Way back in my yo-yo days⌠this happens to be 1975âŚI had a MS 35mm and I paid a visit to a pawn shop down on 3rd street where I acquired a slightly beat up (trashed) 400mm lensâŚto make a short story long, I just had to go out and give it a âshotââŚso I ventured to the bay area spot where I just knew there would be photographic subjects in the prime time day light hours⌠(X)
Amsterdam's acclaimed Rijksmuseum has started renaming artwork in its vast collection whose titles could be considered inappropriate by a modern audience.
Shifting a white-only perspective
The initiative started six years ago, but took a back seat until Rijksmuseumâs mammoth 10-year renovation project was completed in 2013. Gosselink says that the museum had in the past received complaints that artwork descriptions, some which date as far back as 1910, were written from a purely white perspective.
âWe had a text saying that Australia was discovered by a European man, but we all know that obviously Australia had existed for millions of years before any Europeans went there,â says Gosselink.
However, far from erasing all traces of original titles and descriptions, Rijksmuseum will archive them so that the public can still access them if they wanted to.
âItâs not a matter of whitewashing our Dutch history, we do think that old colonial terms are also part of it,â says Gosselink.
The Rijksmuseum, which is one of the worldâs leading art institutions, is working with representatives of indigenous groups and civil society organizations to come up with the most appropriate terms to use. Â
âWe would not want to change anything without their permission,â says Gosselink.
This is something Iâve been pushing for since I began this project, and Iâm glad to see that itâs finally starting to catch on with influential institutions like the Rijksmuseum, whose immense online collection and digital archives have helped bring amazing content to MPoC.
The language used in the article leaves a bit to be desired, since titling artworks with racial slurs should never have been a thing in the first place. But I do think that leaving the former titles archived as evidence of institutional racism encourages accountability and helps show a changing narrative, rather than erasing all traces of the changes.
The way artworks are indexed and the terms attached to them in databases heavily influence the way we think about them, and the way we process information and context. Hopefully this will not only be a more accurate way to organize these works, but will also make them easier to find for those whoâve been searching for them.
First of all, I find it very debatable that art is âsupposed to piss people offâ. Art does a lot more than that, and saying that artâs only value is to cause discomfort is devaluing and oversimplifying to an absurd degree.
Secondly, thousands of works were created without titles, or the original titles were lost. The Rijksmuseum was founded in 1885. For the overwhelmingly most part, the âoriginalâ titles theyâre talking about are those given in 1885, by the museum.
And lastly, not only are many of those titles full of racial slurs, theyâre inaccurate and do nothing to tell someone what the painting is actually of, where or when it was created, if itâs a portrait or a still life, or really anything about it at all.
Like honestly, how are people pissy that the museum is providing MORE INFORMATION ABOUT THE ART? Earlier titles and information, all of that is STILL THERE.
Considering how much slur-laden, awful, dehumanizing crap Iâve had to wade through over the last 3 years to find these artworks to share with you all, the fact that literally anyone is finally willing to take another look at how these works are indexed and categories is a blessing.
Itâs like people are pissed off that a less-racist OPTION is being added. I mean, I shouldnât even be surprised at this behavior after all this time, but shame on me I guess for believing in better from people.
Iâve got an update here, if anyoneâs curious about how this actually works instead of wringing their hands about somehow not respecting historyâs racism enough. Check out this painting at the Rijksmuseum (itâs also currently on view!!):
This is what you see when you click the link
the description text for the painting reads as follows:
Young Woman with a Fan, Simon Maris, c. 1906 Â Â Â Â Â Â Â Â
oil on canvas, h 41cm Ă w 29cm.
Simon Maris painted this woman on various occasions, holding a cigarette or a red fan. Perhaps she was a model, yet this painting could also be an actual portrait. For want of information, in the past it was variously titled as The Negress, Portrait of a Mulatto, East-Indian Type, The Little Negress. These terms are now considered derogatory. Until her name is known, the painting will bear a neutral title. Â Â
UNTIL HER NAME IS KNOWN.
Notice that none of those former titles were given by the artist. All of them were given because of racism and a lack of information, and lack of interest in further research about the subject of this painting. The title âYoung Woman with a Fanâ tells us more or less exactly what is in the image, and now we know that she was painted by the same artist multiple times. And more than that, the text implies that more information and research is needed to better understand the young woman depicted in this painting, including the need to know her name, and recognize her life, her worth, and her individuality.
â2 years ago today, Ryan Stokes, an unarmed Black man, was killed by KCPD. Ryan was his motherâs youngest child and only son. One racist act can erase an entire legacy. âŞ#âBlackLivesMatter⏠âŞ#âRyanStokesâŹâŞ#âWhyWeFightâŹFor more info, visit RYAN Stokes Speaking Truth to Injustice.â Via One Struggle KC||
https://www.youtube.com/watch?t=54&v=uXAfPO2Is7I
We are told frequently that women are more intuitive, more empathetic, more innately willing and able to offer succor and advice. How convenient that this cultural construct gives men an excuse to be emotionally lazy. How convenient that it casts feelings-based work as âan internal need, an aspiration, supposedly coming from the depths of our female character.â
âWhereâs My Cut?â: On Unpaid Emotional Labor - The Toast (via jolinxo)
A friend of mine shared this on Facebook, and I shared it too. But seeing as I have a lot more followers on tumblr than friends on Facebook, I thought Iâd bring it here.
