Pages
- Where her last thought was
- Boigraphical Notes and Such
- Contact Me
- Juggling Some Affections: a little love story
- The Powdered Wig Series
- Capturing Myself
- Feminist Paper Dolls for March 2012
- Feminist Paper Dolls for March 2013
- Feminist Paper Dolls for March 2014
- Shadow Puppetry
- Gas Mask Series: The Studies and Underdrawings
- Mutations
- Bird Boys
Sunday, March 31, 2013
Saturday, March 30, 2013
Social Activism: 1876 to 2013
March 28, 2013 Somaly Mam |
March 29, 2013 Zitkala Sa |
Wednesday, March 27, 2013
Confronting Modern Day Slavery
March 25, 2013 Malina Suliman |
March 26, 2013 Rachel Lloyd |
Rachel Lloyd is working to expose child trafficking in the US. She is the founder of GEMS (Girls Educational And Mentoring Services www.gems-girls.org) More from her here (She is a POWERFUL speaker): http://www.youtube.com/watch?v=9ij_6iMi9gA
March 27, 2013 Mu Sochua |
Sunday, March 24, 2013
Thursday, March 21, 2013
Lucy and Frida
March 20, 2013 Lucy Lippard |
"I've been accused of being a moving target. But what target in its right mind won't move? And what good art is not a moving target? Mobility (and flexibility) has become a strategy as well as a temperamental and intellectual preference."
Lucy Lippard (from The Pink Glass Swan)
March 21, 2013 Frida Kahlo |
"The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration."
Frida Kahlo
Tuesday, March 19, 2013
Constructing Revolutions: The Sculptor, the Painter and the Poet
March 18, 2013 Louise Nevelson |
"True strength is delicate." ~Louise Nevelson
March 18, 2013 (ALSO) Homage to Dorothea Tanning |
"Art has always been the raft onto which we climb to save our sanity. I don’t see a different purpose for it now."
~Dorothea Tanning
March 19, 2013 Andrea Gibson |
"She's not asking what you're gonna tell your daughter, she's asking what you're gonna teach your son." ~Andrea Gisbon
Sunday, March 17, 2013
Confronting Race, Gender and Class Status through Words, Acting and Maps
March 17, 2013 Sikha Patra |
“Before, my identity was either as my grandfather’s granddaughter or my father’s daughter or as someone who lives in the house by the temple,” she says. “Now, they say, ‘Oh, that’s Shikha.’ Or, ‘That’s the girl who does surveys – or teaches kids to paint – or trains them in sports.’ I feel like they know me for who I am.”
More here: http://www.theworld.org/2013/01/kids-improve-lives-in-kolkata-slums/
Thursday, March 14, 2013
Monday, March 11, 2013
Reporting
March 10, 2013 Gloria Steinham |
March 11, 2013 Ofeiba Quist-Arcton |
Sunday, March 10, 2013
Pink Vortex House
In ways beyond my control, I have been sucked back to the shoreline house. My little WWII victory bungalow is conscious and has become a vortex pulling back sucking in bits of its former selves. The house has grown like a cancer to accommodate its ego and all its inhabitants.
The house has decided to cut the large hemlocks that butt up against the garage. The trees, thinks the house, have become part of it anyway. Cut down and milled they will serve the house's majestic plan. And perhaps appease Mrs. North, the former next door neighbor- the woman who lived in the space for 52 years and always wanted the trees removed - pleaded every year for their removal.
The milled hemlock beams create a large stage off the house's largest bedroom. The floor is dusty dirty as if moving into that space between winter and spring when all the dirt from the outside decides suddenly to move inside. The dirt moves inside to acclimatize us to the green that will soon arrive.
As I walk into the room, I walk past old gun safes and shell casings line the hallway. The shotguns are re-purposed in to the legs of a large dining table. The wine glasses are old lugers. I want to question the house on this decorating choice and as the question moves from my brain to my tongue, the house retaliates: I am physically and emotionally divided The house pulls the obedient parts of my being into a separate body and thereby retains control over the situation. I show disgust at the decorating, the situation and my cleaved self. My cleaved self clicks its tongue and moves into the room.
