Fulfilling yet Uneventful

27 years young blk, bi & gifted living in a world that done shifted.  single. bigbrained. inane. occasionally profane. this is a place to publish shame and once-in-a-while posey. (difference?) he/they/she/bruh Interest: jazz, literature, film, anime, art, history, hip-hop and the occult

[onlywhatshere]

Darken your room, shut the door, empty your mind. You are still in great company.

Austin Osman Spare (via onlywhatshere)

[jacob-lawrence]

Vaudeville, 1951, Jacob Lawrence

https://www.wikiart.org/en/jacob-lawrence/vaudeville-1951

[jacob-lawrence]

Taboo, 1963, Jacob Lawrence

[jacob-lawrence]

The Library, 1960, Jacob Lawrence

https://www.wikiart.org/en/jacob-lawrence/the-library-1960

[starsyrns]

So...

I made it to 2022. This blog, or whatever it is, did not. 

Well I've been avoiding this :speaking to myself. Maybe because I am already fed up with all the lies I tell myself. The lies I tell others is easier to digest when there is little spirit to the words. 

Clarity is no longer a destination. For that just means I am safely secured in the lies I tell. 

I am sick to my stomach. I am crowded in by obligations and interests. How does one surrender? Prayer is contemplation in distress. Meditation is lying on my bed with my legs crossed, trying not to think of the illusive taste of labia. 

Tomorrow is smaller day. Tonight is Fort Apache @ the Secret Movie Club. 

[starsyrns]

Life is real.

Knee deep in confusion right now.

[jacob-lawrence]

Hiroshima, Jacob Lawrence, 1983, Minneapolis Institute of Art: Prints and Drawings

binding: black cowhide, blind-stamped lettering; endpapers: black wove; slip case: black fabric over cardboard, stamped lettering in violet; type: Foundry Optima Medium John Hersey’s unembellished account of the atomic bombing of Hiroshima, Japan by American forces during the closing days of the Second World War (1939-1945) was first published in The New Yorker magazine in August 1946, one year after Japan’s unconditional surrender to the Allies. Hersey based his story on interviews he conducted with six survivors of the blast in days and weeks after the detonation. It caused a national sensation when first published and is today widely noted as one of the finest pieces of journalism of the 20th century. It was later reissued in book form. In a series of boldly articulated full-page screenprints, Jacob Lawrence sympathetically captures the intense emotions and vivid impressions of Hersey’s account. Lawrence envisions the victim’s reaction to the moment of the “noiseless flash” of the blast on August 6, 1945, their imminent death presaged by the skeleton-like appearance of their bodies. Size: 12 ¾ x 9 ¾ in. (32.39 x 24.77 cm) Medium: Color screenprints from hand color-separated photo stencils, letterpress; bound volume

https://collections.artsmia.org/art/80751/

[bm-islamic-art]

Page of Calligraphy, 19th century, Brooklyn Museum: Arts of the Islamic World

Size: 4 ½ x 7 5/16 in. (11.4 x 18.6 cm) Medium: Ink on cardboard

https://www.brooklynmuseum.org/opencollection/objects/98537

[bm-ancient-art]

Statuette of a Girl, ca. 1390-1353 B.C.E., Brooklyn Museum: Egyptian, Classical, Ancient Near Eastern Art

Small painted ivory statuette of a nude standing girl, wearing elaborately braided wig; suspension loop on the top of wig. Left arm held under breasts. Hair painted black; minute traces of red pigment on body. Condition: Practically perfect. Necklace missing. Two minute holes just above pelvis suggest figure may have worn a belt or girdle. Size: 3 ¼ x 5/8 in. (8.3 x 1.6 cm) Medium: Ivory, pigment

https://www.brooklynmuseum.org/opencollection/objects/4302

[aic-african]

Chair (Chitwamo or Njunga), Chokwe, 1875, Art Institute of Chicago: Arts of Africa

This miniature wooden chair would have been owned and used by a chief or dignitary. Designed for easy transportation, its form and construction derive from 17th-century Portuguese imports. Three-dimensional sculptures on the rungs and on the top of the seatback typically relate to Chokwe everyday life and mythology. The sculpted head that crowns this seatback represents a chihongo mask: a symbol of wealth, virility, and authority. Winter and Hirsch Fund Size: H. 50.8 cm (20 in.) Medium: Wood, brass tacks, and hide

https://www.artic.edu/artworks/109324/

[tate-museum]

Snakeman, Robert Mapplethorpe, 1981, Tate

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 Size: support: 441 x 342 mm Medium: Photograph, gelatine silver print on paper

http://www.tate.org.uk/art/artworks/mapplethorpe-snakeman-ar00193

[dnlomi]

[bm-pacific]

Mask, Brooklyn Museum: Arts of the Pacific Islands

Size: height: 16 in. (40.6 cm) Medium: Woven straw, pigment

https://www.brooklynmuseum.org/opencollection/objects/114341

[starsyrns]

Here I am, caught in this moment of longing.

Orbiting the abyss of my own fragility

I know i am in the company of the poets, again---

Experiencing a cardiac arrest 

A sound breaks in my chest----

Melancholy is a song too sweetly tuned

to play this dissonance.

The fact of the matter is    I am down. 

Dragged to    this  .

The delusion      of bubbly warmth        Faded. 

A sedated chill settled at the base of my bones and joints

a dull pulse

a monochrome thrombosis.  

[starsyrns]

The fact of the matter is    I am down. 

Dragged to    this  .

Delusion      of bubbly warmth        faded. 

A chill settled at the base of my bones and joints

a dull pulse

a monochrome thrombosis.  

[starsyrns]

Had a housewarming with three males all ecstatic, speaking at rapid-fire past midnight. Everyone falling over in their chairs chuckling at the f word. Too exhausted from work to care.

[starsyrns]

MISANDRY IS JUST AS DAMAGING AS MISOGYNY