Category Archives: Pop & Culture

Photographer Gabriel García Román Shines Light On Queer People Of Color

Get into this. “Queer Icons,” is a beautifully done multimedia photography project by Mexican-American artist Gabriel García Román. “Queer Icons” shines a celebratory light on queer people of color and makes a point to re-frame the subjects into idols, referencing catholic iconography. There’s a pastiche style halo in every piece.

“My images are visually giving power to a group of people that are generally dis-empowered. I want young people to see these images and see them as an example of someone powerful and noble that they can become,” Gabriel told Fusion in an interview.

Gabriel has too many awesome pieces to fit into this one post. But these are just a few of my favorites. Click here to view more works by Gabriel.

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The Big Ass News Puts Kim Kardashian’s Butt To Good Use

And they say journalism is dead.

Two Miami Ad School students and freelance art directors Jen Garcia of 360i and Carl Larsson of Havas are here to prove it isn’t with the help of Kim Kardashian’s ass. The duo created a website entitled The Big Ass News that puts Kim Kardashian’s famous for nothing ass to good use. The Big Ass News, shares primarily international stories from respected outlets like the BBC, CNN, The New York Times, The Guardian and more and users have to literally click Kim’s butt to read the story.

The idea is brilliant because most people know more about Kim’s ass than seemingly more important world events. The project is seemingly a cultural wake-up call. Whether it breaks the internet or not, The Big Ass News is sure to make you click. And this is click bait we can vouch for. Check out some of the stories below.

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Meet Post POPcalyptic Artist Sage Guillory

Sage Guillory is a transformative artist from Atlanta, GA. As a child, Guillory doodled on everything he could get his hands on. While other kids were heavily focused in school, he was not. His drawings allowed for him to escape his reality. Over the years he has developed a distinct style of art, which stems from his overactive childlike imagination. He attributes his inspiration for his work to Greek mythology, Egyptian culture and humanity as whole.

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Serving With Slaysia, Ep. 4

Asia… Asia, Asia: Asia. Is a very real thing. And reality will deal. In increasing measure. Well into the forseeable future. Asia is a Hollywood Renaissance. Black, Female, French, Bulldog. Serving for the stars. Slaying for life. Sitting sideways. Shading moonlight. Asia didn’t sign up for this, but — as a wise man once said: you don’t sign up for what you’re born into. Asia was born to slay for life and serve the light. Werk. It. Black. Sheesus. #amen

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I stole Mommy’s cellphone and will be posting photos all day long. I HAVE A BIG ANNOUNCEMENT!” – @MissAsiaKinney

Act 1: Serving “I’ll Worry About My Opposable Thumbs – You Worry About Your Data Plan” Realness

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I love to eat while I sketch my ideas for the fashionable puppy line I’m starting!

Act 2: Serving “Let Them Eat Couture” Realness

 

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I get hooked up with the finest in puppy products, so I really have a knack for what’s quality. My vision is to find creative & functional ways for pets and their owners to bond!

Act 3: Serving “Function, meet Fashion; Conjunction Funcshion, meet the Finest Hook Up This Side of Neverland” Realness #creativerebelleion

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ORGANIC GRAIN-FREE LOCAL FARM INGREDIENTS are the best for our body and brain. That’s what I eat! That’s why I’m inspired to also create A Pet Food Line.

Act 4: Serving “GRAIN-FREE MEANS CAGE-FREE MEANS KANYE CAPS – LOCALS ONLY MEANS LOCALS ONLY: #CHICKENS” Realness

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After a sunny morning looking out for ‘Bunnies & Truffles’, I love sniffing around the rose garden for the latest luxuries!

Act 5: Serving “Cosmopolitan Coming-of-Age” Realness… where Botticelli meets the Bildungsroman #HereComesKojiCottontail #PigsLoveTruffles #MaturationStation

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Keep a look out for a special announcement. I’m the star of a new campaign for a major luxury fashion brand. You never know, I could grace the pages of Italian Vogue.

Act 6: Serving … I can’t… Look, at, that, face. The realness can’t be contained by quotation demarcation. Let’s note, that Asia has a diamond and pearl collar that serves “Loving Me Is Like Chewing On These” Realness. She has a purse. Asia, has a… gold clutch, that serves “Reverse Ownership” meets “More Studded V, Mother Monster Couldn’t Get Through To Me” Realness; while the collective spread gives pure “Champagne Meets Crystalline On The Solo Picnic Scene,” “Close Down Roseland, Open Up Rosegarden,” “The Reality of Not Allowing This Face To Fool You – I Beg Of You, Please Realize Said State of All Proximal Realities” Realness to the utmost… Um, and no – I know, but we can’t right now with the over-the-shoulder… it’s, it’s much too much… Asia knows the collective sentiment.

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I love reading high fashion magazines and invisioning the clothes & accessories in dog sizes for my Pet Clothing Line

Act 7: Serving “Hold Your Head High, Paws (Figuratively Considering) To The Sky… They Gon’ Try to Try Ya, but They Can’t Deny Ya #keepitmovinghigher” with an incomparable dose of “For the Stars, For the Gods, Honoring For the Selfie Nation” Realness … and a side of “The Only Time I Envision ‘En’ before a ‘V’ is when I’m Freeing My Mind with 90s R&B #Invision #EnVogue” meets “My Champagne Glass Remains Half Full, I Am Puppy Ambition – Never Thirsty #sipstea” #educationisthemotivation #readupchildren

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In the afternoon, I go for a ride. I have SKIN & FOOD ALLERGIES, so I’m an expert in the most PROTECTIVE, COMFY, & STYLISH FABRICS FOR DOGS. Sometimes even Mommy’s jealous of my lks! …

Act 8: Serving “Keep In Mind That I’m An Artist – And I’m Sensitive About My Skin” meets *”Applause” VEVO Certified Voice* “that scene – my dog” Realness with a daughter dose of “some Eliza Doolittle realness. My life is cinema.” Realness. Um, and again – can’t even with the diamonds (crystals?) in the ears… she hears you loud and alchemically (Swarovski?) clear… girl’s best doublegem twins #SecretSafe

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After a long day of work, laying in the roses, trolling the chicken coop, & walking on the town. I get a nice bath that is gentle on my skin with warm towels that keep this short-hair happy!

