lesbianspaceprincex:

let-them-eat-vag:

ashoutintothevoid:

Emma Sulkowicz is on the cover of this month’s New York Magazine and that is the coolest thing wow

DUUUUDE this is a huge fucking deal honestly

I just want to put out there that Princess, an AfroLatina trans woman at Temple University, also talks about how her university downright refused to investigate her rape even though medics and police officers were there after the assault, and let her rapist walk away unquestioned.Source (x), which much more details.
Please use the momentum of this story to help multiply marginalized women, especially those who are getting absolutely *no* support or attention for the violence they are surviving.

lesbianspaceprincex:

let-them-eat-vag:

ashoutintothevoid:

Emma Sulkowicz is on the cover of this month’s New York Magazine and that is the coolest thing wow

DUUUUDE this is a huge fucking deal honestly

I just want to put out there that Princess, an AfroLatina trans woman at Temple University, also talks about how her university downright refused to investigate her rape even though medics and police officers were there after the assault, and let her rapist walk away unquestioned.
Source (x), which much more details.

Please use the momentum of this story to help multiply marginalized women, especially those who are getting absolutely *no* support or attention for the violence they are surviving.

  1. Dad: Who are you?
  2. Me: Yodith
  3. Dad: Yodith who?
  4. Me: Yodith Dammlash
  5. Dad: Yodith Dammlash who?
  6. Me: Yodith Dammlash Gebre
  7. Dad: Yodith Dammlash Gebre who?
  8. Me: Yodith Dammlash Gebre Aba-Shawel
  9. In Ethiopian culture, a child takes their fathers first name as their last name. My father used to quiz us on who he is; who we are. While all those names are not on my birth certificate, he made it known who we came from. I've secretly always loved the fact that our family doesn't have one last name, like a "Smith" family reunion. Only my sisters and I share the last name Dammlash. It's like a little club that only his daughters belong to. Now I feel like having his name isn't enough. I know the basics but now I really want to understand the family and life he came from. I know my mother's family story like the back of my hand. Now it's time to dive into his.
archivesofamericanart:

For many artists, writing in their diary was as habitual as making their morning coffee or brushing their teeth before bed. Frederick Hammersley wrote in this diary for 3 years. In his small, angular handwriting, he summarized the events of each day, focusing on school and studio work. Each entry is carefully colorblocked and as a result, the diary mimics the aesthetic of his paintings.
This diary will be on view in our next exhibition, “A Day in the Life: Artists’ Diaries from the Archives of American Art” in the Lawrence A. Fleischman Gallery. 
Frederick Hammersley diary, 1952-1956, bulk 1952-1954. Frederick Hammersley papers, Archives of American Art, Smithsonian Institution.

archivesofamericanart:

For many artists, writing in their diary was as habitual as making their morning coffee or brushing their teeth before bed. Frederick Hammersley wrote in this diary for 3 years. In his small, angular handwriting, he summarized the events of each day, focusing on school and studio work. Each entry is carefully colorblocked and as a result, the diary mimics the aesthetic of his paintings.

This diary will be on view in our next exhibition, “A Day in the Life: Artists’ Diaries from the Archives of American Art” in the Lawrence A. Fleischman Gallery.

Frederick Hammersley diary, 1952-1956, bulk 1952-1954. Frederick Hammersley papers, Archives of American Art, Smithsonian Institution.

groana:

Congratulations LaToya Ruby Frazier on your first book! It’s been an honor to see this work grow in the last 9ish years. Beautifully printed and definitely filling a gap in the photo world

The Notion of Family

Photographs by LaToya Ruby Frazier

Interview by Dawoud Bey Essays by Laura Wexler and Dennis C. Dickerson
In this, her first book, LaToya Ruby Frazier offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself—against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock’s only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family—and her mother in particular. As Frazier says, her mother is “coauthor, artist, photographer, and subject. Our relationship primarily exists through a process of making images together. I see beauty in all her imperfections and abuse.” In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives, both those of her family and those of the community at large.

LaToya Ruby Frazier (born in Braddock, Pennsylvania, 1982) received her BFA in photography and graphic design in 2004 at Edinboro University, Pennsylvania, and her MFA in 2007 from the College of Visual and Performing Arts at Syracuse University, New York. In 2011, Frazier completed the Whitney Museum of American Art Independent Study Program and shortly thereafter was appointed Critic in Photography at the Yale University School of Art. She has received numerous grants and awards, including a 2014 Guggenheim Fellowship. Her work has been included in exhibitions at major institutions worldwide.


Dawoud Bey (interview) is well-known for his own work as a photographer and has been featured in numerous exhibitions, including a mid-career survey at the Walker Art Center, Minneapolis in 1995. He is a professor of art and a Distinguished College Artist at Columbia College Chicago.


Laura Wexler (essay) is professor and co-chair of the Women’s Faculty Forum at Yale University, as well as the founder and director of the Photographic Memory Workshop at Yale. Her books include the award-winning Tender Violence: Domestic Visions in an Age of U. S. Imperialism (2000).


Dennis C. Dickerson (essay) is the James M. Lawson, Jr. Professor of History at Vanderbilt University. He is the author of several titles focusing on American labor history and the civil rights movement, including Out of the Crucible: Black Steel Workers in Western Pennsylvania, 1875–1980 (1986). 

- See more at: http://aperture.org/shop/latoya-ruby-frazier-the-notion-of-family-books#sthash.CBFoJYt5.dpuf