You've got to dig to dig it, you dig?
Untitled (Here, we are. We heard of Gracia Real de Santa Teresa de Mose (i) in a refrain (pp) of the common wind.), 2020, archival pigment print, 14 x 21 inches.
Untitled (Errant and choric utterances), 2020, vinyl letters on wall.
via crispellertart
Burnaway magazine published a text by Ade J. Omotosho. It is generous of its subjects.
We passed through rows of the winsome, modest single-story homes that line the streets, vivid in their mamey pinks, robin’s egg blues, and other confectionery colors that comprise the city’s unmistakable palette. Lately Guerrier has been fascinated with the creation of what he calls “immigrant space” within Miami’s neighborhoods, and he is developing a film project centered on this phenomenon. For instance, much has been made of the way that people of the African diaspora adorn and furnish domestic spaces, but relatively less of how we fashion exterior space, which Guerrier believes is an equally viable realm for families to “insist on” their presence and sensibilities.
Omotosho was a curatorial fellow at Pérez Art Museum Miami.
“Art seeks out the edges of things, of understanding; therefore its favourite modes are irony, negation, deadpan, the pretence of ignorance or innocence. It prefers the unfinished: the syntactically unstable, the semantically malformed. It produces and savours discrepancy in what it shows and how it shows it, since the highest wisdom is knowing that things and pictures do not add up.” –T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers, 1984.
Epigraph of Sue Graze’s essay for Concentrations 17: Vernon Fisher, Lost for Words, Dallas Museum of Art from January 23 – April 17, 1988.
…blackness is in an antagonistic relationship with the proper…
via Moma magazine.
Read an excerpt, A minor figure, on Longreads.
Text is published in Rialta.
Tana Oshima offers interesting responses to Legna Rodríguez Iglesias‘s questions.
A veces me gusta ir a lugares inhóspitos, sí. Con el objetivo de narrarlos, pero la narración que viene después de visitar esos lugares es sólo una vía para canalizar una exploración que es más emocional que intelectual. Me atraen los márgenes, los lugares marginales habitados por personas marginales. Hablo de los márgenes en un sentido social. Me atraen porque me muevo con cierta facilidad entre esas personas y me gusta comunicarme con ellas. Me atraen los márgenes porque una vez estuve ahí, por motivos distintos a la mayoría de los que están ahí, y siento mucha empatía por esas personas.
Imagination, justice, beauty, art, misery eradication, repair and mend (what has been torn or a torn world), wisdom (“cold frugality of the wise”), openness to the world (in harmony with it), finding meaning in life, tending to friendship, cultivation of happiness.
Our task as [humans] is to find the few principles that will calm the infinite anguish of free souls. We must mend what has been torn apart, make justice imaginable again in a world so obviously unjust, give happiness a meaning once more to peoples poisoned by the misery of the century. Naturally, it is a superhuman task. But superhuman is the term for tasks [we] take a long time to accomplish, that’s all.
Camus, Lyrical and Critical Essays.
via Popova. Also, Camus on meaning, Weil on attention as grace and generosity.
Ghost stories can look like a nostalgic game, a trivial make-believe, played when it was no longer widely held, by readers of books, that the spirits of the dead return to the land of the living – mopping, mowing, gibbering, giving their owl’s cries, causing the tapers to burn blue, sheeted, but never in any circumstances nude.
Hamlet and the Ghost both say that the weak imagine things.
Women imagine things. And they have been able to imagine and describe what it is that women imagine, what their weakness is, and to say how it could be defended. Enter the feminist ghost story. Edith Wharton and Vernon Lee belong to a ghostly sisterhood which, from the 1880s onwards, was to be responsible for much of the most interesting terror fiction. Among the women writers in question are E. Nesbit and the Americans Charlotte Gilman and Mary Wilkins. ‘The Little Ghost’ by Mary Wilkins, which invokes an abused child, another orphan-ghost, is arguably the most moving story in the Oxford Book of English Ghost Stories …
Karl Miller, Things, LRB, Vol. 9 No. 7 · 2 April 1987