My cleaved self is told there will be a concert and it is to perform. We set up the room, sweeping piles of dust into the heating ducts. No one is coming. The concert is empty save for myself, the guns, my cleaved self, and a monkey who is still sweeping. My cleaved self climbs onto the stage. The monkey tells it is close its eyes. My cleaved self obeys.
The monkey begins to tell my cleaved self about the crowds of people arriving for the concert. I can see no one except those who were there before. The monkey is describing all the peoples' appearances and ages and mannerisms to my cleaved self. But still: there is no one at the concert.
My cleaved self opens its eyes and begins to sing. I see that it sees a crowd of people that are not real. My cleaved self is singing and the crowd it sees is cheering. I see no one. The house begins to laugh
The house has decided to cut the large hemlocks that butt up against the garage. The trees, thinks the house, have become part of it anyway. Cut down and milled they will serve the house's majestic plan. And perhaps appease Mrs. North, the former next door neighbor- the woman who lived in the space for 52 years and always wanted the trees removed - pleaded every year for their removal.
The milled hemlock beams create a large stage off the house's largest bedroom. The floor is dusty dirty as if moving into that space between winter and spring when all the dirt from the outside decides suddenly to move inside. The dirt moves inside to acclimatize us to the green that will soon arrive.
As I walk into the room, I walk past old gun safes and shell casings line the hallway. The shotguns are re-purposed in to the legs of a large dining table. The wine glasses are old lugers. I want to question the house on this decorating choice and as the question moves from my brain to my tongue, the house retaliates: I am physically and emotionally divided The house pulls the obedient parts of my being into a separate body and thereby retains control over the situation. I show disgust at the decorating, the situation and my cleaved self. My cleaved self clicks its tongue and moves into the room.
My cleaved self is told there will be a concert and it is to perform. We set up the room, sweeping piles of dust into the heating ducts. No one is coming. The concert is empty save for myself, the guns, my cleaved self, and a monkey who is still sweeping. My cleaved self climbs onto the stage. The monkey tells it is close its eyes. My cleaved self obeys.
The monkey begins to tell my cleaved self about the crowds of people arriving for the concert. I can see no one except those who were there before. The monkey is describing all the peoples' appearances and ages and mannerisms to my cleaved self. But still: there is no one at the concert.
My cleaved self opens its eyes and begins to sing. I see that it sees a crowd of people that are not real. My cleaved self is singing and the crowd it sees is cheering. I see no one. The house begins to laugh
Saturday, March 9, 2013
Silueta des flores
March 9, 2013 Ana Mendieta |
Thankfully VAWA was reauthorized a few days ago. Perhaps Ms. Mendieta would have been still making art today if VAWA had been around in 1985. Although her husband was acquitted of any charges surrounding her death (she fell/jumped/was thrown from her apartment balcony) their relationship was rather violent. Of Mendieta's supporters, a chunk of the (misogynist) art community called them the rabid "feminist cabal." Hmmm, asking to be treated with dignity, equity and respect makes one a conniving plotter?
Friday, March 8, 2013
A Dame and a Landowner
March 7, 2013 Maggie Smith |
March 8, 2013 (International Women's Day) Woman Farmer in Sahel |
Wednesday, March 6, 2013
Willow and Hanifa
March 5, 2013 Willow Smith |
My second response was her song I Am ME. The music is not something I would listen to ( I prefer grungy blues stuff) BUT: the message of remaining one's self SHINES THROUGH in this song. This girl loves herself and is letting other girls and boys know that that is okay. What a powerful thing. Be yourself, be kind, and it's okay.
Third, I am curious as to what this young person will do given the power she possesses. Where will she take herself and her understanding of empowerment?
