TVSTRANGERTHINGS
Origami Around
Show & Tell
❣ Chile in a Photography ❣
"I'm Dorothy Gale from Kansas"
noise dept.
Misplaced Lens Cap
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祝日 / Permanent Vacation
trying on a metaphor
oozey mess
#extradirty
Jules of Nature
occasionally subtle
wallacepolsom
Alisa U Zemlji Chuda
Cosmic Funnies
hello vonnie
pixel skylines
Kaledo Art
seen from United States
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@posthuxtabletheory
The Post Huxtable Theory Blog is On Hiatus Indefinitely
Thank you for visiting. As you can tell, I have not posted here in a very long time. I am focusing more on my visual art and career in art education, which leaves little time to blog across all of the blogs I have acquired over the years.
Therefore, you can follow hybridchic for personal randomness + @tanekeyaword for all things art related. I will continue to post to blackartiststudio periodically.
Thanks Again
Ebony salutes the Black music game changers, innovators and icons.
I'm back...well, i actually never left, i've been working a few things out and a shift occurred. I spoke about becoming an educator in an interview months ago and the manifestation was realized. Amongst the many areas of arts + culture that I am working in, I felt that educating in a classroom was the missing piece to fulfilling the vision.
My mission is to create didactic and entertaining Art Education curriculum in Urban Education, to produce more art educators in the community and at the university level. I will also facilitate the production of an inclusive cultural art district, and build an art school in my hometown of Milwaukee, WI.
Yes, I will continue the course of creating fine art portraiture, writing and diving deeper into indie publishing with printed matters, such as neonvmag + a few special projects launching in the next two years.
Oh, I finally completed my application for a Doctoral Program in Art Education too. I wasn't too happy about paying to take the GRE over, your scores do not count if they are five years old...really! Pray for me, wish me luck, send me loads of great light + energy.
Here's to documenting art + culture + to manifestations realized.
❤️ turban by: @themcbproject
Robert Pruitt, “Untitled 3″
INTERVIEW: THE STUDIO MUSEUM HARLEM
STORY BY TANEKEYA WORD
The artistic cultural production and cultural theory that is Afrofuturism has long used the fantastical and Science Fiction elements of robotics and aliens, to solve the inequality of colonialism by transcending the social limitations of Black Diasporic life in Western society. Although appearing cosmically perfect, it cannot be denied that Afrofuturism’s history is far from utopic: the trauma of the African transatlantic slave trade, W.E.B Du Bois’ emphatic theory of double-consciousness, Zora Neale Hurston’s iconic folklore depicting humor amidst trauma, Sun Ra’s militant blaxploitation music and imagery, Octavia Butler’s equivocal writings on outsider aesthetics, and lets not forget thesouthernplayalisticcadillacfunkymusic of OutKast. Resilient, AfroFuturists have owned, analyzed, deconstructed, and re-coded their joy and pain, and those of their ancestors, to re-imagine the African Diasporian future—free from Western social stigmas.
For decades, Afrofuturism was publicly linked to literature and music; and yet recently, a courtship has begun with fine art. On November 14th The Studio Museum in Harlem took the helm and debuted its Afrofuturist exhibition, “The Shadows Took Shape.” We at Saint Heron are no strangers to Afrofuturism as emerging and Saint Heron featured artists, Kelela, BCKingdom, Sampha, have strains of Afrofuturist aesthetics coded within their work, so it was a pleasure to speak with the curators, Naima J. Smith and Zoe Whitley, on Afrofuturist activism, the theme of flight throughout African American history, and accidental Afrofuturists. Set amidst the backdrop of a sensitive and rich history, like a griot “The Shadows Took Shape“ exhibition and the Saint Heron interview navigates through rough terrain to tell an ever-evolving story of a new Black frontier.
READ THE FULL INTERVIEW AT SAINTHERON.COM
LaJune Montgomery, has just been named as president and CEO, of one of the largest philanthropic foundations in the United States--The Kellogg Foundation.
