-
Saturday.
- Hair cuts
- Target necessities
- 80’s outfit shopping for Blow Pony
- Napping
- Alcohol
Memorial Day Weekend is already so good.
-
See Sophia and Justin June 14th
I’ll be stripping at PRIDE EDITION Hedonistic Decdence. Don’t miss it!
-
My second cover for the Portland Mercury. FUN!!!
-
The Smiths - How Soon Is Now?
And you go home, and you cry, and you want to die… I am human and I need to be loved, just like everybody else does…
-
jomc:
Can the camera be racist? The question is explored in an exhibition that reflects on how Polaroid built an efficient tool for South Africa’s apartheid regime to photograph and police black people.
The London-based artists Adam Broomberg and Oliver Chanarin spent a month in South Africa taking pictures on decades-old film that had been engineered with only white faces in mind. They used Polaroid’s vintage ID-2 camera, which had a “boost” button to increase the flash – enabling it to be used to photograph black people for the notorious passbooks, or “dompas”, that allowed the state to control their movements.
The result was raw snaps of some of the country’s most beautiful flora and fauna from regions such as the Garden Route and the Karoo, an attempt by the artists to subvert what they say was the camera’s original, sinister intent.
Broomberg and Chanarin say their work, on show at Johannesburg’s Goodman Gallery, examines “the radical notion that prejudice might be inherent in the medium of photography itself”. They argue that early colour film was predicated on white skin: in 1977, when Jean-Luc Godard was invited on an assignment to Mozambique, he refused to use Kodak film on the grounds that the stock was inherently “racist”.
The light range was so narrow, Broomberg said, that “if you exposed film for a white kid, the black kid sitting next to him would be rendered invisible except for the whites of his eyes and teeth”. It was only when Kodak’s two biggest clients – the confectionary and furniture industries – complained that dark chocolate and dark furniture were losing out that it came up with a solution.
The artists feel certain that the ID-2 camera and its boost button were Polaroid’s answer to South Africa’s very specific need. “Black skin absorbs 42% more light. The button boosts the flash exactly 42%,” Broomberg explained. “It makes me believe it was designed for this purpose.” (via ‘Racism’ of early colour photography explored in art exhibition | Art and design | guardian.co.uk)
Fascinating history. Although, aren’t there more shades? How does 42% more light correctly expose varying shades of skin tones?
I hope the installation of these images lends to the photographers intent. Like, how does the mere subverting of intent relay the artists’ aims? I’m not interested in statement-driven work. I don’t want to have to read your statement to have some understanding or grasp of your concept. Does it matter to the artists? Or are they more interested in using antiquated technology to make poor images of “nature.”
I’m being an art school asshole, I know. Honestly, I think I’m bored of straight photography, especially when it’s hanging on walls. Images are everywhere. What makes your images worth looking at? It’s an issue visual artists need consider in an image-ridden culture?
Maybe that’s why I dropped photography??
Shit, now I feel compelled to use photography for my next project.
Damnit.
(via hannaheat)
not realizing how much work & time it will take to make that “adjustment.”
freelance, that is.
aye.
just sent the 1st draft off to the client for feedback.
…
i’m gonna have to break down and buy a *functional* graphics tablet. :(
(via 25 Totally Clever Storage Tips and Tricks for Summer | Family Style)
Art Supplies Storage
But, SOMEBODY* forgot to take the polaroid out of the fridge last night, and now has to wait for it to come to room temp.
*It was me.
take a book. leave a book.
(by alex.folsom)
I’m going to do this in Salinas and fill it with:
- Paolo Freire
- bell hooks
- Carla Trujillo
- etc
- etc
- etc
“Digital art isn’t real art. You have no real talent and you’re lazy. It’s not like painting or using traditional media. You didn’t work a sweat. The program makes it for you!”
Hahaha….haha. *Although, I’m sure some people don’t actually reach 150 layers. That’s just me aahaha. /insecure /back ups of back ups of back ups
I saw this comic going around and thought that there should be an art version of it.
You have NO IDEA how many layers I used for that damn dildo.
(via wretchedoftheearth)
Note to self: This sign must be hung in future studio window
GENDER DOESN’T MATTER. Just look at these gorgeous people! Everyone is beautiful, trans or cis.
*casually reblogs myself*
~this is so diverse~
But someone think of the thin white queers…… -_-
always reblog because it’s always true
Another reason why I need to return to self-portraits.
(via thatfeministdyke)
- watched Alien with Lisa
- organized fabrics
- organized rest of studio (this is still happening and there is shit EVERYWHERE)
- some laundry
- some dishes
- watched several episodes of Game of Thrones (actually, it played in the background, and to be honest, I only watch it for all the titties)
- while cleaning/organizing studio, found extra 35mm film protectors/sheets. Each sheet holds 36 frames. Hit me up if you want some.
- thought I ran out of 3x3 film sheets/holders/what-are-the-called?!! Found the rest. Relieved.
- finished making a pinhole camera—the pin hole may be too big. I’ll have to shoot with 100 iso, and cut down my exposure time. We’ll see. Test shoot!!
- found trinkets my dad gave me from his west coast hauls: a spoon from Washington, a deck of Oregon playing cards, and a bell. (i miss him)
- kept knocking over my bottle of rum (which is almost empty. I should just finish it off, but I’d prefer to do so with some cola and I’ve none).
- fucked and got fucked. came many, many times.
- put up some art work. found a print from Chase Cribbins.
- avoided any and all emails.
- confirmed artist discussion/talk/panel (??) for tomorrow morning in/with a class with sonoftherifleman and detribalizedaztec. nervous per usual, ‘cause i don’t feel like i know wtf i’m talking about. when i participate in discussions about identity, it is implied that an intellectual/academic argument & PoV is expected/desired/favored/validated over one based on personal experience; as if my (and other non-dominant people’s) experiences around -isms are isolated incidents—they are not the norm and we just happen to have bad luck. Ugh
I’d give today an A+. It was pretty damn good, even though I’m still anxious about tomorrow.
Words that Hurt poster for the UC Davis Lesbian, Gay, Bisexual, Transgender Resource Center. Displayed for Principles of Community week in the Memorial Union until March 14th, 2011.
Femspo:
I have personally made the mistake of saying something is “lame” or “retarded” in the past before I fully understood what it meant to say that. I feel ashamed that I used those phrases but it’s never too late to change the way you behave.
Yeah, I used “bitch” a couple of times in a recent piece, and I’ve been thinking about it. I was going to self-censor before I put it up, and it made me uncomfortable, and I still put it up.
I’m still thinking about it and questioning my use of the term. The piece is currently up, and I’m stuck between leaving it up (if only to expose my internalized sexism) or editing it, which is simple enough (in order to redress my triggering and oppressive use of language). I may leave it as is, and add an artist statement that address my concerns.
(via thatfeministdyke)
This first Thursday, July 5th, at PNCA’s Higgins Gallery, PNCA’s Students of Color Coalition will be displaying art based on the theme of “OTHERNESS.” Everything from photographs, prints, etc. Art, music, booze, snacks…
Participating Artists:
The Super Martinez Bros.
Nica Aquino
Courtney Coles
George Schulze
Ebin Lee
Elizabeth Leon
Kebrina Lott
Jose Gonzalez
Jakob Vala
Robyn Ritchie
Petra Fortes-Schramm
Stacey Clampitt
Portia Roy
I’m in this, doing a one-night performance.
