studioafrica:

Photographer Hélène Amouzou was born in 1969 in Togo. She began taking photos in 2004 after enrolling on a course in Brussels, where she lives and works. Her images - in which bodies are ghostly or overlaid with wallpaper or sandwiched in suitcases - suggest transience: places which the human body can only inhabit temporarily, and humans who are constantly on the move.  

Her work is weighted by the depth of her questions about place, being and the baggage that accrues to the black female body. Further, Amouzou’s images question certainties of nation, identity and belonging, suggesting that in-between spaces and un-belonging as the contemporary reality. in her own words: ““I always have the impression to be traveling. I am not Togolese, nor Belgian” 

(via girl-germs)

dildosandglitter:

aloofshahbanou:

aloofshahbanou:

• Audre Lorde’s The Master’s Tools Will Never Dismantle the Master’s House
• Audre Lorde’s Uses of the Erotic: The Erotic as Power
• Aurora Levins Morales’s Radical Pleasure: Sex and the End of Victimhood 
• bell hooks’ Cultural Criticism & Transformation
• Chandra Talpade Mohanty’s Under Western Eyes: Feminist Scholarship and Colonial Discourses
• Combahee River Collective Statement
• Dorothy Allison’s A Question of Class
• Judith Butler documentary
• Leslie Feinberg’s We Are All Works in Progress
• Paula Gunn Allen’s Who is Your Mother?: Red Roots of White Feminism
• R.W. Connell’s The Social Organization of Masculinity
• Sandra Lee Bartky’s Foucault, Femininity, and the Modernization of Patriarchal Power
• Sandra Cisneros’s Guadalupe the Sex Goddess
• Sojourner Truth’s Ain’t I a Woman? 
• Susan Bordo’s The Body and the Reproduction of Femininity

Uses of the Erotic was linked to an inactive web page. I updated the link.

I miss our WGSS department so much 3

today I made some investments in myself. #chocolate #nailpolish

soulbrotherv2:

Fear of a Black God – Renee Cox’s Yo Mama’s Last Supper
by Shantrelle Lewis

The racialized, Eurocentric homo-gendered iconography of Catholicism automatically coerces someone existing outside of that spectrum to naturally experience isolation and distancing. This is especially probable for a Black girl child who wondered why nowhere in the Catholic Cathedrals where she genuflected, did she see an image of God in the form of sculpture, oil painting, or stain glass window that looked anything remotely like herself.

What happens then, when that same little Black girl, with Jamaican roots and upper-middle class upbringing, interacts with those negating images? She grows up into a Black woman, or most notably, a “rude gyal” with an attitude, who would thirty-something years later unabashedly confront that iconography, in the form of a series entitled Yo Mama. Although according to Genesis 1:26, God created (wo)man in the image of Him(her)self, nowhere in Christian texts could be found a brown skin God with the face of a girl child from the Diaspora. That is not until Renee Cox decided to photograph herself nude as Jesus surrounded by 12 fully-clothed male disciples, all of them Black with the exception of Judas, who was white, and titled the 5-paneled piece Yo Mama’s Last Supper.  [Continue reading.]

(via dildosandglitter)

(Source: unicorninheaven, via thefemme-menace)

navigatethestream:

There’s a sick irony in the HRC sending me an offer to sign up for a Bank of America credit card

It’s like two devils got in bed with each other and left the baby on my doorstep

(via glitterinference)