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https://twitter.com/shadowandact/status/893584685523193857 https://twitter.com/AlanMYang/status/893578634446983169
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Aug 5, 2017 23:36
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https://www.youtube.com/watch?v=NgWn7zbgxZ4 hey forum. anyway bye. (USER WAS PUT ON PROBATION FOR THIS POST)
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Aug 6, 2017 02:08
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SmokaDustbowl posted:https://www.youtube.com/watch?v=NgWn7zbgxZ4 
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Aug 6, 2017 12:14
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https://medium.com/@IjeomaOluo/facebooks-complicity-in-the-silencing-of-black-women-e60c34434181quote:Let me tell you a little story about something I like to call #crackerbarrelgate. I keep seeing a lot of stories like this.
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Aug 6, 2017 15:59
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Koalas March posted:https://medium.com/@IjeomaOluo/facebooks-complicity-in-the-silencing-of-black-women-e60c34434181 Hell, the NAACP has recently issued a travel advisory for the whole state of Missouri. http://www.npr.org/2017/08/03/541382961/naacp-warns-black-travelers-to-use-extreme-caution-when-visiting-missouri It's looking like peeps are going to have to start carrying around Green Books again.  E: After reading the remainder of the article you posted, I don't know if I'm feeling more depressed or if I'm feeling less depressed, that instead of an (unsurprising and sadly predictable) incident IRL at a Cracker Barrel that I was expecting to read about, the article was instead about (unsurprising and sadly predictable) online harassment instead. But I'm still definitely feeling some kinda way about it. Militant Lesbian fucked around with this message at 21:04 on Aug 6, 2017 |
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Aug 6, 2017 20:25
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So I promised y'all a trip report on the headline exhibition at the Tate Modern - Soul of a Nation: Art in the Age of Black Power, and here it is. Long story short, it's an astonishing experience, and I strongly suggest that if you can make it to London before the 22nd of October and have £16 per head to spare, you check it out. Since it's a paid exhibition, photography is forbidden, but if you want to look up the works afterwards, you can e-mail the gallery for a list That does mean I won't be providing many pictures in this writeup, and those that I do are taken from the Internet rather than being my own. The exhibition has a row of televisions outside the entrance playing speeches from major figures in the civil rights movement - MLK, Malcolm X, et cetera - plus a bench so you can sit down and listen to them. I'll confess that I didn't really pay much attention to that bit - I was more interested in getting inside to see the main part. 'Spiral', the first room, is, as the name suggests, about the Spiral art collective, made up of a small group of black American artists to create innovative art around the theme of civil rights. The name came from the Archimedean spiral, which constantly expands outwards - a symbol of progress, in other words. They preferred to restrict themselves to predominantly black-and-white palettes, and the effects are remarkable. The immediate draw is Norman Lewis's 'America the Beautiful', a giant picture of a Ku Klux Klan gathering in the shape of a flapping Stars and Stripes, but Romare Bearden's collages are also remarkable. Bearden was an admirer of Picasso and other artists in his style, and his works involve turning cut-up newspaper photographs, particularly of black people, into collages inspired both by them and by African tribal art (which is sort of saying the same thing twice over, because Central African art was also one of Picasso's big inspirations).  'America the Beautiful', Norman Lewis  'The Conjur Woman', Romare Bearden 'Art on the Streets' is for propaganda - not simply political art, but actual artistic messaging by groups like the Black Panthers, plus representation of the civil rights movement in newspapers and magazines. I'm afraid I can't say much about this one either, since it's off to one side, I missed it on my first run through, and I only had a brief glance in once I remembered it. I'm sure it's very interesting, though.  