#postcolonial art

[misscromwellsmonocle]

The Creation of God (2017) by Harmonia Rosales

[kaalbela]

Creole Portraits series by Jocelyn Gardner

Creole Portraits is a collection of hand-coloured lithographic portraits that reveal intricately braided Afro-centric hairstyles entwined within iron slave collars which were used to punish female slaves accused of inducing abortion. Each portrait also displays one of thirteen ‘exotic’ botanical specimens identified as having been used to induce abortion in the 18th century. Delicately hand-painted with watercolours, as was characteristic of natural history engravings of the period, each portrait is named after one of the botanical specimens using the established Linnaeun binominal system of nomenclature of the period in tandem with each slave’s plantation name; an act which parodies the imperial taxonomical systems.

[historiartmoi]

Source

Carroña (Carrion)

Javier Pérez, 2011

[earthpiecevii]

Kent Monkman, The Ford Erections, 2014, acrylic on canvas

[balrogballs]

I'm still sad about this heartwarming and mildly amusing little section where feral adolescent Aragorn brings some joy to Maedhros in his unhinged little way, which I had to cut out of Cast in Stone for structural reasons, especially as I had gone to the trouble of illustrating it!

But I realised it reads perfectly fine standalone, so you guys can have my crumb of Maedhros-joy instead. No context required: Maedhros and Maglor are temporarily staying in the Shire during the late Third Age, Maedhros had a horrible night of traumatic dreams and was being maudlin — until young Aragorn, aka Elros II and the bane of his life, turns up like a bad penny, as he often does. Enjoy!

---

"You look unhappy," said Estel, sitting down before Maedhros, legs crossed. "Does your hand hurt? Surely it can't be as bad as when it got chopped off, can it?"

"No, but leave me be, Estel, I have —"

"All right, but let me ask just one question. I promise, then I'll go away. I just remembered something from my lessons, and every time I ask Ada he looks up at the sky and asks the Valar where he went wrong in raising me," Estel moved closer, looking around for eavesdroppers. "You don't have to tell me if you don't want to. But I would like to know."

Maedhros frowned, swallowed the lump in his throat and dragged in a breath. "What?"

"Fingon rescued you on one of those enormous eagles, didn't he? On that mountain with Morgoth and all of that. It was one of those, right? Manwë's Eagles."

"Yes. He did. I do not wish to answer any further questions on the matter, clear off."

"And it was quite a long journey, wasn't it?"

Maedhros grunted.

"I've always had a question about it… and again, you don't have to tell me if it's too traumatising," Estel's eyes shone, as though he were about to hear a state secret. "And I promise I won't tell anyone."

"Spit it out, boy, or leave me now. I am in the mood for neither company nor memory."

"Did it… you know…?"

"If you're trying to ask me if losing the hand hurt, yes it did," Maedhros snapped. "Now leave me alone, I've had enough reminiscing for a damned century. Get off home, now!"

"Oh, shut up, I wasn't asking about your stupid hand, I don't understand why you think everyone sits around thinking about your hand," Estel scowled, pursuing his lips, before deciding his quest for scientific knowledge was more important than whatever had crawled up Maedhros' arsehole and died. He widened his eyes conspiratorily, looked around again. "My question has nothing to do with that! I just wanted to know, did the eagle… you know?"

"Estel, I am not going to repeat this, get out of my sight right this —"

"Did it take a shit?"

"Did… what?"

"Did it take a shit?" Estel flushed as he said the word, Elrond's parental touch finally taking hold, though in a predictably useless manner. "And if it did, how big was it? As in, was it normal bird crap, or was it, you know — like a bucketload of it?"

Maedhros blinked. Estel held his hands out to demonstrate.

"I've always wanted to know that about them, you know," the boy continued, stroking his chin like a philosopher. "Manwe's eagles, that is. Surely if they're big enough to carry two people, one being a towering beast like you, their droppings must be massive."

"What…?" Maedhros couldn't formulate words, a state of being Estel clearly had no familiarity with. "Their… what?"

