Photo 18 May 9 notes alchemistscloset:

Check out this amazing zine at The Alchemist’s Closet zine distro!
Femme a Barbe
YAY restocked! Hairy pride, hairy troubles, hairy mythos from the gender frontier. It’s all here in FEMME A BARBE 2, the must-have volume for those who ponder their facial scruff and chest fuzz, especially those assigned female or otherwise charting a course through the gender land.
a variety of genders represented (FTM and MTF spectrum people, genderqueers, cis ladies and more) discussing their varying feelings about and responses to body and facial hair. Sari (Hoax), Bastian Fox Phelan (Ladybeard), and editor j. bee (Sassyfrass Circus) are among the diverse contributors. confessions of a stubbly were-bitch by robyn t. banx is ferocious, delicious writing. j.bee and Amber M. have lent some of their fantastic illustration skills to the articles and cover, too.
3 bucks!

Places you can get mah zines.

alchemistscloset:

Check out this amazing zine at The Alchemist’s Closet zine distro!

Femme a Barbe

YAY restocked! Hairy pride, hairy troubles, hairy mythos from the gender frontier. It’s all here in FEMME A BARBE 2, the must-have volume for those who ponder their facial scruff and chest fuzz, especially those assigned female or otherwise charting a course through the gender land.

a variety of genders represented (FTM and MTF spectrum people, genderqueers, cis ladies and more) discussing their varying feelings about and responses to body and facial hair. Sari (Hoax), Bastian Fox Phelan (Ladybeard), and editor j. bee (Sassyfrass Circus) are among the diverse contributors. confessions of a stubbly were-bitch by robyn t. banx is ferocious, delicious writing. j.bee and Amber M. have lent some of their fantastic illustration skills to the articles and cover, too.

3 bucks!

Places you can get mah zines.

Video 17 May 1,068 notes
Photo 16 May 2 notes aperez:

Thanks, @jennabrager.

No thank YOU! And everyone else who has thus far donated to my “oh shit halp i need fundz” summer art fundraiser, which you can still donate to and get some art.

aperez:

Thanks, @jennabrager.

No thank YOU! And everyone else who has thus far donated to my “oh shit halp i need fundz” summer art fundraiser, which you can still donate to and get some art.

Photo 15 May 117 notes adove:

the-occult:

deepredroom:

Man is assaulted over his technological augmentations and has his robotic eye damaged by 3 McDonalds employees.
…..it has begun….

@door @zoe

jack my body
Photo 14 May 36 notes tremblebot:

David Wojnarowicz’s journals have all been scanned and made available online by the Fales Library & Special Collections.  
Photo 13 May 798 notes tranqualizer:

[photo: sepia tone photograph from the Chicano Student Walkouts in March of 1968. students are outside marching and rallying. one student carries a sign that reads, “education not deportation.” some students have their hands raised in the air expressing the peace sign]

easybeat310:

Chicano Student WALKOUTS- March 6th-9th, 1968

tranqualizer:

[photo: sepia tone photograph from the Chicano Student Walkouts in March of 1968. students are outside marching and rallying. one student carries a sign that reads, “education not deportation.” some students have their hands raised in the air expressing the peace sign]

easybeat310:

