, WA, Maria Phillips, Seattle, WA, Lori Hawke-Ramin, LaFayette, NY, Michele Tuegel, St. Petersburg, FL, Kelsey Simmen, San Francisco, CA, Erin Wheeler, Johnstown, NY, Crystalyn Brennan, Brooklyn, NY, Elisa Bongfeldt, Berkeley, CA, Stephanie Voegele, Milwaukee, WI, Adrienne Smart, Arlington, TX, Susan Owen, Vilas, NC, Elizabeth Brim, Penland, NC, Meadow Thurston (in memory of), Carolina Apolonia, Middelburg, Netherlands, Rebecca Illet, Cambridge, England, Kathleen Edwards Hayslett, Coralville, IA, Madeleine Veillet, Gaspe, Quebec, Canada, Virginia Hungate-Hawk, Seattle, WA, Tracy Scott, Atlanta, GA, Michelle Smith-Lewis, Seattle, WA, Sarah Rachel Brown, Philadelphia, PA, Jenna Warburton, Seattle, WA, Paul Casey, Seattle, WA, Lisa Macutchan Gray, Seattle, WA, Lori Talcott, Seattle, WA, Catherine Chandler, Portland, OR, Stacey Mosteller and Noreen Coveny, Endicott and Richfield Springs, NY, Holinka Escudero, Mexico City, Mexico, Jane Ponsford, Esher, England, Jan Smith, Salt Spring Island, BC, Canada, Mary Wolaniuk, Boulder, CO, Christina Carlbaum, Gnarp, Sweden, Louise Perrone, Vancouver, BC Canada, Devon Matlock, San Francisco, CA, Siri Kvalfoss, Tyssedal, Norway, Claire MacDonald, Toronto, Ontario, Canada, Emily Kidson, London, England, Michele Wyckoff Smith, London, England, Tara Locklear, Raleigh, NC, Robin Kranitzky and Kim Overstreet, Richmond, VA, Natascha Bybee, Seattle, WA, Natalia Araya, Valencia, Spain, Katja Prins, Amsterdam, Netherlands, Diego Richardson Nishikuni, London, England, Andrea Wagner, Amsterdam, Netherlands, Lylli Meredith, Seattle, WA, Elle Sharifpour, San Diego, CA, Miri Admoni, Sde Tzvi, Israel, Bonnie Levinthal, Philadelphia, PA, Lien de Clercq, Antwerp, Belgium, Melody Woodnutt, Brisbane, Queensland, Australia, Katharina Schneider, Blönduós, Iceland, Karen Vanmol, Antwerp Belgium, Yvette Dibos, San Diego, CA, Devon Clark, Palm Harbor, FL, Amy Sledge, Sheung Wan, Hong Kong, Amy Bishop, Aptos, CA, Anonymous, Long Beach, CA, Anastasia Egorova Shelyakina, Illes Balears, Spain, Cathy Woodall, Hebden Bridge, West Yorkshire, England, Caitlin Skelcey, Urbana, IL, Sam Woehrmann, San Francisco, CA, Rachel Weidinger, Oakland, CA, Hilde De Decker, Antwerp, Belgium, Kit de Sousa, Randolph, NJ, Bette Schuler, Tuscon, AZ, Melissa Lyon, Sherman, NY, Susan Bolding, Hayward, CA, Catherine Chambers, Ísafjörður, Iceland, Jonis Black-Parr, Seattle, WA, Christina Shmigel, Shanghai, China/Bakersville, NC, Nikki Couppee, Oakland, CA, Sara Erkers, Gothenburg, Sweden, Dawn Nakanhishi, Soquel, CA, Kerianne Quick, San Diego, CA, Shane Prada, Baltimore, MD, Mike Holmes, San Francisco, CA, Julia Turner, San Francisco, CA, Tescia Seufferlein, Oakland, CA, Lisa Fidler, Petaluma, CA, Sharon Tavern, Richfield Springs, NY, Elísa Mjöll Guðsteinsdóttir, Reykjavík, Iceland, Brooke Marks-Swanson, South Bend, IN, Lisa Heller, Philadelphia, PA, Kathleen Browne, Ravenna, OH, Megan McGaffigan, Vancouver, WA, Maya Kini, San Francisco, CA, Maria Porges, Oakland, CA, Chelsea Poe, Oakland, CA, Liz Oppenheim, Oakland, CA, Sara Valente, Herkimer, NY, Helga Ragnhildur Mogensen, Reykjavík, Iceland, Zoe Ani, San Francisco, CA

Images by Jamee Crusan.