"And yes, I know they're divine, all of that, but surely they can't be toilet trained, can they? I just don't see Manwë having enough time to toilet train an eagle, you know. Could you imagine just… going about your day, and having this massive tub of birdshite fall on your head? Oh, it could drown a person, I'm sure of it!" Estel grinned, as if said occurrence would be the best day of his life, had it happened to him. "So, did it? And if it did, did you see if it went on someone?"

Maedhros sat there blinking at the boy in complete silence before rising quietly, taking the now-extremely-familiar ear, and slowly — like he were a corpse — leading Estel to the village gate. He didn't say a word, only gestured weakly and put up three fingers, a signal the now sulky boy was very used to.

And as Estel, muttering darkly all the while, neared the completion of his first punishment-lap of three around the village green, he heard something that sounded like a donkey in immense pain. It was a sound so tremendous and unexpected that it brought Maglor running from the house, gaping at the source, having not heard such a thing in centuries. It was no donkey, but Maedhros in complete hysterics, sitting on the ground exactly where he was when he beckoned Estel to run, sobbing with laughter, actual tears pouring down his face, which itself was screwed up and flushed so pink he looked like he'd been badly sunburned. He was trying to explain the situation to Maglor (who had been glaring at Estel as if he had personally killed his brother, and now looked upon him like he was Iluvatar himself) but Maedhros was howling too hard to even stand, let alone form coherent words.

Estel pretended not to notice, and started on his second lap. Though objectively speaking, the laugh itself sounded like something between a foghorn, a pig and whatever noise he imagined Ungoliant would make — there was something rather lovely about it that brought an inexplicable little smile to his face.

[neathyingenue]

At last, the promised Hallowmas looks for Pilar and Silvia! Pilar is La Llorona, and Silvia is Hamlet, with particular inspiration from Sarah Bernhardt's portrayal :)

With that, they're ready to take their place in the @neathyfashioncoalition!

[galina]

Statues and busts in the 'Entangled Pasts, 1768–now: Art, Colonialism and Change' exhibition at the Royal Academy of Arts

[wedarkacademia]

I am doing my best to not become a museum of myself. I am doing my best to breathe in and out.

Natalie Díaz, from "American Arithmetic", Postcolonial Love Poem

[bossymarmalade]

Nona Faustine, "Dorothy Angola, Stay Free, In Land of the Blacks” & “When The Mind Forgets The Soul Remembers, Enslaved African Burial Ground, Bronx, NY” (2021)

More of Faustine's work in her collection "White Shoes" below the cut; contains nudity

“Ye Are My Witness, Brooklyn, NY” (2018)

“They Tagged the Land With Trophies and Institutions From Their Rapes and Conquests, Tweed Courthouse, NYC” (2013)

“Sojourner Truth, 74 Canal St., New York, NY” (2016)

"Like a Pregnant Corpse the Ship Expelled Her Into the Patriarchy" (2012)

[bernhard-schipper]

'Decolonize Sorbian Settlement Area' Digital Collage, 375 x 375 mm, 2024 Fine Art Pigment Print under Acrylic Glass, Black Aluminium Art Box

Lets talk about decolonization of the sorbian settlement area. My recent project of artistic research.

[zeroeroroo]

Critical Theory Collage

[ternuras-rabiosas]

🌸Ternuras rabiosas🌸es un fanzine que nace en los intercambios entre unas compañeras de vida con caminos y conocimientos paralelos y la misma aversión a los terrores del capitalismo. Desde la teoría crítica, el feminismo queer, el anticolonialismo, pasando por la ternura, la sororidad y el amor, el proyecto pone en comun los skills artisticos de @nival-art , a cargo del concepto visual y el arte, y Mireniall y @ocaptain-mycaptain-givemefreedom, plasmando en palabras, y a través nuestras de la reflexionar académica nuestras preocupaciones y reimaginaciones.

En nuestro compromiso con lo comunitario y la desjerarquizacion, Ternuras Rabiosas se plantea como un proyecto abierto, colaborativo, de las amigas y para las amigas: cada número se enriquece con la colaboración de amiguitas cuyo talento nos inspira cada día, y sin las cuales la ternura perderia sentido.

