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Internationally renowned drag artist, visual artist, newly minted author, Sasha Velour 09 visited campus during a book tour to promote her memoir The Big Reveal. Here, she reads passages. The show, presented the Villard Room, was an immersive evening of drag, storytelling, and live art. Sponsored by the Dean of Faculty Office, the LGBTQ+ Center, the Departments of Drama, Russian, and German, and the Women, Feminism and Queer Studies Program.
Photo Credit: Allyse Pulliam/Vassar College
Jillian Kestler-DAmours the Canadian freelance journalist and documentary filmmaker based in Jerusalem, who rejects the notion of objectivity and instead believes in using journalism to challenge power structures and promote change, has published an article on ipsnews titled ‘Media Faces New Crackdown’. Kestler-DAmours states “The Palestinian Authority’s arrest of journalists and activists critical of its policies are threatening freedom of expression and journalistic freedoms in the West Bank, according to local human rights groups. …PA security forces have arrested dozens of Palestinian journalists, bloggers, students and activists in recent weeks. Many have been detained for statements they made on social networking sites like Facebook that were critical of the PA, while others were targeted for articles and other work they published. …In late April, Palestinian Ma’an News Agency reported that the PA had instructed Internet service providers to block access to news websites that were critical of President Mahmoud Abbas. Since the report came out, PA communications minister Mashour Abu Daka has resigned from his post. Attorney General al-Maghni, for his part, has defended the decision to block the websites, arguing that they were censored for security reasons and because personal complaints had been made against their content.”
Ericka College girl 34
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Ericka tal vez este mejor conmigo lejos, vamos a aceptarlo nunca supe ser un buen amigo, sigo siendo en ciertos aspectos de mi vida un total desastre, soy un imán de ...
Daniel Connell the Australian visual artist who draws heavily on India for inspiration has had a large charcoal mural defaced at the Kochi-Muziris Biennale - India’s first biennale based out of Kerala. The mural was attacked by unknown vandals rubbing it with a burnt coconut husk and water. Nicholas Forrest in a Boulin Artinfo article states “Titled LOOKHERE, Connell’s project consists of two 6.5 by 6.5-foot portraits as well as a series of paste-ups with images of local residents. The damaged work is a portrait of a man named Achu, who is a local tea vendor. “It seems that it was premeditated to a certain extent in that a tool was sourced rather than just using the hand,” Connell says. “The charcoal was simply smudged and wiped. If they had been really angry they could easily have removed the whitewash with little effort.” The reasons for the defacement are unclear, although Connell has run through multiple possibilities. His first suspicion was that it was a faith-based act - Achu, the vendor, is Muslim, and the biennale is also being held near the site of India’s first mosque - but locals were quick to dismiss this. Instead, Connell now suspects that it might be the work of local artistic intelligentia, angered at having been excluded from the event. Also possible culprits are extreme leftist groups active in the area, who, opposed to Western influence, have launched poster campaigns accusing the Biennale of corruption and elitism. The defacement might also be an act of jealousy from local business rivals of Achu’s tea shop, envious of his success.” Inspired by Nicholas Forrest ow.ly/gwAIm image source Blogspot ow.ly/gwAE8
© Luís Campillo 2015
Model Sofía Bajo. www.facebook.com/sofiabajoactriz
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Internationally renowned drag artist, visual artist, newly minted author, Sasha Velour 09 visited campus during a book tour to promote her memoir The Big Reveal. Check out those shoes! The show, presented the Villard Room, was an immersive evening of drag, storytelling, and live art. Sponsored by the Dean of Faculty Office, the LGBTQ+ Center, the Departments of Drama, Russian, and German, and the Women, Feminism and Queer Studies Program.
Photo Credit: Allyse Pulliam/Vassar College
Photo Credit: Allyse Pulliam/Vassar College
Internationally renowned drag artist, visual artist, newly minted author, Sasha Velour 09 visited campus during a book tour to promote her memoir The Big Reveal. The show, presented the Villard Room, was an immersive evening of drag, storytelling, and live art, including this showstopping number lip-synched to Dionne Warwick’s A House Is Not a Home. Sponsored by the Dean of Faculty Office, the LGBTQ+ Center, the Departments of Drama, Russian, and German, and the Women, Feminism and Queer Studies Program.