'Elaine Brown: Seize the Time, Black Panther Party', Douglas Emory  Time Magazine cover, 1970 'Figuring Black Power', the third room, is the other side of the coin, art inspired by the civil rights movement. The art here is still bluntly political, with a clear message, but is primarily designed as art, rather than as, say, campaign materials for a political organisation. There's some astonishing stuff here, this long, multivocal howl of outrage at the brutality of mid-twentieth-century America. There's Elizabeth Catlett's 'Black Unity', a wooden sculpture of a fist with a pair of merged human faces where the back would be. There's Dana Chandler's 'Fred Hampton's Door 2', a memorial to the Illinois Black Panthers' chapter leader, who was murdered in his sleep by a SWAT team, which consists of a stylised, bullet-riddled bedroom door with a cheery 'U.S. Approved' sticker on the front. There's Faith Ringgold's 'American People Series #20: Die', painted in protest at the tidy, bloodless images that newspapers showed of race riots. There's Archibald Motley's nightmarish masterwork, 'The First One Hundred Years', which he felt summarised America so thoroughly that he never painted again.  'Fred Hampton's Door 2', Dana Chandler  'The First One Hundred Years: He Amongst You Who is Without Sin Shall Cast the First Stone; Forgive Them Father For They Know Not What They Do', Archibald Motley 'Los Angeles Assemblage' gets a little more specific. Assemblage, in art terms, is the creation of a piece from found objects, and these assemblages were especially politically relevant - they were created by black artists out of the wreckage left behind by the Watts Riots, also known as the Watts Rebellion, one of the most spectacular outpourings of racial violence of the decade. he ways that the artists used these materials varied greatly - Melvin Edwards created abstract sculptures celebrating black strength out of scrap iron, like the jewel-like 'Afro-Phoenix #2' and the cheerfully phallic 'Mamba', John Outterbridge created religious symbols, both Christian and African animist, with varying degrees of bitter irony, from the triumphant 'Tribal Piece', a hip-thrusting tribesman, to the grim 'Traditional Hang-Up', a T-shaped arrangement with an American flag topping a vault of skulls, and Betye Saar created defiant, satirical subversions of racist items she'd found, like 'Sambo's Banjo', showing Sambo being lynched inside a golliwog-painted banjo case while a toy Kalashnikov offers a chance at salvation, and 'I've Got Rhythm', a memorial to a particularly odious lynching made out of a metronome.  'Afro-Phoenix #2', Melvin Edwards  'I've Got Rhythm', Betye Saar 'AfriCOBRA in Chicago' showcases the work of the African Commune of Bad Relevant Artists, a group who sought to create distinctively 'black' art for the masses. They decided to go for a mixture of ancient and modern, fusing traditional African art-forms with 'low' and/or commercial American ones like advertising, graffiti, and fashion to create works that were loud, proud, and above all, 'awesome'. Jeff Donaldson, one of the co-founders, went for a very baroque vibe, with paintings in shining whites, golds, and vivid, dense bursts of colour that intermingled everyday black American life with Yoruba religious symbolism. Wadsworth Jarrell, meanwhile, created images inspired by disco and graffiti aesthetics that used the colour palette of Kool-Aid packets, and his wife, Jae, created a line of political fashion, such as the 'Revolutionary Suit', a trendy grey minidress offset by a stylised gold ammunition bandolier.  'Victory in the Valley of Eshu', Jeff Donaldson  'Revolutionary Suit', Jae Jarrell 'Three Graphic Artists, Los Angeles' covers the works of David Hammons, Timothy Washington, and Charles White. Hammons was known for his body-prints, using his own body (and copious amounts of vegetable fat) as a giant stamp to symbolise the objectification of the black man. Perhaps the most striking example is 'Injustice Case', a depiction of the trial of Black Panthers co-founder Bobby Seale, who was bound and gagged in the courtroom after the judge took objection to his outbursts. Hammons tied himself to a chair (complete with gag) and tipped himself over onto the canvas to make the print, before bordering the end-product with the Stars and Stripes (a deliberate violation of the Flag Code). Washington didn't use paint and canvas, but monumental etched aluminium slabs - only one is shown in the exhibition, the haunting 'One Nation under God', which alludes to the broken promise of 'forty acres and a mule' for freed slaves. Charles White was the most conventional of the three, a social-realist painter and photographer who favoured monochrome and sepia work. His largest exhibit is 'Mississippi', a memorial to his lynched relatives, which depicts a homeless black man huddling within an inverted compass where the symbol for South, a bloody handprint, looms above his head.  