• Posted @withregram • @bellgallerybrown Spectrums: Gender in the Bell Collection is open to Brown students, faculty, and staff! For those who can't see it in person, we’re sharing a work and its wall label each week on social media! ⁠ Graciela Iturbide (b. 1942, Mexico City, Mexico; lives Coyoacán, Mexico)⁠ Mujer ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico), 1979⁠ Gelatin silver print⁠ Gift of Michael B. Targoff and Stephen Glassman ’72 and Mark Basille by exchange, 2017⁠ ⁠ Created during Graciela Iturbide’s period living with and documenting the Seri population near the Mexican-Arizona border, Mujer ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico) is emblematic of the artist’s depiction of this Indigenous community as constantly in transition between traditional lifeways and contemporary concerns. The photograph was originally published as part of a collaboration between Iturbide and Mexican anthropologist Luis Barjau that resulted in the publication Los que viven en la arena (Those Who Live in the Sand) (1981). In Mujer ángel, as with other works in this series, Iturbide purposefully resisted creating distant, quasi-anthropological depictions of the Seri—what we think of when we think of National Geographic photography. Instead, Iturbide lived in the community while conducting her work. A self-portrait taken during this time depicts the artist with her face painted by Seri women with the very same dots and patterns she photographed on their faces. ⁠ ⁠ The Mujer ángel lurks in the corner of the composition, hovering over the desert vista, dressed in traditional Seri clothing and holding a piece of modern technology—a boombox. By juxtaposing these seemingly disparate elements—the past, present, and future all embodied in a single person—this work evokes the concept of “survivance,” a key concept in resisting the historicization of Indigenous peoples. According to Anishinaabe scholar Gerald Vizenor, “survivance is an active sense of presence, the continuance of native stories, not a mere reaction, or a survivable name. Native survivance stories are renunciations of dominance, tragedy and victimry [sic].”
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    Posted @withregram • @bellgallerybrown "Spectrums: Gender in the Bell Collection" is open to Brown students, faculty, and staff! For those who can't see it in person, we’re sharing a work and its wall label each week on social media! ⁠ Graciela Iturbide (b. 1942, Mexico City, Mexico; lives Coyoacán, Mexico)⁠ Mujer ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico), 1979⁠ Gelatin silver print⁠ Gift of Michael B. Targoff and Stephen Glassman ’72 and Mark Basille by exchange, 2017⁠ ⁠ Created during Graciela Iturbide’s period living with and documenting the Seri population near the Mexican-Arizona border, Mujer ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico) is emblematic of the artist’s depiction of this Indigenous community as constantly in transition between traditional lifeways and contemporary concerns. The photograph was originally published as part of a collaboration between Iturbide and Mexican anthropologist Luis Barjau that resulted in the publication Los que viven en la arena (Those Who Live in the Sand) (1981). In Mujer ángel, as with other works in this series, Iturbide purposefully resisted creating distant, quasi-anthropological depictions of the Seri—what we think of when we think of National Geographic photography. Instead, Iturbide lived in the community while conducting her work. A self-portrait taken during this time depicts the artist with her face painted by Seri women with the very same dots and patterns she photographed on their faces. ⁠ ⁠ The Mujer ángel lurks in the corner of the composition, hovering over the desert vista, dressed in traditional Seri clothing and holding a piece of modern technology—a boombox. By juxtaposing these seemingly disparate elements—the past, present, and future all embodied in a single person—this work evokes the concept of “survivance,” a key concept in resisting the historicization of Indigenous peoples. According to Anishinaabe scholar Gerald Vizenor, “survivance is an active sense of presence, the continuance of native stories, not a mere reaction, or a survivable name. Native survivance stories are renunciations of dominance, tragedy and victimry [sic].”
  • Happy Mother’s Day and belated birthday to @wldwlk! I love you!!!!
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    Happy Mother’s Day and belated birthday to @wldwlk! I love you!!!!
