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propcazhpm.bsky.social
Citizen.Coping
@propcazhpm.bsky.social
6.5K followers 1.7K following 32K posts
⛔️ Pls don't follow with 0️⃣ posts or with no alt-text on posts with images or with no bio/profile🖼 Seriously.

Beware 📌. Posts are impermanent.

Posting and reading on various and sundry topics including tech, art, music, books, food, and language learning.
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propcazhpm.bsky.social
I really had to double check.

From "The Sound of Culture" by Louis Chude-Sokei.
From The Sound of Culture by Louis Chude-Sokei. MASTERS, SLAVES, AND MACHINES: RACE AND VICTORIAN SCIENCE FICTION African American mathematician and cyberneticist Ron Eglash once asked a set of questions that one would have expected of either a literary critic or historian of science or science fiction. One would also have expected his guestions from that very rich contemporary tradition of inquiry into the birth of race as obiect of scientific knowledge and the entrenchment of racism as one of its primary social and judicial products.
February 16, 2026 at 10:57 PM
propcazhpm.bsky.social
Also, it's the title of an exhibit that I recently saw!

Taking a Line for a Walk: Alexander Calder (1898-1976) and Paul Klee (1879-1940)
photos of Taking a Line for a Walk: Alexander Calder & Paul Klee Museum Text: Taking a Line for a Walk Alexander Calder & Paul Klee: Artists Alexander Calder (1898-1976) and Paul Klee (1879-1940) each playfully abstracted forms from nature and everyday life. This gallery is inspired by Klee's 1925 description of the starting point of artistic creation as "an active line on a walk. Both Calder and Klee explored this principle in different mediums. Some of their works maintain a closer relationship to the figures, objects, and environments they depict, while others are much more abstracted. What forms and similarities do vou find in Calder's and Klee's work? A 1914 trip to Tunisia inspired the Swiss-born Klee to begin producing colorful, highly personal, and often abstracted landscapes. Through a range of styles, Klee attempted to represent his individual, theoretica understanding of the natural world. A dialogue with the environment. he asserted in 1923. is essential, as the artist is "a man, himself nature. and a part of nature within natural space." American artist Calder's encounter with Klee's work and ideas in the late 1920s shaped his explorations of abstraction. His kinetic sculptures suggest living organisms or environments through evocative biomorphic forms, or bear titles that encourage recognition.
February 16, 2026 at 4:54 PM
propcazhpm.bsky.social
[Look how article image is so poorly cropped. #BadChop]

The cart marked “I.C.E Scream” also has a logo that reads “Stolen Land Security.”

This exhibition was supposed to run for 3 months but it was closed after 1 week.

“Ni de Aquí, Ni de Allá” (“Not From Here, Not From There”)
Victor Quiñionez
A translucent three-wheel rolling vendor's cart with large acrylic paletas, frozen Mexican desserts. Those translucent treats were mounted on wooden sticks featuring the language “Immigration and Cruelty Enforcement” on a cart marked “I.C.E Scream.” The Department of Homeland Security’s logo was also altered to read “Stolen Land Security.”
February 15, 2026 at 2:40 PM
propcazhpm.bsky.social
The artist is Victor "Marka27" Quiñonez.

He was in the Isabella Stewart Gardner's Luminaries residency a few years back in the same cohort as poet-bookstore co-owner Porsha Olayiwola.

And last Oct/Nov, the City dispayed his 25 foot Mayan temple made of ice coolers.

Elevar La Cultura NYC, 2025
photos taken by me of a 22-foot Maya pyramid that Mexican-American artist Victor Quiñonez built out of coolers painted in gold that was dedicated to street vendors and migrant workers. It has a large painting on an Mexican Indigenous mother and child (like Pieta) down one side, and another side has the coolers sideways with unique altars or offerings in each one. The piece also had one gold satellite cooler showing a parent holding a child and miniature U.D. flag. Another cooler has the ICE logo but it is spelled U.S. Inhumanity and Cruelty Enfircement. The piece was part of several public artworks dispayed around the city.
February 15, 2026 at 2:08 PM
propcazhpm.bsky.social
Looking more closely, I see it now. It barely resembles her and seems like it represents a category vs an individual.

I notice how much care they spent illustrating the guy who doesn't belong at all.