'Injustice Case', David Hammons  'Mississippi', Charles White 'East Coast Abstraction' is especially interesting because it dives right into an issue that the exhibition keeps touching on - aestheticism versus instrumentalism. This is a pretty central conflict in art, largely based around whether it's more important for art to be beautiful (or otherwise effectively provocative) or meaningful. As you've probably noticed by now, most of the work in this exhibition is pretty hardcore instrumentalist, designed to advance the political interests of black people in America even if it had to be shocking, cpmmercial, or just plain ugly to do so. How good it'd look when hung on your wall is a secondary concern (though personally speaking, I think that most of this stuff would look rad as gently caress there). This meant that there was a certain amount of opposition from certain parts of the black American artistic community to works they deemed too abstract. There could not, in their opinion, be 'black' abstract art, because it was too... well... abstract to reflect the real world. The artists exhibited here (and their fans) chose to push back against this, arguing that abstract art, too, could be distinctively black. Some, like LaRue Johnson and William T. Williams, pointed out that there was already an abstract, improvisational black art-form - jazz. Their works were directly inspired by jazz compositions - Johnson's 'D9 Flat 5th' attempted to replicate a single, transcendent note, while Williams's 'Trane' tried to show the beautiful chaos of an entire jazz piece. Others saw room for a political element in the creation process, like Jack Whitten, who used an afro comb to paint his 'Homage to Malcolm', while others sought to replicate the emotional effect they had felt at particular turning points in black American cultural history - in addition to the aforementioned 'Homage to Malcolm', the room includes works like Sam Gilliam's 'April 4', which used royal purples beneath symbolic red bloodstains to honour the anniversary of Martin Luther King's death.  'Trane', William T. Williams  'April 4', Sam Gilliam 'Black Light', room 8, is dedicated to black photographers, and is perhaps the most strikingly laid-out room in the exhibition. It's a small hallway, with two different collections facing each other. Both are in some way related to the great photographer Roy DeCarava, but while one side are his own bleak, sinister photos, such as 'Five men, 1964', which shows the faces of mourners leaving a ceremony for four young girls killed in a Ku Klux Klan church bombing, and 'Shade cord and window', which, well, doesn't look very much like a shade cord and window. On the other side is an arrangement of works by the Kamoinge Workshop, a group of artists he founded who focused on celebrating and finding beauty in the everyday lives of black Americans, from 'Woman Bathing/Madonna, New York', a pregnant woman using a rainy rooftop as a shower, to 'Rhythmic Cigarettes', which shows a group of men happily smoking their way through a jazz concert in Greenwich Village.  'Five men, 1964', Roy DeCarava  'Harlem, New York', Herb Randall 'Black Heroes' flips things around a little - here, the black artists are not the creators, but the subjects. This is the room for iconic pictures of famous black people by artists of all races, and includes Andy Warhol's famous painting of Muhammad Ali in the colours of the black African flag, as well as the headline picture of the exhibition, 'Icon for My Man Superman (Superman Never Saved any Black People - Bobby Seale)', a tongue-in-cheek, semi-nude self-portrait by the artist Barkley Hendricks that riffs on the title quote by the Black Panther co-founder, offering an alternative option if Supes isn't up for the job.  'Muhammad Ali', Andy Warhol  'Icon for My Man Superman (Superman Never Saved any Black People - Bobby Seale)', Barkley Hendricks 'Improvisation and Experimentation' is what it sounds like - the next step in experimental black art. Several of the artists featured here also showed up in 'East Coast Abstraction', and this represents the next stage of their artistic journey - after bringing specifically black sensibilities to established forms of experimental art, they decided to venture out and create their own. Sam Gilliam, who'd previously attempted to express the emotions of the civil rights era through nothing but colour, decided that the traditional rectangular canvas was an obstacle as well - his 'Carousel Change', in the colours of the American flag, hangs freely from a series of hooks, meaning that every time it's hung up at a different exhibition, it'll look slightly different - given that it was created by a politically-minded American artist during the civil rights era, the meaning should be obvious. Given that it was now the Seventies, when the changes born of the Civil Rights era were really starting to kick in, that optimistic, hopeful vibe is very much in effect here - Frank Bowling's 'Texas Louise' shows the ghost of a world map beneath the red light of a dawn horizon, Melvin Edwards's 'Curtain (for William and Peter)' turns barbed wire and chains into household décor for his friends, and the crystalline 'Mars Dust', inspired by the images sent back by the Mariner 9 probe, was created by Alma Thomas for the first solo exhibition by a black woman in the history of the Whitney Museum of American Art.  