Thanks for reading.

#amytavern #pearls #nonsolus #connection #donations #particpation #participatory object #socialsculpture

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maxbronte · 8 years ago

Text

i think i accidentally deleted the super exciting message i got about this two weeks ago but here’s an explanatory guide to my tags + the source creds in case that person is still wondering!!

stuff i came up with because i couldn’t find an appropriate enough quote

╳ 𝙞'𝙡𝙡 𝙘𝙝𝙚𝙧𝙞𝙨𝙝 𝙮𝙤𝙪 — 𝙖𝙣𝙙 𝙮𝙤𝙪𝙧 𝙡𝙞𝙩𝙩𝙡𝙚 𝙙𝙤𝙜 𝙩𝙤𝙤.┊re: CHARLIE KING. ▒ a play on the scooby doo villain mantra, except more wholesome.

╳ 𝙞'𝙢 𝙬𝙞𝙩𝙝 𝙩𝙝𝙚 𝙖𝙝𝙖𝙗.┊re: BOOKER CORMAC. ▒ technically a reference to sage’s characterization of booker as “the ahab” horror trope.

╳ 𝙩𝙪𝙧𝙣 𝙤𝙪𝙩 𝙩𝙝𝙚 𝙜𝙖𝙨𝙡𝙞𝙜𝙝𝙩𝙨. 𝙞𝙩'𝙨 𝙩𝙞𝙢𝙚 𝙛𝙤𝙧 𝙨𝙪𝙣𝙧𝙞𝙨𝙚.┊re: THE BABES VS. BULLSHIT BRIGADE. ▒ cheesy first bit written by me and second bit is a reference to this corny pinterest pin.

╳ 𝙝𝙤𝙢𝙚𝙘𝙤𝙢𝙞𝙣𝙜 𝙦𝙪𝙚𝙚𝙣 𝙩𝙪𝙧𝙣𝙚𝙙 𝙨𝙘𝙧𝙚𝙖𝙢 𝙦𝙪𝙚𝙚𝙣.┊ANATOMY. ▒ my tagline for this character which is now canonically a reference to the headline from a news report on the “Hooper Port Horror”

╳ 𝙩𝙝𝙞𝙨 𝙡𝙤𝙫𝙚 𝙨𝙤𝙣𝙜 𝙨𝙤𝙪𝙣𝙙𝙨 𝙖 𝙡𝙤𝙩 𝙡𝙞𝙠𝙚 𝙖 𝙙𝙞𝙧𝙜𝙚.┊PLAYLIST. ▒ b/c my max playlist is mostly grotesque creepy love songs that can be interpreted as both murder fantasies and sex fantasies all at once

╳ 𝙖 𝙨𝙪𝙥𝙥𝙤𝙨𝙚𝙙𝙡𝙮 𝙛𝙪𝙣 𝙩𝙝𝙞𝙣𝙜 𝙞'𝙡𝙡 𝙣𝙚𝙫𝙚𝙧 𝙙𝙤 𝙖𝙜𝙖𝙞𝙣.┊m: FORMER POTENTIAL VALEDICTORIAN. ▒ reference to a David Foster Wallace book + my attempt to condense her former identity into 2 words. for musings on the person she used to be, who she never can be and never wants to be again: the smart cheerleader in a mean clique. her capacity for academics has dropped severely since developing ptsd

╳ 𝙩𝙝𝙚 𝙛𝙚𝙖𝙧 𝙤𝙛 𝙗𝙡𝙤𝙤𝙙 𝙩𝙚𝙣𝙙𝙨 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙛𝙚𝙖𝙧 𝙛𝙤𝙧 𝙩𝙝𝙚 𝙛𝙡𝙚𝙨𝙝.┊m: WHEN AMITY IS THE KISS OF DEATH. ▒ first half is actually from silent hill 3 but the second half is mine, from a paragraph that got cropped out of one of my threads. the tag is for musings about max being terrified of getting close to people b/c 1) anybody could be a killer and 2) she thinks she’s an inherently toxic person who will poison anyone she touches and 3) she’s pretty sure everyone who comes near her becomes slasher fodder

stuff other people came up with:

╳ 𝙝𝙤𝙬 𝙛𝙖𝙨𝙩 𝙝𝙚𝙧 𝙝𝙚𝙖𝙧𝙩 𝙗𝙚𝙖𝙩𝙨 𝙩𝙤 𝙠𝙚𝙚𝙥 𝙪𝙥 𝙬𝙞𝙩𝙝 𝙝𝙚𝙧𝙨𝙚𝙡𝙛.┊m: MAX BRONTE SHE’S A HUMMINGBIRD. ▒ both of these are reference to a really horrific passage in this para with @saintjimmys and it’s for musings about how max is this ‘pretty dainty bird’ with a rapid heartbeat because she’s always in a state of extreme stress, & how she used to be this pretty bird who was too fast for him to catch but now she’s all crippled and vulnerable in the palm of his hands (it’s a very creepy passage i hate it i love it)

References to outside material

╳ 𝙮𝙤𝙪 𝙨𝙖𝙞𝙙 𝙞 𝙠𝙞𝙡𝙡𝙚𝙙 𝙮𝙤𝙪 — 𝙝𝙖𝙪𝙣𝙩 𝙢𝙚, 𝙩𝙝𝙚𝙣.┊re: JIMMY ST. CLAIR. ▒ from wuthering heights and i just want to say that the parallels between catherine/heathcliff and jimmy/max were actually 100% accidental. sage hasn’t even read any bronte and i didn’t realize when i was naming her that gothic romance would become such a huge part of her character. the quote is extra appropriate b/c jimmy accused max of “killing” the innocent boy he used to be, and max agrees and wants him around to make her confront her guilt.

╳ 𝙖𝙨 𝙖 𝙢𝙖𝙩𝙩𝙚𝙧 𝙤𝙛 𝙛𝙖𝙘𝙩 — 𝙞𝙩 𝙬𝙖𝙨 𝙩𝙝𝙚 𝙗𝙤𝙤𝙜𝙚𝙮𝙢𝙖𝙣.┊re: THE CREEPER. ▒ reference to that iconic Halloween exchange. Laurie: “It was the boogeyman...” Dr. Sam Loomis: “As a matter of fact, it was.” im not that proud of this one im probably gonna change it to some kind of reference to THIS

╳ 𝙜𝙤𝙤𝙙 𝙣𝙚𝙬𝙨 𝙛𝙤𝙧 𝙥𝙚𝙤𝙥𝙡𝙚 𝙬𝙝𝙤 𝙡𝙤𝙫𝙚 𝙗𝙖𝙙 𝙣𝙚𝙬𝙨.┊re: SYDNEY WURM. ▒ from the modest mouse album title because nina is modest mouse trash and also because max and sid’s co-masochistic relationship is based on a mutual desire for punishment for their sins.

╳ 𝙚𝙨𝙘𝙖𝙥𝙚 𝙞𝙨 𝙟𝙪𝙨𝙩 𝙖 𝙣𝙤𝙙 𝙖𝙣𝙙 𝙖 𝙘𝙖𝙨𝙪𝙖𝙡 𝙬𝙖𝙫𝙚.┊re: MITCHELL SARKOZY. ▒ from that She Wants Revenge song everybody knows. their relationship isnt that similar to the song but the line is just to demonstrate that they just have each other as fucktoys and there’s no emotional investment whatsoever. they finish up and she’s all torn up and feeling guilty about using him as a coping mechanism for tyler’s death he’s like okay bye see you next week

╳ 𝙬𝙚'𝙧𝙚 𝙤𝙪𝙩 𝙬𝙞𝙩𝙝 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨 𝙡𝙤𝙤𝙠𝙞𝙣𝙜 𝙛𝙤𝙧 𝙤𝙪𝙧𝙨𝙚𝙡𝙫𝙚𝙨.┊re: GREY CAVERLY. ▒ reference to an emily dickinson line “i’m out with lanterns-- looking for myself.” because max and grey first met wandering through the woos while max was looking for her phone and said a line about “my whole life is on that thing can you imagine losing your whole life” but also more deeply a reference to them as co-explorers trying to find their old identities and maybe wrap their heads around their new one and their whole relationship is about adventure discovery and this was the first ever tag i was really proud of ok i know where i was going with it i just can’t explain it

╳ 𝙞 𝙝𝙚𝙖𝙧𝙙 𝙖 𝙛𝙡𝙮 𝙗𝙪𝙯𝙯 – 𝙬𝙝𝙚𝙣 𝙞 𝙙𝙞𝙚𝙙.┊m: IDENTITY MORATORIUM. ▒ from an emily dickinson poem + psychological term for a state of suspended identity. this is kind of a coupled tag with FORMER POTENTIAL VALEDICTORIAN but with more emphasis on the aspect of the person max used to be dying alongside tyler’s corpse in the church fire.