Chicano Student WALKOUTS- March 6th-9th, 1968

Quote 12 May 6 notes
Sixty years of silence about the unspeakable crime of Jedwabne is a symptom of pervasive lacunae in Polish national remembrance, namely, the erasure of collective and individual memories of Jewish life in prewar Poland, the lack of mourning for the Jewish tragedy, and the overwhelming loss of awareness of the absence of Jews and Jewish culture in contemporary Poland. According to Gross, the Poles, “themselves the victims of the German occupation,” did not mourn the tragic Jewish losses they witnessed: “We have never properly mourned the fate of our Jewish fellow citizens. We have not suffered through and lamented the Jewish disaster during the war.” One does see frequent nostalgic evocations of the Jews as a “symbol” of the old, idealized multiethnic Poland. Yet despite this, for the majority of Poles, as Joanna Tokarska-Bakir bluntly notes, historical “memory is a place without Jews.” For Adam Michnik, this failure of witnessing and the absence of mourning are themselves criminal because they repeat symbolically the annihilation of the victims in the realm of memory: “After they died they were murdered again, denied a decent burial, denied tears, denied truth about this hideous crime, and … for decades a lie was repeated.”
Similarly, Michael C. Steinlauf calls the failure of Polish mourning of the Holocaust a profound psychic aberration, which could not be explained purely in terms of the trauma of witnessing the unprecedented—“murder on such a scale, at such close range, for such a long time.” In the Polish case, the trauma of witnessing the Holocaust was further exacerbated by the widespread antisemitism of the 1930s and by the frequent appropriations of Jewish property during and after the war: “Such a sequence—to dislike one’s neighbors, to wish them gone, then to observe their horrendous total annihilation, and finally to inherit what had once been theirs— can only produce profound psychic and moral disturbance.” Perhaps one of the most striking symptoms of such “disturbance” is what Eva Hoffman calls the pathology of silence, which not only represses shameful Polish indifference, betrayal, and the irruption of criminal aggression against powerless Jewish neighbors but which eventually erases the Jewish tragedy from collective awareness: “On the Polish side, the great pitfalls in relation to wartime past have been amnesia on the one hand, and the willfully tendentious uses of memory on the other.
— 

Ewa Plonowska Ziarek - Melancholic Nationalism and the Pathologies of Commemorating the Holocaust in Poland in Imaginary Neighbors - Mediating Polish-Jewish Relations after the Holocaust, edited by Dorota Glowacka and Joanna Zylinska

*

A Jedwabne elmondhatatlan bűntetteiről való 60 évnyi hallgatás egy, a lengyel nemzeti emlékezetben meglévő, mindenre kiterjedő hézag tünete, vagyis azé, hogy a háború előtti Lengyelországban zajló zsidó élet kollektív és egyéni emlékeit eltörölték, a zsidó tragédia meggyászolása elmaradt, a zsidók és a zsidó kultúra kortárs Lengyelországban lévő hiányának tudatosulása pedig rettenetes módon elveszett. Gross szerint a lengyelek, akik „maguk is a német megszállás áldozatai voltak”, nem gyászolták meg azokat a tragikus zsidó veszteségeket, amelyeknek tanúi voltak: „Soha nem gyászoltuk meg rendesen a zsidó polgártársaink sorsát. Nem szenvedtük végig és nem sirattuk meg a háború során bekövetkező zsidó katasztrófát.” Ugyanakkor az ember gyakran találkozik a zsidók, mint a régi, idealizált, sokféle etnikumú Lengyelország szimbólumának nosztalgikus felidézésével. Ennek ellenére a lengyelek többsége számára, ahogy azt Joanna Tokarska-Bakir kereken kimondja, a történelmi „emlékezet egy zsidók nélküli hely”. Adam Michnik szerint a tanúságtételnek és a gyászolás hiányának e kudarcai önmagukban is bűnök, mivel szimbolikusan megismétlik az áldozatok megsemmisítését, ezúttal az emlékezet birodalmában: „Miután meghaltak, újra meggyilkolták őket, megtagadták tőlük a tisztességes temetést, megtagadták tőlük a könnyeket, letagadták az igazságot ezzel a förtelmes bűnnel kapcsolatban, és… évtizedekig egy hazugság került elismétlésre.”
Ehhez hasonlóan Michael S. Steinlauf a lengyelek Holokauszttal kapcsolatos gyászolásának kudarcát egy mélyre ható pszichikai aberrációnak nevezi, amelyet nem lehet tisztán annak a traumájával magyarázni, hogy addig példa nélküli eseményeknek — „gyilkolás, amely ekkora méretekben, ennyire közel, ilyen hosszú időn keresztül zajlott” — a szemtanújává váltak. A lengyel esetben annak a traumáját, hogy a Holokauszt tanújává váltak, tovább súlyosbította az 1930-as évek széles körben elterjedt antiszemitizmusa, valamint a zsidó tulajdonok gyakori kisajátítása a háború alatt és után: „Az eseményeknek egy ilyen sora — az ember nem kedveli a szomszédjait, azt kívánja, hogy tűnjenek el, majd végignézi iszonyú totális megsemmisítésüket, és végül megörökli azt, ami egykor az övék volt — kizárólag mélységes pszichikai és morális zavart eredményezhet.” Talán az egyik legfeltűnőbb tünete egy ilyen „zavarnak” az, amelyet Eva Hoffman a némaság patológiájának nevez, és amely nemcsak elfojtja a szégyenteljes lengyel közönyt, árulást, valamint a tehetetlen zsidó szomszédjaik elleni bűncselekményekben megnyilvánuló agresszió betörését, hanem végül ki is törli a zsidó tragédiát a köztudatból: „A lengyel részről a háború idejének múltjával kapcsolatos hatalmas vermeket az egyik oldalról az amnézia, a másik oldalról pedig az emlékek szándékos és tendenciózus használata képezték.”  