'Curtain (for William and Peter)', Melvin Edwards  'Mars Dust', Alma Thomas 'Betye Saar' is the only room dedicated to a single artist. A number of her satirical assemblages showed up earlier in the exhibition, but this room highlights another, more mystical side of her work. After visiting the Field Museum in Chicago, she was deeply inspired by the African ritual objects she'd seen there, and went on a series of research trips to Haiti and Nigeria to recapture her heritage. These works were the result - a collection of paintings, sculptures, and assemblages made with modern components and techniques in ancient forms to express the journey her family had taken. Most of these pieces are from her first survey show, an overview of her artistic career up to that point, but 'Spirit Catcher', one of the largest and most complex works, was a reflective piece that, to her, summarised all she had learned.  'Rainbow Mojo', Betye Saar  'Spirit Catcher', Betye Saar The twelfth and final room, 'Just Above Midtown', showcases works first exhibited in the legendary JAM gallery, one of the first in the world to specifically showcase the work of contemporary black American artists. Given the function of the gallery, there isn't a unifying theme here (other than 'must be an experimental work by a black artist', but innovative use of unconventional materials comes up a lot. Senga Nengudi saw little purpose in flesh-toned nylon tights that were not toned for her flesh, and so turned them into art materials, as for the symbolic silver spoon of 'R.S.V.P. XI'. David Hammons wanted materials with a human element, and so made elegant sculptures and tapestries out of grease, hair, and miscellaneous junk - 'Bag Lady in Flight', for instance, is brown paper bag origami tied together with hair and patterned with grease. Lorraine O'Grady's 'Art Is...', meanwhile, is the simplest of the lot - she went out into midtown New York with a bunch of gold-leafed picture frames, invited people to stick their heads through them, and created a gallery of her favourite photographs from the event.  'Bag Lady in Flight', David Hammons  'Art Is...', Lorraine O'Grady That's a sampler of the work, anyway - hope you found it interesting, and if you want to see more, well, you know where to find it.
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Aug 6, 2017 23:06
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Amazing write up! Shame about the photos, but I'll definitely be looking some of the artists up.
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Aug 6, 2017 23:57
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Holy poo poo that's fantastic. Thank you so much for posting that! And drat, if you have any other write ups you're interested in doing please keep them coming!
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Aug 7, 2017 00:19
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http://thegrapevine.theroot.com/if-game-of-thrones-had-black-characters-this-weeks-epi-1797588016quote:Although she is one of my favorite characters, like most white women, Daenerys Targaryen’s unwillingness to see her own privilege has also left her blind to the fact that she is just an average white girl who happens to have a couple of dragons, and was born into the right family.
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Aug 7, 2017 15:46
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Crossposting this bullshitKoalas March posted:Today Julian drops all pretenses. Here's your daily alt-right racism update:
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Aug 7, 2017 16:02
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Koalas March posted:Crossposting this bullshit Cool.
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Aug 7, 2017 16:10
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Koalas March posted:http://thegrapevine.theroot.com/if-game-of-thrones-had-black-characters-this-weeks-epi-1797588016 It's been really interesting how quickly she has gone this season from "white savior trope" to "another deluded rich/powerful person insulated from reality by her material privilege" - maybe GRRM took the "you're just using POC as slaves/barbarians/props" criticism to heart? Although it's really just that her interactions with the first powerful white people she has encountered so far has revealed her fallibility, so probably not. Edit: speaking of which, did anybody else find it kinda cringey that apparently the place that Missandrei was from doesn't believe in marriage? Like apparently the one geographical origin for minorities in the entire loving fantasy planet is a polyamorous free-for-all. TheQuietWilds fucked around with this message at 16:45 on Aug 7, 2017 |
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Aug 7, 2017 16:37
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Koalas March posted:https://medium.com/@IjeomaOluo/facebooks-complicity-in-the-silencing-of-black-women-e60c34434181 No, no, it's OK. Facebook totally apologised... https://www.usatoday.com/story/tech/2017/08/03/facebook-ijeoma-oluo-hate-speech/537682001/ Facebook posted:We know how painful it is when someone feels unwelcome or attacked on our platform, and how much worse it must be when they are prevented from sharing that experience with others Oh. It's literally "sorry you felt offended".
