If you are interested in having discussions about race and representation in fantasy media, analyzing and questioning our ideas about what “historical accuracy” means, and criticizing the way we use concepts about Medieval Europe to exclude people of color from enjoying historical play, in …
I used to peel and fry onions inside a mind-bendingly hot booth at Northern CA Renaissance Faire. While I have had few bosses as cool to work for/with as Mistress Marta, the gig wasn’t all roses and bunnies.
The nature of sexual harassment from Faire-goers ran the gamut. Yuppies in penis masks trying to put money in your bodice at the register. Random shitbags in oversized Catholic school girl skirts meant to look like kilts thinking it’s funny to “give the wench a slap ‘n’ tickle” on breaks. Assholes in Star Trek gear meant to be from the future telling you that they found our stigma against sexuality to be fascinating and regressive in creepy ways. I could go on, and that’s just one Renaissance Faire.
My point here is that authenticity never seemed to be on anyone’s mind until the discussion of being inclusive of POC became wide spread. Then, suddenly, oh yeah, it’s all about being “authentic” which means “white,” but race isn’t the point, just “realism.”
Nevermind those changeling-cyberpunk crossover games you all you used to play in the 90s.
I used to be in love with San Francisco. Growing up as I did in the East Bay, a trip to The City was nothing short of a magickal adventure in my teens.
During college I stayed close to home, and went to SF State University where I patched together a decent education amidst soul crushing budget…
Did you know that, if you have enough money in New York City, you can buy a public street? OK, not buy, but lease one, for a really long time. That’s what Kaufman Astoria Studios did in Queens, and someone is not happy about it.
The Economist magazine reviewed a book about how slavery built early America. They complained that "Almost all the blacks in his book are victims, almost all the whites villains. This is not history; it is advocacy." Thanks for busting my stereotype that smarmy pseudo-intellectual Brits practice more subtle forms of racism than redneck Klansmen.
I like how those stupid motherfuckers think that saying something “is advocacy” invalidates it. Hey dipshits, you’re supposed to advocate against fucking SLAVERY you fucking idiots.
How dismal is it that you can apparently write for The Economist without having passed high school history?
FEATURED ARTIST: Eva Berendes
Eva Berendes’ works interrogate how we establish an object as a painting or a painting as an object. They consider the rhetorics of geometric abstraction in relation to the human body, to architectural space, and to other objects, whether these are quotidian products or artifacts from the Applied Arts.
A recurring format in Eva Berendes’ practice is the screen. She makes screens that are free-standing, hanging, or leaning in the space, screens that structure and mediate, screens that display other objects. Permeable elements – like grids, welded “play-fences”, cut-out perforated sheet metal and semi-translucent curtains– are animated by their surroundings. The works resonate to varying extents with formats and categories of assemblage, still life, relief, display, furniture design, Craft, Minimalism and Postmodernism.
Eva Berendes has studied at Akademie der Bildenden Künste Munich (DE), Hochschule der Künste Berlin (DE) and Chelsea College of Art & Design, London (GB). Her works have been presented in solo and group exhibitions in venues such as Hara Museum Tokyo (JP), CRG Gallery New York City (USA), Bundeskunsthalle Bonn (DE), Witte de With Rotterdam (NL), Museum für Moderne Kunst, Vienna (AU), Grazer Kunstverein (AU), Bielefelder Kunstverein (DE), S1 Artspace, Sheffield (GB) and de Vleeshal, Middelburg (NL). The artist lives and works in Berlin.
Eva Berendes, The Middelburg Curtain, 2011. Cotton, hand-dyed cotton, steel. 118 x 385 ¾ inches (curved). Courtesy CRG Gallery New York, Sommer & Kohl Berlin, Jacky Strenz Frankfurt, Ancient & Modern London, and the artist.
Mildred “Mickey” Friedman, the design curator who led the Walker to global reknown for graphic design and architecture, has passed away at age 85. Current design curator Andrew Blauvelt has penned an excellent tribute, while friends and peers—including Pentagram’s Abbott Miller, Cooper-Hewitt curator Ellen Lupton, New York Review of Books critic Martin Filler, and designer Glenn Suokko—are sharing memories on the blog.