Red Threads by Poulomi Desai and Parminder Sekhon.
This is an insightful photographic book by two very different photographers, Poulomi Desai and Parminder Sekhon, tracing their contrasting portraiture work over the last 20 years. The images historicise and explore layered and complex issues of sexuality gender race class and identity within a political framework, with essays by Sunil Gupta, Cherry Smyth and Raman Mundair. Published by Millivres Press, supported by Usurp.
Book available through Desai’s site + events news for her arts collective & gallery in England.
I have found The One – performance 25 March 2011
amira.h.’s performance, The One, is an act of rebellion. Raised as a Muslim, much of amira.h.’s adolescence was spent thinking about, talking about, and fighting about the issue of marriage. Now, at age twenty-seven, these same issues are still making their presence felt in her life-the contradictory life of an unmarried queer Muslim visual artist. Intrigued with instruction and ritual, as well as testing the limits of the body and how much it can endure, amira.h. presents herself, alone, as both bride and groom performing one of the rituals of marriage.
Exorcising a tradition that will not take place in her life, the solitary figure portrays a sense of mourning, pathos and loneliness, with the end result being strangely celebratory. amira.h. invites the viewer to consider and question their own assumptions and expectations concerning gender, sexuality and power whilst she stands on the dichotomous altar of her identity. Come along and celebrate The One. amira’s work questions the roles of young women in the Muslim/domestic sphere and (expectations placed on them); fat/queer/feminist politics and rituals (in marriage and religion) and transgression of these/contradiction/failure.
via art gallery adelaide - artoom5
Photos by Dru Donovan
Young American photographer Dru Donovan’s photographs are ambiguous and sensitive and compelling. Looking at the images, its hard to know whether her work is staged, or more reportage based. She graduated from Yale last year, but information on her or her work is scant, which actually serves to make the images more intriguing and open to interpretation.
Taking place in a strange suburban limbo, and dealing with issues like body image and the awkwardness of teenage years, Donovan’s work shows subjects seemingly uncomfortable in themselves, often awkward in front of the lens. There are shades of Diane Arbus with her uncanny knack of capturing weirdness in mundane situations, but it’s Donavan’s ability to capture the vulnerability in her subjects in such a thoughtful way that makes her work so powerful. A talent to watch.
(words via Field of Vision)
(Source: mekhismind, via sexartandpolitics)
Sarah Pinder and I are putting together a zine!
Call for Submissions:
Penpal Adventures! A Curated Zine on the Experiences of Girls as Penpals
Were you a pre-teen or teen girl in the late 80s and early 90s? Do you remember penpal ads and slambooks? Did you collect stationery, address labels and have a special pen? Did you spend hours writing pages and pages to people you had never met and would probably never meet?
We want to hear about it!
We are looking for personal essays, nonfiction prose, comics, letters/excerpts, photos and ephemera from your days of pre-internet correspondence.
Possible topics include:
- Collecting penpals
- School penpals
- Writing to strangers vs. writing to people you had met
- Stationery and presentation
- Your letter writing persona
- The transition from letter writing to email, websites and social media
- The privacy of pre-internet communication
- Classified ads
- How letter writing informed real life friendships and perceptions of how relationships should work
The zine will be half size and double page spreads are encouraged for visual work.
Deadline: February 1st 2012
Please send submissions to: firstname.lastname@example.org
Pass it on.
Were you? I was. Let’s do this.
Lisea Lyons’ latest exhibition, Lineage…forges inter-generational connections between the artist and her adolescent daughter—capturing quiet, stirring, and evanescent moments that often slip through memory. The result is nostalgic and melacholy—providing a portrait of the artist as a mother observing her daughter’s departure from childhood and of her daughter, entering into her teenage years as her mother once did before she.
Untitled, 2008 via Lisea Lyons at Marx & Zavattero
I’m really drawn to the presentation of matrialineal relations right now.
Especially to depictions of how the emotionally enmeshed relationship between mothers and daughters shifts during the younger woman’s coming of age, to the nuances of that initimate tension beyond femme-Oedipal cliches.
"As young folks of color, as young writers of color, how do we learn to survive, sustain ourselves, and thrive in an industry, economy, and culture that has historically robbed us, that continues to rob us of our diversity, substance, free will, humanity."
#sustaining your art
#barbara jane reyes