Photo Credit: Allyse Pulliam/Vassar College
Laura D'Andrea Tyson the 65 year old American Economist Professor and former Chair of the US President's Council of Economic Advisers during the Clinton Administration, has published an article on the Project Syndicate titled ‘The Wrong Austerity Cure’. In the article Tyson states “Italian Prime Minister Mario Monti and French President François Hollande are right: Europe needs bold, coordinated policies to promote growth, along with market-based structural reforms to foster competition and an easing of fiscal targets until output and employment recover. But how can significant new growth initiatives be financed? The reality is that the rest of Europe cannot succeed in restoring growth without Germany, and Germany remains wedded to the austerity cure. With a modest fiscal deficit, record-low borrowing costs, and a huge current-account surplus, Germany has the financial firepower to unleash a significant stimulus. But Germany sees no need to stimulate its own economy, and is willing to consider only modest eurozone measures… Despite pleas from the IMF and the OECD, Germany also remains implacably opposed to Eurobonds, which could ease the funding constraints of other eurozone members… the worsening banking crisis, with deposits fleeing from the eurozone periphery, is further strangling Europe's growth prospects. It is probably too late to save Greece. But a shift towards policies to promote growth, supported by the easing of deficit targets and the issuance of Eurobonds, is essential to bring Europe back from the brink of sustained recession, to stabilise Europe's financial markets, and to prevent another significant disruption to global capital markets.” Inspired by Project Syndicate ow.ly/cf8Rx image source World Economic Forum ow.ly/cf8R3
Jenny & the Mexicats Lunario 11
Jenny and the mexicats
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens 18 – 55mm y 55 – 300mm
2013
No puedo despegar, la lluvia y las nubes me quieren ahogar, Yo quise agarrar, el Sol con la manos desnudas y tirarlo al mar. ...
Ericka College girl 25
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Todos tenemos sueños y hoy sé que no siempre podemos cumplir todos, pero hoy también sé que cumplimos los que realmente importan y que aunque la vida no siempre es per...
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
"Mike Davis the 65 year old American Creative writer, social commentator and political activist has published an article on Toms Dispatch questioning if China now props up the world, the question is: For how much longer? Davis states, ”Officially, the People’s Republic of China is in the midst of an epochal transition from an export-based to a consumer-based economy. …Unfortunately for the Chinese, and possibly the world, that country’s planned consumer boom is quickly morphing into a dangerous real-estate bubble. ...now every city with more than one million inhabitants (at least 160 at last count) aspires to brand itself with a Rem Koolhaas skyscraper or a destination mega-mall. The result has been an orgy of over-construction. …In effect, a shadow banking system has arisen with big banks moving loans off their balance sheets into phony trust companies and thus evading official caps on total lending. …If China has a hard landing, it will also break the bones of leading suppliers like Brazil, Indonesia, and Australia. Japan, already mired in recession after triple mega-disasters, is acutely sensitive to further shocks from its principal markets. And the Arab Spring may turn to winter if new governments cannot grow employment or contain the inflation of food prices.”
Inspired by Toms Dispatch ow.ly/b7tb0 image source michaelmoore.com ow.ly/b7tOg
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24/06/2012 : Marseille 3e, bd National / rue de Strasbourg, îlot National : exposition Une collection de collections (Maryvonne Arnaud et Philippe Mouillon)
collection de boules à neiges, pin-up, bustes en plâtre (début XXe siècle) et coquilles de Vallauris (Martine Laborie)
Day of the Dead 2015 celebration at the Hollywood Forever cemetery, Peruvian altar honoring the Empire of the Incas with a Peruvian-style retablo with two Peruvian nustas in front of it greeting visitors and Julio Granados, the Peruvian visual artist/creator of this altar, and sponsored by Peru Village Los Angeles. (Dia de los Muertos 2015 evento en el cementerio Hollywood Forever, muestra un retablo al estilo peruano con dos nustas anfitrionas adelante y el artista visual peruano Julio Granados, criador del altar auspiciado por Peru Village Los Angeles.)
