Sunday Reading : Identity/body image, violence, death, & beauty

Closing the Loop : Aria Dean, The New Inquiry
Body Anxiety and a new wave of digifeminist art : Charlotte Jansen, Dazed
Visions : Kate Gaskin, Guernica
The Language of Violence : Danez Smith and Brian Russell, Poetry Foundation
Being Mortal : Zan Boag, New Philosopher
Beauty and Autonomy on the Bike : Claire Tighe, Bird’s Thumb
The strange, sad quest to match a severed, embalmed head with its story : Michael E. Miller, The Washington Post
Deadly Decisions : Ann Neumann in conversation with Sheri FinkGuernica
This Better And Truer History : J.M. Coetzee and Arabella Kurtz, Longreads
The Fruit of My Woman : Han Kang, Granta 

Things to know:

Sue Coe Lectures at ETSU:

Thursday, March 25th at 7:00 p.m. in room 112 of Brown Hall.

http://www.graphicwitness.org/coe/enter.htm

http://en.wikipedia.org/wiki/Sue_Coe

http://wiki.provisionslibrary.org/wiki/index.php/Sue_Coe

Big Mary
She Can't Catch Up, 1998.
Untitled, 2004.
Feedlot, 1991.
Dog Food, 1988.

Megan Levacy is having a  reception for her MFA thesis exhibition Eulogy at the Reece Museum from 5:00 to 6:30 p.m.

Field Sparrow

For more information:

http://meganlevacy.com/

http://www.etsu.edu/reece/

Also, the Cherokee Carvers exhibition is still going on at the Reece Museum in another gallery if you haven’t see it yet.

Tomorrow, Friday, March 18th receptions will be held for two more graduating ETSU students Slocumb Galleries — Laken Bridges’ Manifestation and Charlie Haskins and The Rain Dogs’ A Matter of Taste. The reception will go from 5:00 to 7:00 p.m.

Flight. Laken Bridges.

A Matter of Taste exhibition card.

He says I look like a ninja now

Last night I moved like a ninja while someone chased me, I think it was a man. The woman who was supposed to kill me decided not to kill me after all, and we faked my death. But this man discovered that I was still alive and started hunting me again.

I was afraid of the water, as always, but I would climb out of windows and safely maneuver down to the ground. During waking hours, I am not so certain of my balance and strength. It’s tempting, though.

One of these days, I will take pictures of the work in my sketchbook and developing in my paintings. In the meantime, here are some things I have found somehow or other:

http://noelia.nituniyo.net/

http://www.christinecallahan.net/

http://www.lostateminor.com/2010/12/27/dark-dark-dark-2/

http://www.lordtonymackenzie.com/desiderata.html

http://spencercunningham.com/

 

Cats and goats and SATAN

My “reference” folder is out of control.

Here’s what I was researching about three months ago + yesterday morning when I was busy not being able to sleep.

A couple of the prints are pretty obvious if you know anything about art history – Albrecht Durer. It’s hard to miss that “AD” signature. There’s also a Francisco Goya drawing in there.

Reading about witches, witch hunts, witchery, etc. Primarily mapping the timeline – starting in Europe – and the things that tended to lead to accusation, method for “proving” the woman or man was a witch.

The Last House on the Left, 1972

I watched Wes Craven’s The Last House on the Left (1972) the day before yesterday, knowing full well that it was going to be difficult for me to stomach. Horror films aren’t exactly my thing to begin with, and this particular film deals with a truly horrific ordeal for two young women. I could shrug it off as a movie, but rape and murder aren’t fiction, only this particular instance is fiction.

Like The Virgin Spring, there is a “bad”  girl (Phyllis) and a “good” girl (Mari). Although, Craven more explicitly demonstrated the way that the innocent girl is not so in the black and white sense. She drinks, she talks about sex, she doesn’t wear a bra, she says, “tits” to her parents when talking about bras, and she’s more than willing to “score some grass” before the concert. This may be in part the bad girl’s influence, but the good girl is nonetheless intrigued.

Mari: The leaves are really beautiful.
Phyllis: Yup, they’re really starting to change. I guess winter’s comin’ on!
Mari: Yup, Hey! I changed this winter!
Phyllis: What do you mean you changed?
Mari: I mean my breasts filled out!
[Phyllis laughs]
Mari: I mean they were nothing last summer!
Phyllis: I didn’t know you last summer!
Mari: Well, they have!
Phyllis: Well, congratulations!

And an even “uglier”, “animal-like” woman (Sadie) was in on the rapes and murders. Ironically, she refused to have sex with Krug earlier in the movie because of her newfound female independence. She reminds me of women who decide to be “one of the boys” because it’s better than being one of the girls. Safer, anyway.

Takes one to know one, I suppose.

It’s not really a good movie. I was watching the whole time for special moments or stills to take, but nothing much struck me as interesting. Beyond the implications of being really sickening.