╳ 𝙠𝙚𝙚𝙥 𝙞𝙣 𝙡𝙞𝙣𝙚 - 𝙮𝙤𝙪'𝙧𝙚 𝙖𝙣 𝙤𝙡𝙙 𝙛𝙧𝙞𝙚𝙣𝙙 𝙨𝙩𝙧𝙖𝙣𝙜𝙚𝙧.┊re: CYPRESS BRONTE. ▒ reference to another Modest Mouse song. reference to cy wanting max to chill and her wanting him to leave her alone. second bit is a double entente: they see each other as an old friend turned weirder but they’re also both both see each other as so different from the person they grew up with that they’re basically strangers to each other

╳ 𝙮𝙤𝙪 𝙖𝙣𝙙 𝙢𝙚 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙙𝙚𝙫𝙞𝙡 𝙢𝙖𝙠𝙚𝙨 𝙩𝙝𝙧𝙚𝙚 .┊BRONTE vs. WURM vs. ST. CLAIR. ▒ reference to that old idiom and plans for a future plot where sid and jimmy wind up getting along and jimmy starts kicking it with them real casually and max looks into the camera very frightened like what the fuck is happening how did i get here

╳ 𝙞𝙩'𝙨 𝙤𝙠𝙖𝙮. 𝙚𝙫𝙚𝙧𝙮𝙤𝙣𝙚'𝙨 𝙨𝙪𝙧𝙫𝙞𝙫𝙖𝙡 𝙡𝙤𝙤𝙠𝙨 𝙖 𝙡𝙞𝙩𝙩𝙡𝙚 𝙡𝙞𝙠𝙚 𝙙𝙚𝙖𝙩𝙝 𝙨𝙤𝙢𝙚𝙩𝙞𝙢𝙚𝙨.┊re: RUBY KANE. ▒ from angels of the get through by andrea gibson. because max and ruby are HOT MESSES but at least theyre surviving and max just wants ruby to celebrate every tiny victory she’s proud of her

╳ 𝙬𝙚𝙡𝙘𝙤𝙢𝙚 𝙩𝙤 𝙛𝙧𝙞𝙜𝙝𝙩 𝙣𝙞𝙜𝙝𝙩 𝙛𝙤𝙧 𝙧𝙚𝙖𝙡.┊FLASHBACK. ▒ quote from Fright Night. because after max & co made Jimmy watch a horror movie and pranked him, he made them LIVE one, for real.

╳ 𝙤𝙝 𝙦𝙪𝙞𝙩 𝙩𝙝𝙖𝙩. 𝙗𝙡𝙪𝙨𝙝𝙞𝙣𝙜 𝙞𝙨 𝙛𝙤𝙧 𝙫𝙞𝙧𝙜𝙞𝙣𝙨 𝙖𝙣𝙙 𝙘𝙝𝙧𝙞𝙨𝙩𝙞𝙖𝙣𝙨.┊re: JONAH B. JAMES. ▒ From a fave book Deathless. because they’re both slutty heretics in their own narratives. it actually doesn’t fit their relationship yet because they still think of each other as pure but once she finds out how filthy hi soul is it’ll be easier for her to interact with him i think.