By the way 🫶🏾📚☕️
photo of the hardcover edition of "Legacy: A Physician Reckons with Racism in Medicine" by Dr. Uché Blackstock, MD, MPH and cup of black coffee
February 13, 2026 at 2:34 PM
propcazhpm.bsky.social
I saw books by Joseph Pierce, "Speculative Relations: Indigenous Worlding and Repair", and

Jodi A. Byrd, "Indigenomicon: American Indians, Video Games, and the Structures of Dispossession"

at opposite ends of the ICA gift shop for this Indigenous Futures exhibit. #ArtSky @dukepress.bsky.social
Two photos of stacks of books by Indigenous aurhors in museum gift shop. Highlighted books: Joseph Pierce's "Speculative Relations: Indigenous Worlding and Repair" and Jodi A. Byrd's "Indigenomicon: American Indians, Video Games, and the Structures of Dispossession."
February 11, 2026 at 5:13 PM
propcazhpm.bsky.social
"Telling Histories: Black Women Historans in the Ivory Tower"

Editor Deborah Gray White

By comparing the experiences of older and younger generations, the book examines the benefits and drawbacks of the institutionalization of African American and African American women’s history.

#BHM #History
photo of old copy of "Telling Histories: Black Women Historans in the Ivory Tower" Edited by Deborah Gray White Contributors: Elsa Barkley Brown, University of Maryland Mia Bay, Rutgers University Leslie Brown, Washington University in St. Louis Crystal N. Feimster, University of North Carolina at Chapel Hill Sharon Harley, University of Maryland Wanda A. Hendricks, University of South Carolina Darlene Clark Hine, Northwestern University Chana Kai Lee, University of Georgia Jennifer L. Morgan, New York University Nell Irvin Painter, Newark, New Jersey Merline Pitre, Texas Southern University Barbara Ransby, University of Illinois at Chicago Julie Saville, University of Chicago Brenda Elaine Stevenson, University of California, Los Angeles Ula Taylor, University of California, Berkeley Rosalyn Terborg-Penn, Morgan State University Deborah Gray White, Rutgers University
February 11, 2026 at 4:33 PM
propcazhpm.bsky.social
I saw this painting for the first time at Somerset House (Zak Ové's Get Up, Stand Up show) and it stuck with me.

The Cotton Bowl, 2011
Hank Willis Thomas 🖼🎨
Artwork that features a Black man dressed in old clothes, crouched in cotton field opposite another in football uniform crouched on football field
February 9, 2026 at 2:46 AM
propcazhpm.bsky.social
Yep. "The Sound of Culture" by Louis Chude-Sokei talks about how the term for robot/slave was racialized from the start because Slav was a word for a person from a region that was typically enslaved. And now slave is assumed to be Black.

The Black head usher on "The Residence" was called a robot. 🤔
Illustration of brown robot on cover of "The Sound of Culture: Diaspora and Black Technopoetics" by Louis Onuorah Chude-Sokei
February 8, 2026 at 4:55 PM
propcazhpm.bsky.social
And like so many things, I only learned about this history via art because a Native artist doing a piece for Standing Rock referenced it. #ArtSky

"The Kingdom of Darkness Is Surrendered", a 2014 protest-performance organized by Civil Sector of Maidan in Ukraine

*Alt-text in future please. 🙏🏾🫶🏾
mostly women protesters in Ukraine held up mirrors so police/soldiers could see themselves -- Organized by a group that called itself Civil Sector of Maidan, the performance was titled "The Kingdom of Darkness Is Surrendered". Dozens of people young and old formed a line facing the ranked riot police. They held mirrors that echoed the shields carried by the police. Some mirrors had the words “God, is it me?” inscribed on them. The police were forced to look at their own reflections. photo COURTESY CIVIL SECTOR OF MAIDAN
February 8, 2026 at 4:17 PM
propcazhpm.bsky.social
Beauty is not a luxury; rather it is a way of creating possibility in the space of enclosure, a radical art of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity to the baroque, and the love of too much.
—Saidiya Hartman, Wayward Lives…
Quote:Saidiya Hartman, "Wayward Lives, Beautiful Experiments" alt-text: photos from Instagram of @facesofhaiti show a Black man and woman modeling the 2026 winter Olympic outfits designed by Italian-Haitian designer Stella Jean. Inspired by Édouard Duval-Carrié, the design features a blue sky, lush greenery, and a riderless horse painted onto quilted thermal ski fabric. The woman wears matching headwrap & full skirt. They are standing in snowy mountainous setting.
February 5, 2026 at 2:57 PM
propcazhpm.bsky.social
The #Superfine (Black Dandy) exhibit also had a portrait of writer Alexandre Dumas— grandson of a Haitian woman— who wrote The Three Muskateers, The Count of Monte Cristo, and MUCH more.