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
Abderrahim El Ouali the Moroccan social writer on political and environmental issues has published an article on IPS News stating that Morocco is still divided over marriage of minors. In the article, El Ouali states “The widespread practice of marrying minors continues to be one of the most incendiary legal and political issues in Morocco today, causing open confrontations between hard-line Islamists and moderates throughout the country. …30,000 minor girls are married every year – roughly 10 percent of the 300,000 marriages recorded… A campaign to gather one million signatures to forbid the marriage of minors is already in progress, sparked by the death of Amina Filali, a 15-year-old girl who committed suicide after being forced to marry her rapist. …Sheik Mohamed El Maghrawi, a well-known Moroccan Muslim scholar, published a Fatwa reiterating families’ right to marry off their daughters over the age of nine. His position provoked a major scandal but the scholar suffered no consequences. …El Maghrawi even expressed his attachment to his position, "based on the Quran and the words of the Prophet " according to him. However, opposition to this particular reading of Sharia’a law has become widespread. "All the laws that go against the dignity of women must be amended or even abolished ", said the president of the Chamber of Councilors in Moroccan parliament.” Inspired by ips news ow.ly/bk67E image source Twitter ow.ly/bk67f
Each time an inspiratior of mine celebrates birthday or dies I make them a portrait.
Simone de Beauvoir 9 January 1908 - 14 April 1986
Watercolor, embroidery on paper 29cm x 49cm
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ca. 1960s --- Allegra Caracciolo di Castagneto, Italian painter, modeling bundle hairstyle, holding her pug Charlie. --- Image by © Condé Nast Archive/Corbis
Visiting Assistant Professor of Drama Amanda Culp 09 performed with her friend and former classmate Sasha Velour 09, as a part of the The Big Reveal Live Show! in the Villard Room, Vassar College, April 23, 2023.
Photo Credit: Allyse Pulliam/Vassar College
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
Etant donnés
Well now, settle back in, because today we celebrate a mixed up story. Jean Genet. He didn’t just come out of nowhere, he came out of orphanages, reform schools, prison yards, and borrowed rooms where the wallpaper knew more secrets than the neighbors ever would. France tried to erase him early on, but Genet took that erasure and turned it into ink. He wrote like a man carving his name into a cell wall, slow and deliberate, knowing the guards would read it later. He had a way of crowning the uncrowned. Thieves, traitors, hustlers, sailors leaning on the rail at dawn, Genet looked at them and saw ceremony. Not the kind with flags and brass bands, but the kind that happens when two people recognize each other in the dark. His novels and plays don’t clean anyone up. They make dirt sacred, make shame glow. That’s why they still feel dangerous. Genet didn’t want justice; he wanted intensity. He wanted to go all the way to the edge and lean out just far enough to describe the view.
Somewhere along the road, Genet crossed paths with Alberto Giacometti, another man obsessed with the human figure, but for different reasons. Genet wrote The Studio of Alberto Giacometti like it was a love letter slipped under a locked door. He didn’t talk about sculpture the way art critics do, measuring angles and influences. He talked about Giacometti the way you talk about a man you’ve watched wrestle with ghosts. Those long, thin figures, Genet saw them as survivors, scraped down to their essence, like prisoners who’ve lost everything except the fact that they’re still standing. In Giacometti’s studio, Genet found a mirror of his own work. Both men were stripping life to the bone, refusing decoration, refusing lies. Genet said Giacometti wasn’t trying to make people beautiful he was trying to make them real. A body reduced until it could no longer pretend. That’s Genet all over. Whether he’s writing about a murderer, a lover, or a statue frozen in dust and light, he’s asking the same question: what’s left when you take everything else away?
So when you read Genet, or stand in front of a Giacometti figure, don’t expect comfort. Expect recognition. Expect that quiet moment when you realize the distance between saint and criminal, flesh and spirit, art and life, it’s thinner than you were told.
Now, we can’t pass through this tell without mentioning the poems, the ones that made polite society reach for the volume knob and twist it hard to the right.
