[slcvisualresources]

LaToya Ruby Frazier, Self Portrait (Lupus Attack), 2005 Gelatin silver print, mounted on archival museum cardboard, wooden frame 20 × 16 in

Courtesy the artist and Michel Rein, Paris/Brussels

[rachelplnu-blog]

agnes martin

untitled

1963

[taisantanna]

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Lágrimas Negras by Gal Costa

[communicants]

Nostalgia For The Countryside (Đặng Nhật Minh, 1995)

[julienbakerfavormp3-deactivated]

in the beginning was the word.

the year of our lord, amen. i lucille clifton hereby testify that in that room there was a light and in that light there was a voice and in that voice there was a sigh and in that sigh there was a world. a world a sigh a voice a light and i alone in a room.

lucille clifton, “testament”

[garadinervi]

(from left to right) June Jordan, Alice Walker, Lucille Clifton, and Audre Lorde sing together at the Phillis Wheatley Poetry Festival, Jackson State University, Jackson, MS in 1973 [The Manuscript, Archives, and Rare Book Library (MARBL) at Emory University, Atlanta, GA]

(via Black Women Radicals)

[duoyen]

Trinh T. Minh-ha, Reassemblage, 1981, video still. Courtesy: © the artist and Moongift films

[duoyen]

“In every film I’ve made, whether it relates to my own culture or to another, the commitment to speak nearby has been extremely challenging. When you do not want to speak as a ‘knower’, you talk with a lot of blanks and holes and question marks. Perhaps you have no desire to fix meaning, which may sometimes lead you to a place of nonsense. But, in language, even when you work with nonsense, people find meaning. In my writing and film practice, I work simultaneously with sense and nonsense and the new is often made to fare with the very old. It is naive to think that we can simply raze to the ground everything we have learned – which is a modernist delusion. Once you are colonized, it’s not as if you can simply reject everything the colonizer has brought in. We unavoidably import, internalize and adapt, often unintentionally, the master’s tools and values. However, to put them to use when necessary is very different from unquestioningly letting them drive our political outlook on life.”

– Trinh T. Minh-ha. Published in frieze, issue 199, November-December 2018, with the title ‘Reality is Delicate’.

[proselytute]

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[ispronouncedeyes]

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[garadinervi]

From: Blaise Pascal, Pensées sur la religion, [490-491], n.d. [17th century] [Bibliothèque nationale de France, Paris]

[garadinervi]

From: Rosemary Mayer, Spell, 1977 [MoMA, New York, NY]

[duoyen]

Liv Ullmann in Autumn Sonata (dir. Ingmar Bergman) and Helga in Andrew Wyeth’s “Braids” 

[joanofdirt]

[Witches are] the embodiment of a world of female subjects that capitalism had to destroy: the heretic, the healer, the disobedient wife, the woman who dared to live alone, the obeah woman who poisoned the master’s food.

Sylvia Federici | Caliban and the Witch: Women, the Body and Primitive Accumulation (via pedialite)

[testingwrld]

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[surreallusts]

Pages from Derek Jarman’s sketchbook, in preparation for ‘Caravaggio’

[unearthedviews]

VIETNAM. 2014. © Chien-Chi Chang/Magnum Photos