Dumas actually joked about his thin calves compared to his father's.

Alexandre Dumas, 1829
Achille Devéria
Lithograph of a fashionable young Alexander Dumas wearing light shirt and pants and dark long tail coat, casually seated leaning against pillows of a couch, his arm draped across back of the couch. His feet are crossed at the ankles He had thick curly hair fashionably styled. Museum text below said he joked about his thin calves compared to his father. Museum text: Dynastic Dandyism: Thomas-Alexandre and Alexandre Dumas As men of multiracial backgrounds in eighteenth- and nineteenth-century France, Thomas-Alexandre Dumas and his son, the writer Alexandre Dumas, faced prejudice but were also allowed certain social latitude. Both were known for the impressive figures they cut. The son of a French nobleman and an enslaved Black woman, Thomas- Alexandre became the first general in the French army of African descent. Louis Gauffier's nearby portrait depicts the general in an ensemble that mirrors both contemporary military styles and fashionable civilian attire. The colorful sash at his waist and green foulard around his neck hint at his identity as a soldier and a Creole. Alexandre Dumas incorporated his father's military exploits into his celebrated novels of the 1840s. such as The Three Musketeers and The Count of Monte Cristo. In his memoirs, he recalls the moment at age sixteen when, "seized by the desire to look smart," he discovered a cache of his late father's clothing. The wardrobe included "pantaloons of leather," perhaps similar to the skintight pair shown in the portrait of his father and those in the case nearby. Later known for his long legs, as evident in the engraving by Achille Devéria, Alexandre could not help but compare himself to his father's daunting musculature, lamenting, "My poor mother imagined that because I was heir to my father's breeches, I had also inherited his calves."'
February 5, 2026 at 12:07 PM
propcazhpm.bsky.social
Haitian-born Thomas-Alexandre Dumas was the first Black general in the French army. 🇭🇹

The #Superfine: Tailoring Black Style (Black Dandy) exhibit at the Met had portraits of the general (father) and his son (writer Dumas).

Portrait of Thomas-Alexandre Dumas, 1801
Louis Gauffier
#ArtSky #BlackSky
painting of dashing, young, muscular, mustached Black man born in Haiti to an enslaved African woman and French nobleman standing in French countryside wearing French Revolution-era military uniform of blue jacket, red sash, white pants, black boots, mustache, a long sword; two hunting dogs are looking up at him with affection Met museum text: Louis Gauffier's portrait depicts the general in an ensemble that mirrors both contemporary military styles and fashionable civilian attire. The colorful sash at his waist and green foulard around his neck hint at his identity as a soldier and a Creole. Alexandre Dumas incorporated his father's military exploits into his celebrated novels of the 1840s. such as The Three Musketeers and The Count of Monte Cristo. In his memoirs. he recalls the moment at age sixteen when, "seized by the desire to look smart." he discovered a cache of his late father's clothing. The wardrobe included "pantaloons of leather," perhaps similar to the skintight pair shown in the portrait of his father and those in the case nearby. Later known for his long legs, as evident in the engraving by Achille Devéria, Alexandre could not help but compare himself to his father's daunting musculature, lamenting, "My poor mother imagined that because I was heir to my father's breeches, I had also inherited his calves."'
February 5, 2026 at 11:35 AM
propcazhpm.bsky.social
Includes:
Firelei Baez at Museum of Contemporary Art Chicago, Through May 31st