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Aug 7, 2017 22:57
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Koalas March posted:Crossposting this bullshit What is it about Twitter that just unleashes the inner smoothbrain in people? When I first heard about it I figured it would be full of mundane stuff like  ketchup and Ramen gently caress Yeah! But apparently it is basically the equivalent of YouTube comment threads along the lines of  People of color are the real racists! 
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Aug 8, 2017 03:05
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Panfilo posted:What is it about Twitter that just unleashes the inner smoothbrain in people? When I first heard about it I figured it would be full of mundane stuff like This is social media in general. I have actually come to prefer Twitter as a platform over other stuff. But I mean, it's loving Julian Assange. Asshat extraordinaire. On another note, guys are all upset that the person who wrote the Google diversity memo was fired. I actually took the time to read it and its full of biotruths and calls for less empathy. After you write some bullshit like that and its spread, how can get great teamwork and cohesion out of the people you employ if you 1) have to work with the guy who spread it 2) the company does nothing about the guy who spread it.
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Aug 8, 2017 03:38
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I'm really glad to hear that sexist fuckface got shitcanned. I was really worried he'd get a slap on the hand or we'd see more stereotypical silicon valley sexist horse poo poo win the day again.
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Aug 8, 2017 14:56
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HotCanadianChick posted:NAACP National Association for the Advancement of Colored People
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Aug 8, 2017 14:58
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blackguy32 posted:This is social media in general. I have actually come to prefer Twitter as a platform over other stuff. But I mean, it's loving Julian Assange. Asshat extraordinaire. I actually prefer twitter as well. It's pretty easy to block jerks and I've had some surprisingly good discussions with a lot of people. Also finding fresh ways to tell nazis to gently caress off in under 140 characters is a fun and easy game.
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Aug 8, 2017 15:02
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https://medium.com/@LookUpside/white-privilege-on-an-average-tuesday-449317dd1246
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Aug 8, 2017 15:12
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Lightning Knight posted:https://medium.com/@LookUpside/white-privilege-on-an-average-tuesday-449317dd1246 Sometimes I think about starting an ally thread just for talking about this kind of poo poo, because it's uncomfortable and frustrating, but not something to fill up the black issues threads with. Then I think about how long it would last until the mods had to put it out of it's misery.
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Aug 8, 2017 21:22
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there wolf posted:Sometimes I think about starting an ally thread just for talking about this kind of poo poo, because it's uncomfortable and frustrating, but not something to fill up the black issues threads with. Then I think about how long it would last until the mods had to put it out of it's misery. I view it less as allyship and more as a demonstration with how white liberals fail. We white liberals have all been in the awkward "lovely old people are overtly racist because they think we're in on it, or think we'll grow up to be like them" scenario, and like this guy we've bit our tongues and didn't push back. It's sad, really.
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Aug 8, 2017 21:49
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there wolf posted:Sometimes I think about starting an ally thread just for talking about this kind of poo poo, because it's uncomfortable and frustrating, but not something to fill up the black issues threads with. Then I think about how long it would last until the mods had to put it out of it's misery. There is a white people thread, but it started off pretty bad. I've been planning on putting together a white ally thread for a long time but haven't gotten around to it on account of how much time it's taken to compile resources and whatnot for the initial posts. edit: to not derail into Wypiposville, Missandrei is from one city or island in a whole continent of POC, right? It didn't sound as if she was saying the entire continent didn't have marriage, just her locality. Granted--that's still not much in a series that overall has been all in when it comes to exoticizing POC. ATP5G1 fucked around with this message at 22:38 on Aug 8, 2017 |
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Aug 8, 2017 22:35
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Lightning Knight posted:I view it less as allyship and more as a demonstration with how white liberals fail. We white liberals have all been in the awkward "lovely old people are overtly racist because they think we're in on it, or think we'll grow up to be like them" scenario, and like this guy we've bit our tongues and didn't push back. It's sad, really. Do you really expect this guy to suddenly be the one to break through to the 80 year old that it's bad to say the n-word? Or is he just an idiot for making a think piece out of an encounter with racist grandpa number 89,567? Cause, yea, he's an idiot for that.
