thinking on somatic memory & pleasure, intimacy with self & other, and the difference between safety & discomfort (in the body) on my morning walk unfolded into a day of looking at many brilliant artists. these 2 really stuck out.
Catherine Feliz is a contemporary interdisciplinary artist, full spectrum doula, and community medicine-maker born and raised in NYC (occupied Lenape territory). Her multimedia projects are personal reflections on the social-political constructions of power and knowledge. Through applying the languages of visual desire and the practices of care, they’re interested in imagining new narratives of place that center the experiences of politicized bodies.
(text taken from their website)
You See the Costume Not the Spirit
xerox paper and ink, inkjet photo prints, 5 in x 7 in
Virtual Caminos from Catherine Feliz on Vimeo.
the work of J.B. Murray.
sigh. his work is like love letters to and from a place that cannot be perceived with human eyes.
hear his sweet song & prayer in this short film by Judith McWillie. i love life lol.
“Water Saves. You can’t hinder water…
Water obey God better than anything in the world.”
John Bunion (J. B.) Murray (1908-1988) was a farmer who lived in rural Glascock County, Georgia, near the community of Mitchel. When he was approximately seventy years of age, believing he had experienced a vision from God, he began writing a non discursive script on adding machine tape, wall board, and stationery. He described it as “the language of the Holy Spirit, direct from God” and interpreted it using a bottle of water as a focusing device. In the last ten years of his life he made over a thousand paintings, introducing the script into fields of color and adding figures that represent “the evil people; the ones that are dry tongued, the one’s that don’t know God”.
Been meaning to share this for awhile. this is a beautiful excerpt from her brilliant performance.
Okwui Okpokwasili’s Poor People’s TV Room integrates movement, song, text, and visual imagery, giving voice to the oppressed while shedding light on women’s enduring power. Inspired by Nigerian political history, the performance integrates the buried narratives of women in the country and resonates with present actions and political resistance throughout the world. The work was inspired by two historic incidents in Nigeria: the Women’s War of 1929, a resistance movement against British colonial powers; and the Boko Haram kidnappings of more than three hundred girls, which launched the Bring Back Our Girls movement. Women were central to these campaigns, and have played essential and powerful roles in Nigeria’s independence. *(Words taken from YBCA website where the artist held a performance in early May)*
Okwui Okpokwasili “Poor People’s TV Room” 5 Minute Excerpt from Peter Born on Vimeo.
In looking for a new framework for black diasporic artistic production, Martine Syms explores ideas of the future of black imagination through the form of a manifesto.
Read more here!
While studying painting and printmaking at Yale University, Tomashi Jackson noticed that the language Josef Albers used to describe color perception phenomenon, in his 1963 instructional text Interaction of Color, mirrored the language of racialized segregation found in the transcripts of education policy and civil rights court cases fought by Thurgood Marshall and the NAACP Legal Defense and Educational Fund (LDF).
Read more here.
in a moment last week, this song reentered my life after a long absence. so powerful & mysterious. it has lifted me up so many times and continues to do so.
Mos Def . released 1999. Album: Black on Both Sides
Akwaeke Emezi is an Igbo/Tamil writer and video artist based in liminal spaces. She was Born in Umuahia and raised in Aba, Nigeria. In creating ‘Ududeagu’, Emezi wanted to invent a piece of visual mythology that examines loss and leaving from multiple perspectives. See more of her work here.
I am particularly interested in the way she use language, time, and personal mythology to sculpt this short.
I love a good podcast!
Hosted by Carris Adams, Esau McGhee and Jared Richardson, Too Many Degrees
is a bi-weekly, hour-long conversation between makers and thinkers. The friends and colleagues come together to talk, laugh and visit the spaces of various multi-hyphenates in the name of contemporary art and culture.
Adams, McGhee and Richardson are also awesome about providing links to the artists and thinkers mentioned on each episode over at the show’s blog.
Check it here: http://www.toomanydegrees.com/tmd-blog.
- Black Dada is a way to talk about the future while talking about the past. It is our present moment. The Black Dada must use irrational language. The Black Dada must exploit the logic of identity. Black Dada is neither madness, nor wisdom, nor irony, nor naiveté. Black Dada: we are successive. Black Dada: we are not exclusive. Black Dada: we abhor simpletons and are perfectly capable of an intelligent discussion. The Black Dada’s manifesto is both form and life. Black Dada your history of art.
- Pendleton states that the two words merge two ideas: “Dada, meaning ‘yes, yes’ and black as an open-ended signifier.
Thom Donovan, “Adam Pendleton,” Bomb, 114/Winter 2011.
Here’s the video:
KJM gave a very honest talk for his retrospective at the MET. Would love to hear ya’lls thoughts! link below.