11 track album
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Cosimo Galluzzi
styofa doing anything
almost home
Peter Solarz

â
Xuebing Du
RMH
YOU ARE THE REASON
Lint Roller? I Barely Know Her
he wasn't even looking at me and he found me
Sade Olutola

ellievsbear
Not today Justin

Andulka
đŞź

çĽćĽ / Permanent Vacation
"I'm Dorothy Gale from Kansas"

Product Placement
d e v o n

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@e-janestudio
11 track album
buy my album <3

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Some recent thoughts on beauty in meatspace
Everyone that says beauty is shallow must not feel the radical difference between being treated like a threat versus a person who deserves respect depending on how they're adorned. Today, every man that encountered me was nice, almost respectful even. One man happily moved out of the way for me as I passed him on a very narrow side-walk. Still, that niceness also felt like a violence at times. I went to the gas station near my house to buy toilet paper and there were two men in the store as well, and I couldn't talk to the woman ringing me up in peace because they had so many "nice" comments about my "pretty little head" and how I should've worn a hood if I was cold but clearly had a hood but wanted to "be cute".* I was so uncomfortable that I stuffed my change in my wallet and ran out while dropping a few pennies and dimes. My social anxiety flared up big time and suddenly I remembered the main reason I stopped performing normative beauty is because I am a queer Black woman alone in the world and most cis men scare me and sometimes, when I just want to be a pedestrian, I don't want negative or positive attention, I just want to be left alone and try to convey that with an unadorned appearance. But when I don't perform normative Black beauty standards, I get perceived as very masculine and then I'm afraid because people look at me angrily, like they maybe look at many Black men and queer Black women who present masculine everyday.
I'd also like to honestly acknowledge that I like performing beauty, as an extension of softness, because it cheers me up and I'm not that interested in masculinity because I feel like I perform it often out of a fear of femmephobia or in attempt to get a type of respect that men don't give performatively femme people (not giving femmes respect is a way of acting out femmephobia).
Beauty and softness go together, as they are both things traditionally seen as feminine. It is interesting that both seem like they were not intended for my body (the body of a slave descendant) except in an attempt to please white people/maintain employment, meaning performing them for myself and other Black women and femmes feels powerful. Still, when I go outside and encounter cis men, the power in the gesture disappears, except that I know it hides my queerness and maybe renders me a little less vulnerable in post-Tr*** america. But being beautiful comes with its own set of vulnerabilities. I couldn't tell any of the men that talked to me today to fuck off for fear of their anger. I am afraid to die and so I am vulnerable and at the behest of the men that can kill me.
The more I think about beauty, the more I feel it is not shallow, it is complicated and nuanced and tied to how many find joy and survive. Also, unfortunately, beauty is often codified, even inside of Blackness, via the way colonization defines our bodies. Ie. colorism
*the men and women referred to are all Black, for clarification. I get tired of qualifying everything with Black in a story esp bc white media doesn't say "a white woman" or "white man" too often. Blackness is the neutral and starting point in all my thoughts.
A few notes on colorism
1. Adrian Piper notes in âPassing for White, Passing for Blackâ that lighter skinned ex-slaves were trained in specialized skills during slavery and able to get better jobs after slavery and therefore were able to ascend to the middle class faster/develop their own middle class. Darker skinned ex-slaves were left to labor and domestic jobs. I think that explains why it seems darker skinned Blacks havenât gotten seats at the table so quickly as a whole/as a majority. I also wonder how we fix this obviously historic systemic oppression.