  • Can’t imagine why they’d think that……. (currently enjoying @thisisarobberynetflix)
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    Can’t imagine why they’d think that……. (currently enjoying @thisisarobberynetflix)
  • Posted @withregram • @bellgallerybrown Spectrums: Gender in the Bell Collection is open to Brown students, faculty, and staff! For those of you who can't see it in person, for the next few months, we'll be sharing a work from the show each week on social media along with its accompanying label text.⁠ ⁠ Andy Warhol (b. Pittsburgh, PA; 1928–1987)⁠ “Ladies and Gentlemen (FS II.128),” 1975⁠ Screenprint on Arches paper⁠ Gift of the Andy Warhol Foundation for the Visual Arts, 2013⁠ ⁠ “I wonder whether it’s harder for 1) a man to be a man, 2) a man to be a woman, 3) a woman to be a woman, or 4) a woman to be a man,” Andy Warhol wrote in “The Philosophy of Andy Warhol (From A to B and Back Again)” (1975). In his series Ladies and Gentlemen, he explored the complexities of gender identity and performance with a theatrical flair. The models for the series were performers at the Hell’s Kitchen-based club the Gilded Grape; they sat for Polaroid snapshots from which Warhol derived the larger printed compositions. While the model in this particular work is not identified, another work in this series recognizably depicts trans activist and drag performer Marsha P. Johnson, also known for her initiation of the Stonewall Riots and her work with ACT-UP (AIDS Coalition to Unleash ⁠Power). ⁠ ⁠ The aforementioned quotation from “The Philosophy of Andy Warhol” is often associated with this body of work, as it reveals Warhol’s understanding of gender as something that is both innate and performed. A gay man in mid-century New York City, Warhol played with his own gender presentation. He depicted himself in drag in several photographs, was known to don drag for parties, and, as noted by Richard Meyer in his text “Outlaw Representation” (2002), may have referred to himself with female pronouns in a 1952 inscription on an envelope, reflecting the parlance of gay male “camp talk.”⁠
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    Posted @withregram • @bellgallerybrown "Spectrums: Gender in the Bell Collection" is open to Brown students, faculty, and staff! For those of you who can't see it in person, for the next few months, we'll be sharing a work from the show each week on social media along with its accompanying label text.⁠ ⁠ Andy Warhol (b. Pittsburgh, PA; 1928–1987)⁠ “Ladies and Gentlemen (FS II.128),” 1975⁠ Screenprint on Arches paper⁠ Gift of the Andy Warhol Foundation for the Visual Arts, 2013⁠ ⁠ “I wonder whether it’s harder for 1) a man to be a man, 2) a man to be a woman, 3) a woman to be a woman, or 4) a woman to be a man,” Andy Warhol wrote in “The Philosophy of Andy Warhol (From A to B and Back Again)” (1975). In his series Ladies and Gentlemen, he explored the complexities of gender identity and performance with a theatrical flair. The models for the series were performers at the Hell’s Kitchen-based club the Gilded Grape; they sat for Polaroid snapshots from which Warhol derived the larger printed compositions. While the model in this particular work is not identified, another work in this series recognizably depicts trans activist and drag performer Marsha P. Johnson, also known for her initiation of the Stonewall Riots and her work with ACT-UP (AIDS Coalition to Unleash ⁠Power). ⁠ ⁠ The aforementioned quotation from “The Philosophy of Andy Warhol” is often associated with this body of work, as it reveals Warhol’s understanding of gender as something that is both innate and performed. A gay man in mid-century New York City, Warhol played with his own gender presentation. He depicted himself in drag in several photographs, was known to don drag for parties, and, as noted by Richard Meyer in his text “Outlaw Representation” (2002), may have referred to himself with female pronouns in a 1952 inscription on an envelope, reflecting the parlance of gay male “camp talk.”⁠
  • The amount of love I have for everyone who took this journey with me and supported me along the way… we did it. 🎓🎉🍾 @breylan.m @princessblintz @hanna_leatherman @sharal_fran @cupnoodlecomics @official.betty.white
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    The amount of love I have for everyone who took this journey with me and supported me along the way… we did it. 🎓🎉🍾 @breylan.m @princessblintz @hanna_leatherman @sharal_fran @cupnoodlecomics @official.betty.white
  • 2021 first graduation outfit selfie // 2016 first graduation outfit selfie
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    2021 first graduation outfit selfie // 2016 first graduation outfit selfie
