has always been in the
way
but now
I’ve sold my house, I’ve found this
place, a large studio, you should see the space and
the light.
for the first time in my life I’m going to have a place and
the time to
create.“
no baby, if you’re going to create
you’re going to create whether you work
16 hours a day in a coal mine
or
you’re going to create in a small room with 3 children
while you’re on
welfare,
you’re going to create with part of your mind and your
body blown
away,
you’re going to create blind
crippled
demented,
you’re going to create with a cat crawling up your
back while
the whole city trembles in earthquakes, bombardment,
flood and fire.
baby, air and light and time and space
have nothing to do with it
and don’t create anything
except maybe a longer life to find
new excuses
for.”
Whether Black intends it or not, her dismissive treatment of Schutz’s painting, her essentialist position on black and white racial identities, and her use of offense as a rationalization for censorship reinforce elitist and formalist views that ethical considerations don’t belong in the aesthetic interpretation of art.
The authority to speak for or about black culture is not guaranteed by skin color or lineage, and it can be undermined by untruths. My 25 years of teaching art have shown me that a combination of ignorance about history and the supremacy of formalism in art education — more than overt racism — underlie the failure of most artists of any ethnicity to address racial issues effectively. Many young black artists harbor deep insecurities about their capacity to “represent the race” because their Eurocentric art education leaves them with few tools or references to work with. They also face intense social pressure from teachers, peers, and art world power brokers not to “rock the boat” with political discussions about race.
Machine Project: The Platinum Collection:
DelMonico Books, Prestel and the Tang Teaching Museum present Machine Project: The Platinum Collection, an encyclopedic book exploring the unique history of our beloved Machine. New essays and images capture 15 years of Machine’s distinctive programming, where vacations for plants, concerts for dentists, and operas for dogs are a few of the many events that have spurred inspiration and surprise.
Designed in collaboration with our friend Kimberly Varella from Content Object, the book features an extensive selection of images of past projects, a complete visual record of Machine Project’s artist-designed print archive of over 200+ event posters, and documentation of new performance projects from the recent retrospective exhibition at the Tang by Joshua Beckman, Carmina Escobar, Asher Hartman, Chris Kallmyer, Dawn Kasper, Krystal Krunch, Kamau Patton, Haruko Tanaka and Hana van der Kolk, among others.
Hey, this post may contain adult content, so we’ve hidden it from public view.
B & F Papers - Gorgeous Print Design Inspiration Samples Print Design
(via printdesignclub)
Aesop Portfolio - Design Guidelines for Aésop Portfolio Print Design
(via printdesignclub)
2003
check out my zine “critter”
HWICK_2.17
Everyday abstracts
Screen printed book by Luke Drozd
Collection “Accumulation Primitive”
17 x 24 cm
16 pages
Edition of 70
Printed on Fedrigoni Old Mill 300g
March 2016
www.lukedrozd.com
La Calle, Alex Webb
Deleting David Horvitz is a project that questions what it means to make something public on the Internet…
The artist David Horvitz tries to delete his own Wikipedia article, one paragraph at a time. Other Wikipedia editors however interfere with his plan and rewrite everything he deletes. David Horvitz in return fills in the article with absurd false information… This zine is a documentation of the discussion that takes place in the comments of the single article revisions.