Last Seen Blogs
acepjh
moved to main
createeveryopportunity
Create every Opportunity
once-upon-a-wish
Once Upon A Wish
trashcanfills
Welcome To My Humble Abode
visamintglobal
VisaMint Overseas Services
Photo
SHERRI CAUDELL, Editor-in-chief
Design, Curation, + Editing By Sherri Caudell
I am an art critic and poet based in Atlanta, Georgia. I have a BFA in Photography from Georgia State University. During college, I worked at the Atlanta Contemporary as a Gallery Assistant. After college, I moved to NYC for seven years where I interned at Interview magazine and Harper’s Bazaar and went on to work as a Fashion Editor at W, New York, O, and Martha Stewart Weddings magazines. I returned to Atlanta where I have written art and music reviews for Burnaway, The Fanzine, and The Atlantan. I am the Editor-in-Chief of SHOCK of the FEMME magazine, which features writers and artists who are female or non-binary. Before that, I curated and hosted VIDA VOCE at Mint Gallery, which was a live series featuring women and non-binary writers, performers, artists, and musicians. I am the former Poetry Editor of Loose Change: a journal by Wonderroot. My poetry has been published in Deer, Bear, Wolf magazine, The Eyedrum Periodically, The Fanzine, and is forthcoming in Muse/A Journal. I have read my poetry at various reading series in the Atlanta area, including at MINT Gallery, Eyedrum, and at the Lostintheletters reading series.
3 notes
·
View notes
Text
CONTRIBUTORS:
ABBY CARNEY: WRITING BIO
ADELAIDE: PAINTINGS BIO
ALEXIS POPE: POEM + AUDIO 1 POEM + AUDIO 2 POEM + AUDIO 3 POEM + AUDIO 4 BIO
ALICE COHEN: VIDEO ART BIO
ALISON BLICKLE: PAINTINGS BIO
ALLISON RENTZ: ARTWORK BIO
AMANDA BALDWIN: PAINTINGS BIO
ANGELA FRALEIGH: PAINTINGS BIO
ANNA KRAMER: MUSIC VIDEO BIO
ANNA SPENCE: WRITING + VIDEO BIO
APRIL LEDBETTER/DUST-TO-DIGITAL: SONG, WRITING, + ALBUM ART BIO
BECCA KLAVER: POEMS BIO
BERRY GRASS: FLASH NONFICTION BIO
CANDICE GREATHOUSE: PHOTOGRAPHS BIO
CAROLINE COX: WRITING BIO
CHARLIE WATTS: PHOTOGRAPHS BIO
CHRISTEENE ALCOSIBA: POEMS BIO
CLEMENTINE WILLOWILDE: COMIC BOOK DRAWINGS BIO
DELPHINE HENNELLY: PAINTINGS BIO
ELIZABETH J. COLEN: WRITING BIO
ELIZABETH JARRETT: MIXED MEDIA WORKS BIO
ELIZABETH PORCEL: PAINTINGS BIO
ELIZABETH TADDONIO: WRITING BIO
ELLIE POURBOHLOUL: POEM + AUDIO 1 POEM + AUDIO 2 POEM + AUDIO 3 BIO
ESTHER RUIZ: ART OBJECTS BIO
FAITH MCCLURE: PAINTING BIO
HADASS WADE: WRITING BIO
JAIME KEITER: TILE WORKS BIO
JAMIE HOPPER: PHOTOGRAPH 1 PHOTOGRAPHIC SERIES BIO
JENNA GRIBBON: PAINTINGS BIO
JENNI(F)FER TAMAYO: INTERVIEW BIO
JENNIFER VANILLA: SONG BIO
JUDITH JONES: POEM BIO
JULIE L. SIMS: PHOTOGRAPHIC WORKS BIO
KATE MCQUILLEN: PAINTINGS + INSTALLATION WORK BIO
KATIE TROISI: INSTALLATION WORK PAINTINGS BIO
KEIKO NARAHASHI: SCULPTURES BIO
KELLY BLACKMON: PHOTOGRAPHS BIO
KRISTEN SCHIELE: INSTALLATION WORK + PAINTING BIO
LAURA CARTER: POEM BIO
LAURA THEOBALD: POEMS BIO
LAURA VELA: ARTWORK BIO
LAUREN LULOFF: PAINTING BIO
LEA LEA: SONG + VIDEO BIO
LINDSAY BERNAL: POEM BIO
LORRY KIKTA: WRITING BIO
MANA AGHAEE: POEM + AUDIO 1 POEM + AUDIO 2 POEM + AUDIO 3 BIO