Act 9: Serving “Planet Billy GOAT Plush” Realness #ShortAndSweet #KeepItRealDotDotDotClean

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Once in a while I even get aroma-therapy massage and it really helps me wind down if I have an itchy day! Mommy and I can recommend all sorts of soothing remedies.

Act 10: Serving “Scent of a Recommendation” meets “Soothe You Can Use” Realness

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I can’t wait to share even more of my ideas. Look out for even more about me on littlemonsters.com! I can’t speak, but I try my piggy best to show “Thank you” and “I love you” with my eyes. Every dog is forever a puppy and should be loved like one.

Act 11: Serving “Eye Saw The Sign” meets “Hush, Puppy Love” Realness

(… Meanwhile, on Planet Fainting Goat, I’m serving “I just came to littlemonsters.com to have a good time, and ever since they kicked me off for what I assume to be underutilization of said platform – I’m feeling really attacked, and bullied, right now” Surrealness… neither here nor there, just a parenthetical aside.)

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Watch This Space: … and those Brown Eyes.

The Choking Kind: A Meditation on Black Queer Art

This round blue ball we call earth was stuck in my throat and my eyes were beginning to swell, and my hands were beginning to shake, and I was realizing that my death was swiftly approaching. My vision began to fade, and I could feel my body split into two. I was leaving. Like a bullet to the heart, like a shock to the brain, I was fading out of this earthly existence, and it hurt. I could feel people picking at my skin, one atom at a time, until there was nothing left of me. Dust! A few good stories and a smile, a couple of articles and a joke. With me looking the grim reaper in the eyes, my existence’s oversimplification felt like a terrorist threat, not simply some lazy oversight.

Toni Morrison never lied. I could feel every scream, every heartbreak, every call to war, every epiphany, every struggle be muddied with sun and bleach. I was going to die by the hands of this world, and this world was going to say that I enjoyed it. I should have told my story louder and more often and with more colors and shades, I thought.

In that moment, I woke up and the world escaped my throat and fell into my belly. I was alive. Not just alive with my heart and my eyes, my soul was thriving. I knew what I had to do. I had dreams to remember and stories to tell. This was the new prayer of my life. I desired to tell narratives that were more than black queer lullabies, I wanted my stories to explode and drip down to the Earth’s core. I wanted the world to choke on my essence, just like I had. I decided to be heard, and the world bent to my decision.

I no longer ran from the things that I declared ugly or disgraceful. I called on them for this new mission of my life like Santa Claus would call on reindeer. On, heartbreak! On, desperation! On, insecurity! On, redemption! On, divinity!

With that realization, I met life and she was in love with me, and I began to fall in love with the larger picture I was drawing. My life’s work is to do my part in making sure that black queer narratives are able to be expressed to their highest expression. My life and my talent are simply vehicles to ensure that black queer art is able to reach equity in a world that would rather us choke on it. Luckily, I am not the choking kind and I have been prepared for such challenges.

Myles is the author of “Large Fears,” an upcoming children’s book illustrated by artist Kendrick Daye. Click here to find out how you can help make this idea into a reality.

Vinyl Mind Flow: RAINBOW BODY /// Millie Brown

Full disclosure: I went to an art gallery one day, one thing led to another and here we are.

I don’t know much about art, but I like words. When collected in a contained space, regardless of intended cohesion, sometimes these words take on a life of their own. Regardless of proper punctuation or standardized syntax, sometimes these words manifest into atmospheres of linguistic articulation made visual. Sometimes… the message is nothing more than the mood conveyed, and the connection between messengers new and old. This… could be one of said times. #kanyeshrug

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#SWIPERGETTOTHEPOINTALREADY #IMTRYINGTOBUILDASCENE #LETMEFINISHTHEPATH

Fair warning (because, yes, even more pretense): sometimes i read. people who sometimes read sometimes get wordy, this is undoubtedly one of those times. #THEREWILLBEWORDS these words, again, may not make sense #IDONTWRITEREVIEWS #IWAXRETROSPECTIVEANDWANEDIALECTIC

#HERESWHENYOUCANSTARTPAYINGATTENTION

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Rainbow Body is the fourth Solo Exhibition by British performance artist Millie Brown. An evolution of Brown’s original and most recognized performance work, Rainbow Body presents a survey of the artist’s new home in Los Angeles. Developed from Brown’s non-traditional, performance-based methods of painting from the inside-out, Rainbow Body features a post-contemporary study on abstract expressionism within a California palette.

Using almond milk, food coloring, stomach and hands, Brown creates aesthetically whimsical paintings with a deep underlining of raw human emotion. Each piece tells the story of the Los Angeles sky, its past and its present, its light and its dark.

Viewing the body as a vessel for spiritual practice, Brown pushes physical and mental boundaries to reach a state of enlightenment from which creative expression and healing derives. Rooted in Tibetan Buddhist theology, Rainbow Body is the phenomenon of viewing spiritual transcendence from a third person perspective. Rainbow Body is based on three wisdoms, representing the three categories of paintings: ground, presence, and energy.