Ewa Plonowska Ziarek - Melancholic Nationalism and the Pathologies of Commemorating the Holocaust in Poland in Imaginary Neighbors - Mediating Polish-Jewish Relations after the Holocaustedited by Dorota Glowacka and Joanna Zylinska

(via dezsa)

Also tho this is like a snapshot of what I’ll be doing all summer.

Link 12 May 20 notes Sassyfrass Circus: Dear Internet Community,Everyday I am grateful for you, for the...»

curmudgeoncomic:

sassyfrasscircus:

Dear Internet Community,

Everyday I am grateful for you, for the inspiration, support, and friendships I have found in you. Here, especially, I feel that I am a part of a creative community, and I am overwhelmed by the incredible work that I have access to and humbled by the opportunities and…

SHAMELESS SELF-PROMOTION. I’m doing this until I leave for Poland at the beginning of July. Y’all are great and I am so excited to make art for you and also pay my bills.

In case anyone possibly missed this!
via Curmudgeon.
Video 12 May 190 notes

blackcontemporaryart:

Wura-Natasha Ogunji
Will I still carry water when I am a dead woman? 
2013

Images: Ema Edosio

Text 11 May 84 notes WHEN PROSPECTIVE STUDENTS ARE VISITING

whatshouldwecallgradschool:

image

credit: mllemlle

Photo 11 May 38 notes art-damaged:


Ryan McGinley “Zachary” / paint
(On May 7, 2013, unidentified parties used a roller and white paint to damage a large-scale reproduction of this 2010 photograph while it was on view at the White Flag Projects gallery in St. Louis.
The 13-foot banner had been installed outside the gallery to promote “Coconut Water,” a group exhibition in which McGinley is featured.
Gallery representatives opted not to alert police, saying it was McGinley’s wish that the damaged artwork remain in place for the duration of the exhibition.
“I think it says something very different to let it remain there,” explained gallerist Matthew Strauss. “It speaks to something completely different now.”)

art-damaged:

Ryan McGinley “Zachary” / paint

(On May 7, 2013, unidentified parties used a roller and white paint to damage a large-scale reproduction of this 2010 photograph while it was on view at the White Flag Projects gallery in St. Louis.

The 13-foot banner had been installed outside the gallery to promote “Coconut Water,” a group exhibition in which McGinley is featured.

Gallery representatives opted not to alert police, saying it was McGinley’s wish that the damaged artwork remain in place for the duration of the exhibition.

“I think it says something very different to let it remain there,” explained gallerist Matthew Strauss. “It speaks to something completely different now.”)

Photo 11 May 26 notes Grumpy winged kitten princess.
Photo 11 May 165 notes royceicon:

An autobio comic about street harassment while waiting for the bus.

royceicon:

An autobio comic about street harassment while waiting for the bus.

Photo 10 May 174 notes teenboystuff:

Me being Tai from Clueless.

teenboystuff:

Me being Tai from Clueless.

Video 10 May 26,014 notes

adriofthedead:

snoozlebee:

allisonkilkenny:

Chris Person fixed TIME’s new magazine cover. Now it’s accurate. (TIME version #1, Person edit #2)

Update: And here’s another stellar contribution from @direlog

EXCELLENT

image

From @EARNEST_CYBORG9


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