Black Poseidon

An (Afro-) Body-Positive, Spectacularly, Publicly and Erotically Objectifying (in other words, a queer and eccentric) concern with visions, bodies, disciplines, technologies, practices, powers, punishments/pedagogies, politics (re)production(s), and relationships.

[abstrakshun]

Sam Gilliam (American, b.1933)

untitled   -  2020

more on abstrakshun

[cinephiliabeyond]

A message from Banksy.

RIP to all the victims.

[minimalzine]

Edouard Jacquelin x Minimalzine www.instagram.com/aesymptotic

[thunderstruck9]

Victor Brauner (Romanian/French, 1903-1966), Les musiciens, 1955. Oil on canvas, 55 x 46.3 cm.

[maudelynn]

Coney Island, c.1947,  photo by Sid Grossman

via http://www.dailymail.co.uk

[thunderstruck9]

Anders Brinch (Danish, b. 1971), Tequila Sunrise, 2016. From the series Diamond Souls. Oil on canvas, 210 x 164 cm

[redlipstickresurrected]

Titus Kaphar (African-American, b. 1976, Kalamazoo, MI, USA) - 1: Stripes, 2014, Oil on Canvas and Nails  2: Absconded From The Household Of The President Of The United States, 2016, Oil, Canvas and Rusted Nails on Canvas  3,4: Behind the Myth of Benevolence, 2014, Oil on Canvas  5: Unfit Frame, With Broom And Books, 2016, Mixed Media: Oil on Canvas with a Gilded Antique Frame, Books, and a Broom  6: Tax Collector, 2011, Oil on Canvas, Jumpsuit, Briefcase  

[tallblackguy]

Review: I Called Him Morgan

Location: Netflix Style: Documentary

Lee Morgan had a style I loved. Versatile on the horn, he captured my attention when he came in loud and brash and clear. The story I was acquainted with was that he was killed after a show by his mentally unbalanced wife. But this documentary actually tells his wife’s story, and I was floored by how much I didn’t know.

The story is told through interviews with people who knew and played with Lee Morgan and the audio of an taped interview a former DJ turned adult education teacher did with Lee Morgan’s wife Helen. We get a sense of who she was and her sense of self (her interaction with Miles Davis is especially telling in this regard). 

As we delve into his work and his history, a number of things I didn’t know crop up. His drug use. His relationship to other people. His relationship to his wife, who pulled him up out of a heroin addiction. 

As we lead up to the events on his last night, there is a masterful bit of editing that keeps the ball rolling along, as eyewitnesses and bandmates and “the other woman” (here termed “Friend”) detail what happened that snowy night. And through it all, you hear Helen recount that night with emotion and sadness. 

B-roll is used to great effect here, as we go from the farms and woods of North Carolina to New York City. Interviews with her oldest son, with dudes who knew her when she moved to New York, Wayne Shorter (!) and more really bring out the humanity not only of Lee Morgan, but of his wife as well. She was not the nutso woman she was made out to be. She was dealing with her husband having what sounds like an emotional affair with another woman, coming into a club where he was playing and seeing said woman there, and, after an altercation in which he pushes her out and a gun he bought her falls out of her purse…AND the ambulance taking an hour to get through an epic NYC snowstorm…

This was well done all around. I also note that this was made possible by a grant from a Swedish art board. I’ll leave that politic for another diatribe. But this is very enjoyable. and I think jazz heads and music heads of all stripes would like it.

[internetlifestyleartgallery-dea]

Saints

[thunderstruck9]

I Nyoman Masriadi (Indonesian, b. 1973), Mr. Kapitalis [Mr. Capitalist], 1999. Mixed media on canvas, 140 x 200 cm.

[shamedintoleaving]

[makinglovebanana-deactivated201]

Hi ho, ho ho, it’s off to work we go, etc and so on

[doraemonmon]

The Munsters in their cool car

[terminusantequem]

Luigi Boille (Italian, 1926-2015), Struttura libera, 1966. Oil on canvas, 116.00 x 90.00 cm

[everythingstarstuff]

Alex Kuno

[profkew]

In post-assimilation America, people of color must continue to pursue leadership roles as the demographics of the nation inexorably change. But they must also reject their personal achievement as the core measure of progress and instead use history as a tool to measure systemic change. To proceed otherwise is to perpetuate the “fantasy of self-deception” that Dr. King rejected. The future is no longer about “firsts.” It is instead about the content of the character of the institutions our new leaders will help us rebuild.

Khalil Gibran Muhammad, “No Racial Barrier Left to Break (Except All of Them)“ (via profkew)

[blackposeidon]

Denver Alley Inkmonster November 2016

[blackposeidon]

Sovereignty Blues Denver, CO 2016