Rene Magritte ~ “La cascade (The Waterfall)”, 1961

In earlier works, art and the outside world unite in a single reality, whereas here they are distanced from each other by what Magritte called ‘differences of a spatial order.’ Thus the interior forest encloses a painting of the exterior and the two are joined together…It was a painting that Magritte considered particularly successful (he described it as being 'extraordinarily alive’) and he took the trouble to reproduce it in colour in the fifth issue of André Bosmans’s review, Rhétorique, together with a text by Marcel Lecomte" (Whitfield, no. 121).


Extremely Rare Royal Egyptian Silver Diadem, 17th Dynasty c. 1580-1550 BC

This is one of only two known silver Egyptian diadems! It was found at Thebes in the 1820s and is associated with the tomb of Nubkheperre Intef. Both known diadems date to the 17th Dynasty and bear many similarities, not only in terms of material but also in design and manufacture, and were both likely made for a royal personage.

The double uraei – the stylized representation of two sacred cobras, protectors of the royal power in ancient Egyptian art – suggest that the diadem offered here was originally the property of an Egyptian queen: the motif is seen in the early 18th Dynasty Theban tomb of Tetiky, where it appears on the accoutrements of Queen Ahmose-Nefertari. It is also seen in images of Amenhotep III’s queen, Tiye, Akhenaten’s consort, Nefertiti, and Nefertari, wife of Ramesses II. The present diadem, predating these known examples, demonstrates that this tradition was already established in the Second Intermediate Period.

Silver was accessible only to the highest echelons of Egyptian society. Due to the lack of an abundant local source, it was both rarer and more costly, and thus held in higher esteem, than gold. It is likely that the silver used for this extraordinary royal diadem was sourced from beyond the boundaries of the Egyptian world, from the spoils of war or commerce.

Lesbian Women of Color Unite!

Violet Collective is a new zine dedicated to the celebration, empowerment, and support of all lesbian women of color.

Many lesbians of color feel that there is no place for us within overwhelmingly white lesbian communities or lesbophobic qu**r communities. Often times even attempting to navigate these spaces can prove to be an isolating and discouraging experience.

Violet Collective is a safe space for all lesbians of color to come together and form a community of our own. We hope this zine will serve as an escape from the subtle and overt racism, eurocentric standards of beauty, and continued erasure we face in other aspects of our lives, and even within the lesbian community.

Dedicated to the ideals of sisterhood, strength in community, and consciousness raising through open dialogue, Violet Collective will provide an outlet for the joy and pain that comes with being a woman of color and a lesbian.

Violet Collective aims to include essays (on race/ethnic communities/what it means to exist in the world as a lesbian), artwork, music and book reviews, and everything in between.

Our mission is to give a voice to those who are silenced and told that in order to be accepted they must hide parts of themselves. Our mission is to celebrate what it means to be women of color, what it means to be lesbians, and how we exist when the two intersect.

Our zine is still in the planning stage, but soon we will open submissions for posts to be featured on the blog (short essays, art, etc)
Be sure to follow and spread the word about this exciting project! 

I love you the way Pollock must have loved a blank canvas
Full of endlessly possibility.
These feelings have such velocity.
Like paint splattering on paper
A gesture so grand it started a movement.

I love you the way Rothko envelopes your soul
The color swallows you whole
And you can’t find the edges
Or the beginnings
Just fields of here and now.

I love you the way Van Gogh
Adored the perfect shade of yellow
Your eyes are his sunflowers
Always facing me
Seeking out my warmth.

I love you the way Monet captures tranquility
Which I didn’t quite grasp
Til the first time I held your hand
And you told me to be there with you
Nowhere else.

I love you the way Magritte makes you think.
A treachery of feelings.
Telling it how it is.
Ceci n'est pas un poème.
This is a grand gesture.

—  allegory pt. 1 by c.r.

Egyptian Gold Wedjat Eye Amulet, Late Period, Dynasty 26-29, c. 664-380 BC

The wedjat-eye amulet represents a human eye with its brow, but the lines below the eye are often identified as the facial markings of a falcon. The wedjat-eye was supposedly the eye that Seth tore from Horus during a battle over who would lead the gods. Thoth healed the injured eye, returning it to Horus as the “sound one.” Wedjat-eye amulets were used from the Old Kingdom through the Roman Period and whether worn as a bracelet for everyday wear or tucked among mummy wrappings, this amulet was effective source of protection, strength and perfection.

Darker Than Blue: Policing While Black in N.Y.C.

“The origins of American policing, the historian W. Marvin Dulaney argues, cannot be fully understood without considering slavery and racism. “By the beginning of the eighteenth century, most American colonies had enacted laws to regulate the behavior of African slaves,” Dulaney writes in his book “Black Police in America.” “The codes also established the slave patrol or ‘patterollers.’ The slave patrol was the first distinctively American police system, and it set the pattern of policing that Americans of African descent would experience throughout their history in America.” 

Read more from Matthew McKnight.


In the 10th and 11th centuries, at the height of their reign, the Vikings often claimed that their swords were indestructible, and could cut a man in half in a single swing. Yet there is a mystery surrounding Viking swords that has been confounding historians for hundreds of years. For despite their oft-quoted claim to be indestructible, Viking swords are often found broken. 

The Museum of Berlin contains an ancient sword that became the centerpiece that unraveled the mystery of why Viking swords are frequently found in pieces, despite their claim to be indestructible. The unbroken sword contained an eight-letter word that was eventually the key to solving the mystery: “Ulfberht”. 

A team of historians did some research and discovered that Ulfberht was the name of a Viking foundry - in other words, it was essentially an ancient factory that produced metal castings used to create objects such as swords, axes, war hammers, and armor. The name of ‘Ulfberht’ was legendary among Viking warriors, and was well-known for producing the sharpest, strongest, and most versatile - and expensive - swords. 

As it turned out, many lesser-known foundries attempted to pass off their poor quality - but less costly - swords as Ulfberht weapons by inscribing the name of Ulfberht onto their products. Unfortunate swordsmen then paid the ultimate price for their cheapness when they discovered too late in the heat of battle that their swords were prone to shattering upon impact. [x]

Large (Wikimedia)

Winslow Homer painted Eight Bells in 1886.

Homer depicts a pair of sailors at solar noon, determining the position of the sun with octants. (Technically, eight bells could denote eight, twelve, or four, but the light and the measurement they are taking both suggest noon.)

The Addison Gallery of American Art suggests that the dampness of their oilskin hats imply a storm, just passed. The dense clouds might well support that conclusion.

What is most remarkable, though, is the sheer drama Homer injects into the taking of a fairly routine measurement at sea.