viz.

Image from TILTS.

If you attend enough talks and readings, you start to get pretty familiar with the basic elements of the Q&A session: the rambling question; the non question; the irrelevant question; the already-answered question; the indecipherable question; the adoring fan question; the tiny soapbox disguised as a question. If you’re cynical like me, you’ve realized by now that most questions are asking something very different from what they claim to ask. Q&As with contemporary writers always contain at least one version of the following: What’s your writing process like?/How often do you write?/Where do you write?/What do you wear whilst writing?/What snacks do you eat?/How productive are you?/Do you wear socks? You get the picture.

Image Credit: Vanity Fair

Although it’s been two months since its initial release, the internet is still abuzz with social critique of Tarantino’s newest film Django Unchained.  Roxane Gay, a staff writer for Buzzfeed, argues that rather than encouraging a national discourse on slavery, slavery is instead “the movie’s easily exploited backdrop.”  The movie functions instead as “a white man’s slavery revenge fantasy, and one in which white people figure heavily and where black people are, largely, incidental.”  Finally, she concludes, “Django Unchained isn’t about a black man reclaiming his freedom. It’s about a white man working through his own racial demons and white guilt.”

Many of Django’s critics couch their arguments in similar terms—that is, that while Tarantino claims to reignite a discourse on slavery in Django Unchained, he in fact privileges genre over content in a way that dangerously decontextualizes our most central national trauma.  I have argued in an early post that privileging medium over content can function as a form of censorship.  Here, I want to discuss how the same aesthetice practice can simultaneously suggest and defer engagement with tragedy and trauma. 

Image credit: STARS

I know that we just survived another Halloween, so you’re probably already on to thinking about your Thanksgiving plans. Humor me as I ask us to think about Halloween again. While perusing Colorlines, a daily news site about contemporary racial justice issues, I stumbled upon a fantastic visual campaign by Ohio University’s Students Teaching about Racism in Society (STARS) organization. The campaign, “We’re a Culture, Not a Costume,” is smart, scathing, and to the point. It’s everything I ever wanted in a campaign to raise awareness about the everyday racism that is often shrugged off in moments of embarrassment and frustration. As expected, the campaign has garnered national attention, but its message has been mocked by mashups posted all over the Internet. We need to think critically about the messages about racism in both STARS’ campaign and in its Photoshopped reiterations. Something’s askew in the mashup world, if you ask me.

Giovanni Bortolani, from the Fake Too Fake series

Using some seriously inventive (and at times disturbing) photoshop, Italian artist Giovanni Bortolani has created a series of photos about the composition of the human form.  While the image above suggests a relationship between the body and the organic by superimposing a leaf skeleton on a man's back, most of Bortolani's photos in the series explore bodies in terms of that which is "fake" or constructed.  The images in Fake Too Fake are jarring, but they ask us to consider what we're doing to our bodies in this age of plastic surgery and diet pills.  NSFW (and somewhat gruesome) material after the jump.

Temeca Freeman via J'Adore Magazine

On 10 March, 2011, Germany’s Pro7 TV aired a story about U.S. “po” model Temeca Freeman in New York City for Fashion Week. As a butt model, Freeman voluntarily welcomes people to stare unabashedly at her backside.  But Pro7’s story went beyond a curious stare and into a visual “fressen” – a German term which means to devour, or consume like an animal.  NSFW content after the break.

Alfred Eisenstaedt, Life Magazine, via Of Another Fashion

This week, I want to focus on a site I discovered when I was trying not to work. While browsing fashion blogs, I encountered Of Another Fashion, a digital archive of "the not quite hidden but too often ignored fashion histories of US women of color." In recuperating these women as alternative icons, the site emphasizes the complex historical intersections of public and private as they play out through clothing choices. It also provides needed role models to counter the often problematic and still white-dominated fashion industry.

(Video Credit:  QueenBeyonceStan, Youtube)

These images have been circulating just about everywhere, but the subject matter seemed particularly appropriate for viz.  In this photo shoot for the French magazine L'Officiel, Beyonce has been styled in looks that evoke "authenticity" African dress, and in some of the images, Beyonce's face is deliberately darkened.  The shoot--in keeping with one of the themes of Beyonce's newest album--was meant to play tribute to Nigerian musician Fela Kuti.