  • Posted @withregram • @bellgallerybrown Spectrums: Gender in the Bell Collection is open to Brown students, faculty, and staff! For those of you who can't see it in person, we'll be sharing a work from the show each week on social media along with its accompanying label text.⁠ ⁠ John Willis (b. 1957, Stamford, CT; lives Dummerston, VT)⁠ Untitled, #52, 2000⁠ Gelatin silver print, sepia toned⁠ Gift of Jeanne Press and Richard S. Press ’60, P’90, P’08, P’12, 2007⁠ ⁠ Long-necked and with gaze partially obscured, a figure in profile emerges from the right side of the composition of this work, only to be blocked by a crumpled sheet of paper. Looking closely at the image, we observe that it is actually a photograph of a photograph whose context we cannot quite discern. This image is from a collaborative artist publication by John Willis (born 1957) and Tom Young (born 1951) titled Recycled Realities, which comprises photographs the two artists took of the surroundings of a ⁠paper mill near their homes. As the paper mill recycles printed pages into new paper, some leavings and scraps created by the recycling process are left to blow around in the air, and eventually end up littering the ground. ⁠ ⁠ Willis has framed this photograph around the remnants of an image of a woman within the pages of a publication we cannot make out. The words “The November Book” can be found at the top of the page, while the dog-eared folds at the top right corner indicate page numbers, placing this work within a physical context. Who was (or is) this woman? Was she ⁠photographed this way for a fashion editorial? An advertisement? Who did this publication belong to, and why has it found its way into the waste generated by a paper mill? The ghostliness of the figure reminds us of the ephemerality of things that can seem permanent. This woman was known to people; this printed text held meaning for someone. Even within recycled paper, traces of what it once was linger, emphasizing Willis’ and Young’s overall thesis. Just as the magazine replicates and recycles a narrow vision of womanhood, the paper it is printed on may also continue to exist in a new-ish form—but as paper nonetheless.
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    Posted @withregram • @bellgallerybrown "Spectrums: Gender in the Bell Collection" is open to Brown students, faculty, and staff! For those of you who can't see it in person, we'll be sharing a work from the show each week on social media along with its accompanying label text.⁠ ⁠ John Willis (b. 1957, Stamford, CT; lives Dummerston, VT)⁠ Untitled, #52, 2000⁠ Gelatin silver print, sepia toned⁠ Gift of Jeanne Press and Richard S. Press ’60, P’90, P’08, P’12, 2007⁠ ⁠ Long-necked and with gaze partially obscured, a figure in profile emerges from the right side of the composition of this work, only to be blocked by a crumpled sheet of paper. Looking closely at the image, we observe that it is actually a photograph of a photograph whose context we cannot quite discern. This image is from a collaborative artist publication by John Willis (born 1957) and Tom Young (born 1951) titled Recycled Realities, which comprises photographs the two artists took of the surroundings of a ⁠paper mill near their homes. As the paper mill recycles printed pages into new paper, some leavings and scraps created by the recycling process are left to blow around in the air, and eventually end up littering the ground. ⁠ ⁠ Willis has framed this photograph around the remnants of an image of a woman within the pages of a publication we cannot make out. The words “The November Book” can be found at the top of the page, while the dog-eared folds at the top right corner indicate page numbers, placing this work within a physical context. Who was (or is) this woman? Was she ⁠photographed this way for a fashion editorial? An advertisement? Who did this publication belong to, and why has it found its way into the waste generated by a paper mill? The ghostliness of the figure reminds us of the ephemerality of things that can seem permanent. This woman was known to people; this printed text held meaning for someone. Even within recycled paper, traces of what it once was linger, emphasizing Willis’ and Young’s overall thesis. Just as the magazine replicates and recycles a narrow vision of womanhood, the paper it is printed on may also continue to exist in a new-ish form—but as paper nonetheless.
  • Yesterday we went inside an Andrew Wyeth painting
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    Yesterday we went inside an Andrew Wyeth painting
  • This was the best beach
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    This was the best beach