A Brief Introduction to Afrofuturism and Post Blackness in Fine Art
“Man, Black Folks got soul,” oft-quoted with sheer reverence, soul two-steps between closed teeth, intensely emitting a cool certainty, out of the mouths of the soulful. The Souls of Black Folks is much like soul’s…
The History Of Afro Futurism and Black Science Fiction automatically begs the question: ‘Well, what isn’t futuristic about being Black in America?’ The entire history of Black America can be seen as a fundamentally futurological and science fictional enterprise, a perpetual biding on hope and…
“What more sci-fi than Santo Domingo? What more fantasy than the Antilles?”
- Junot Diaz, The Brief Wondrous Life of Oscar Wao
After reading this quote, I closed the book and pondered—it was an Aha moment for me. I instantly knew that the rhetorical question had the fluidity to...
on feminism:
"I have chosen to no longer be apologetic for my femaleness and for my femininity… and I want to be respected in all of my femaleness because I deserve to be."
She resembles a Nick Cave sound suit... swoon!
+++++
art: photo of Zoe Kravitz by Karl Lagerfeld for Harper’s Bazaar Australia. September 2013
Re-Authoring the Past through Art.
Nicki Minaj featured in W magazine transformed by Francesco Vezzoli. Director of photography: Pasquale Abbattista. Styled by Edward Enninful. Hair by Terrence Davidson at I.A.T. Management. Makeup by Aaron de Mey for Lancôme at Art Partner. Set design by Stefan Beckman at Exposure NY.
1 - Nicki Minaj as Françoise Athénaïs de Rochechouart de Mortemart, Marquise de Montespan
Dior Haute Couture’s silk embroidered ensemble. Saint Vintage brass and vintage Czech glass bead necklace (in hair); David Yurman 18k yellow gold and pearl necklace.
Françoise Athénaïs de Rochechouart de Mortemart, Marquise de Montespan by Elle Louis-Ferdinand.
2 - Nicki Minaj as Marie Jeanne Bécu, comtesse du Barry
Dior Haute Couture’s silk chiffon embroidered dress. Mastoloni 18k white gold, cultured pearl, and diamond bracelets; vintage Manolo Blahnik shoes.
Marie Jeanne Bécu, comtesse du Barry by Francois-Hubert Drouais.
3 - Nicki Minaj as Jeanne Antoinette Poisson, Marquise de Pompadour
Western Costume Company’s lace and silk brocade dress. Mastoloni 18k white gold, cultured pearl, and diamond bracelets.
Jeanne Antoinette Poisson, Marquise de Pompadour by François Boucher.
4 - Nicki Minaj as Madame Barbe de Rimsky-Korsakov.
Vera Wang’s garza and French tulle ballgown.
Madame Barbe de Rimsky-Korsakov by Franz Xaver Winterhalter.
(x)
It’s here: #IAO01 from @quarterly X @pharrell I cannot wait to re-read The Alchemist,by Paulo Coelho, with Pharrell’s handwritten post-it notes attached inside!
I am totally in love with this collaboration @thenublk
A spin-off TV series that should have happened, the Vivian & Clair T-Shirt is an homage to arguably the flyest mothers ever to grace the TV screen.
Stylish and witty, they possessed an equal measure of beauty & brains and became an inspiration for a generation of kids growing up in the 80s and 90s.
Purchase here
I recently had this, see article below, conversation with my girls a day ago on the appropriation of Black culture. I'm a hybrid chic, so I do understand loving a culture and being inspired, but are there boundaries when taking on the characteristics of an ethnic or socio-economic culture? Twerkin' has part ethnic cultural origins rooted in African dance, yet it has been re-mixed into a Black American socio-economic form of performance. Let's be honest--not all Black people twerk. My girls understand exactly what I mean when I say, "Oh he/she is a baby Elvis." I have used this "code name" for years when referencing those who steal another group's culture and acts as if they own it. I believe, there is a difference in paying homage and appropriation. One is authentic and the other is just plain sad. Yet, once a cultural characteristic is commercialized and enters into the arena of pop culture is there an owner? I guess the biggest question is, "Who really owns culture in Contemporaneity?"
