Slavery made your mother into a myth, banished your father’s name, and exiled your siblings to the far corners of the earth. The slave was as an orphan, according to Frederick Douglass, even when he knew his kin. “We were brothers and sisters, but what of that? Why should they be attached to me, or I to them? Brothers and sisters we were by blood; but slavery had made us strangers. I heard the words brother and sisters, and knew they must mean something; but slavery had robbed these terms of their true meaning.” The only sure inheritance passed from one generation to the next was this loss, and it defined the tribe. A philosopher had once described it as an identity produced by negation.Saidiya Hartman, Lose Your Mother: A Journey Across the Atlantic, p. 103 (via kadalkavithaigal)
Research Sundays. Looking at the relationship between new religious movements and Victor Frankenstein. I promise it makes a lot of sense in my head and maybe on paper.
Calling a moratorium on horrible TV episodes that try to explain racism and its resolution through apologies and hugs in 30 minutes. Please stop. I have to reread George Trow’s “Within the Context of No Context” again.
- evelynnalfred said: You can do it. It was meant for you to do. :)
- sugarbooty said: You’re amazingly talented and smart and supportive and you deserve to get back all the good u give!
Thanks ladies! I can do this!
Art is a step from what is obvious and well-known toward what is arcane and concealed.Khalil Gibran
The D.I.S.P.U.S — the Department of Inquiry on Social Problems and Urgent Solutions is taking to the streets today. We are a fictional Department of the US government responsible for collecting data and solutions for the most urgent problems. We are stationed in front of Brooklyn Museum today!
Zines made. Shipping to Philly. HOW TO TIME TRAVEL USING YOUR MOTHER’S HAIR, A FOUND PHOTO & GINGER ROOT / a handbook and starter kit for practical time travel. — a living collection of performance scores and exercises for practical time travel. ##
This zine is included with my time travel machine, an excerpt of my NO INSTRUCTIONS FOR ASSEMBLY, Activation II installation ##
@ YELL GALLERY, April 5th (Philly) for the show AFROFUTURIST AFFAIR: TIME TRAVEL CONVENTION
Hey folks! I am presenting at this A/P/A NYU conference next Saturday (4/12). Register here.
A two-day conference (Friday, April 11- Saturday, April 12, 2014) organized around the notion of archiving as a radical practice, by which we mean: archives of radical politics and practices; archives that are radical in form or function; moments or contexts in which archiving in itself becomes a radical act; and considerations of how archives can be active in the present, as well as documents of the past and scripts for the future.The conference is organized around four threads of radical archival practice: Archive and Affect, or the embodied archive; Archiving Around Absence, or reading for the shadows; Archives and Ethics, or stealing from and for archives; and Archive as Constellation, or archive as method, medium, and interface.
Co-sponsored by Asia Art Archive, Hemispheric Institute, NYU History Department, NYU Moving Image Archive Program, and NYU Archives and Public History Program.
I am excited because it combines three things I love: conversation, archives and art.
I will be on a panel called “NO INSTRUCTIONS FOR ASSEMBLY: Case Studies in Radical Archiving” moderated by Steffani Jemison (!!!) where I will be talking about my first solo archival installation “No Instructions for Assembly”. I will be referencing my own art process as well as some of my textual influences like Avery Gordon’s Ghostly Matters Haunting and the Sociological Imagination, Christina Sharpe’s Monstrous Intimacies: Making Post-Slavery Subjects, Emily Dickinson’s experimental grammar that hinges of delicious subversion, Harryette Mullen’s everything, Isiah Lavender’s Race in American Science Fiction and worldbuilding, James C. Scott’s writing around infrapolitics and how this dialogue extends to our understanding of radical archival practices as a form of resistance, Kevin Young’s The Grey Album: On the Blackness of Blackness and taxonomy of shadow books and its extension to how we understand which archives are lost, strategically removed or never created, RZA’s Tao of the Wu and the exploration of intertexuality and spiritual syncretism and Thomas Jefferson with his cut-up Bible as well as other examples of the emendation of holy texts.
I think it’ll be a fun time and I hope to see you there!
Carrie Mae Weems LIVE: Past Tense/Future Perfect
at the Guggenheim Museum
Artist Hosts Three Days of Art, Activism, Music, Literature, and Performance on April 25–27 in Celebration of Her Current Retrospective
Download a PDF of this news release.
(NEW YORK, NY – March 26, 2014) – The Solomon R. Guggenheim Museum presents Carrie Mae Weems LIVE: Past Tense/Future Perfect, a weekend of public programs that includes interviews, music, panels, spoken word, videos, and other performances. Weems, a 2013 MacArthur Fellow, assembles an all-star cast of activists, artists, musicians, writers, and other internationally renowned guests in a series of museum sessions on the occasion of the current retrospective Carrie Mae Weems: Three Decades of Photography and Video, on view at the Guggenheim through May 14. Co-hosted by Weems and Carl Hancock Rux, a poet, playwright, and recording artist, this multidisciplinary performance-salon focuses on contemporary cultural production by people of color in the areas of architecture, dance, film, literature, music, theater, and visual art, and the discourses around this production. Poets Elizabeth Alexander and Aja Monet will punctuate the proceedings with poetry and manifesto readings. Program details, ticketing information, and access to the livestream are available on guggenheim.org/weemslive.
When I make it to the other side of April, I am dancing down Eastern Parkway while eating clementines. Then I am taking a weeklong nap.
Photographs give people an imaginary possession of a past that is unrealSusan Sontag (via tru-lifedocumentarian)
Sunday hair washing. We are starting early because it’ll be a long morning. Each time I wash my hair, I think about my father. Quick hair story — When I was 10, I begged for a perm. When I was 11, I begged for a perm. Again at 12 and 13. At 13, he finally surrendered to a press and curl. I remember walking into the salon and there was this older black woman sitting across from me who said “Thank God you are doing something with that hair.” After 4 hours, my large reddish brown bro was deflated into a series slick curls that looked like loosely unfurled rolls of 35mm film. The salon smelled like burnt hair, lemon cleaner and this old woman’s perfume. The baby hairs were slicked to my forehead with heavy grease and my neck was sweaty. I went back a few more times then just stopped. It was such a horrible look. I looked like a 40 year old woman on her way to sing in the church choir. Fast forward like 15 years, haven’t straightened my hair and have burned off pieces of hair in botched hair experiments.