seen from United States

seen from United States

seen from United States
seen from United States
seen from Switzerland
seen from United States
seen from United States
seen from Canada
seen from Georgia
seen from Latvia

seen from Mexico
seen from Egypt

seen from Malaysia
seen from Netherlands
seen from United States

seen from United States
seen from Singapore
seen from Russia

seen from United States
seen from Yemen
Today, critics—and maybe the art-viewing public, too—are still unable to prevent themselves from understanding blackness as, in the first order, political. This phenomenon has been exacerbated by writing that overstates the political significance and social power of art, and of the work of black artists in particular. In the past decade, the absence, and moreover the failure, of progressive and leftist political formations—membership organizations, political parties, mass-mobilization campaigns—has placed a great deal of pressure on cultural production and consumption. This has generated significant investments in representation as a meaningful and efficacious form of political activity. The work of black artists—and indigenous artists, other artists of color, and queer artists—has been asked to redeem audiences, institutions, and buyers, with its patronage, purchase, and display to serve as reparative gestures. This framework, which suggests that the consumption and assessment of black artists always carries political stakes, is not one that easily accommodates negative judgments.
from Black Block, by Rachel Hunter Himes, for Triple Canopy [via]
This time last year, almost to the day, I started writing this essay in a hospital in Germany. Seeing it today in Triple Canopy’s new issue, Risk Pool, is big.
https://www.canopycanopycanopy.com/issues/13/contents/matter_of_rothko?utm_source=Triple%20Canopy%20mailing%20list&utm_campaign=b5b53c9eea-Issue-19-closer_2017_06_01&utm_medium=email&utm_term=0_ce9ad24ae0-b5b53c9eea-268615042&mc_cid=b5b53c9eea&mc_eid=c0408e2b77
Commission art by Snifer25
Art of a OC of mine for my fanfiction story, Gate: Thus The PMC Fought There! Her name is Rihanna Aoi, a Japanese American who is a former US Ground Combat Element of the Marine expeditionary unit turned Triple Canopy contractor. She is the team’s heavy weapons and demolition expert. She was kicked out of the marines because she is a lesbian. She is also in a relationship with Shino Kuribayashi.
“i heard a joke: christians believe in god, buddhists believe in lists.” A fictionalized inventory of appreciation. With artworks by Tao Lin.