Deborah Roberts at Flag Art Foundation, NYC
Feb 12th–Apr 5th

Seydou Keïta at Brooklyn Museum Through May 17th
#ArtSky #BlackSky

“Sanctuary” (Group)
Fridman Gallery, NYC
Through Mar 7th

www.artsy.net/article/arts...
8 Must-See Shows of Black Art across the U.S. This Black History Month from Artsy written by Isis Davis-Marks Jan 2026 Includes photo of Installation view of “Suzanne Jackson: What Is Love” at SFMOMA. Photo by Don Ross. (hanging textiles) Courtesy of SFMOMA.
January 30, 2026 at 4:07 PM
propcazhpm.bsky.social
I'm not sure that it comes close to the entire chapter that Dr. Tressie McMillan Cottom wrote on Brooks in "Thick", but alt-text for above post is below.
The mention of David Brooks recalls a different point, in a different conversation with him, on the Charlie Rose show. It was about what the U.N could do to solve the Irag crisis, rather than leaving it to America to just do its own thing. Brooks was arguing very smoothly that the U.N. was useless and couldn't be counted on to do anything forceful. He said: look at how useless it was in the Balkans. I went into some detail at that point about resolution of the Kosovo crisis and, in particular, the role of international agencies there in catastrophic situations. I argued, it was still possible for international agencies to do good things, precisely because they were international agencies. And I expected Brooks to come back with: about this, this and this. Instead, he just said: well, I don't really know anything about that. And changed the subject. And I remember thinking: you`ve gone on television, made ex cathedra against the whole idea of international action to resolve political statements crises in dangerous places, making a case for America to do its own thing because noone else can; and then when you're pushed on it, you say: well, I because no one actually know what I'm talking about. Here we had the public intellectual who now occupies not only prominent television space but op-ed pages of the most influential newspapers in the English-speaking world: and he knows nothing. Raymond Aron famously criticized the generation of Sartrian intellec- tuals who knew nothing about the things they were talking about; but at least they did, after all, know other stuff. Men like Brooks know, literally, nothing.
January 30, 2026 at 1:52 AM
propcazhpm.bsky.social
This in person (UK) and online!

A reading and discussion of Annah, Infinite, an experimental work of creative non-fiction that challenges #ArtHistory, confronts colonial #ableism, and reclaims a stolen spirit…

the young girl in Annah la Javanaise (1893-94), Gauguin’s famous painting. #Lit #ArtSky
Photo of a tiny brown girl with long hair (Annah la Javanaise) that Gaugin took from her home, was abusing and painting numerous times standing with him and other white men. She became pregnant with his baby and lost it. Gaugin painted that too. Photograph by Gauguin, at the studio of 6, rue Vercingétorix. Front row, Swedish cellist Fritz Schneklud (center) and the musician Larrivel (right), with post-impressionist painter and sculptor Paul Sérusier, Annah la Javanaise, and the postimpressionist painter Georges Lacomb in the back row. Photograph: ©Museé du Pont Aven, Pont Aven, France. (Source: How Do We Look [2022])
January 28, 2026 at 1:52 PM
propcazhpm.bsky.social
Hew Locke created this portrait of Queen Elizabeth Il from mass-produced plastic objects.

Born in Edinburgh, Scotland and raised in newly postcolonial Guyana, Locke recalls being reprimanded for defacing images of the Queen in his youth.

Europa, 2007
Plastic, metal,fabric, wood
Hew Locke OBE RA
assemblage portrait of Queen Elizabeth II made of multiple materials including plastic flowers refuse, beads, Black baby doll parts including heads and hands, and skills embedded, hanging on museum wall museum text: Hew Locke OBE RA Born 1959 in Edinburgh, Scotland Europa, 2007 Plastic, metal, fabric, and wood. Hew Locke creates this portrait of Queen Elizabeth Il from mass-produced plastic objects as part of his House of Windsor series. Born in the United Kingdom and raised in the newly postcolonial Guyana, Locke recalls being reprimanded for defacing images of the Queen in his youth. As the Queen of England for seventy years, Elizabeth symbolized imperial power-her image on currency and in textbooks, and her role in governing distant territories, some of which she rarely, if ever, saw herself. In this work, Locke underscores the postcolonial contexts that made this object portrait possible, including the global supply chains and inexpensive labor that make its materials widely accessible.
January 27, 2026 at 12:59 PM
propcazhpm.bsky.social
I copied info from this link.

"Named from the Latin word for wandering, the vagus nerve travels from the brainstem down through the neck and into the torso, branching to connect to multiple organs. "

my.clevelandclinic.org/health/body/...
page showing a blue illustration of a woman's body with the brain illuminated in yellow and the vagus nerve (and branches illuminated in yellow as it travels through the neck (between your carotid artery and jugular vein), chest (thorax), heart, lungs, abdomen and digestive tract.
January 26, 2026 at 12:36 AM
propcazhpm.bsky.social
Got it.

Research shows that just 20-30 seconds of focused sensory attention can shift your nervous system from stress to calm. tere's how you leamn stay steady through life's waves.