Check out the article below on Miley Cyrus and the obsession with 'ratchet culture'
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Miley Cyrus and the obsession with ‘ratchet culture’
JayZ wasn’t praising Miley Cyrus on Magna Carta Holy Grail’s
“Somewhereinamerica” when he rapped, “Cause somewhere in
America Miley Cyrus is still twerkin.”
But that went over her head when she hopped on Twitter to boast that Mr. Carter wasn’t shouting out any other “b*tches.” Ratchet culture is the new “it” thing in pop culture where artists like the former Hannah Montana Disney star imitate an actual lived experience of some poor underclass people of color. The bandana rocking, gold grill bling, and twerking she dabbles in for entertainment is a reality that can’t be escaped.
While some black males and celebrities laud Miley for her inauthentic attempt to appear “down” with the brown, others who live what she portrays are considered “ratchet”; a title that comes often with negative connotations.
The online double standard
Take a look at the official Twerk Team: Two black women who make a living from their choreographed hip gyrating YouTube videos (and who are a hell of a lot better at twerking than Miley) for example. Scrolling through their comment section, they are subjected to degrading, racist and sexist insults, but Miley’s white privilege allows her to twerk on stage with Memphis producer and rapper Juicy J unscathed.
Not only does Miley Cyrus accessorize her videos with blacks, according to songwriters, Rock City, she wants a black sound for her upcoming project.
“I want urban, I just want something that just feels black,” the “Party In The U.S.A.” singer allegedly told her producers.
Yes, because something that “feels black” can be worn for commodification and taken off when it no longer benefits her.
Jay-Z has rarely lauded white women in his music in the way many of his peers fetishize, which makes it clear he’s subtly calling her (and America out) for profiting from black music. On Jay-Z’s already platinum 12th album, Miley thinks Jay-Z is encouraging her to twerk because, well, he raps, “Twerk, twerk, twerk, twerk, Miley, Miley, twerk.”
Her ego was validated more during Mr. Carter’s Monday Twitter Q&A where Jay answered whether he thinks Miley is somewhere in America still twerking. “Yes! She represents an old world’s worst nightmare,” he tweeted. The part Miley—and others who don’t listen to rap music critically—missed is the verse right before he name dropped Miley, where he rhymes about his days of “Instagram,” a reference to his drug dealing days, the last thing he wanted was his picture taken. He also alludes to the Feds still watching him because of all the work he’s put in over the years. Now, in a different day and time, Miley’s twerking is celebrated. “Only in America,” he raps.
History is repeating itself
Around this time two years ago Kreayshawn was all the buzz as the Oakland bred white female rapper whose White Girl Mob friends marveled in rolling “ni**a” off their tongues because a black person—or several—had apparently given them a pass.
Kreayshawn, like Miley, sought to capitalize off the new ratchet culture that had replaced the “ghetto” culture preceding it.
Fortunately, Kreayshawn’s antics were too inauthentic to translate into album sales. Her debut album sold 3,900 copies in its first week, setting an all-time record for the lowest first week sales for an artist signed to a major record label.
The doorknocker earrings Kreayshawn wore, in addition to the weak black male rapperendorsement, didn’t translate into the guaranteed money in the bank she thought.
Two years after Kreayshawn’s fade into oblivion, Miley Cyrus has taken her seat on the cultural appropriation throne.
Ain’t nothing new
Cultural appropriation isn’t new. Elvis anyone?
From Madonna to Gwen Stefani, pop stars have always borrowed particular aspects of marginalized cultures for their art. Miley is just the latest offender.
Now that ratchet culture has entered mainstream, more culture vultures will pop up sporadically. One has to wonder why the ratchet culture is what non-people of color find worthy of mimicking and equating that with the totality of the black experience.
It’s too bad that it went over Miley’s head that Hov’s opinion of her twerking wasn’t favorable, but that’s probably because four years ago she’d never heard a Jay-Z song. It’s even worse that she actually thinks she’s good at the dance she didn’t create but has magically become the face of. Jay’s right.
Only in America.
source: Viera, Bené @writtenbyBene,"Miley Cyrus and the obsession with ‘ratchet culture’,"July 11, 2013.
Ms. Monae the Retro-Afro Futuristic Minimalist.