Bienvenides a ternuras rabiosas <3

Síguenos en Instagram: https://instagram.com/ternurasrabiosas?igshid=NGExMmI2YTkyZg==

[historiartmoi]

Source

Holy Mountain I

Horace Pippin, 1944

[cybergardenities]

Hello people of the universe.

Welcome to the Cybergardenities Archive, please read this post to get a hold what we’ll be doing here.

On this page I will be posting my artistic research in the field of anti and posthumanities. There will be several types of posts. Expect source text repositories (links to texts I’m working with), cool art I find (both relating to specific project and appealing to my general interests) and finally my own projects. I will also share music recommendations, and different thoughts I have about state of our world, but I want to maintain focus on documenting creative and research processes I’m doing. I do my research to inform myself and others on different aspects of solarpunk, here understood as a modern, multi-faceted counterculture movement that seeks to overthrow and replace current socioeconomic system with one that respects everything that lives (or not).

Discussion and suggestion is encouraged <33. Bear in mind that transphobes, racists, antisemites, queerphobes, ableists and all bigots will be banned relentlessly, human rights are not up for discussion, respect people here.

Video editing and color grading commissions are welcome, please check at the portfolio post if you want to know more.

Thank you and wish you a pleasant stay.

[davidstraange]

Post colonial Cat Gundam, 2020

[neathyingenue]

Drew this a while ago but just now getting to post it!! Here's a sketch of Silvia's Parabola reflection. I'm calling her "the Daffodil Maiden." For an overexplanation of the Yucatec Maya, Welsh, Spanish, English, and Catholic visual references-- look below the cut :)

Also I *am* working on the OC gouache portraits (got one done and two sketched out) but my hip is injured or something?? making sitting down painful so I can't paint :/ As soon as I can, I will get to work on those again!

The majority of the reflection's garment is based on the huipil of the Yucatec Maya, specifically the versions worn in the jarada, the national folk dance of Belize. Silvia's is embroidered with daffodils, the national flower of Wales. The flared hem is ruffled and gathered, trimmed with ribbon, a nod to European textiles/sewing techniques and Spanish folk-dance costumes. The ribbon sash thing is also part of the jarada costume--here I want it to constrict Silvia a bit.

The long unstyled hair is taken from the pre-Raphaelite painters, who depicted idealized versions of Victorian youthful femininity. Specifically I'm thinking of Waterhouse's 'Lady of Shalott,' because that poem is about a mirror and a forbidden glimpse of a desired reality. It's too perfect for Parabola! The halo, though, moves us into the more austere Catholic ideal of the virgin saint, most notably Mary the mother of Jesus.

I specifically took inspiration from the Virgin of Guadalupe, the patron saint of Mexico and the Americas, who legend states appeared to an Indigenous peasant, St. Juan Pablo. There is a lot of debate among Latin Americans about how the story of the Virgin of Guadalupe should be interpreted. Is her apparition the Church's attempt to redirect and control Indigenous goddess-worship? Or does it represent an important step toward inclusion in Christianity for Mary to appear to an oppressed non-white person? Does she represent colonial control, or the resistance to it? Although Silvia was never Catholic, Catholicism is one of the most recognizable impacts of Spain's colonialism in the Americas, so I wanted to visually depict that tension in this design.

The daffodil rod references iconography of St. Joseph, Mary's husband. Legend states that his walking-stick flowered with lilies to show everyone that he would be Mary's husband and Jesus's legal father. Joseph is the patron saint of fathers, immigrants, exiles, and workers, so that's also relevant to Silvia's backstory.

With this design, I'm trying to convey Silvia's complicated relationship to her cultural identities, as well as her deep desire to be seen as morally pure and good. I think she would be uncomfortable with how European and maidenly her reflection is--because it would force her to confront the fact that her moral code, no matter how radical, still smacks of European philosophy and Catholic ideals of "purity."