idiosyncratic

salmonrojo:

Resistencia Bookstore Featured X-mas 09 Item No. 3

“With its nameless protagonists, unusual punctuation, poetic breaks, and graphic depictions of genocide and antigay violence, Glave’s The Torturer’s Wife is about as far as you’ll get from a breezy beach read. Nonetheless, the Lambda Literary Award winner’s experimental short story collection—which tackles war, slavery, turbulent gay relationships, and HIV—contained some of 2009’s most compelling moments in queer literature. Glave (left) is only the second gay African American (after James Baldwin) to win the O. Henry Prize for short fiction.”—Out 100

Reblogged from curate.

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November 25, 2009, 3:37pm

elvira:

frost-at-midnight:

Study of a Tree, with a Line of Trees Beyond, c.1789 by J.M.W. Turner

[From the Oxford Sketchbook (Finberg II)]

Reblogged from Elvira's hot spot.

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November 25, 2009, 7:42am

fuckyeahblackmen:

COCHISE AND ‘NEM

Reblogged from FUCKYEAHBLACKMEN.

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November 25, 2009, 7:03am

jazzinbooks:

02.08.10

Reblogged from ...jAzz in bookS.

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November 24, 2009, 10:38pm

curate:

thirdstitch:

Glenn Ligon is known for his resonant works in multiple media that explore issues surrounding race, sexuality, identity, representation and language.

The work of Glenn Ligon mines the history of African American culture, from slave narratives to the Million Man March, from the icons of the abolitionist movement to the raunchy jokes of Richard Pryor. In the series of paintings that remain his best known, Ligon stencils black text across the surface of white, doorsize canvases. The words presented are not the artist’s own but have been borrowed from such writers as Zora Neale Hurston, Ralph Ellison, and James Baldwin. Typically, Ligon will repeat an especially charged sentence (“How it feels to be colored me,” “I am an invisible man,” “I feel most colored when I am thrown against a sharp white background”) until it verges, through the force of excess paint, on illegibility. The resulting pictures set up a series of dialogues between visibility and erasure, between the naming of color and its painterly absence on the canvas, and between the “black space” of the stenciled letters and the “white space” into which they increasingly bleed. For all the seeming dispassion of Ligon’s formal method (monochrome palette, stenciled letters, repeated words), his text paintings are supercharged with affect. They speak a first-person voice of black subjectivity while registering the denial and relentless silencing of that same voice.

Reblogged from curate.

Tags: Glenn Ligon

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November 24, 2009, 1:25pm

yes…just YES

cmyk4life:

thedailywhat:

Late Night with Jimmy Fallon: Neil Young performs a haunting cover of the Fresh Prince theme song and, just like that, my life is complete.

Also: A rift in the spacetime continuum.

[via.]