Even in my family, the disparity is obvious. On my motherâs side (my light side), I am technically a legacy at Penn, even though my mom is from the projects of southeast DC. I have an ancestor with the last name Claytor (her fatherâs last name) who got a Phd in mathematics there back in the early 20th. c. He had wavy hair and seemingly light skin. On my fatherâs side (my darker side)*, and especially via his last name, Iâm probably first generation Ivy League, Iâm first generation Masterâs degree, undergraduate degree and one of the first who really even left the south comfortably.* On my motherâs side, my late uncle was also an artist (though he never left the experimenting/learning phase) and had a degree in mathematics, and when he served and traveled to Italy for the military, he came back with a small copy of Rodinâs The Thinker. On the other hand, my father (also deceased), while arguably brilliant, dropped out of high school and did night school to get his GED and be an electrical engineer. Although he bought me paintings of Black ballerinas as a child, he also told me Black people donât study art.
2. It is unfair that darker skinned Black people arenât encouraged as much, are policed more (especially in educational spaces) and underestimated. Colorism in America is historic and it affects oneâs quality of life. For many, it determines how hard theyâll have to work to survive. Iâm not okay with it. Iâm also not okay with how often I am the darkest person in a space.
3. I went to a Barnes & Noble this fall and as I checked out the magazine stands, I began to notice a pattern. Kerry Washington (who I am fairly close in complexion to) was the darkest Black american woman on a cover and every other Black american woman who wasnât light skinned seemed to be her complexion. Iâve started to notice that on TV women do not get darker than Kerry Washington, with the exception of Michaela Pratt on HTGAWM and Stephanie Edwards on Greyâs Anatomy*.
In DC, a friend once told me, âYou are the brown paper bagâ. He was much darker than me and it was summer and I was beginning to tan. I keep a brown paper bag in my studio, so I know he is wrong, I am definitely darker than the literal brown paper bag but his observation was still accurate. In 2016, liberalism totes my complexion as diversity, as inclusive, but liberal media gets a little too excited and all of a sudden we just have a new color line. Now, you donât have to look like Beyonce or Dorothy Dandridge (in hair type and complexion) to be considered beautiful in a mainstream (white) context, but you canât be much darker than Rihanna and theyâd prefer if you looked like you could be from âanywhereâ and that your hair curls up ânicelyâ when wet unless youâre okay with wigs and sew-ins. Itâs a problem. We need real Black diversity rainbows that show our RANGE from lightest to DARKEST and also that show an array of phenotypes and it would be really great if we prioritized AFRO phenotypes as the standard, not the exception.
The faces our media prioritizes are the faces people prioritize because theyâre the faces you see the most ambiently as media permeates our world.
*To clarify: My fatherâs father was very dark skinned and from the Carolinas, his father (my great grandfather) was a sharecropper. However, my fatherâs mother and her whole family were lighter skinned (not one-drop like my mom, but clearly part Indigenous peoples and lighter than the brown paper bag, like my motherâs family) and they owned property in DC through my grandparents (who I never met bc my dad was also very old when he had me) until I think the 1970âs or 80s. The main difference between my fatherâs mother and my mother is that my motherâs family has more white blood it seems. My grandmother (my fatherâs mother) was very proper and my darker skinned father couldnât deal and left home early, starting his life on a very different path. His mother, like my mother, had a failed relationship with his darker skinned father.
*If there are others, I never met them, they are unknown to me.
*please send me more examples if you know of any Black women actresses darker than Kerry Washington.
*Viola Davis is obviously the exception to all of these rules but SHE WENT TO JUILLIARD, meaning she is very excellent and has had SUCH A LONG CAREER BEFORE GETTING HERE (AND BLESS HER)! Taraji P. Henson (also about Kerry Washingtonâs complexion) didnât have to go to Juilliard. No shade to Taraji because her accent sounds like my momâs and sheâs from DC and I love her. AND IT STILL TOOK TARAJI LIKE 20 years to be famous. She had her breakout role in 2001 in Baby Boy and I saw that movie a million times and even I am guilty of not knowing her name until Empire.
