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Jack Shainman Gallery is pleased to present Titus Kaphar’s first solo exhibition at the gallery, opening Thursday, January 15th from 6-8 PM. The exhibition will be presented in two parts. A survey of new paintings, Drawing the Blinds, will be installed at the 513 West 20th Street location while an extension of The Jerome Project entitled Asphalt and Chalk will include drawings and paintings at our 524 West 24th Street space.

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Kara Walker: slavery, sex and shadow puppets - in pictures

Kara Walker makes beautiful and disturbing artworks about the darkest corners of black history, from severed heads to sexually explicit shadow-puppet shows

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Lecture by Hortense Spillers (Vanderbilt U.) - March 18, 2016

Hortense Spillers is the Gertrude Conaway Vanderbilt Professor in English (Vanderbilt U). "Shades of Intimacy: What the Eighteenth Century Teaches Us," serve...

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Decolonizing Knowledge and the Question of the Archive

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NewBlackMan (in Exile): Has Hollywood's Neglect of Slavery Ended?: WGN’s Underground Makes the Case by Stephane Dunn

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Left of Black Season 5 Episode 2: Black Erotic Lives in Slavery & Freedom.

A conversation with Prof. Treva B. Lindsey and Prof. Jessica Marie Johnson about their essay “Searching for Climax”

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Telling the Story of Slavery - The New Yorker

This is a film about a place that attempts to tackle the legacy of slavery: The Whitney Plantation.

[genderqueerspace]

Queerness is not yet here. Queerness is an ideality. Put another way, we are not yet queer. We may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future. The future is queerness’s domain. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present. […] Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing. Often we can glimpse the worlds proposed and promised by queerness in the realm of the aesthetic. The aesthetic, especially the queer aesthetic, frequently contains blueprints and schemata of a forward-dawning futurity. Both the ornamental and the quotidian can contain a map of the utopia that is queerness. Turning to the aesthetic in the case of queerness is nothing like an escape from the social realm, insofar as queer aesthetics map future social relations. Queerness is also a performative because it is not simply a being but a doing for and toward the future. Queerness is essentially about the rejection of a here and now and an insistence on potentiality or concrete possibility for another world.

José Esteban Muñoz, 

Cruising Utopia: The Then and There of Queer Futurity

Goodbye, Professor Muñoz.  You are missed by many.

(via blackqueerboi)

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Call for Papers: “Queer Form” A special issue of ASAP/Journal Volume 2, Issue 2 (May 2017). Edited by Kadji Amin, Amber Jamilla Musser, and Roy Pérez. Submissions due May 1, 2016 Queer studies is currently undergoing a methodological renaissance. In light of this renewed focus on method, the editors of this special issue of ASAP/Journal propose a critical return to questions of form: how does formal analysis figure into methods of queer interdisciplinary analysis today? What is the relation between queerness and form in the post-1960s arts? We seek essays that examine the ways in which form—understood as the expressive sum of various technical, plastic, figural, conceptual, and aesthetic operations—can enable or disable queerness. We understand queerness in two senses: as an umbrella term for non-normative sexual, gender, and racial practices and identities; and as a conceptual marker for that which does not fit within existing social categories and which might thereby become intelligible through formal techniques. In seeking new approaches to queerness and form we do not presume that certain forms are somehow “queerer” than others, or that we can meaningfully speak of “queer form” without reference to the social and political dimensions of queerness. Rather, we understand this special issue topic as a forum for posing new questions about the relation between form and its social, historical, and political contexts or content. With an eye toward recent interest in “new” formalisms, this special issue investigates how the practice of taking up, lingering on, or even getting stuck in the formal dimensions of queerness can help us reexamine the relations between contemporary art and politics, between aesthetics and ethics, as well as between cultural production and reception and the social world. Rather than championing a single, unified theory of queer formalism, we understand the relationship between queerness and form to be contingent on social, political, and methodological factors. What is the nature of this contingency? How do particular formal modes—excess or restraint, repetition or fragmentation, figuration or abstraction—come to bear or transmit an aesthetics of queerness, and how do they circulate within the social world of invention and intervention? We seek essays that address, critique, or otherwise expand on the ideas about form at play in recent queer methodologies for approaching the arts of the present. Essays might address critical practices of close reading and description, performance studies, new materialisms, and affect studies. We are especially interested in work that reimagines how formal analysis contributes to the study and practice of queer artistic and social practices worldwide, particularly the work of non-Western, Asian American, Latina/o, Black, and Indigenous artists in any medium. We seek essays on post-1960s arts or artists that: · Examine contemporary art that mobilizes form against modes of social organization that might otherwise render queerness unintelligible; · Explore how fugitive forms—flights from (or unexpected adherence to) particular formal conventions —manifest queer and/or feminist political imperatives, presuming that these imperatives are neither identical nor universal; · Analyze how formalist practices in the post-1960s arts mediate the historical and social conditions of queer gender, sexuality, and race; · Articulate the implicit theories of form at play within new queer methods; · Theorize the role of formal analysis among interdisciplinary approaches to art and aesthetics in queer studies; and/or · Locate queer structures of feeling within the formal prerogatives of post-1960s arts. Essays should be between 6,000 and 8,000 words in length. Essays longer than 8000 words will not be accepted. It is the responsibility of the author to secure permissions and high-resolution scans for illustrations. The deadline for essay submissions is May 1, 2015. For additional submission guidelines, please see: https://www.press.jhu.edu/journals/asap_journal/guidelines.html Please address inquiries to Kadji Amin ‎[[email protected]]‎ Amber Jamilla Musser [[email protected]] Roy Pérez ‎[[email protected]]‎

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Renée Cox, River Queen, (from the Queen

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Fabiola Jean-Louis Exhibition on View Through March 2016 at Harlem School of the Arts

The Harlem School of Arts Visual Arts Department Emerging & Teaching Artists Exhibition is pleased to present Rewriting History: paper gowns & photographs, a solo exhibition by Brooklyn-based Haitian artist Fabiola Jean-Louis.

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Tamango (1958)

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We nonfiction writers, too, must dig up the remains of the past and also apply our imaginations. Otherwise, the oppressive limitations on representation in the past will continue to dominate.

E. Frances White. “The Evidence of Things Not Seen: The Alchemy of Race and Sexuality.” In Dark Continent of Our Bodies: Black Feminism and the Politics of Respectability. (Philadelphia: Temple, 2001) 154.  (via qswg)

[brutereason]

Because we live in such a monogamy-centered society, it makes sense that many people can only conceive of non-monogamy in what ultimately still amounts to monogamous terms. There is a common misconception that a polyamorous relationship is really no different from an open-relationship agreement: one committed couple, with some lighthearted fun on the side. But the word “polyamory,” by definition, means loving more than one. Many of us have deeply committed relationships with more than one partner, with no hierarchy among them and no core “couple” at the heart of it all. To me, this notion that there must be one more important relationship, one true love, feels a lot like people looking at same-sex couples and thinking that one person must be the “man” in the relationship and the other must be the “woman.” After all, both of these misunderstandings result from people trying to graft their normative conceptions of love and relationships onto people who are partnering in non-normative ways. It seems that it is somewhat easy for many people to acknowledge that humans are capable of loving one person and still enjoying sex with others (assuming, of course, that the terms of their relationship make such behavior acceptable). But it is much harder for people to think outside the fairy-tale notion of “the one” and imagine that it might be possible to actually romantically love more than one person simultaneously.

Polyamorous Relationships Are About More Than Just Couples | Angi Becker Stevens (via hobbitkaiju)

Fucking this

(via firebeez)

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Inspiration - Creative Time