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For those of you who don’t read, a touch of how it felt in my head on first blinkk (BECAUSE YOU’RE IMPATIENT, YOU GET THE STANDARD PHOTO QUALITY EDITION *standard photo quality not representative of vivid quality of featured artwork):

And now, for those who do read, a miscellany with the curator:

Natology: so rainbow body, reaching spiritual transcendence, is based on three principals: ground, presence, and energy.

sxb: and was that you, did millie come in and

Natology: Millie said ‘Rainbow Body’ and she said what it was, and i researched it. and then i just know, you know,

spiritual evolution doesn’t just happen by being like: ‘alright we’re on the ground floor, on presence,’ and then it’s like, ‘rad, i just passed this layer,’ like it’s this level – it’s not that easy.

you are on your ground, and then you have a moment of enlightenment, and then you reach presence right. but then – you fxxkin fall right back down, and you’re back on the ground!

so, that’s the way that this show is curated… it shows the natural spiritual transcendence.

so right here you know, it starts off with ground, ground, this is the first piece that was ever made.

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this piece, all of this concentration, it’s a representation – i mean, and this is all unintentional right – but it represents all of the palettes and all of the energy that she used up until this point in her career and then it disperses into light. and remember when we were talking about the aura that just happens to be around this and it’s just so crazy.

sxb: it’s so mental, and i feel like it looks different than it did yesterday

Natology: it does! it always does.

sxb: it seems faded until you see the clear point of distinction in which it’s clearly that, and that’s clearly that. and it’s the mood ring effect…

Natology: this all up here has changed too because of the stomach acid, in the photographs that i have it was much brighter but it’s brought out, the light has brought light into the colors. i think that in art history the things that are going to be most recognized in her work are these negative spaces…

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… you know post-contemporary culture, what i call post-contemporary culture – which is where i mostly operate – it’s mostly you know, art as an experience, and as a part of all of us, and as a part of the art form of what we do: fashion, lifestyle, and, how all of these things cross over interrelate into what the post-contemporary dialogue is and will be. so where is art going and you see that right now we’re living in the most exciting times ever because it’s a tipping point it’s a change in paradigm it’s a historical movement.

sxb: an interesting triad you have is art, academia, and advertising. those are three worlds that kind of fight for that same space of controlling the mindset – because really, discourse at the end of the day is what defines everything. it’s not what you see, it’s–

Natology: how you say it, how you talk about it, how you perceive it and how you tell the story: how you sell the dream.

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because i think like example for me, one of the things that was limiting about academia was that at the end of the day, and again that goes into any of these fields, is that it ends up being a dialogue amongst a very small group of people, so that you can’t really change anything… that you’re all just going so deep down the rabbit hole that you’re only feeding the ego in that conversation, and aren’t really able to reach a larger audience.

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you know, i think that that’s where entertainment really plays in, and how you reach a wider demographic and expand the palette of what is to be the next wave in fashion, art, culture or whatever it is. and again, that all has to do with marketing and advertising… what are the things that work, what are the things that don’t work. there’s a mcdonaldization of culture where everything has been completely watered down and, you know, the mass is just taking what’s fed to them because they’re told that it’s cool – but at the same time you’re having this huge awakening where people who would have never talked about like, a fifth dimension or even just intuition, are talking about it and are like following that intuition and are like being guided to … to what is taking place.

for example: millie brown’s work – HIGHLY controversial, highly powerful

sxb: polarizing

Natology: EXACTLY. that another gallerist would frame a completely different story than the one that i framed or would want… you know, she’s not the first artist who has used DNA, or like has used bodily fluids to create art, and with this greed and two dimensional perspective, you have artists that become pigeonholed into becoming an artist that just makes enema paintings, or an artist that just makes chewed-up bubblegum paintings, or an artist that just makes vomit paintings, and the truth is that just limits the creative expression of an individual.

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that’s why i say like, this is the last body of work of this particular period because from here – you know, Rainbow Body is a concept of dissolving into light – from here, millie dissolves into light. that’s what the performance yesterday was about, that’s what the series is about, and that’s what the performance at the abramovich institute in may is about. blinded by the light where she’s bathed in light, and surrounded by nothing but light and just you know nasa’s recording of the sun…

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and so i think that, and i never noticed the triangles that you pointed out between art, advertising, and academia – but you know, it’s all in how you paint the picture and being able to see understand and to share that story in a way that is … that … that makes sense and that is palatable and that is still super punk rock you know like … i’m still an anarchist i’ve always been super like … on some other sxxt you know like, and a radical, but there’s a way to do it that you know is like… like yesterday when i saw her do her performance i was like, ‘yo, she’s so punk rock! but so elegant and honest and raw in her creative expression.’

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and you know i think, to be punk rock, and this is something i feel like you learn with age… and you know – something that i’ve learned – through time, it’s just, it’s just the way of seeing the world… you know, to be a radical. radical i mean, really just means really getting down to the roots of something…

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and you learn how you can work with the cultural and political climate to get your point across and and do it well and do it the right way and and really be able to stir things up from the root

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but you know you don’t have to be a dirty punk to do it … – ‘cos your mind’s a dirty punk

it’s about how you can get your point across, and again: it goes back to to the discourse, the dialogue, the conversation – because what is anything: it’s the meaning that we give it.

sxb: … the materialized mentality

Natology: exactly.

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… intermission #LIKEWEALWAYSDOATTHISTIME

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So – … I riffed on RAINBOW BODY into a recording device for twenty-five minutes and nineteen seconds: this is the verbatim transcription

(FAIR WARNING: EVEN, MORE, WORDS… EXPONENTIALLY MORE WORDS, VERBOSE LINGUISTIC DELUGES COMING IN WAVES OF INCREASING QUANTITY AND INDEFINITE QUALITY – IF YOU DON’T LIKE SWIPER’S FLOW, YOU ARE BEYOND BEYOND WELCOME TO GO ABOUT YOUR REGULARLY SCHEDULED DAILY HAPPENINGS.)

