NPR interviews Hank Willis Thomas on his exhibition showcasing images of white women in advertizing. It’s a follow up to his 2008 exhibition, “Unbranded: Reflections in Black by Corporate America.” “I think what happens with ads — when we put text and logos on them, we do all the heavy lifting of making them make sense to us. But when you see the image naked, or unbranded, you start to really ask questions.”
This site is updated Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. Carol Borden draws out the best in comics, Chris Szego dallies with romance, alex MacFadyen stares deeply into the screen and Keith Allison probes science fiction.
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By Keith Allison on April 16, 2015
By Gutter Guest on April 9, 2015
Category: Guest Star
By alex macfadyen on April 2, 2015
By Carol Borden on March 26, 2015
Posted October 6, 2012
“I don’t think she knows how the human body works.” Tonjes reads Chapter 1 and 2 of 50 Shades of Grey. For your further pleasure, “A (Drunken) Dramatic Reading” of 2 (NSFW) sex scenes by Gineriella. (And, in case you missed it, Jennifer Armintrout blogged her whole experience reading the book).
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Of Note Elsewhere
Our friends at Pornokitsch share a 1898 Philadelphia Press article on ghosts of the Capitol in Washington, D.C.
The Journal of Popular Romance Studies interviewed author Joanna Russ in 2007 about slash fiction: “Her 1985 essay, ‘Pornography By Women For Women, With Love’ helped to set the terms of the discussion for feminist scholars who followed, and it is widely cited in fan studies. Russ argues that fantasy has to be read in more complex ways than simply seeing it as an effort at one-dimensional wish fulfillment. She posits fantasy as something rich and metaphorical. She reads slash as a genre that tells us new things about women’s sexuality and sexual desire, things that—in 1985—weren’t being talked about except in the very divided feminist ‘sex wars,’ where ‘pro-sex’ and ‘anti-porn’ feminists created ever more polarized stances.”
At Hyperallergic, Jeremy Polacek writes about the history of Afrofuturism and the Brooklyn Academy of Music’s exhibit, “Space Is The Place: AfroFuturism On Film”: “Afrofuturism is an empowering rubric, an approach and aesthetic that clarifies and connects history and the hope, creativity, and pain there within. Afrofuturism is wry, wise, and leveling — it believes that a brighter, more equal, funkier future is within the realm of possibility. You can be different; this world can be different — self-invention commingles with worldly reinvention; Africa is both glorious past and technocratic future.“