If you notice me reblogging

  • a repost
  • stolen art
  • false information
  • etc.

please let me know, you’re not rude or annoying and I actually do give a fuck and I will correct my mistake, thank you

(via awfully-distracted)

— 4 hours ago with 76432 notes


#ITooAmHarvard is a project by Black students at Harvard to speak out about the racism that they experience in their daily lives as students. It will also be a play.

Pretty heartbreaking. These beautiful and bright students deserve so much better. Above I included some of the photographs (there’s many more) of Black women who are students there because I think it’s important to point out how racism is not only impacting Whites’ perception of their intelligence but also how White people approach their appearance as well, in gender-specific ways. This is heartbreaking to me albeit not surprising. The myth that working hard = happy payoff is a fairy tale. Racism is ubiquitous. 

I really wish them the best with their education and the ability to navigate these microaggressions and overt acts of racism. This stuff increases stereotype threat and impacts mental health and health which impacts performance. I want the best for them. Much love. 

(via wordtonick)

— 4 hours ago with 54559 notes
Carrie Mae Weems Brings Change to the Guggenheim →



In her 30-year career, Portland-born photographer Carrie Mae Weems has collected a long succession of accolades and honors, with approximately 50 solo exhibitions around the world, honorary degrees from numerous institutions, and, most recently, a MacArthur Genius Grant. This year, Weems gets the distinctive honor of becoming the first African-American woman to have a retrospective at the Guggenheim — her first major exhibition at any New York museum, ever. It’s one of those honors that sits at an awkward intersection, both disappointing and profound. Disappointing because it has taken this long for the Guggenheim to recognize an African American’s work is such a capacity, and profound because Weems’s work in particular feels strangely appropriate in this space, at this time.

Carrie Mae Weems, "Untitled (Man and mirror)," from "Kitchen Table Series" (1990), gelatin silver print, 27 1/4 x 27 1/4 in (69.2 x 69.2 cm) (Collection of Eric and Liz Lefkofsky, promised gift to The Art Institute of Chicago) (© Carrie Mae Weems) (photo © The Art Institute of Chicago) (click to enlarge)

In the days since the debut of Weems’s exhibition (coupled with a beautifully edited catalogue from Yale University Press), there has been discussion not only about its historic significance, but also about the significance of how it’s situated within the Guggenheim itself. Curated by Kathryn E. Delmez and initially presented at the Frist Center for the Visual Arts in Nashville (the Guggenheim is the final stop on a national tour), the original retrospective has been cut down extensively, with Weems’s moving exploration of Gullah culture, theSea Island Series,only excerpted, and other important works such asThe Hampton Project, which explores ties between African and Native Americans, cut out all together. And it’s true: the exhibit, split in loose chronological order between two of the museum’s Annex Level galleries, does somehow feel incomplete…

my latest article on the Carrie Mae Weems Guggenheim exhibit - check out the rest at the link!

- Z

so i saw this on saturday and i have a lot of love for cmw and a lot of feelings about the guggenheim and a lot of that is captured in this article

(via 2brwngrls)

— 4 hours ago with 268 notes


Eh, I don’t like when people be like “black girls watch out cause white girls getting booty these days” cause to a black girl’s ears it kinda sounds like “watch out because your only value is your fetishized body and once that’s gone you’ll truly be worthless”

(via awfully-distracted)

— 4 hours ago with 7497 notes


Art has no bounds. If you control it, it dissipates and is lost, ’cause it wants to be free, it wants to flow and change and grow and reproduce like a living thing. Art lives and gives life. Without it we are just a bunch of wanderers without form, without purpose, without hope. Art is our definition and we cannot but embrace and live it.”

Nigerian artist Segun Aiyesan (b. 1971) is a self-taught artist from Benin City. He graduated from Obafemi Awolowo University, Ile-Ife, Nigeria in 1995. He is a highly prolific international artist who draws inspiration from his lived experiences.

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This is Africa, Our Africa

(Source: ourAfrica, via blackgirlsrpretty2)

— 4 hours ago with 239 notes

When we were stolen from Africa, our wooden and ivory combs were left behind. Our natural hair cleansers and emollients of the land no longer surrounded us and scalp infections occurred in abundance. Styling muds were no longer available to us and we didn’t get to create the intricate braided styles that only we are known for creating, due to a loss of skill due to enslavement and discrimination for failure to assimilate if we wore braided styles. We had to figure out how to care for our hair in a land of people who were made to seem so outwardly dissimilar to us and hateful of us.