#thatsaid …

VINYL MIND FLOW #PROSEWEGO

so, i think, in retrospect, there’s something very salient about the journey of the rainbow body. i mean as much as this has been about millie completely and entirely i think the most … magnetic, and attractive, literally, element of the show and the exhibit and the practice itself is the shared consciousness of it all. i don’t know millie. i only recently met the people with involved with the project, and to be quite honest i was quite unfamiliar with anybody in that room before really – and yet, at the same time, it’s the unspoken bond that was shared between everyone who’s experiencing this transcendence of someone else. and it’s this feeling that you’re drawn to – you’re attracted to the opposite, right. so you’ve got people who may feel that much more human when they’re drawn to millie.

and opposites attract, but likes stay together, so we see this as seeming opposites coming together, and yet you remain there. you remain in this space, this physical space of the gallery as much as this mindset.

once you’ve seen this you cannot unsee the scene. and you can’t you can’t return the purge. and the beauty of it is that for as violent and as aggressive and as unrefined and raw as all of this is… the beauty is that you don’t have to return. and that it’s there, and that whatever it is that you need to release from yourself to get to that next level is there on display

and i think at the core of it is that it is her humanity which is being recorded right now.

this is recording her human condition, this is recording her soul and a condition because your light body your rainbow body is immaterial. and the immaterial is of no worth on a material plane, but it was that immaterial spark – that catalyst, that essence, that eternal body which was controlling this material vessel the entire time.

so it’s that millie’s rainbow body is going through its debutante. it was that rainbow body of millie’s that pulled her away from the academic route in england. and it was that same rainbow body that fueled her journey to the states. whether it be new york or whether it be austin, texas – it was that rainbow body right? that essential eternal something that pushed her there, and it was that same rainbow body that attracted different energies to her, and if we’re looking at the starting point as this collapse and this amalgam of every possible color from the palette becoming black. you look at the genesis you look at the origin point of the exhibit. and this is me just rambling, i mean i don’t have reference points outside of my experience which again is the point of this. it’s just if the origin is the amalgam of all of these colors right, the origin her starting point here in this journey is carrying all of those experiences with her here, all of the energies she interacted with became part of hers. and at that point you know it’s interesting once you get to l.a. the lights are blinding.

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and so to go from england to have that rainbow body propel you overseas through the barbecue pit, and again: i don’t know millie – this is just what has appeared to me through the artistry of this legacy that we now are sharing – you know and to have that take you, i guess fast forward all i know is that she went from england to l.a. and she’s en route to new york and so we come to l.a. the amalgam this genesis point that i suppose, where better to transcend?

where better to rid yourself of this form than the city of angels? naturally that’s going be where we become one of them.

we become a stellar body, prismatic and when you’re walking through the gallery there’s almost this sense that you begin in this void, you begin in this black hole – this entity that is the epitome of magnetism and attraction. so dark, and so dense, and apparently void and yet it is truly in that darkness where all the elements meet and converge and it’s that blackness that we share, and the beauty in that blackness. and it’s so natural and yet in this world of convention social constraints, cultural institutions, and the commercialization of all of this, and the agenda of the dominant patriarchy, the puritanical patriarchy, they mar this sense of beautiful blackness and they make it appear as if it is wrong or as if it is bad or unnecessary or unwanted and unneeded – and it’s interesting because it’s that place that we come together in the blindness of it all.

black is no different than white. absence and presence where there is absence there is presence right. it’s the absence of what and the presence of what. and it’s something you feel – we don’t see it, and what you see is black and white, and what we feel is dark and light – and yet it’s all just shades of the same thing.

there is no pure darkness, i don’t believe. i feel there are shades and hues of a light. and so with this again at the genesis. it’s something i found myself focusing on as i was in the gallery, i kept focusing, my eye was caught on that point of emergence: where is the origin? and it wasn’t even the blackness, it was the corner in a very eastern way. the idea that chinese paintings begin in the corner, and they build this entire story out from that small southwestern corner – much like millie’s journey now.

so it’s almost as if she emerged from england, and you learn yourself academically and what you should be. you learn the system. you’re a part of the system. you keep building that framework and you find yourself as a cog – as a cog that’s moving something forward, that’s a juggernaut that you had no control over creating. that you have even less control over directing and so you remove yourself from it, at the expense of that machine itself, because certain cogs are necessary even though they are overlooked – and millie is one of those cogs.

you know, when you walk through here and i went and seeing those pictures remain, almost understanding that these have not been acquired yet, there’s almost a beauty to that. on one hand not all of these paintings have been bought, the idea that someone has seen it, that has the means to acquire it and has not, for whatever reason, on one hand: it’s a downside to think that, you know someone didn’t want it, it’s unwanted for some reason – the marketplace is what you make of it. on the other hand: it is beautiful that  there is this something out there, that the universe didn’t feel it was ready to be released yet. it’s even more wonderful. or maybe there’s a forcefield maybe these paintings needed to remain on a wall for someone to see them. maybe that potential will come in later. but the idea that presence, the idea that it has not been acquired yet, even though it is out there on display… do you want it to be bought? do you trust the owner? who are you trusting with your children.

and in a similar vein. coming from england, being the necessary cog that was overlooked by this machine, this machine that is falling apart. i feel like convention… academia… they’re falling apart, the idea that you’re losing your cogs. education is too expensive. that’s why you have starving artists, and they know how to teach your kids better than anyone else because they were the part of this system that fell out. and this machine, this old machine reminds me of the industrial revolution. coming from england, much like millie – and yet she is the cog that was lost in that factory, and that factory is falling apart. because slowly it’s eroded. in her years here, she’s helped build perspectives and begun channeling the energy which she’s come in contact with, which include some of the greatest artists of our modern era. whether you know who gareth pugh is, who ruth hogben is, who nick knight is, or you don’t – you probably know who lady gaga is, or vice versa. and you have an opinion on them all, and they all have an interactive opinion on millie.

and all of that’s being brought to l.a. the cog that fell out. and so you go from that, and you come here to this gallery and she becomes a piece of art. art emerged from academia which is beautiful. much like many of our artists now. very well researched, very worldly, and they learned from the book of nomadic nature, the cosmic dancers – and so she turns that sense of lost academia into future art. like a ruth ginsberg, she’s making these paintings in a way that is unfamiliar to the standing order – and that is very fair. a standing order of masculine puritanical patriarchy american globalized free market deregulated business… you’ve got a young woman who really isn’t bound by any of these constraints, as much as she is in this body, this material body that has deemed her a woman of british origin, and that is really all i know about millie.