March 6, 2013 Hanifa at Skateistan |
Monday, March 4, 2013
Sunday, March 3, 2013
Furniture on the ocean in an umbrella boat
My father needs to get the dollhouse figures from the antique shop he owns in China. I am hoping that he will bring the dollhouse furniture as well. And my baby elephant.
He says no.
He says there will be no room on the boat for the furniture. The figures is all we can go back for.
He pulls two boats like kites out of the back of his car. They are light weight fabric boats and remind me of umbrellas. We are going to sail across the ocean in them, his boat pulling mine. I am scared but I don't say so.
We glide on the ocean at nighttime. The wind pushes us quickly across to China. When we land, the woman who maintains my father's shop is waiting for us on the beach. She is riding the elephant that lives in the shops courtyard. Men who are hooded and as tall as the elephant flank her and escort us to the shop. It is nighttime and we are quiet.
At the shop, my father places the figures in an envelope and tucks them into my coat. He tells me to keep them safe. It is then we realize that the boats have been folded like umbrellas and packed into the boxes. My father begins to scream. We are trapped. The guard is coming.
Quickly my father begins grabbing things: his apple shaped chair, a box of political pamphlets, the tray of dollhouse furniture, a box of sake glasses, and my baby elephant. He tells the tall hooded men to fix the boats. He tells me to watch the stack of objects he has gathered and wait for him right here. He then leaves.
I watch the tall hooded men reconstruct the boats into some new version that I hope will float. Some of the bracers are missing and they look even flimsier than before. But I ignore this worry that grows in my chest: I now have my dollhouse furniture and my baby elephant.
My father returns with my brother. He runs us all down to the beach and he tells me that I will have to pull the boat caravan and keep my brother safe.
"But papa, I can't swim."
He tells me that I can indeed swim, but I have just forgotten how. He places my dollhouse furniture, the baby elephant and my brother in my little boat in the front. He ties his boat to mine and gets in with the boxes of pamphlets and sake glasses, the apple chair and himself. Swim, he tells me. Swim, the bad men are coming.
I get in the water and begin pulling the boats. My brother is crying and my father's boat has sunk. I cannot swim and the other shore is very far away.
He says no.
He says there will be no room on the boat for the furniture. The figures is all we can go back for.
He pulls two boats like kites out of the back of his car. They are light weight fabric boats and remind me of umbrellas. We are going to sail across the ocean in them, his boat pulling mine. I am scared but I don't say so.
We glide on the ocean at nighttime. The wind pushes us quickly across to China. When we land, the woman who maintains my father's shop is waiting for us on the beach. She is riding the elephant that lives in the shops courtyard. Men who are hooded and as tall as the elephant flank her and escort us to the shop. It is nighttime and we are quiet.
At the shop, my father places the figures in an envelope and tucks them into my coat. He tells me to keep them safe. It is then we realize that the boats have been folded like umbrellas and packed into the boxes. My father begins to scream. We are trapped. The guard is coming.
Quickly my father begins grabbing things: his apple shaped chair, a box of political pamphlets, the tray of dollhouse furniture, a box of sake glasses, and my baby elephant. He tells the tall hooded men to fix the boats. He tells me to watch the stack of objects he has gathered and wait for him right here. He then leaves.
I watch the tall hooded men reconstruct the boats into some new version that I hope will float. Some of the bracers are missing and they look even flimsier than before. But I ignore this worry that grows in my chest: I now have my dollhouse furniture and my baby elephant.
My father returns with my brother. He runs us all down to the beach and he tells me that I will have to pull the boat caravan and keep my brother safe.
"But papa, I can't swim."
He tells me that I can indeed swim, but I have just forgotten how. He places my dollhouse furniture, the baby elephant and my brother in my little boat in the front. He ties his boat to mine and gets in with the boxes of pamphlets and sake glasses, the apple chair and himself. Swim, he tells me. Swim, the bad men are coming.
I get in the water and begin pulling the boats. My brother is crying and my father's boat has sunk. I cannot swim and the other shore is very far away.
Saturday, March 2, 2013
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