Sassyfrass Circus

If you were taking a University level intro to Women’s and Gender Studies class in the fall,...

Mon, 20 May 2013 08:00:29 -0400

If you were taking a University level intro to Women’s and Gender Studies class in the fall, what topics or specific readings would you want to cover? If you’ve ever taken such a class, what were your favorite readings/ assignments?

othermike: “I’m right here, dude.”

Sun, 19 May 2013 16:00:31 -0400

othermike:

“I’m right here, dude.”

"What [Vladimir] Nabokov is actually doing in Lolita is deliberately drawing on all manner of..."

Sun, 19 May 2013 08:00:12 -0400

“What [Vladimir] Nabokov is actually doing in Lolita is deliberately drawing on all manner of anti-Semitic propaganda, from The Protocols of the Elders of Zion to Nazi caricatures of the Jewish ‘type,’ to create in Humbert Humbert the anti-Semitic cliché of legend, rather as, say, Chaucer draws on medieval misogynist writings to create in the figure of the Wife of Bath the archetypal shrew of his male audience’s nightmares.”

- Is Humbert Humbert Jewish? by Mark Ford (via millionsmillions)

Good read

(via lazersilberstein)

alchemistscloset: Check out this amazing zine at The...

Sat, 18 May 2013 16:00:24 -0400

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.

nevver: Martha Rich

Fri, 17 May 2013 08:00:28 -0400

Martha Rich

Martha Rich

Martha Rich

nevver:

Martha Rich

aperez: Thanks, @jennabrager. No thank YOU! And everyone else...

Thu, 16 May 2013 18:32:34 -0400

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.

adove: the-occult: deepredroom: Man is assaulted over his...

Wed, 15 May 2013 16:00:26 -0400

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

tremblebot: David Wojnarowicz’s journals have all been scanned...

Tue, 14 May 2013 08:00:16 -0400

tremblebot:

David Wojnarowicz’s journals have all been scanned and made available online by the Fales Library & Special Collections.

tranqualizer: [photo: sepia tone photograph from the Chicano...

Mon, 13 May 2013 08:00:34 -0400

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

"Sixty years of silence about the unspeakable crime of Jedwabne is a symptom of pervasive lacunae in..."

Sun, 12 May 2013 22:31:54 -0400

“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 Holocaust, edited by Dorota Glowacka and Joanna Zylinska

(via dezsa)

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

Sassyfrass Circus: Dear Internet Community,Everyday I am grateful for you, for the...

Sun, 12 May 2013 16:00:28 -0400

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!

blackcontemporaryart: Wura-Natasha OgunjiWill I still carry...

Sun, 12 May 2013 08:00:24 -0400

blackcontemporaryart:

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

Images: Ema Edosio

WHEN PROSPECTIVE STUDENTS ARE VISITING

Sat, 11 May 2013 23:37:46 -0400

whatshouldwecallgradschool:

credit: mllemlle

art-damaged: Ryan McGinley “Zachary” / paint (On May 7, 2013,...

Sat, 11 May 2013 16:00:28 -0400

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.”)

Grumpy winged kitten princess.

Sat, 11 May 2013 13:42:00 -0400

Grumpy winged kitten princess.

royceicon: An autobio comic about street harassment while...

Sat, 11 May 2013 08:00:11 -0400

royceicon:

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

teenboystuff: Me being Tai from Clueless.

Fri, 10 May 2013 16:00:14 -0400

teenboystuff:

Me being Tai from Clueless.

adriofthedead: snoozlebee: allisonkilkenny: Chris Person...

Fri, 10 May 2013 10:40:31 -0400

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

From @EARNEST_CYBORG9

convicts: deerjerk: Deer and Owls. 2013 Pardon me while I...

Fri, 10 May 2013 08:00:08 -0400

convicts:

deerjerk:

Deer and Owls. 2013

Pardon me while I oogle over every woodcut

How do I do this. Seriously someone tell me.

danielshea: geordiewood: This month, in our annual Photo...

Thu, 09 May 2013 16:00:24 -0400

danielshea:

geordiewood:

This month, in our annual Photo Issue, The FADER is publishing a feature on the epidemic of youth violence in Chicago, photographed by Daniel Shea. It’s no exaggeration to say this has been one of the most fulfilling projects that Daniel and I have ever worked on.

The feature is live online today. Over the duration of the week four extended edits will be posted along with conversations between Daniel and I.

This essay was a deviation from past photo issues. Instead of publishing preexisting work we decided to commission one large essay with ambitious goals. Our choice to shoot on the ground in Chicago stemmed from the idea that the violent rhetoric that permeates contemporary rap music has a human cost that is too often overlooked. The FADER and many other magazines covering new music feature musicians that propagate cultures of violence (like Chief Keef, who Daniel shot for The FADER’s cover less than a year ago). With the magazine’s audience of young people in mind, we wanted to face that head on.

What resulted is 16 pages of photographs and a Q&A with veteran Chicago reporter Alex Kotlowitz. We aimed to depict what life in the South Side is like for young people, through individuals affected by violence, those participating in it and the grassroots effort to curb the spread of retaliatory crime which seems to have no end.

I would like to personally thank Daniel, my friend, for his incredible effort and determination working on this project, as well as the staff and publishers of The FADER for believing in it and to the men and women of CeaseFire who opened countless doors for us. Please spread the word and consider donating to their incredible effort.

I’m very excited to be able to share this work. It was the most difficult and rewarding assignment I’ve ever worked on, and I echo everything Geordie said above. Geo and I have been talking for a long time about the universe as it exists within hip hop lyricism, versus the reality that those illustrations are based on. I didn’t think it would turn into anything real, but Geordie, Matthew Schnipper and everyone at The Fader presented the opportunity to make a story like this possible.

These are things I care deeply about, so if you have some time, consider the people and stories that are behind the work. This is also in no way a complete or even close to complete attempt at understanding the complexities of violence and systems of oppression and poverty in Chicago or elsewhere. It’s what we could work on in about a month’s time.

I owe so much to the people that let me in and showed me their lives and neighborhoods, I’m beyond grateful to them. And of course, I’m so stoked to be working again with my buddy Geordie. Thanks for looking.