and the funny thing is that i try to find more conventional words to define who millie is and yet it doesn’t really matter because the point is that she’s really just millie and all i really know is this artwork and i am still able to talk endlessly about this and again that is the point that i am seeing my self in her, in her journey. from england to l.a. to new york. my journey from england to l.a. to new york. and you’re seeing these things, these themes that i would not have thought about before – except they are shared. and then you begin to realize that it is only shared consciousness. it’s only those shared experiences that truly do matter and so it’s what can you…

what is shared, what is differentiated? how do we have a common ground and how do we have … distinct projections.

it’s that commonality and the element of extraordinary. that which we don’t share, that divinity. it’s not shared in this mid space it’s shared at the source. so, while artists appear individually different, they’re all truly artists and the fact that i see myself in millie, and i don’t want to say that. i don’t want to put myself on that pedestal, but that’s what artists invite you to do, to see yourself in them. and then join them. so again, this journey has become a lot of that.

seeing millie bring her work here is beautiful, because l.a. is where stars are made and here millie has made herself with the help of great beings who have honestly given shape and form and propelled stars who we currently watch traverse across this celluloid life.

los angeles, west hollywood, the design district. all of these beautiful symbols coming together and millie at the core of it all. so, you go from academia of england to this new art of l.a. you’ve made a star of yourself in the city of angels and on their wings you travel this rainbow body, once again propelling, propelling this material vehicle. and you shed that in l.a. and you leave your corpse here and at the private show it looked like clay, it looked like chocolate milk. it looked like all of those points of origin. whether a kid watching your saturday morning cartoons, sipping on your yoohoo, or nesquick, or pure chocolate – cocoa and milk. or whether it’s the clay from which we emerge, the crescent –

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that christ consciousness. ingested regurgitated and put on display. glazed stone like an altar descended as the point of ascension for a material body which was left behind, and yet from there, from that rainbow body, we go to the light body in new york – in gotham. where we have a manufactured sun, a represented sun, and it’s almost as if we have this artifice. a projection, a representation in this land of manufacture – which would be new york.

it’s like the moon, it’s lunar. it’s the end of this linear journey. it’s almost as if millie is once again being invited back into the pantheon, invited by marina who is a master of this, of the life experience of this human condition. in gotham where the light projects so proudly because there is no nature on that rock. and millie became a solar body in l.a. where they live in constant close proximity to that solar orb everyday. and millie is bringing that natural light, in a rainbow body, in the ethereal to new york. it’s almost as if she’s at parity with this manufactured nasa projection to become that which has been presented back, and it’s visiting that machine that has fallen, it is visiting the industrialized astronomy of it all. it’s kissing the cosmic, but it’s kissing the cosmic as a peer. it’s kissing the cosmic as … a divine compliment. it’s blessing the ivory tower… from the stellar canopy of your divine residence. and i guess it’s just the purge. i guess it’s just acknowledging your humanity and giving it back to the world that created it, knowing that you are not of this world.

that you came here assuming a position in it, once you recognize the reality in that. the truth and the reality that that is not your end-all-be-all, and recognizing the beauty in the flaws the beauty in the pain… and above that pain is your rainbow body, that you can overcome it all, through what catholics call mysteries, and buddhists would consider the purity, strength and validity of your own mind, to overcome all of the appearances.

so i think in that we all find ourselves. somewhere in that rainbow body. the fact that because it’s a rainbow means it’s shared, it’s something we’re all a part of. it’s going to be years, it’s going to be an eternity, it’s going to be miles before i even begin to fathom the peak of what this all will become – but like ruth ginsberg, this is speaking to a future age and i am merely a present being. and I’m not going to assume i know anything about this. i just know that from england to l.a. to new york from dropped academia to attained artistry to transcended advertising – which is just selling the idea of happiness – y’know… new york is the home of advertising and y’know millie is more than an advertisement. it’s taking art to madison avenue and it’s putting it in front of that billboard, it’s returning the billboard to an altar. it’s making sure that if you’re selling something, right, that your business is based upon the shared consciousness of the christ consciousness over corporate commerce; and not solely the idea of Jesus in the bible, necessarily – it could be that – but just the idea that you, as a temple, you as a canvas, you as the altar upon which you stand. you are that christ, that that is a gateway to divinity.

it’s the thing that i truly love about being a catholic is the idea that you can become that divine. that you are here to prove that this human form can be a vessel. that this human form can be a vehicle to another dimension.

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and all of this is to say that i just walked into a gallery one day to look at some paintings, and i got an invite to a show, and i observed. then i became the observed staring in a mirror, finding my way through the morass and the myriad of elements that are contained in this seemingly vulgar… regurgitation. and vulgar might be the best word for it, it’s common. humanity is common, the vomit is common, it’s all common but the fact that we all know what it’s like to be common. it means that we’re no better or less than anyone else. and because we’re all the same, because we’re all one. so millie’s journey becomes the journey of us all, and i hate to be cliché , but that’s when you know something’s true: when the clichés begin to make sense.

and so becoming a cosmopolitan citizen, you know, creating your masterpiece in three epicenters of the world – and this only being the fourth show, it’s like a presidential tenure, and as millie presides over this art world in the midst of a turning point, a tipping point, and as she does so so subtly, so silently, and yet so loudly – the deafening roars of the regurgitation like a mother bird, like a raven, like a valkyrie regurgitating divinity to these equally divine denizens who have yet to know their destiny – it’s fine, because this dissent away from academia, this dissent away from conventional academia the dissent away from modern advertising this dissent away from assumed industrialized art, all of these things are captured in this rainbow body. and it’s this dissent that speaks to the future age, and it’s this dissent from assumed humanity, from assumed vulnerability, from assumed vulgarity that makes this such a beautiful prismatic display of the immortality of a one millie brown – and quite honestly, i don’t know what to say about this to make it academic.