MARCIA VAITSMAN: VIDEO BIO
MEGAN VOLPERT: POEM BIO
MEREDITH KOOI: SOUND ART, PHOTOGRAPHS, + VIDEO ART BIO
MICHIKA SKYY MCCLINTON: SONG BIO
MOLLY ROSE FREEMAN: PAINTINGS BIO
NATALIA CASTELLS-ESQUIVEL: WRITING BIO
NEKA KING: GIFS BIO
NICOLETTE EMANUELLE: SONG BIO
NIKKI & THE PHANTOM CALLERS: SONGS BIO
NIKKI SPEAKE: SONGS PHOTOGRAPH BIO
ORIANA GATTA: DIGITAL ART PRINTS BIO
SADE LANAY: INTERVIEW BIO
SAIRA RAZA/SISTER SAI: MUSIC VIDEO BIO
SARAH JEAN ALEXANDER: POEM BIO
SARAH MARIA CONARRO: SOUND ART ARTWORK BIO
SHANA ROBBINS: VIDEO ART ARTWORKS BIO
SHANNA COMPTON: POEMS BIO
SHANTIH SHANTIH: MUSIC VIDEO BIO
SHARA HUGHES: PAINTINGS BIO
SHARON SHAPIRO: PAINTINGS BIO
STEPHANIE DEMER: PHOTOGRAPHS BIO
SUNNI JOHNSON: PHOTOGRAPH BIO
TERA BUERKLE: WRITING BIO
VALERIE JANE THOMA: COMEDY VIDEO BIO
VASHTI WINDISH/WARM DRAG: MUSIC VIDEO BIO
VERONICA IBARRA: PHOTOGRAPHS BIO
YOON NAM: POEMS BIO
3 notes
·
View notes
Photo
Alison Blickle, Graces, 2016, oil on canvas and ceramics, 68 x 80 inches
Alison Blickle, Cloak, 2016, oil on canvas, 85 x 67 inches
Alison Blickle, Uncrossing, 2015, oil on canvas and ceramics, 81 x 108 inches
ARTIST STATEMENT By Alison Blickle:
Alison’s work includes oil paintings and ceramics that depict women engaged in mysterious ceremonies. Presented as installations, with objects positioned on the floor or on stands like altars in front of the paintings, the works together tell a story. They suggest that the viewer has entered a sacred space and that they are seeing remnants of a mystical happening that took place there. Vessels are repeated throughout the paintings and ceramics, and suggest the cosmic egg. These vessels are carefully tended to, guarded, and used by the women who inhabit the scenes. Figures pose in trance-like, choreographed movements, reflecting Alison’s belief that art making is ritual, and that all ritual is performance.
“I'm interested in creating images of women supporting and connecting with one another. I am part of a community of incredible women~ herbalists, witches, midwives, artists, and revolutionaries, and it informs my work big time.”
1 note
·
View note
Photo
Delphine Hennelly, Untitled, 2017, Oil on canvas, 72 x 40 inches
Delphine Hennelly, Menage, 2018, Oil on canvas, 72 x 60 inches
Delphine Hennelly, After the Feast, 2018, Oil on canvas, 72 x 60 inches
0 notes
Video
vimeo
10 Delírios em 10 Sutras
On one side, things are so complicated that the texts, that once translated reality into news or documentaries of their current times (and which in the future would be a script of today), became now an irregular texture full of folds, holes and contradictions. Texts today are written continuously by millions of people and ejected in real time into a transparent public space, existing in black boxes, the servers, infinitely bigger on the outside than on the inside. Our “scripts of reality” are now a ripped texture, a topographic map of sinkholes, with a unique notation: the word "rupture", [text+rupture=texture], defining things at the moment that they cease to be.
