“The trouble is that once you see it, you can’t unsee it. And once you’ve seen it, keeping quiet, saying nothing, becomes as political an act as speaking out.” — Arundhati Roy
via Sit Down, Fight Back – “The trouble is that once you see it, you can’t unsee it. And once you’ve seen it, keeping quiet, saying nothing, becomes as political an act as speaking out.” — Arundhati Roy
showing up and speaking out
When the going gets tough, the tough get reading. Well… that’s not quite how the saying goes, but it is exactly what we needed to hear. That’s why we put together this list of 12 brand-new Bitch Reads titles that’ll energize you for the year ahead, and offer a brief escape from our terrifying Trumpian reality.
After child-birth in 1968, artist Mierle Laderman Ukeles became a mother/maintenance worker and fell out of the picture of the avant-garde. In a rage, she wrote the Cambridge, and the Ayalon Park in Israel. She has completed 6 work ballets with workers, trucks, barges, and hundred of tons of recyclables: in NYC, Pittsburgh, France, Holland, and Tokamachi, Japan. Recent and forthcoming exhibitions are a one person show in the Feldman Gallery Booth at the International Armory Art Fair in NYC, WACK! Art & the Feminist Revolution, at the Los Angeles Museum of Contemporary Art, and the Sharjah Biennial 8, United Arab Emirates. The unsalaried Artist In Residence in the NYC Department of Sanitation for 30 years, she is represented by Ronald Feldman Fine Arts in NYC. Often a visiting artist, she will teach at Yale in the sculpture department in 2007—2008. She has received multiple awards from the National Endowment for the Arts and the NY State Council on the Arts and support from the Guggenheim, Andy Warhol, Joan Mitchell, and Anonymous Was a Woman Foundations.
ripped right from her web site: Brooklyn Museum: Mierle Laderman Ukeles.
I’ve been inspired by her imaginative work on sanitation since first hearing in a book how she shook hands with all the sanitation workers in New Yourk city. And I think the work still has resonance, a path well warn. There are AI’s who could use some of her guidance. And with it the potential to liberate us onec again from the grim, again.
yours in the struggle,
In The Borders of Dominicanidad Lorgia García-Peña explores the ways official narratives and histories have been projected onto racialized Dominican bodies as a means of sustaining the nation’s borders. García-Peña constructs a genealogy of dominicanidad that highlights how Afro-Dominicans, ethnic Haitians, and Dominicans living abroad have contested these dominant narratives and their violent, silencing, and exclusionary effects. Centering the role of U.S. imperialism in drawing racial borders between Haiti, the Dominican Republic, and the United States, she analyzes musical, visual, artistic, and literary representations of foundational moments in the history of the Dominican Republic: the murder of three girls and their father in 1822; the criminalization of Afro-religious practice during the U.S. occupation between 1916 and 1924; the massacre of more than 20,000 people on the Dominican-Haitian border in 1937; and the 2010 earthquake in Haiti. García-Peña also considers the contemporary emergence of a broader Dominican consciousness among artists and intellectuals that offers alternative perspectives to questions of identity as well as the means to make audible the voices of long-silenced Dominicans.
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