Practice Achoring Through Your Senses. 🌱

Rest is in alt-text.
Color brochure that says Practice Achoring Through Your Senses - Feel the point where your body meets tne chair or the floor. - Look around. Name 3 things you see. Find 3 colors that bring joy. - Hold something. Notice its shape, texture, and temperature. - Pause and listen. Notice the sounds closest to you, then the ones father away.
January 25, 2026 at 11:26 PM
propcazhpm.bsky.social
I love how in His & Hers, Tessa Thompson as Anna was packing heat as an afterthough along with her lipstick, cellphone, and hand cream in her black leather Chanel Executive Tote Bag.

Her EDC (every day carry) with notebooks and fountain pens.
👜🖋🗒

Such a bad ass.
biracial actress Tessa Thompson in tan trench talking on a cellphone holding expensive leather purse in her elbow
January 25, 2026 at 3:04 PM
propcazhpm.bsky.social
My favorite was a 1971 portrait by John Wilson of his mother Violet when he was art prof at BU.

"The portrait is richly rendered in both charcoal and black crayon, with highlights on her face added in white crayon. "

The dedication:
"To Mother, I'm glad I could be here with you at this time" 🥹 🌱
Sketch of an older Black woman wearing glasses and white blouse Violet, 1971 Charcoal and black and white crayon with smudging on white wove paper by John Wilson American (born in Roxbury, MA 1922, passed 2015 Brookline, MA Museum text: This portrait is richly rendered in both charcoal and black crayon, with highlights on the face added in white crayon. The lines vary in density and quality, from the scant few that describe the clothing, to the dynamic lines emphasizing the hair, to the thick layering in the face. This newly acquired image of the artist's mother is moving in its familiar, intimate pose, reflecting the relationship between mother and son. The dedication, "To Mother, I'm glad I could be here with you at this time," adds to the emotional impact of the work. The drawing was made in Boston, where Wilson-one of the most influential members of the local art scene-was a professor of art at Boston University.
January 17, 2026 at 3:52 PM
propcazhpm.bsky.social
"Girl in a Red Dress" by Charles Alston hanging at the Met.
three paintings of women on a museum wall. The painting on the right is of a young Black woman wearing a red dress and white collar. I didn't make note of who painted the other two.
January 16, 2026 at 2:15 PM
propcazhpm.bsky.social
Also, ALL this information needs to be available in multiple languages on the website.

Spanish, Haitian Creole, Portuguese (Cape Verdean), and Mandarin…

Looks like English only. 🤔
@massago.bsky.social

mass.gov/AGO/immigrantresources
screenshot of MA Attorney General Resources for Immigrants in Massachusetts — in English
January 14, 2026 at 12:18 PM
propcazhpm.bsky.social
Massachusetts:

KNOW YOUR RIGHTS: BYSTANDERS IN ICE ENCOUNTERS

Bystanders to ICE enforcement actions have the right to observe ICE officers and record the encounter from a reasonable distance, so long as they do not interfere with the officers.

More at:
mass.gov/AGO/immigrantresources

alt-text
Massachusetts KNOW YOUR RIGHTS: BYSTANDERS IN ICE ENCOUNTERS Bystanders to ICE enforcement actions have the right to observe ICE officers and record the encounter from a reasonable distance, so long as they do not interfere with the officers. Athough ICE may ask questions, bystanders have the right to remain silent. Bystanders are not required to answer questions about their own immigration status or the status of another person. Bystanders have the right to refuse entry. If ICE agents approach a home where a bystander resides, the bystander can refuse entry without a judicial warrant. Bystanders have the right to ask questions. You may ask the person being detained if they have a family member or immigration lawyer they'd like you to call. Learn more at mass.gov/AGO/immigrantresources
January 14, 2026 at 11:41 AM
propcazhpm.bsky.social
Originallly as part of the MFA's inaugural Banner Project, Robert Pruitt painted MFA intern and scholar, Sofia Meadows-Muriel with a gas can and a quilt similar to one by Harriet Powers worn as a cape.

#ArtSky #BlackSky

Birth and Rebirth and Rebirth, 2019
Robert Pruitt, American, b. 1975
The work depicts Sofia Meadows-Muriel. Meadows-Muriel holding a gas can, a symbol of potential destruction that suggests the power to create, destroy, and transform. Draped across Meadows-Muriel's shoulders is a quilt inspired by the work of Harriet Powers (1837-1910), one of the most celebrated Black quiltmakers of the 19th century, referencing the weight and strength of cultural memory.
January 11, 2026 at 3:37 AM