We have come a long way with learning about our hair with blogs like BGLH and having products created by women with hair like us. Continue to appreciate, take and share the knowledge you receive from people whom you are inspired by and only came to know because of hair. Forgive your mom. Forgive your grandma. Forgive anyone who has planted a negative seed in your mind for the mistakes they’ve made and don’t hold them accountable for the state of your hair now, if you are unhappy with it. Instead, absorb the knowledge that’s available to you like a thirsty plant absorbs water and allow your hair to grow.

 Domineque Michelle (via chocolatehighhh)
— 4 hours ago with 48 notes

If a woman is sexually overt is she still feminist? It’s a question that…obviously for me, the answer is yes. But also in a larger sense, I’m not interested in policing feminism either. I have such a problem with the idea of people saying things like, ‘Oh she’s not feminist because of blah blah blah.’

Whoever says they’re feminist is bloody feminist. And I just feel like we live in a world where more people need to be saying it and we shouldn’t be looking to pull people out of the feminist party. And I think the reason I find myself reacting so strongly to questions of female sexuality is…there’s something very disturbing to me about the idea that a woman’s sexuality somehow is not hers. So when certain feminists who will say, it’s about the male gaze, it’s for the man, there a kind of a self-censoring about that that’s similar to what they’re fighting.

So as long as women have the choice…why shouldn’t women own their sexuality? Why shouldn’t a woman who does whatever with her sexuality identify as feminist?


Chimamanda Ngozi Adichie

Quote is from Chimamanda Ngozi Adichie Defends Beyoncé: ‘Whoever Says They’re Feminist is Bloody Feminist’ on Clutch Magazine, referring to Chimamanda’s defense of Beyoncé and feminism itself, especially for Black women. 

Some White women are using racism and unfortunately some fellow Black women are using the politics of respectability (which connects to performing acceptability for the White Gaze anyway) to determine who is feminist or not, where more than anything, sexuality is the rubric. Feminism is not a club where some women get to approve the membership of others, especially when this approval is based on the very same type of oppression that a feminist should seek to dismantle. This doesn’t make Beyoncé’s or even Chimamanda’s feminism perfect. But this right off the bat "X is not a feminist because they are Black or because they are not "respectable" thing is utter crap. Even Black female artists deemed “respectable” like Janelle Monáe reject the politics of respectability altogether and have womanist messages in their music. 

Owning sexuality means that presentation, experience, desire, and sexual orientation (including asexual as a sexual orientation) is acceptable to that person and expressed or not expressed however they choose. It is not one-sided where whatever is deemed “respectable” is “feminist” or whatever is overtly sexual only in response to what is deemed “respectable” is “feminist.” It is rejecting reacting to binaries and a clear anti-oppressive stance on sexuality.

Now, I know the quote itself appears ”generic" so many Whites will be eager to erase my commentary so that Chimamanda’s words can center White women since "women" is always read as "White." Of course doing so will once again prove my point about racism and feminism. Such is the irony. Race cannot be erased from intersectionality.

(via wocinsolidarity)

(via wocinsolidarity)

— 4 hours ago with 651 notes

Autum Ashante was accepted into the University of Connecticut at age 13.
Stephen R. Stafford II entered Morehouse College at the age 11 with three majors. 
Tony Hansberry II at age 14 developed a time reducing method for hysterectomies at Shands Hospital 
Honor them by sharing this post.


Autum Ashante was accepted into the University of Connecticut at age 13.

Stephen R. Stafford II entered Morehouse College at the age 11 with three majors. 

Tony Hansberry II at age 14 developed a time reducing method for hysterectomies at Shands Hospital 

Honor them by sharing this post.

(Source: rare-ethnic-images-and-truth, via artofseductionlxix)

— 4 hours ago with 27859 notes
Driver, lower my tuition please.






I don’t have enough money for my basic needs. 

Working 40+ hours just to pay my rent

Now I don’t even have a single cent

Tuition is high, I gotta pay for books

Oh i’m so broke and I don’t wanna look

I popped open my wallet, no funds to count

my credit declined and my check just bounced

Oh, there daddy, daddy betta bring that TAP
Oh, baby, baby where my FASFA at?

(via 2brwngrls)

— 4 hours ago with 15698 notes