kiki nicole + black apotrope artist talk 16 Mar 2018 PCC Paragon Gallery Curated by the Nat Turner Project
macklin celebrini has autism
TMBGareOK. The Official They Might Be Giants tumblr
No title available
Color Me Curious
★

gracie abrams
Lint Roller? I Barely Know Her
YOU ARE THE REASON
art blog(derogatory)
Monterey Bay Aquarium
Show & Tell
"I'm Dorothy Gale from Kansas"
almost home
The Bowery Presents
Claire Keane

Love Begins

#extradirty
untitled
Cosimo Galluzzi

No title available
seen from United States
seen from United States
seen from Brazil
seen from Canada

seen from Brazil

seen from France
seen from Tanzania
seen from Bangladesh

seen from Brazil

seen from Singapore

seen from United States
seen from France

seen from United States
seen from Vietnam
seen from T1

seen from Netherlands
seen from Iraq
seen from Brazil
seen from United States

seen from Thailand
@blk-apotrope-blog
kiki nicole + black apotrope artist talk 16 Mar 2018 PCC Paragon Gallery Curated by the Nat Turner Project
Video documentation of kiki nicole + black apotrope opening reception. Included poetry reading by manuel arturo abreu and performance by Jamondria Marnice Harris. Video by Ruben Garcia Marrufo
The show is open at the Paragon at PCC Cascade campus until 23 Mar 2018! Curated by the Nat Turner Project.
due to the weather, the opening of our show with @yungnegroartist via @natturnerproject at @pccparagonarts has been moved to Tuesday, February 27th. come witness our opening rituals & ceremonies 🖤 (at Paragon Arts Gallery)
amazing video promo by @natturnerproject for our upcoming residency with @yungnegroartist , opening ceremony this Thursday @pccparagonarts 🖤 (at Paragon Arts Gallery)
from black apotrope #1, June 2017, by @meroiticmeroitic
from black apotrope #1, June 2017, by @meroiticmeroitic
from black apotrope #1, June 2017, by @mabreu91
from black apotrope #1, June 2017, by @mabreu91
black apotrope #2 Jamondria Marnice Harris / manuel arturo abreu / kiki nicole 5 Jan 2018, 7-9p Yale Union (800 SE 10th Ave)
Often no amount of desire seemed enough to convince straight boys that girls actually wanted to sleep with them; most of them persisted in acting like they had to trick or otherwise force them into it. Or they would say during sex, wonderingly, “It’s like you really like it!” For years I heard this as self-loathing, and assured boys that they were beautiful and sexy – only later realizing that it was a slur not against the male body, but against female desire. My own desire corroded under the pressure; a passionately sex-curious, wildly affectionate child, by my late teens I barely remembered what sexual pleasure felt like, and had to re-learn it from first principles, a precarious and damaged gift that I’ve found and lost over and over again. And I think this is not an unusual story, but only a story about being born a girl.
from My Gay Shame, or How Patriarchy Stole Sex by Hannah Black (via weneedtotalkaboutsexnow)
Hannah Black
I was so dis-identified from (white) womanhood that straight men’s desire for me, when it happened, felt like an unexpected transgression that I often didn’t know how to respond to. Or I wanted it to be that way, because I had learned a deep suspicion of what men’s desire did to people who allowed themselves to be women. I wanted sex without love, I wanted sex to be love, I wanted to be anonymous, I wanted my own desire and not to be only desire’s object.
from My Gay Shame, or How Patriarchy Stole Sex by Hannah Black (via weneedtotalkaboutsexnow)
[B]lackness is the anoriginal displacement of ontology, that it is ontology’s anti- and ante-foundation, ontology’s underground, the irreparable disturbance of ontology’s time and space. This is to say that what I do assert, not against, I think, but certainly in apposition to Afro-pessimism, as it is, at least at one point, distilled in Sexton’s work, is not what he calls one ofthat project’s most polemical dimensions, “namely, that black life is not social, or rather that black hfe is lived in social death” (Sexton). What I assert is this: that black life—which is as surely to say lifie as black thought is to say thought—is irreducibly social; that, moreover, black life is lived in political death or that it is lived, if you will, in the burial ground of the subject by those who, insofar as they are not subjects, are also not, in the interminable (as opposed to the last) analysis, “death-bound,” as Abdul JanMohamed (2005) would say. In this, however, I also agree with Sexton insofar as I am inclined to call this burial ground “the world” and to conceive of it and the desire for it as pathogenic. At stake, now, will be what the difference is between the pathogenic and the pathological, a difference that will have been instantiated by what we might think of as the view, as well as the point of view, of the pathologist. I don’t think I ever claimed, or meant to claim, that Afro-pessimism sees blackness as a kind of pathogen. I think / probably do, or at least hope that it is, insofar as I bear the hope that blackness bears or is the potential to end the world.
Fred Moten, Blackness and Nothingness
It is a powerful misrecognition that enables an understanding of afro-pessimism as moving against black life, in other words, of pathologizing blackness. Blackness is not the pathogen in the afro-pessimist imagination and it is a wonder how one could read it so even as it is no wonder at all. No, blackness is not the pathogen in afro-pessimism, the world is. Not the earth, but the world, and maybe even the whole possibility of and desire for a world. This is not to say that blackness is the cure, either. It is and it isn’t. If, as Moten suggests, radicalism is the general critique of the proper and blackness is radicalism in the split difference between experience and fact; then afro-pessimism, in its general critique of the myriad recuperations of the proper at the singular expense of blackness (blackness in some ways as that expense of the proper) is, in fact, the celebration (of the experience) of blackness as (the) performance (of) study.
“The Social Life of Social Death: On Afro-Pessimism and Black Optimism”, Jared Sexton
…nothing is ever made available only to black people, no matter how hard we may try to cultivate the esoteric or mimic the proprietary. We have no sanctuary for such contemplation. I do not think black artists are saying that this is their exclusive province, but rather that they wrestle with the ethical question of representing the victims and effects of anti-black violence in ways that few non-black people (and maybe even many black people) ever come to appreciate. Meanwhile, what is taken to be black is taken for granted, openly available to all. That is a matter of virtually unrepresentable power, but it is also a structural impossibility to forestall the dissemination of signs, for better or worse.
Jared Sexton, “The Rage: Some Closing Comments on ‘Open Casket’” (via negrosunshine)
Black is color, noncolor, and all colors. All colors are initially, eventually black, but they cannot give or give back unless and until they see themselves and others as such.
from All Black Everything by Jared Sexton (via ahistoryofanxietyandanxietyand)