• just some notes //
  • Hi, I'm Patricia, a recent Arts Management and Art History grad. This is just a place to collect a little bit of everything here and there, but I'm mostly interested in art and its relation to identity, history, and the body. //
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derica:



Louise Bourgeois, ‘The Arch of Hysteria’, 1993


‘At the moment that is all there is, and that’s not bad. But will there be more? A different relationship of the subject to discourse, to power? Will the eternal frustration of the hysteric* in relation to discourse oblige the latter to reconstruct itself? Will it give rise to everybody, male or female? Or will it remain a cry outside time, like the great mass movements that break up the old system but have no problem in submitting to the demands of order, as long as it is a new order?’


-Julia Kristeva, Polylogue, (1977), 511

* As Toril Moi explains, Kristeva’s using hysteric not as a ‘masculinist put down’ but a descriptive term which connotes a hysteric split between non-verbal substance and the Law. Non-verbal substance = the body; drives; jouissance. 
Significantly, Bourgeois repeatedly figures the hysteric as male/with a penis


Louise Bourgeois, Arch of Hysteria, 2004
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akilivumbi:

17th century painting of the dutch painter Albert Eckhout showing two emissaries of the Kingdom of Kongo holding the two main sources of wealth in west africa, an ivory tusk and a jewel box.
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leonineantiheroine:

artsysharlie:

Girl with a Bamboo Earring by Awol Erizku
“girl with the pearl earring”

yesssssssssssssssssssssssssssssssssss
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curate:

Hellen JoJudith and Her Maidservant
via
fyeahwomenartists 
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Ubakagi: Congolese Collage Series by Askan Honarvar

37thstate:

Ubakagi, a collage series created by Ashkan Honarvar based on images from the Belgian Congo between 1885 – 1908. The artist merged these photographs with images of coral reefs, gold adornments, plant and fabric creating an interesting and striking visual.


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curate:

“In each image I’ve incorporated myself twice, once as the Iranian and once as the American. In some of my images I see conflict and in others, harmony between my two selves. This exploration is a growing one and much more work will follow.”
 From Iranian American photographer Natalie Abbassi’s self-exploratory photo series, “Self Study,” recently published by Guernica. In the series, Abbassi photographs herself twice, one as her “American self” and once as her “Iranian self.” via fesenjoon
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Tingatinga is a contemporary painting genre from  Tanzania, named after its founder self-taught painter, Edward [Eduardo]  Said Tingatinga (1932 – 1972, b. Nakapanya formerly called Namochelia,  Tanzania). At the age of 38, E.S. Tingatinga created the informal art  movement in an effort to supplement his then meagre income. The tools of  his new found trade, high gloss enamel bicycle paint and ceiling board  used to depict colourful yet flat renditions of animals such as birds,  hyena’s, cheetahs and other animals found on the African savannah, as  well as scenes from daily life and spirit figures. Tingatinga produced  work for only four years before his untimely death. His work is said to  have greatly influence another renown East African artist, George  Lilanga. The Tingatinga movement to this day continues to provide a livelihood for many painters in  Tanzania. A tradition that does not espouse to the western norm of  uniqueness. Tingatinga paintings are mass produced, motifs are copied  over and over and further developed.
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fyeahblackhistory:

The Kandakes of Kush. 
Kentake, also known as Candace or kendake was the title for queens and queen mothers of the ancient African Kingdom of Kush, also known as Nubia and Ethiopia.
They were known as Nubian warrior queens, queen regents, and Ruling queen mothers. They controlled what is now Ethiopia, Sudan, and parts of Egypt.Reliefs dated to about 170 B.C. reveal kendake Shanakdakheto, dressed in armor and wielding a spear in battle. She did not rule as queen regent or queen mother but as a fully independent ruler. Her husband was her consort. Reliefs found in the ruins of building projects she commissioned, Shanakdakheto is portrayed both alone as well as with her husband and son, who would inherit the throne by her passing.
One of the most well known Kandakes was Amanishakheto known for defeating the Roman invasion of Nubia by Augustus and subsequently brokering a favorable peace treaty.
Conclusion
The “Kandakes/Candaces” serve as examples of women as powerful figures or clever strategists in their roles as queens, as warrior queens, or as romantic figures, They have had great appeal in times past, and will continue to do so in this present era of feminist or humanist interest in the subject.
Click here for more
References: Nubian Queens in the Nile Valley and Afro-Asiatic Cultural History - Carolyn Fluehr-Lobban, Professor of Anthropology, Museum of Fine Arts, Boston U.S.A, August 20-26, 1998
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nuestrahermana:


“Shadi Ghadirian was born in 1974 in Tehran, Iran. She is a photographer who continues to live and work in Iran. Ghadirian studied photography at Azad University (in Tehran). After finishing her B. A., Ghadirian began her professional career as a photographer. Currently, Ghadirian works at the Museum of Photography in Tehran.

 
Her work is intimately linked to her identity as a Muslim woman living in Iran. Nonetheless, her art also deals with issues relevant to women living in other parts of the world. She questions the role of women in society and explores ideas of censorship, religion, modernity, and the status of women. Her work has been exhibited in museums and galleries across Europe, and the U.S.A. She has also been featured in print and electronic media (including the New York Times, Photography Now, the Daily Telegraph, the BBC and others). Her work is in the collection of the Los Angeles County Museum of Art, among others. www.shadighadirian.com.”
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