Professor Ann M. Fox and Jessica Cooley have now curated two art shows addressing disability. The first, Re/Formations featured five women artists exploring the intersections of female identity and disability through sculpture. More recently, they wrapped up STARING, which was based off of the book Staring: How We Look by Rosemarie Garland-Thomson, one of the leading scholars in disability studies. The works in STARING address issues of representation, visibility, and empowerment....not unlike feminism. It featured artwork from Doug Auld and Chris Rush, among others.
Transcript available for download
Audrey Bilger's article "Wife Support" appeared in the Art/See issue of Bitch and discussed how the word "wife" was evolving with the gay marriage movement. The article caught the eye of Seatte talk show the Menage, who intereviewed Audrey in December 2009. Here's the full rambunctious interview with hosts Julie Mains and Jennifer Austin. You can listen to the Menage online and read more on gay marriage by Audrey Bilger at the Huffington Post ("Why Straight People Should Be Following the Prop. 8 Federal Trial").
Transcript available for download
Junie Latte is an art student at Montreal's Concordia University. Her latest project is a "sound sculpture" made from women's voices collected from around the world. I speak with Junie about what motivated her project, her influences, and what she has in store next.
If you're interested in submitting your voice to Junie's project, visit her website (also in French) at womensvoices.webs.com.Transcript coming soon!
At this point, we probably don't need a refresher on Tiger Woods and his scandal-making behavior. We've all got the 411 on his many mistresses, his alleged sex addiction, his lost endorsement deals, and his overall douche-y behavior. But what do we do with that knowledge? Where do we direct our feelings of disappointment?
Well, if we were Michael Caldwell, the ideas man behind Tail of the Tiger, we'd create a set of 12 golf balls with the alleged mistresses' faces painted on them so that our fellow golfers could literally hit the women in the face with a club. Yep, that's right.
Last year authorities arrested expectant mother Miriam Mendiola-Martinez, an undocumented immigrant, and charged her with using someone else's identity to work. After the incarcerated Mendiola-Martinez delivered a baby boy Dec. 21 via C-section at Maricopa Medical Center in Arizona, she was shackled for two days to her hospital bed and not allowed to nurse her baby, New America Media (NAM) reports. Moreover, when guards escorted her out of the hospital in shackles, no one told her the whereabouts of her son.
This weekend, the New York Times Magazine—a publication I admittedly adore—asked what I consider to be a very simple question: "Is There An Ecological Unconscious?" Should we be thankful when these issues are covered by mainstream media or annoyed that our work has once again been relegated to the margins of the larger movement?
Metal is a misunderstood genre; traditionally the domain of alienated pubescent males, angry dude-bros and broody Lord of the Rings fans, while women were relegated to groupie status only. Fortunately, metal has come a long way since "The Hairy 80s", and there quite a few metal bands around now that feature women in way more face-melting roles.
Just 14 years ago, the Rev. Jesse Jackson called for a boycott of the Academy Awards due to the dearth of African American entertainers nominated for Oscars. In the new millennium, however, the Academy Awards have consistently nominated blacks for Oscars. Denzel Washington, Halle Berry, Jen Hudson and Forest Whitaker have all nabbed Academy Awards in recent years. And Sophie Okonedo, Will Smith and Don Cheadle are among the blacks to receive nominations in the 2000s.
Writing history is a radical act. I'm going to say it again. Writing history is a radical act. The process by which historians choose to deify, demonize, or emulate individuals and events is a malleable and contentious undertaking. As I'm sure you savvy readers out there know—with this retelling comes power. Sure, narratives can be retold, historical 'facts' reformulated, and legacies reclaimed. But whose voices get heard? Which versions get told? Who gets remembered and why? (For far too long 'our' Nation's history consisted overwhelmingly of the male, pale, and stale variety.)