Violence against women is a global epidemic. When we come across violence against women in literature and art, it’s not the content that is the problem but who is saying it, how, and why they are saying it. I am all for survivors of abuse reclaiming those narratives through art. We need to reclaim those narratives. We need to reshape our realities.
And this need is exactly why it’s such a problem that men continue to aestheticize images of violence against women, and especially when they do so without explicit context, and especially when editors and readers treat this aestheticization as something deserving of a platform. This doesnothing but give agency to misogynistic tropes and thus further silences the voices of those who already have to struggle so hard to be heard. It’s not a man’s job to articulate these narratives, and women are not objects to be torn apart for the aesthetic factor of a man’s “art.” It’s not cool. It’s not edgy. It’s fucking disgusting, and it’s fucking disgusting that I have to point out that it’s fucking disgusting.
Holy Hiatus Batman! We’re back! Come check out Episode 22: a universe in every heart with Sarah Certa! We discuss the impression of the image on the page, poetry, hip hop dance inspiration, writing through the noise, workings of the human body, objectification, and making brash statements that will hopefully turn out to be untrue, maybe.
Ana Mendieta — Cuban-born artist (1948-1985) used her body as a component in her artworks. Although gender issues concerned her, Mendieta’s art also dealt with issues of spirituality and cultural heritage. Also, her art is lyrical and passional and operates at the intersection of cultural, spiritual, physical and feminist concerns.
Fivehundred places. Edited by Jason Dodge
“Do we not all dram of being known, known by our backs, legs, buttocks, shoulders, elbows, hair? Not psychologically recognised, not socially acclaimed, not praised, just nakedly known. Known as a child is known by its mother.
One might put it like this. Degas left behind something very strange. His name. His name, which, thanks to the example of his drawings, can now be used as a verb. ‘Degas me. Know me like that! Recognise me, dear God! Degas me.”
–John Berger, The Shape of a Pocket, “Degas”
These oddly saturated photographs are from around 1905, when color film was just beginning the develop. Czar Nicholas II funded two pioneering Russian photographers to document the diverse landscape and people of his empire.
Early Color Photographs from Czarist Russia
via Reddit
(Source: photojojo, via andthebeautyis)
“to change art destroy ego” by ben vautier
-Kurt Vonnegut
(via jfedie)
(Source: aadkid, via lucybrowningphotography)
(Source: weheartit.com, via dandyy-lion)
This make me feel like technology is sucking away my soul.