i don’t know what to say about this to make it something greater than what it is. i don’t know if these words have deterred from millie’s vision, i don’t know if they’ve blinded the vice, i don’t know if they’ve blinded the vise. i really don’t, and i am rambling – but i think the beauty in that is that i found this in my own mental vomit. this mind vomit i suppose is another step toward the realization of my own rainbow body. and this is not to put myself on her pedestal, i know nothing of what it’s taken her to get here, but again for all of the things i don’t know the one thing i do know is that we do have a shared journey and, i mean, from this point on i look forward to travelling the rest of this path and hopefully, one day, from that cosmic canopy, we’ll all just sit atop and reminisce on that day when millie took the crown and became rainbow body brown.

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Photographer Spencer Charles’ “Museum” Opens May 1 At City Of Ink

On May 1st, 2015, Spencer Charles will be having his first solo photo exhibit, entitled “MUSEUM.”

In December 2014, Spencer Charles released the MUSE 2015 Calendar. The calendar consisted of original portraits and nude work of women of color, taken by Spencer Charles. These women and all of the women Spencer shoot serve as muses. Museum is a visual exhibition continuing along the same theme as the muse calendar, showcasing women of color as inspirations for great art. Museum will showcase mostly black and white nude art with a minimalist style. The flow of the event will be meant to give off the impression of a museum.

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Museum will take place at City of Ink, 323 Walker St Atlanta GA 30314, from 7pm-11pm. RSVPs for this event will open on April 20th, 2015. For more information click here.

A Peek Inside Gabriel Moreno’s Creative Process

Madrid based illustrator and artist Gabriel Moreno is letting us into his creative process. He recently shared these images of the process of creating his latest work entitled “Laura.” The work was created with Pencil, Pen, Charcoal and Oil and follows suit with his in-depth style.

Take a closer look at Gabriel’s process and let us know what you think in the comments.

 

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Hank Willis Thomas’ Unbranding Technique Puts Mainstream America On Blast

Hank Willis Thomas’ fifth solo exhibition at the Jack Shainman Gallery, Unbranded: A Century of White Women, 1915 – 2015 builds on ideas explored in his celebrated Unbranded: Reflections in Black by Corporate America 1968-2008. This go around Hank’s unbranding technique explores notions of virtue, power, beauty, privilege, and desire in mainstream America. The inspired and satire work spans the rise and decline of print advertising, the work provides a spectrum for the ideal feminine type that has been marketed to individuals across gender, racial, and socio-economic lines throughout the past hundred years.

Unbranded: A Century of White Women, 1915 – 2015 runs through May 23 at Jack Shainman Gallery. If you’re in New York City, make sure to check it out. If not, take a look at some of our favorite pieces from the show below.

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Explore The Work Of Extreme Body Painter Johannes Stötter

Johannes Stötter is an artist, musician and fine-art-bodypainter is a passionate artist and his works are influenced by spiritual and nature-related themes. He tactically blends his subjects into their surroundings and sometimes makes them look completely like a different object. Explore some of our favorite extreme works from Johannes Stötter below.

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20 Quotes On Creativity, Commerce & Design From Andy Warhol

Decades after his death Pop Art king Andy Warhol’s words still resonate with artists and creatives alike. Here are 20 quotes on Art, Creativity, Commerce and Design from Andy Warhol to get you through your day.

 

1. “When you think about it, department stores are kind of like museums.”

2. “Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.”

3. “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”

4. “Isn’t life a series of images that change as they repeat themselves?”

5. “In the future, everyone will be famous for 15 minutes.”

6. “Everybody needs a fantasy”

7. “I’m for mechanical art. When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.”

8. “Land really is the best art.”

9. “Once you ‘got’ Pop, you could never see a sign again the same way again. And once you thought Pop, you could never see America the same way again.”

10. “Most people in America think Art is a man’s name.”

11. “I’ll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.”

12. “Art is what you can get away with.”

13. “It does not matter how slowly you go so long as you do not stop.”

14. “An artist is somebody who produces things that people don’t need to have.”

15. “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

16. “I just do art because I’m ugly and there’s nothing else for me to do.”

17. “I’m bored with that line. I never use it anymore. My new line is “In 15 minutes everybody will be famous.”

18. “They say that time changes things, but you actually have to change them yourself.”

19. “When I did my self-portrait, I left all the pimples out because you always should. Pimples are a temporary condition and they don’t have anything to do with what you really look like. Always omit the blemishes—they’re not part of the good picture you want.”

20. “You know it’s ART, when the check clears.”

Street Brilliance: Tupac Lagerfeld Dali, Alec Monopoly

Media makes for a most marvelous canvas…

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when the world muses as such…

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Words, lines, scribes, eyes, Sunset below the artisan’s guise…

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Tupac Shakur…

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thug life, lime light, California love, Gotham in hindsight… muted magnanimity, press plastered prophecy

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Karl Lagerfeld…

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Vogue, Chanel, pose, channel… shade forever thrown, gaze universally shown, the mind the shine, the face – so poker… the judge, the jury, la mode’s the joker.

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Salvador Dali…

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doesn’t do drugs, drugs are he… time melt, mind meld, paint the scene _–_~ surrealistically…

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art c/o Alec Monopoly

protection c/o Bruiser

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new watchers… #watchus

wax on… wax off #andscene

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The Prophiles: Lady GaGa

March 28, 2010

March 28: 1,771 years ago today De Pascha Computus commemorated the Nativity, birth of a man – son of God – who brought mankind from the darkness of sin; today, we commemorate the birth of a woman – deity of Pop – who brought a generation from the dark ages of social oblivion. On this day, ancient Romans celebrated the production of the Sun and the Moon; today we celebrate the personification of The Fame and The Monster. In the midst of a generation described as Godless, artificial, celebrity-obsessed, and lost, emerges a renaissance artist who gave you freedom in the music – found your Jesus, and your Cupid. Happy Birthday, Lady GaGa.

