Thursday, April 28, 2016

Monday, April 25, 2016

earth tones.

portrait of a colored white.
pencil on paper.
22cm x 16cm.

if the nazis were big on racial theory-
what is the usa doing following suit?
from someone who mixes color for a living:
none of us have white or black skin.
and if white is not a color then neither is black.
there is no color problem.
it is a tone problem (that is completely useless).

Saturday, April 23, 2016

Thursday, April 14, 2016

responsibility lies.

male leaders: citizen bleeders.

Tuesday, April 5, 2016

Found in CURARE, 1996.

It is not by mere chance that,
although myths are presented in the form of a naive structure,
they end up invading every social area.
...
Naturally, mythology is not constituted by pure forms.
On the contrary, it generates multiple combinations and hybridizations.
In many cases, however, they are presented as nature
although they are only imaginary structures.
...
For these Artists,
anti-academicism had become not only a mere manisfestation of the avant garde
but also of anti-Colonialism,
which served to unify their particular socialist and anarchistic views
on which they pinned their hopes for a forthcoming revolution, ...

-Francisco Reyes Palma


In the center, an angry female worker with short hair,
dressed in a short bright red dress, and wearing high-heel shoes
carries a baby in one arm and pushes away a threatening soldier,
who brandishes a sword in front of her.
Next to the woman a male worker who retracts his right arm
threatened by the sword
does not show the assertiveness and confidence of his female companion.
Behind them are the heads of menacing soldiers
pounding on workers
who defend themselves.
On the ground there are two workers who have succumbed to the soldiers' blows.
Curiously, the only character whose eyes are clearly shown
is the woman.
With the force she exudes and her central position in the fresco,
she steals the show, ...
Why would Rivera paint such a provocative work, and why was it not reviewed?
...
...this fresco [Uprising] of urban strife,
even if it depicts Mexico,
would have appeared much more threatening
in the United States of the thirties than Frozen Assets, ...
Though Frozen Assets presents a gloomy portrait of New York
and is bluntly critical of the inhuman aspects of capitalism,
especially after the Crash,
Uprising, as its title indicates,
must have been viewed as inciting rebellion, ...
The red dress, the red flags, the fists, the anger,
and the brutality of the law enforcers
would have displeased,
if not scared a few,
especially
if this contemporary Mexican scene
could be interpreted as an American one.
Another fear could have been generated
by the powerful image of the rebellious female worker,
protesting
her
exploitation
as a woman,
wife,
mother,
and worker.
...
With the Crash, Americans suffered more
than the disintegration of an economic system
which had offered great promises of progress;
they also witnessed the shattering of their aspirations for a better civilization.
...
Frozen Assets might have 'shocked' the Rockefellers,
but it expressed very perceptively
the feelings of disaffection of the American public,
and their distrust of businessmen and financiers
who "had built empires at the expense of thousands of workers and [...]
had precipitated the economic crisis
through bad management
and the misuse of capital and public funds".

-Sabine Mabardi

Frescos Uprising + Frozen Assets
are from 1931.
Painted by Mexican Artist, Diego Rivera.

The current year is 2016.

Tuesday, March 22, 2016

shooting stars every night.

 lapiz + oil pastel + pluma + marker on paper.
49cm x 32cm.