Genet’s poems are soaked in sex the way a back alley is soaked in rain and cigarette smoke. Sex for him wasn’t decoration, and it sure wasn’t romance-card stuff. It was power, danger, worship, humiliation, glory, all tangled together like bodies in the dark where you can’t quite tell whose hand is whose. These poems don’t flirt. They stare you down. They say: this is what desire looks like when it refuses to behave. A lot of poets use sex as metaphor. Genet used metaphor as sex. Every touch, every look, every act becomes a ritual, almost religious. And that’s the real scandal, not the flesh, but the holiness. He wrote erotic poems the way medieval monks wrote about God, except Genet’s God wore boots, smelled of sweat, and might rob you blind before morning. In his lines, lust isn’t the opposite of purity; it is purity, stripped of excuses. You’ve got to remember the time he was writing in, too. To write openly as a gay man, to center desire that society had already labeled criminal, was itself an act of rebellion. Genet didn’t argue for acceptance. He didn’t ask for tolerance. He doubled down. He made outlaw desire ceremonial, almost royal. In these poems, the body becomes a flag raised in enemy territory.
There’s also tenderness there, even when it’s buried under provocation. A kind of aching devotion. Genet knew that sex exposes people faster than confession ever could. In those moments, masks fall off, hierarchies wobble, and the truth slips out. That’s what he was after, not shock for shock’s sake, but revelation. The moment when desire tells you who you really are, and maybe who you can’t escape being. So if those poems make you uncomfortable, that’s part of the program. Genet believed discomfort was honest. He’d probably say if you’re blushing, you’re paying attention.
—
Le Condamné à Mort
SUR MON COU sans armure et sans haine, mon cou
Que ma main plus légère et grave qu'une veuve
Effleure sous mon col, sans que ton cour s'émeuve, Laisse tes dents poser leur sourire de loup
O viens mon beau soleil, ô viens ma nuit d'Espagne, Arrive dans mes yeux qui seront morts demain.
Arrive, ouvre ma porte, apporte-moi ta main,
Mène-moi loin d'ici battre notre campagne.
Le ciel peut s'éveiller, les étoiles fleurir,
Ni les fleurs soupirer, et de prés l'herbe noire
Accueillir la rosée où le matin va boire,
Le clocher peut sonner : moi seul je vais mourir.
O viens mon ciel de rose, ô ma corbeille blonde!
Visite dans sa nuit ton condamné à mort.
Arrache-toi la chair, tue, escalade, mords,
Mais viens! Pose ta joue contre ma tête ronde.
Nous n'avions pas fini de nous parler d'amour.
Nous n'avions pas fini de fumer nos gitanes.
On peut se demander pourquoi les Cours condamnent
Un assassin si beau qu'il fair pâlir le jour.
Amour viens sur ma bouche! Amour ouvre tes portes!
Traverse les couloirs, descends, marche léger,
Vole dans l'escalier plus souple qu'un berger,
Plus soutenu par l'air qu'un vol de feuilles mortes.
O traverse les murs; s'il le faut marche au bord
Des toits, des océans; couvre-toi de lumière,
Use de la menace, use de la prière,
Mais viens, ô ma frégate, une heure avant ma mort.
//Jean Genet, 1942
—
LET YOUR TEETH sink their wolfish grin
Into my tender and defenseless neck whose back
My hand lighter and more solemn than a widow
Strokes under my collar without your heart being moved.
O come my handsome sun,
O come my Spanish night,
Come into my eyes that will be dead tomorrow.
Come, open my door, give me your hand,
Lead me far from here to wander our countryside.
Let the sky awaken, the stars blossom,
Let the flowers sigh, the bells sound,
And the black grass greet the dew that morning will drink
In the fields: as for me I'm going to die.
O come my rosy sky,
O come my blond basket!
Come visit in his night your man sentenced to death.
Rip your flesh, kill, climb, bite,
But come! Come put your cheek against my round head.
We hadn't finished speaking of love
We hadn't even finished smoking our cigarettes.
It's a wonder how the courts could sentence
A murderer so fair that he makes day grow pale.
Love, come to my mouth! Love, open your door!
Walk through the halls, come down, walk softly,
Fly down the stairs, more agile than a shepherd,
Sustained in the air better than a flight of dead leaves.
O go through the walls; if need be, walk along the edge
Of the roofs, of oceans; cover yourself with light,
Use threats, use prayer,
But come, O my frigate, one hour before my death.
//Jean Genet, 1942
ink, watercolor on paper
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