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Lady GaGa the thinkpiece, the evolutionary, the first true renaissance artist of our generation; beyond music, she is the iconography of an era: completely. GaGa is the product of every great artist, ideal, movement, fashion, and fad before her; she is the pulse generating contemporary culture’s aesthetic and identity; and at 24, she has propelled herself to the top of Pop’s pantheon as the matriarchal monarch against which all those who come after her will be gauged – future notwithstanding she has become the barometer against which her own predecessors assess themselves: beg to differ? Mhmm Honey B – thought not.

What GaGa did in her first 18 months was incomprehensible – to truly think about it would tear any human mind to pieces. Four number one singles from a debut album, six number one singles from six single releases, over 10 million albums sold, and over one billion YouTube views worldwide; numbers don’t lie, but men and women do – at GaGa’s feet. Diddy says “Pick a car which one I ain’t been in, pick an actress which one I ain’t swim in;” GaGa’s track record says, “Pick a fiend which one I ain’t fixin’” – she delivers more hits than Frank Lucas; whether she’s writing for Britney, PCD, or NKOTB, sidekicking Wale, Beyonce, or Trina, sharing samples with Kanye, Common, and Cudi, or she is feeding the dead industry back to life and diversifying her bonds like WuTang Clan – this free bxxch ain’t nothin’ to fxxk with. The only thing more diverse than her portfolio is her persona – she is a cultural phenomenon because she is a panoramic projection of everything “now.”

More than any other generation, we have access to innumerable volumes of information and influences; we are the entitled products of everything that came before us, and though we may ignore it, GaGa embraces it. GaGa epitomizes originality as the art of concealing one’s sources – in plain view. She creates music using The Beatles methodology of subtle time signature and key changes veiled under a superficially simple sonic surface, beats that range from Bowie and Mercury Glam Rock riffs, to Darkchild and RedOne club-bangers, to Minogue and Madonna disco diamonds-in-the-rough. Her videos are brilliant melanges of visual themes touching in on the Stonewall Riots and Michael Jackson’s “Bad” a la “LoveGame,” to the faulting of Princess Diana’s death on the “killers behind the cameras” in the “Paparazzi” video – subtly inserting the sound of stabbing knives below the snap of camera lenses as the voyeurs film GaGa’s own demise. “Bad Romance” calls upon Alexander McQueen’s Plato’s Atlantis fashion platform to set the stage for a masterful video paralleling the music industry with human trafficking – the method of payment and purchase: “Beats by Dre” laptops. Her live shows are touted as only described in relation to the magnanimity of Madonna’s Confessions and Sticky & Sweet, and U2’s 360 Tours. She admittedly is what she wears – rather doesn’t wear – and even then is reflective of a grand cacophony of Pop past, present, and future. It’s her Ranier Maria Rilke tattoo branding the iconic German poet’s devotion to the literary catharses, and the Chola “Little Monsters” gang tat directly below. It’s her clothes designed by everyone from Jim Henson to Giorgio Armani, and inspired by everything from strippers to Queen Elizabeth I. It’s her famed “Pop Music Will Never Be Low Brow” video glasses – designed by her in-Haus NASA engineers, capable of syncing up to any Apple computer to play movies, tv shows, etc. Just as The Living Dress resurrected art from the vapid facade of artifice, she is a living cultural convergence.

Past the paparazzi flashes, beyond the bubble dresses, and beneath the bloody lingerie lies the true essence of Lady GaGa: “an artist through and through.” However, artists have much in common with their comrades in cultural renascence: scientists; both describe their work as experiments – part of a series of efforts designed to explore a common concern or to establish a viewpoint. GaGa is that rare hybrid of both an astute artisan and a masterfully mad scientist. She has pervaded every aspect of the public arena by publicizing and personifying hidden-in-plain-view taboos in order to establish a general perspective – her life’s work is to make the clandestine commonplace, because the status quo is skewed. As much a revolutionary as she is a renaissance artist, Lady GaGa treats culture as her canvas, and the social landscape as her science lab. Yet even as she acts as a perpetual fusion of such overarching dichotomies, she does so from behind the veil of the familiar face of a twenty-something New York doll; and thus is why she is the paramount regenerator of a lost generation – even in spite of the blind hatred,

“In the wake of that shock overdose came Lady Gaga. She gave us the spectacle of degradation. She showed us videos of herself vomiting. She chained herself to a pole by her hair. She wore a dress made of bubbles. Now she’s been stripped in prison and committed mass homicide. The images no longer even make sense; the more incomprehensible they are, the more they feed into viewers’ hunger for the grotesque.

cynics can’t help but to bow and equate her with greatness

Past eras have been defined by their art. Greece had Sophocles and Plato. The Renaissance had da Vinci and Michelangelo. Will the 21st century be remembered as the Age of Gaga?”

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“There is no competition too, it feels good to wake up, look in the mirror and the only competition’s you; and even that one ain’t seein’ me…” GaGa’s reflection must have a hard time being she.

Disposable Media Is Funny, Because That’s All It Is

Disposable Media is funny, because that’s all it is. Disposable Media.

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Snapchat is disposable media. And you fall into the dark ages, because it’s disposable, and media is a representation of your culture.

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So when you feed into disposable media, you’re feeding into disposable culture, and you wonder why kids have no appreciation for anything, beyond the week… Because you feed that.

#beyondtheweak

Eroticism and Intelligence on Tap: Get To Know Photographer Spencer Charles

Get to know Atlanta based photographer Spencer Charles who’s impressive and candid nude portraits of black women from all walks of life celebrate the black female body in a world that doesn’t always do that.