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Aug 9, 2017 05:22
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WampaLord posted:Do you really expect this guy to suddenly be the one to break through to the 80 year old that it's bad to say the n-word? Expecting white people to call out racism no matter whom it is from is the bare minimum. Most "allyship" is performative anyways. Like people want a trophy and a title for being decent people. I don't trust anyone who calls themselves an ally.
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Aug 9, 2017 07:39
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Fluffdaddy posted:Expecting white people to call out racism no matter whom it is from is the bare minimum. quote:Expecting white people to call out racism no matter whom it is from is the bare minimum. quote:Expecting white people to call out racism no matter whom it is from is the bare minimum.
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Aug 9, 2017 12:09
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That's 100% fair, and I really don't want to defend this guy any further, so I'll go back to just reading posts.
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Aug 9, 2017 12:56
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WampaLord posted:That's 100% fair, and I really don't want to defend this guy any further, so I'll go back to just reading posts. That's the messed up thing is that saying "dude, that's racist" is literally the least we can do and still a bunch of people will not only refuse to do that but will defend people saying that racist poo poo.
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Aug 9, 2017 15:46
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WampaLord posted:Do you really expect this guy to suddenly be the one to break through to the 80 year old that it's bad to say the n-word? No but like, he should've walked out and not fixed the computer. He should've said "I won't work for you because you're bad people." He explicitly said he needs the work, so I don't specifically hold it against him, but as said, standing up to racism is the bare minimum and we as white liberals routinely fail to do that. That's what's sad about it.
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Aug 9, 2017 17:10
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A white ally walks into a bar. Because it was set so low.
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Aug 9, 2017 18:37
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Aug 9, 2017 18:53
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Haven't seen this mentioned here yet: http://www.whosestreetsfilm.com It's a documentary about the Ferguson protests and how they fed into the growing Black Lives Matter movement, as told by the point of view of the people who participated in the protests. One of the two directors (Damon Davis) is a resident of Ferguson, and wanted to make this to cover the viewpoints of PoC who he felt were not getting equal voice on mainstream news media coverage.
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Aug 10, 2017 02:03
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HotCanadianChick posted:Haven't seen this mentioned here yet: This looks good.
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Aug 10, 2017 11:59
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seiferguy posted:A white ally
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Aug 10, 2017 15:52
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"Can you guys, like, support us without telling us what to do?" *sweat starts pouring from my forehead*
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Aug 10, 2017 15:58
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seiferguy posted:A white ally walks into a bar. And meanwhile Black people be like 
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Aug 11, 2017 03:17
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Rolling to see Who's Streets today. First time I've been south of the 10 for a couple months. Check out Baldwin Hills Mall sometime, poo poo is relaxing as hell. These dudes got cushioned seats, wooden benches, and those for pay massage chairs on deck. It was a fun contrast to the koreatown gallerias and the valley galleria. Super well connected to the bus system too, liked that ride better than some Ubers. edit: Oh poo poo, this is the black thread, not the LA thread
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Aug 11, 2017 23:18
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While VA is having nazifest 2017, the west coast be chillin out at: http://www.partnersindiversity.org/events/pan-african-festival-of-oregon/view/
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Aug 12, 2017 23:37
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Follow up doublepost: There was a Black fashion show where the models stood on stage doing a Black Power salute at the end:  We are currently listening to a Black poetry slam now.
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Aug 13, 2017 01:51
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HotCanadianChick posted:Follow up doublepost: This is loving awesome.
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Aug 13, 2017 01:52
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Wish I would have seen that yesterday.
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Aug 13, 2017 16:53
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