*also forgot to mention that Shonda Rhimes, a darker skinned Black woman, is responsible for most of the darker skinned Black women on television. We are left to constantly do the work for ourselves.
After the election (12 -3 -16)
I've been mostly silent on politics since about a week after the election. I'm frustrated with words and their impotence rn. I'm frustrated with the ideologies I was educated inside of because they can't really protect me.
To be honest, I'm afraid. And not just for my physical body, but for the collective body of Black folks in america. But I've already been afraid and I've already been sad, because I know how many Black people don't get to live in peace because of white supremacy.
I am aware that the way I live (not financially bc I have little money but socially, regarding safety and work) is out of reach to many Black women and femmes, especially since my father used to tell me it was out of reach to me. I am currently in a place I was told I'd never experience and I spend a lot of time asking myself how I got here and a lot of the answers worry me. The answers worry me because they tell me that the playing field isn't even. It's not even because when I would tell my father it wasn't fair that we were poor and he'd say "Life isn't fair", I knew that was a bullshit response and worked very hard to get what I wanted from life. But also I had advantages that made working hard easier. I'm trying to unpack those things for myself so that I can grow to understand who really is in danger.
It seems that a lot of Black people are in physical danger and they've been in danger and everytime I hear a siren outside my window, I can imagine it is coming for one of those Black folks right in Philly and so many poor Black people go unseen/unthought of/unmourned until/unless their story makes "news", but for every story we hear, the death count is still higher and so, rather than be afraid for myself, I'm afraid for the people who get harassed by citizens and police everyday because their bodies remind that slavery happened, that it is an undeniable fact or because those Black folks refuse to forget and not be angry.
It is hard for me to not be angry because when you think about how poor Black people are treated, it is hard to do anything but cry because it feels like there's so little I can really do. Systemic oppression comes for poor Black people everyday, it comes for uneducated Black people every day and it tells me to look away and keep my eyes on my work less I want some, too. So in my work I'm striving to care regardless but all I can do is make work, I am not a politician and do the people that kill Black women and femmes care that I love us? Can my love be a shield that protects our real bodies from pain? It cannot.
Theory cannot be protection from a real bullet. So I've been quiet more, because the reality of that statement (while maybe it is obvious for some) is new to me. I thought we could all live in a world of ideas and then I realized how few people even go to college and then the election happened and a lot of people realized that even if you do go to college, you might still vote for Tr***. So college doesn't make you better or smarter (unlike what everyone basically told me), and the liberals were wrong that class now matters more than race (and even that leaves a lot of Black people to die if it were true), and I keep wondering why power and money are more important than life for many, and how in 2016 someone could still want a person dead based on their ethnicity, skin color or religion. I am realizing, through walking around, reading the news, talking to people and following feeds that the world is so much more dangerous outside of academia than I could imagine and I don't know what we do.
Black feminist futurity is really all I have right now, a future that is beyond current fact but that I'm striving to envision into existence. But I have to reconcile that with our current reality, a reality where our environments are becoming less safe each and every day because of the election. For some of us, our environments have been killing us our whole lives. That is our current reality and it is looming.

