What role remains for the wild-hearted artist in a world that may no longer have any use for them?
But to truly rely on [museums] to build systems that benefit us would be much like asking questions posed in this tweet: Is Mastercard a queer ally? Is [insert corporation] my friend? Is the Speed Art Museum a feminist?
I had enjoyed watching the show as I’m sure it enjoyed watching me. I can imagine a similar relationship between the past and present. Our history creating our moment, and our moment informing our history, both relishing in the control they have over the other. A staring contest where everyone can win if no one blinks.
Healthy systems have a tendency to root and spread, even beneath heavily set constructions.
It feels like work that could be enjoyed by the snobbiest New York critic and by your uncle sucking back his second doobie and putting on an Emmerson Lake and Palmer vinyl.
( ' ) ) ^v^ _ (`) _ (__)_) ,-- j j ------- , (__)_) / _.-.___.-.__/ \ ,8| [_] ,-. [_] | oOo ,,,oO8|_o8_|_|_8o_|&888o,,,
The Black aesthetic is bought, sold, traded, and disregarded like a commodity. It feels like everyone else is profiting from our culture except us. “Drifting on a Memory” is a celebration of our collective expression despite attempts to silence, isolate, destroy, and re-tell our stories.