 

 

Art Nouveau Magazine: Our readers may remember you as DJ/Producer, but tell us how you got started in photography?

Spencer Greene: I bought a camera awhile ago, while I was still in school, still producing and writing. But it just sat on my dresser for a long time. Then I hit a depression period in my life. I stopped doing music, I stopped writing a lot. I started working on this project with my friend Eric Cash, who is a photographer for Creative Loafing. It was called Beau Atlanta. He was the photographer for the project, and I just brought my camera along to get behind the scenes photos. But I started shooting with it more, and I enjoyed it. And it slowly brought me out of depression.

 

AN: Tell me about your MUSE calendar? 

SG: I was looking for ways to make money honestly. I’m not good at the normal photographer stuff. Like the, “book me to build your portfolio” or “for such and such, you get two looks and 10 edits,” or “book me for your wedding, club event, baby pictures” etc. All of the normal ways photographers make money, I’m really bad at. So I needed creative ways to find income. I thought a calendar would be something cool, something different. So I looked into how to make a calendar. I didn’t expect it to do as well as it did. I’m happy it did though.

AN: You document and in my opinion celebrate the black female body in your work, what statements are you trying to make with your photography? 

SG: I have this whole idea of how to shift the culture in my head and I’m not sure how to properly explain it yet. I’ve always looked at the female body as art. I’ve always looked at black women as art. For awhile, I’ve been looking at how the mainstream has tried to destroy our culture. By ours, I mean hip hop culture, urban culture, black culture, etc. One of the ways they’ve done that is with the image of the black woman. I’ve been watching how they take our fashion and put it on runways but don’t let us into the show. They take our sound and our vocabulary. They dictate what black sexuality is and what the black body is suppose to look like, how it’s suppose to be presented. I wanted to present something different. I shoot models, med school students, strippers, classically trained dancers, painters, everyday girls. And they all look like art to me. Just because you have stretch marks or rolls on your side doesn’t mean you can’t be sexy. And just because you work at Magic City doesn’t mean you can be hanging up in an art gallery.

When I was doing music, I release the project, A Subway In Harlem. The main focus was on the instrumentation of the music but the meaning behind it was the journey of black artistic expression. That’s what I wanted to tell. The title came from a Lil’ Wayne lyric and was meant to describe everything from jazz to funk to hip hop, that journey. I think it went over people’s heads. I’m pretty much trying to tell the same story with photography now. And I think people are getting it finally. And it feels great to just have people get it.

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AN: You don’t normally work with “models,” I’ve noticed a lot of the subjects you photograph are around the way girls, how do you go about selecting your muses? 

SG: They come to me somehow. Whether it’s Instagram or some random meeting through a mutual friend at an event. Social media plays a huge part in it. Because when I’m getting ready to work with someone, I’m going through their Tumblr, their Twitter, and their Instagram. I’m getting an idea of who they are as a person, their entire vibe. It’s a lot different than just looking at their comp card or modeling portfolio. I think one of the things that makes the photograph special is the vibe with the person I’m shooting. So your modeling portfolio doesn’t do much for me. But if I can tell who your favorite artist is from your Tumblr page or twitter, we’ll probably have a really dope shoot.

AN: You’re fairly shy and reserved, but your work exudes a free-spirit that is all about expressing self-confidence, albeit while nude, how do you get your subjects to portray themselves so freely on camera?

SG: Hennessy. Lol, no really, I don’t know. I think its important to vibe with the subject. That’s why I choose girls from social media instead of off their modeling portfolio and stuff. I’m so quiet during shoots though. I’m still working on “directing” girls. I don’t know what makes the girls so free, I like capturing them naturally. But for me to not be shy during the shoot, Hennessy.

“…just because you work at Magic City doesn’t mean you can’t be hanging up in an art gallery.”

AN: NY or Atlanta? 

SG: NY for sure. I just can’t afford NY. Atlanta is love though.

AN: Who is a muse to you?

SG: Amber, because in the midst of fighting lupus, she still makes time to put a smile on my face. And she never lets me give up.

AN: Would you consider your work feminist? 

SG: I’ve spent a great deal of time around feminists. My sisters are feminist and I dated one. I have a great deal of respect for feminism. But I don’t think I’m knowledgeable enough on feminism to make that claim.

AN: What’s next for you?

SG: I’m working on a project with Kendrick Daye, my big brother.
I have an art show in April at City of Ink in Atlanta.
I’m releasing The Muse Book, a photography coffee table book.
I’m still trying to figure out the rest. I’m open and available for more projects, jobs, etc.

AN: Is there anything else you’d like to mention?

SG: Wu Tang is for the children

For everything Spencer Greene Click Here. And Follow Spencer on Twitter & Instagram.

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Britney Tweets 2007: Ep. 3

because if ifs and ands were pots and pans there’d be no betta work for tinker’s hands, because pink wigs birthed millennial whiplash, because it’s the rhyme behind seasonal reason, because you’re not B and will never see it her way… because Britney didn’t have Twitter in 2007, because the traphaus was birthed in the wake of Kevin, because Miss Spears will remain the bad bxxch you’ll never know, because they shouldn’t have let her blackout the ‘net #work: nouveau decided to put on a show #luckystarswipgolden

III

because education was the motivation, because she blogged before it was cool, because she was an independent publisher in the midst of corporate media, because stellar evolution involves apparent collapse, because she may not have spoken the king’s english but scribed the siren’s hymn, because well before she dropped the scheiße en route to new Britney’s mission she bathed in capital H.I.M., because we voted her to be nouveau royalty in the midst of gop patriarchy, because she faced the fire for her fans while the Administration placed firearms and debt in their electorate’s hands…

because she wants you people to know she’s not perfect, she’s divine #godspeed

 

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because she’s no longer just lucky, but #blessed

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full-stop, never forget who never left, never broke, never abandoned the scene when the known world went pop, shock, and awe.