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SCRAAATCH at Floristree, November 19, 2016
SCRAAATCH was on @boilerroomtv this weekend for NON Worldwide
Check it out here:Â http://bit.ly/2efVEoxÂ
http://bit.ly/2fanjGH
current feelings about the election and life in gen
softness and Black women
softness for Black women is a political act in a world that constantly tries to harden us, to anger and frustrate and confuse us. because the world thinks my body is less worth protecting, less worthy of freedom, of dignity, of agency and that makes me angry, so angry that I worry my anger will give me cancer. softness in the face of all that rage is political, it is an act of survival, of resilience, it is the understanding that you can resist loudly and remain physically soft, intact, preserved, delicate, you can dare to treat yourself like you're fragile, like you might break, like you need rest and love and care.
Earlier today in Brooklyn right before a torrential rain

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Daydreaming đ
being softÂ
breathing
lace as camouflageÂ
Thot Fantasy @newhive Microsite + mix
âThinking about all the Black femmes who start out in some type of sex worker position and become musicians/artists/thinkers/leaders and how that relates to my own hussle and how beautiful hussleling is esp considering how state oppression makes it hard for Black femmes to make substantial money or money equal to their white and brown counterparts, let alone men, in other types of labor. to refuse the role of domestic worker or secretary and to choose sex work as a way to make your body the source of your income is a radical act esp when the patriarchal (or matriarchal) figures in your life only act to oppress you further, though still inside of this radical gesture there is potential violence, and also many questions of ability and access and historical perceptions of Blackness, but this mix is for all Black femme sex workers and especially the #thotsâ - Mhysa
The art world still has a very serious race problem. It's time to start caring.
This just came out. âŞ#âcindygateâŹ
Thanks to Priscilla Frank at The Huffington Post for doing the issue justice and big up to Elle Perez for going to the museum and photographing the placard <3
-- Since encountering the blackface works, Philadelphia-based artist E. Jane has used the hashtag #Cindygate to spread awareness of the racist moment in Shermanâs oeuvre. âCindygate is an attempt to refuse white contemporary artâs narrative of Cindy Sherman, which until last fall did not include the âBus Riderâ series,â she wrote in an email to The Huffington Post.âLast fall we updated Cindy Shermanâs Wikipedia and added Margo Jeffersonâs critique [of âBus Riderâ], which has since been updated again and the critique moved to a section called âControversyâ with the art defended by the Museum of Modern Artâs Eva Respini,â Jane added. âWatching someone from MoMA defend Cindy Sherman in blackface really hurt and made me feel they had successfully silenced us. But we refuse to be silenced and #cindygate as a hashtag holds the conversation together. It is a place to keep the perspective that says showing blackface as art isnât OK.â
To E. Jane, this explanation, rather than serving as an admission of offense or an apology, offers only a mitigating defense. âThe fact that Cindy Sherman could claim youth as an excuse to perform in blackface, claiming, âI was 22, naive and unaware of potential offense in these characters,â allows for racism that hides its hand,â she said. âArt institutions often allow this, like in the case of Joe Scanlanâs âDonnell Woolfordâ performances, Eleanor Antinâs âEleanora Antinovaâ performances and Martha Wilsonâs âMartha Meets Michelle Halfway (2014).â
âThe very existence of Shermanâs blackface photos poses two damning alternatives: Show the work, and thus hang outdated, racist myths in storied museums. Or omit it, and bury uncomplimentary, racist histories that should not be forgotten. E. Jane expressed that, in her ideal world, the work would neither be exhibited nor covered up.
âI think Cindy Sherman, in showing those ill-conceived images, represents her own oppressive thoughts, which maybe Black publics donât need to see,â she explained. âI think what would be the least harmful would be to not show the work and instead show a quote from her explaining that she once made racist art and acknowledges that it was wrong, since it must be accounted for in a retrospective. I donât think the projectâs existence should be hidden, but I also donât think the work itself should be shown.â
--
What steps can we take to improve? To create an art world that looks out for artists and viewers of all ethnicities and classes? To acknowledge the fact that, as Artsy pointed out, few African-Americans occupy curatorial positions at mainstream museums, few African-American artists get major solo museum shows, and many works by 19th- and 20th-century African-American artists are undervalued by the art market relative to those by white artists of equal standing?
âCare,â E.Jane said. âI think care is so important. Caring for one another means considering the feelings of others, especially those who you historically have been able to oppress and terrorize, and asking yourself when you make art, âAm I caring for all my publics when I make/say/do this?â I think the violence of art world ignorance is that it creates this messy bind where people think they are being inclusive, do something wrong and then think they should never try to be inclusive again for fear of messing up instead of thinking about what went wrong and planning to do better in the future.ââ
Cindy Sherman defended her use of blackface in the bus riders series by claiming she was ignorant of the violent implications and naive in her attempt to be inclusive. Here are some of my responses to her new statement about the series as well as her statement. The work is currently up at The Broad in LA.Â
Softness as a political act
So soft you'll never make me do your mule work ever again
So soft that men will fumble over themselves to protect me
So soft that other femmes will comfort me when I cry and not say "stop crying"
So soft that you'll feel guilty for your racist stare/so soft that I won't feel it

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the fugitives and the avant garde
âThe avant-garde wonât save you, but the fugitives might.â - E. Jane / E. ScraaatchÂ
is there a stake in refusing the name of the avant garde?
hereâs the difference in direction b/w these two terms for e. jane, as i read them thru glissant:Â
1) the avant garde â perhaps the foremost part of the âmoving, transient rootâ of the conquerer (Glissant 14), a progressive movement toward the futureÂ
2) the fugitive â the one running backwards, the one made to march, the maroon, the âcircular nomad.â or even the migrant or homeless who settles in parks where tourists can see them, and where police come to break them up. futurity a question mark.Â
the fugitive as the one running backwards. <3 Thx @avantglobe for the thought.  Â
âIf the state, capitalism & surveillance want us to be visible somebodies, it might be a good time to be undercover nobodies.â - Reina Gossett ââŚa glorious nobody hovering at the end of the world.â - Saidiya Hartman, as quoted by E. Jane