artistic appropriation

When you realize you can’t paint and you neglected your beloved chemistry book…

It’s Thanksgiving which means tables decorated with tiny porcelain figures of Native Americans sharing corn with pilgrims. It’s a holiday about being grateful, coming together, and being at peace but while we use caricatures of a great people, mainstream media ignores their cries for help. While we set tables with servings of food that are far too large, the original inhabitants of this great nation struggle to fight for clean drinking water and respect for their ancestors.

I’m not great at words but this issue is very dear to my heart so here’s some art.

mp100’s animation was truly unique & iconic and inspired a lot of artists/animators for its appropriate combination of traditional animation + paint-on-glass animation and erratic, wacky shapes and brilliant colors to accentuate the supernatural scenes. it was a breath of fresh air for the genre/medium and i don’t see any other anime deserving of ‘best animation’ in crunchyroll’s anime awards imho

Wow, just wow

Seriously? SERIOUSLY???? Do people really think that Moffat and Gatiss would sabotage their own show just for spite? I mean come on.
Dear TJLCers, Johnlock didn’t happen, because Mottfiss decided that it would never happen. From the very beginning at that. They have said that for years, numerous times too. For some reason, some people chose not to listen to them and stick to their theories. For some reasons, people chose to deny the evidence that was in front on their eyes.

TJLCers (a lot of them anyway) are yelling Queerbaiting. Well, guess what, you queerbaited yourselves. You were warned numerous times that your theory was false. You didn’t listen. You don’t have the right to be angry at them. You don’t have the right to send them insults or threats.
Sherlock is Moffat and Gatiss show, it’s their creation. Not yours. You don’t have a say in other people creations. You have a right to your opinions, but people have a right not to take them into account. Specially when we’re talking about artistic creations.

Oh and by the way, not everything in the show is an hidden clue. Stop twisting everything to fit your narrative. There’s no fourth episode, no matter how hard you wish it. So please, get over it once and for all. If you want Johnlock to happen, then write your own version of Sherlock Holmes. No one is forcing you to watch Motfiss version.

To all my Followers

Sending love to all you wonderful, courageous nerds. Just remember you’re not alone in spirit. Never give up on what you know is right, and never give up on hope. Never let go of the part of you that loves even when you feel broken, because love is the strongest part of us. You’re strong and smart, and you’ve got this. I know you can do this. I know we can do this.

We’re all better together. <3

“Moulin Rouge” lithograph by Chuck Jones. Hand-pulled on 19th century Marinoni presses, one color at a time, 1989, published by the American Atelier, New York. The chromist worked directly from original mixed media art by Chuck Jones, commissioned for this project and created in 1988, 1989.

Jones commented that this project was one of his most challenging; that making his hand the hand of another artist was more difficult than it at first appeared it would be. The results, though, speak volumes about his eye for connectivity and satire. 

A white dude running a hip hop club in South Korea is calling out a Korean hip hop artist for cultural appropriation…

Like y'all know that sounds stupid enough that I don’t even need to mention the fact that the club gets its business from people like said artist performing, but I just will anyway because LOL.

At least when white female artists were culturally appropriating black women in the 2000’s, black women weren’t being erased at the time.  There were actually MORE black women of various shades in the mid 90’s to early ‘00s than there are now.  Beauty icons of that time period went from Paris Hilton to Kelly Rowland, Aaliyah, Ashanti, Faith Evans and Beyonce.  Brandy was actually given credit for her braids. So while Xtina wearing braids was ridiculous, at least it gave credit where it was due.

Ted Daniel, Milford Graves, Frank Lowe, Juma Sultan, Noah Howard, James DuBoise, unknown, Sam Rivers, and Ali Abuwi outside Studio We, 1973.

In the late 1960s and 1970s, with New York City’s socioeconomic scaffolding rickety and near collapse, abandoned industrial spaces in Lower Manhattan were buttressed by artists. Painters, appropriators, and sculptors converted nineteenth-century sweatshops into studios, and dance-happy DJs turned these same buildings into the first cathedrals of disco.

One of the most fecund, though least documented, scenes was chiseled out by jazz musicians, most young, black, and with eclectic leanings. These post-Coltrane free players, and free thinkers — shunned by a mainstream in the midst of commodifying the “counterculture” — lived, rehearsed, and performed in these loft spaces, usually in or around Soho.

The movement, and the music, became known as “loft jazz,” an iffy if not outright divisive term. Was it a style? A genre? An ideology? An attitude? Many of the musicians found the phrase confining, despite the high ceilings, while others saw possibility. (Ah, low rents as creative enabler!)

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Just a reminder of why Igloo Australia sucks. Not only does she continuously call herself a “runaway slave master” and change her accent to a black accent when she feels like it and then proceeds in ignoring black issues, she tweeted racist as heck things years ago and then didn’t even apologize for them when they came up. Instead she said “those were tweeted when I wasn’t famous and they were only meant for friends and family”. SHE NEVER EVEN APOLOGIZED for being a racist bigot. Meaning she still is a racist bigot. Pass it along. Peace out IGLOO

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Sol Calero
La Escuela del Sur, 2015
installation at Studio Voltaire, London

La Escuela del Sur is a major new commission by Venezuelan-born artist Sol Calero, and her largest exhibition to date. Stemming from her South American heritage and migration to Europe, Calero constructs social spaces that use sensory engagement as a democratic entry point for audiences to investigate socio-political themes of cultural representation and national identity. 

Her playful installations and carefully selected palette conjure ‘tropical’ environments, which invite the audience to reconsider notions of creation, appropriation and cultural anthropophagy. Calero’s distinctive visual language is loaded with references based on imported ideas and categories. She adopts stereotypical imagery, such as exotic fruit and sensuous salsa dresses, which simultaneously represent and investigate how we conceive of a culturally homogenous Latin America.