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2025 on Tumblr: Trends That Defined the Year
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@culturalproduction
‘The Great Speckled Bird’, Atlanta, Georgia, 1973.
Reaper is free for 60 days, and fairly easy to use. Lynda.com has tutorials to help you, too.
The Chicago Architecture Biennial provides a platform for groundbreaking architectural projects and spatial experiments that demonstrate how creativity and innovation can radically transform our lived experience.
From The Visualist
Singing Stones, curated by the Palais de Tokyo’s Katell Jaffrès, brings together 11 emerging artists from both the French and Chicago art scenes, as part of the first Hors les Murs exhibition in the United States, in partnership with the Institut français. Presented within The Roundhouse—a 17,000 sq. ft space built in 1881 and designed by Burnham & Root—at the DuSable Museum of African American History, the exhibition will present an intimate dialogue between original productions and pre-existing works to open during the sixth edition of EXPO CHICAGO (September 13–17), and will run concurrently through the 2017 Chicago Architecture Biennial (September 16, 2017–January 7, 2018). The exhibition design will involve a strong architectural component through a partnership with the Graham Foundation with Guest Designer Andrew Schachman, to collaborate with Jaffrès on a singular approach to the space and exhibition design.
Timelapse of Jonathan Schipper’s Cubicle(review)
Matthew Ronay at Pérez Art Museum.
Laylah Ali (1968-)
Untitled, 2002
Etching, aquatint, and drypoint
22 1/8 × 21 15/16 in.
William Pope.L discusses his exhibition, Forlesen at the Renaissance Society, with Hamza Walker on Apr 28, 2013.
BCA Kwanzaa
Ujima (Collective Work and Responsibility): To build and maintain our community together and make our brothers’ and sisters’ problems our problems, and to solve them together.
Maren Hassinger, Women’s Work, 2006; The YAMS Collective; LaToya Ruby Frazier, “LaToya Ruby Frazier Takes on Levi’s,” 2011; Theaster Gates in his studio.
Teeth Candy by randofo http://www.instructables.com/id/Teeth-Candy/
Iona Rozeal Brown Sacrifice #2: it has to last (after Yoshitoshi’s “Drowsy: the appearance of a harlot of the Meiji era”), 2007 Enamel, acrylic and paper on wooden panel 52 x 38 in. (132 x 96.5 cm)
M. Lamar, Discipline VI, 2014.
From his interview in BOMB: “I am an artist. I am a NEGROGOTHIC, devil-worshipping, free black man in the blues tradition. Those are the things I am now.”
IM SORRY
non-calculator section:
you have 73 wolf puppies swimming in the mississippi delta. none of them will look at miguel. how many cookies did thad buy?
a. trout
b. spanish moss that is neither moss nor spanish
c. rectangular prism
d. AMERICAN SLAVERY
*underlines “non-calculator portion”*
DELETE the underlined portion
~ herminia
Mr. Coates will write a yearlong series about the superhero that is to begin next spring.
This is going to be amazing.
“The Indian in space seeks to feel at home, to undo her perceived strangeness by asking: why can’t indigenous peoples also project ourselves among the stars? Might our collective visions of the cosmos forge better relationships here on earth and in the present than colonial visions of a final frontier?
Many of the ideas deemed strange or new-fangled in Western sci-fi come naturally to the space NDN. The all-pervasive “force” or similarly the super brain connecting all beings. The animism and agency of cyborgs, AI systems, and other non-human people. Alternate dimensions and understandings of non-linear time. These are things the space NDN knows intuitively. This is not the future but historical knowledge. The future is reclaiming these technologies not for domination but for new organizations aimed at better worlds. I am reminded of Octavia Butler’s words, “There is nothing new under the sun, but there are new suns.” Instead of imaging a future in bleak cities made from steel and glass teeming with alienated white masses shuffling under an inescapable electronic glow, indigenous futurists think of earthen space crafts helmed by black and brown women with advanced knowledge of land, plants, and language.
Indigenous futurism seeks to challenge notions of what constitutes advanced technology and consequently advanced civilizations. As settler colonial governments continue to demand more and more from the Earth, indigenous peoples seek the sovereign space and freedom to heal from these apocalyptic processes. Extractive and exploitative endeavors are just one mark of the settler death drive, which indigenous futurism seeks to overcome by imagining different ways of relating to notions of progress and civilization. Advanced technologies are not finely tuned mechanisms of endless destruction. Advanced technologies should foster and improve human relationships with the non-human world. In many indigenous science fiction tales of the futures, technology is presented as in dialogue with the long traditions of the past, rather than representing the past’s overcoming.”
- Lindsey Catherine Cornum,“The Space NDN’s Star Map.” The New Inquiry, January 26, 2015.