#calloutqueen

[theoffingmag]

“I just had this thought about how I want to work androgynous looks but that I want to be a girl androgyn who gets mistaken for a boy, not a boy androgyn who gets mistaken for a girl, which seems like a sort of silly but very critical difference”

Mark Aguhar, calloutqueen, “BLOGGING FOR BROWN GURLS,” March 4, 2012.

Read: “One’s Own - Transgender Artists After Kinsey - Then and Now”

Image: Mark Aguhar, Making Looks, 2011. Courtesy of the artist. Photo by Mimi Wong.

[hmelt]

Mark Aguhar's work appears in "A Queer Little History of Art," a new book coming out tomorrow. Damn how has it been five years already? This piece also hangs on my wall. #MarkAguhar #CallOutQueen

[bpdreambutt187]

remember death

Mark Aguhar 1987-2012

[queerandpresentdanger]

earlier today i got a really sweet msg from a femme on my cigarette break at work and i started crying in the street in my tiny shorts and floral sleeveless shirt right as these two white bros walked by and in retrospect i am like what a fitting tribute to mark

[aznnotwhite]

Crashe’s Law (5/30)

Organized Decay ‘tis first a cobweb Formal Devil’s work    A fundamental pause Ruins Dilapidation’s process    is not an instant’s Act.

Crumbling is on the Soul. Failing    in an instant     Into An Elemental Rust.

All men slipped     Into the bore.

The Axes              [e.g. 1. Bodies are inherently valid] Are slow and consecutive. ------------------------- Today’s prompt was to reconstruct an Emily Dickinson poem. I chose Crumbling is not an instant’s act. I haven’t read her poetry before and don’t know very much about her, but found her poems interesting in terms of construction and punctuation. I chose this one because it reminded me of cycles of depression (both my own and others’ who I’ve witnessed). Not sure about the Mark Aguhar Axes reference... it just sort of worked its way in.

[phatphemme]

flowers for mark aguhar -- (my) kith and kin. fat, femme brilliance. (jamal lewis, 2014)

[start-anywhere]

One of the paradoxes of Mark’s style of critique is the intellectual vulnerability and contingency she maintained even as she raged against masculinity and whiteness with unapologetic generalization. These extremes are not performance. Or rather Mark’s ambivalent extremes are no more performative than other modes of critique and no more empty or less earnest for being deliberately performed. They are a demonstration of a politics guided by something bigger than the argument, a politics that can learn, feel, and change its mind.

Mark Aguhar's Critical Flippancy by Roy Pérez

reminding self of what bully bloggers could sometimes do:

a politics that can learn, feel, and change its mind