self-portrait with watercolor

gracie abrams

Kiana Khansmith
Lint Roller? I Barely Know Her

izzy's playlists!
Monterey Bay Aquarium

Love Begins

roma★

❣ Chile in a Photography ❣
Cookie Run:Kingdom Official!
𓃗
Sade Olutola
Mike Driver
KIROKAZE

ellievsbear
tumblr dot com
Not today Justin
One Nice Bug Per Day

No title available
ojovivo
Sweet Seals For You, Always

seen from Australia
seen from Brazil

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Brazil
seen from United States
seen from United States

seen from United States
seen from United States
seen from Singapore

seen from Netherlands
@callmequell
self-portrait with watercolor
self portrait with markers + messup, I am very good at worried faces but I need some work with bodies 😅
self-portrait with markers / hands are hard
self-portrait with watercolor / still haven’t figured out hands
First step in a collograph workshop with Jodi Cutler! Lots of fun, I can’t wait to see how it turns out.
tri-colored caladiums for the sketchbook
First of all, try to be human.
“try to be human” lol
Finally pulling the watercolor pencils back out / drawin’ my babe
suddenly obsessed with this blog
lauren is actually genius
dat chair
reacting to reactions
1. Even though authenticity is frequently posited as the reward for producing content, it is not what motivates people to speak. When people post content to social media, they are not trying to “be authentic” or “discover themselves” or even “express themselves.” We are simply communicating in order to see if people are listening, to see if we are included. (Bethlehem Shoals writes about that idea here.) There is nothing about a self (in and of itself) to express; the self, as it it is constituted in social media, consists of reactions.
2. Being “authentic” in social media usually serves as code for “work harder” and “post more.” “Authenticity” is offered as wages for the work of circulating signifiers, charging them with stakes, with potential value. It is the false premise for getting users to generate and circulate social media content, as well as register superfluous reactions to the endless flow of content. What is our “real” reaction? Was it a WOW or did we merely like it?
3. All this creates more data points to attenuate the demographic profiles assembled by marketers. If we have an “authentic identity,” it consists of these profiles, but we have no direct access to them. They are not in our consciousness or in our intentionality but in some remote server. At best we can try to trace the contours of our alienated identity — who we are believed to be by the only entities capable of housing and processing all the data — through gauging the reactions to what we post.
4. People (brands) trying to be “authentic” must continuously and vigorously reassert their identity with strategically chosen signifiers. It requires constant effort to attract the attention that substantiates a particular posited identity and redirect divergent interpretations of the previous posts. Social media presupposes we will develop brand-management strategy for ourselves. The illusion of a stable, consistent identity is achieved through constant recalibration. The content meant to create an “authentic” personal/brand identity is consistent only in its continual flow.
5. In social media, we build out the networks that impose identity on us; the platforms (as they are currently configured) profit from structuring the social attention we give and seek from one another in the form of veiled authenticity competitions, in metrics that purport to assess how much favorable attention we are receiving and thus how “real” we are. An identity is “authentic” only in so far as other people notice and approve of it. One can’t be real or true to oneself in a social vacuum. It is reactions all the way down.
6. The old ruse of “authenticity” was that it expressed an individual’s uniqueness. Authentic behavior manifested a unique self. But being unique is trivial in a climate of ubiquitous surveillance and nonconsensual archiving. Authenticity is explicitly a form of brand equity in competitive markets for opportunities, projects, connections, etc. Authenticity is measured in relation to the other competitors in the field; as always, it is not a matter of measuring one’s behavior against an essential interior truth.
7. It may seem as though rejecting authenticity could move us beyond this forced labor, can be a way of trying to opt out of the competition. Postauthenticity can seem like work refusal. Strategic inconsistency and conformity as disguise become measures of resistance. We can present ourselves as an unabashed collage of incoherent appropriations, with no pretense to molding a curatorial sensibility that lifts “a real self” out of the melange of our influences. If only we were genuinely, authentically indifferent to how authentic we were, we would resist, if not transcend entirely, the de-authenticating, alienating ruses of social media. But there is no unilateral way for an individual to opt out of authenticity, any more than one can opt out of having a reputation. The curatorial sensibility attributed to us is imposed from without even if it is not directed coherently from within.
8. The expectation that people’s social media behavior must be authentic is imposed; it is a judgment passed on people, not an aspiration that motivates people. It is a punishment, an external demand for self-consistency that overrides the self’s innate desire to be multifarious, to be unlimited, to be always in the process of becoming something else, something more.
9. You don’t get to choose who you are; worse, you can’t choose to be no one.
Bryan Munn selects the ten best comics of 2014 for Sequential, the blog of Canadian comics news and culture, and Patrick Kyle’s Distance Mover, Jesse Jacobs’ Safari Honeymoon, Walter Scott’s Wendy, and Michael DeForge’s Lose #6 all make his list!
note to self: acquire
A selection of Backgrounds from the Steven Universe episode: Jail Break
Art Direction: Elle Michalka
Design: Steven Sugar, Emily Walus, and Sam Bosma
Paint: Amanda Winterstein and Jasmin Lai
Jailbreak was the first episode I partially worked on as an art director with Elle! The first 7 were painted by me, and the last three by Amanda. It was so fun trying to figure out how to combine the pinks and greens <3
colors😍
Adrian Tomine
same
Four drawings after Lydia Davis’s “Liminal: the Little Man” for this artshow.