╳ 𝙞 𝙘𝙝𝙚𝙧𝙞𝙨𝙝𝙚𝙙. 𝙮𝙤𝙪 𝙥𝙚𝙧𝙞𝙨𝙝𝙚𝙙. 𝙩𝙝𝙚 𝙬𝙤𝙧𝙡𝙙’𝙨 𝙗𝙚𝙚𝙣 𝙣𝙞𝙜𝙝𝙩𝙢𝙖𝙧𝙞𝙨𝙝𝙚𝙙.┊re: TYLER ROMERO. ▒ from a series of unfortunate events. self explanatory. everything turned to shit when her beloved douchey boyfriend died

&. i definitely still need tags for: -eve -terence -darby -sheila -axel -dahlia -jupiter -max's super cute parents + cat -dakota

#( ooc. )

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nofomoartworld · 8 years ago

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A New Exhibit at the Brooklyn Museum Explores Feminism Through The Lens of Women of Color

A new exhibition at the Brooklyn Museum is challenging the traditional feminist narrative by giving voice to women of color that were largely left out of the mainstream dialogue. "We're talking about a feminism that was emerging in the 60s and 70s alongside of, along with, and sometimes in opposition to the better known history of mainstream feminism or predominantly white feminism," Catherine Morris, curator of the exhibition and senior curator at the Elizabeth A. Sackler Center for Feminist Art, tells Creators.

We Wanted a Revolution: Black Radical Women , 1965-85 is a group show that focuses on women of color as artists and activists during a period of social upheaval that afforded drastic changes in the art world. A time that saw many artists shift from an activist approach to social issues in the 60s and 70s to a more theoretical approach in the 80s.

Jan van Raay. Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest, Whitney Museum, 1971. Courtesy of Jan van Raay, Portland, OR, 305-37

In that 20-year period, the Feminist movement was gaining momentum, as was the Black Power movement, but it is the lesser known histories in between that serve as the focal point of this exhibition. We Wanted a Revolution coheres around significant historical events rather than a standard artist-centric group show design, meaning that the same artist is often represented in different areas throughout the show, dependent on which movements and moments they participated in. Each touchstone event is then contextualized in what Morris describes as "a very media-rich experience that strives to tell a socio-historical story while also trying to focus very heavily on the careers of these visual artists who were very engaged in the art world and very interested in the social politics of the time, but also saw themselves as dedicated to a career as artists."

Where We At Collective. Cookin' and Smokin', 1972. Photo courtesy of Dingda McCannon Archives, Philadelphia, PA.

One example is the artist, Faith Ringgold. "She appears in multiple political and social threads of this story," Morris explains. In one instance, she was awarded a grant to make public art and rather than employ a more traditional public art medium, such as sculpture or street art, she initiated a dialogue with incarcerated women at Riker's Island, prior to its transition into an all-male institution. Using their narratives, she created a large-scale painting in the prison entitled, For the Women's House, that reflected their stories and their voices. When the prison switched to a male-only population, her mural was painted over. However, when a prison guard alerted Ringgold, she requested a reversal, which was granted. This artwork has been removed from the prison and will be shown in We Wanted a Revolution. Ringgold's work surfaces in other areas of the show, including Where We At, a collective of black women artists central to the Black Arts Movement of the 60s and 70s. In this way, the exhibition explores the complex history of feminism outside of the predominant narrative. According to Morris, "We are in a position now to complicate that story and to introduce multiple voices that make it richer and more interesting."

Faith Ringgold. For the Women's House, 1971. Courtesy of Rose M. Singer Center, Rikers Island Correctional Center

The exhibition incorporates a variety of disciplines, from the artworks themselves to photographs, ephemera, audio, interviews, and a selection of publications from the period republished in the form of a sourcebook. "These are histories that were out in the world at the time, but they weren't always told in a place like the Brooklyn Museum," Morris says.

Central to these lesser known histories within the feminist movement at large is the Combahee River Collective, a group of black lesbian women who came together, according to Morris, "to address what they saw as the intersecting experiences of their lives, including race, sex, and class." Their mission statement forms the conceptual foundation for We Wanted a Revolution and is reprinted in the exhibit's sourcebook. Its last line reads: "As Black feminists and Lesbians we know that we have a very definite revolutionary task to perform and we are ready for the lifetime of work and struggle before us."

Amma Amos. Preparing for a Face Lift, 1981. Courtesy of Emma Amos; courtesy of the artist and RYAN LEE, New York. Licensed by VAGA, New York

Howardena Pindell. Still from Free, White and 21, 1980. Courtesy of the artist and Garth Greenan Gallery, New York

We Wanted a Revolution will be on view at the Brooklyn Museum from April 21st to September 17th, 2017. The Brooklyn Museum will offer a series of public programming to accompany the exhibition. For more information, click here.

"Knotty" Macramé Works Bind Feminism, Queerness, And Diversity

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Embroidery Artist Weaves Memes with Modern Feminism

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