Willâs post really talked to my heart, because itâs exactly what itâs like to live in a gentrified neighborhood. Sure, my wall didnât get painted on, but the feelings of entitlement that are held over you are universal. Itâs very frustrating when people have been living in your neighborhood for less than 3 years and they act like youâre the new ones.
And letâs not even get into the comment section of this post! You cannot compare gentrification, which systemically kicks poor people (who are usually poc) out of their neighborhoods to âwhite flightâ.
Iâll probably be reporting the bushwick fleaâs Instagram if you need me, but please share his story.
Trauma victims cannot recover until they become familiar with and befriend the sensations in their bodies. Being frightened means that you live in a body that is always on guard. Angry people live in angry bodies. The bodies of child-abuse victims are tense and defensive until they find a way to relax and feel safe. In order to change, people need to become aware of their sensations and the way that their bodies interact with the world around them. Physical self-awareness is the first step in releasing the tyranny of the past.
Bessel A. van der Kolk, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma
(via thewriterscaravan)
âGirl Meets Worldâ star Rowan Blanchard speaks out about the importance of intersectional feminism
A Tumblr user asked the 13-year-old Girl Meets World star about her thoughts on âwhite feminismâ and the notion that the movement may exclude certain marginalized groups, like women of color and non-cis/queer women. Her full response shows she understands intersectional feminism better than most adults.
âAfter a painful scalp reduction surgery to remove a bald spot, Donald Trump confronted his then-wife, who had previously used the same plastic surgeon.
âYour fucking doctor has ruined me!â Trump cried.
What followed was a âviolent assault,â according to Lost Tycoon. Donald held back Ivanaâs arms and began to pull out fistfuls of hair from her scalp, as if to mirror the pain he felt from his own operation. He tore off her clothes and unzipped his pants.
âThen he jams his penis inside her for the first time in more than sixteen months. Ivana is terrified⌠It is a violent assault,â Hurt writes. âAccording to versions she repeats to some of her closest confidantes, âhe raped me.ââ
Following the incident, Ivana ran upstairs, hid behind a locked door, and remained there âcrying for the rest of night.â When she returned to the master bedroom in the morning, he was there.
âAs she looks in horror at the ripped-out hair scattered all over the bed, he glares at her and asks with menacing casualness: âDoes it hurt?ââ
Trumps lawyer on the incident: âYouâre talking about the front-runner for the GOP, presidential candidate, as well as a private individual who never raped anybody. And, of course, understand that by the very definition, you canât rape your spouse.â
So basically not only did he violently rape her, it was dismissed with the claim that it is impossible for someone to rape their spouse, which we all know is bullshit.
He is a terrible human being, racist piece of shit, rapist, and still an overwhelming amount of people want him to be president. Frankly, itâs terrifying. I will move country if he becomes president.
I watched that episode with my family and I could just feel how uncomfortable everyone was. Honestly, it was a really jarring, unpleasant episode.
Homer is a terrible dad. So is Peter. But Homerâs saving grace has always been that he triesâheâs bad at it and he fucks it up a lot, but he loves his family and he wants to be better than he is.
One of my favorite Homer moments is in âDiatribe of a Mad Housewife.â Tl;dr Marge writes a steamy romance novel starring herself and Ned, and when Homer finds out, he chases down Ned and, rather than attack him, asks him to teach him how to be a better husband.
Thereâs some part of his stupid self that wants to do better.
I never got that impression with Peter. Instead, the family has gotten more and more abusive towards Meg. Itâs really unsettling for me when I started realizing thatâs what happens sometimes in abusive families. Abusers sometimes single out one child to abuse, and quite often the other family members take the abuserâs side. After all, itâs easier to side with an abuser than to run the risk of becoming the target yourself.
Thereâs never really a point where it seems like Peter cares at all that his shitty behavior impacts his family. It actually seems to have gotten worse over the years. He expects everyone to clean up his messes because thatâs always what happens; thereâs really no reason for him not to be shitty.
And itâs easy to see how Meg is affected. She doesnât have much of a character, really, because so much her screen time is devoted to being abused. The bits of character development all seem to hinge on her being this sad, neglected person whoâs trying her best but never really gets any help from anyone. Quite the opposite; there have been a lot of episodes where her family sabotages any attempts to be herself.
It can be easy to forget how awful this behavior is when the only context is the show itself (frankly, everyone on Family Guy is kind of terrible). Seeing it played against the Simpsons, who are a flawed and dysfunctional but ultimately loving family, was painful to watch.
Family Guy is literally a show about a toxic household with an abusive father portrayed as comedy. I have been trying for the longest time to figure out what bothers me about that show so much for so long. Thank you.