On the other side, a more tranquil space, infinitely larger inside than outside (like Doctor Who's Tardis, as a proof that this is possible). Space of little changes, where the mathematical disorder [text+rupture=texture] from the outside becomes nothing more than a radio playing in the background, at a neighbor's house, on a sunny Sunday in the city of São Paulo – while we bake bread. Suddenly, the scenes get exchanged and the calm image approaches a vision of what is natural. And the other, the overloaded one, looks more like what happens inside of our minds. Initially, it is a binary order, and gradually the situations repeat within themselves: like a box inside another box, inside other disorienting and pulsating boxes.
Image and concept by Marcia Vaitsman
Sound by Cristiano Moro
0 notes
Photo
Oriana Gatta, Pink Is My New F*ck You, 2018, Digital Art Print.
Oriana Gatta, Atwood’s Iris, 2017, Digital Art Print.
Oriana Gatta, The Girl Is So Dangerous, 2018, Digital Art Print.
Oriana Gatta, Louhi, 2018, Digital Art Print.
0 notes
Audio
Differences By Mana Aghaee, Read By Ellie Pourbohloul
Differences By Mana Aghaee, Translated By Ellie Pourbohloul
One becomes a butterfly
And escapes towards the sun
From the edge of rain
Another stays in a cocoon
And dies of darkness
One becomes an ocean
And expands kindness
Another refuses their hands
One is Abraham in the fire
Another laughs at flowers
And plucks petals off the days
0 notes
Audio
42 By Mana Aghaee, Read By Ellie Pourbohloul
42 By Mana Aghaee, Translated By Ellie Pourbohloul
I’ve given forty two springs
To the wind
Forty two winters
I’ve watched my hair turn whiter
Forty two autumns
I’ve counted the hatchlings
But no season saddens me
Like summer
I threw forty two stones
In the pond
Forty two circles
Trembling in the water
0 notes
Audio
The Men- By Mana Agahee, Read By Ellie Pourbohloul
The Men- By Mana Agahee, Translated By Ellie Pourbohloul
The men
All came to my house
In the darkness
And entered without knocking
Each of them stole
A piece of my heart
Where I hid the sun
And left without a sound
Slowly and stealthily
Like midnight thieves
Each of them
Holding a lantern in their hand
0 notes
Video
vimeo
“Knocking” by Shantih Shantih
This is a live video recorded by Peter Furgiuele.
0 notes
Text
Four Poems By Christeene Alcosiba
The above poems by Christeene Alcosiba are from her forthcoming book, Doom Lyric.
0 notes
Audio
Meredith Kooi, doris & ray & me, 2014.
All the above photographs in this post are by Meredith Kooi from the series, But Meredith Boo-Fucking-Hoo.
vimeo
Meredith Kooi, Untitled (pink donuts II), 2006.
vimeo
Meredith Kooi, ray’s welcome, 2012.
vimeo
Meredith Kooi, i don’t mean rhinestones I: GPB (khora study #4), 2015.
vimeo
Meredith Kooi, i like belle and belle likes me, 2015.
ARTIST STATEMENT By Meredith Kooi:
drafting a family history. i am determined by the legends of two men.
I am ambivalent about my family’s history.
At times, I feel proud of their accomplishments.
At other times, most of the time, I am overcome with embarrassment.
I have a hard time admitting where I come from. Certain aspects of my past.
My origin story is one of gains and losses. An inability to accept changes. An unwillingness to admit failure and trauma.
Inhabiting the nexus of my two families, which in actuality, is more than two, I am surrounded by the patriarchs. The protagonists of the family story. A grand mythology.
The work I present here has been in progress since 2006, prompted by the passing of my grandfather Kooi, Papa K. I didn’t get to see him before he died. There was no memorial, as far as I know. The kinship I felt with him continues to strengthen with the sound of his voice. A tune he wrote for me when I was born. He welcomes me with song.
I now turn to another side, the family of my mother. The narratives my familiars craft about my great-great-grandfather and my great-grandfather make them into figures larger than life. To this side of my genealogy, they are the definition of the American Dream. But, there is an underbelly to this tale rarely discussed. It is seedy, marked by greed and jealousy. Privilege but also grit.
Images of blonde bombshells circumscribed the feminine imaginary in this family. Nevermind you pursue a career, young lady. You have been presented, debuted to society, let the suitors come. We don’t care that you relate more to a dog in a dirty room.
In 2017, during a collaborative residency at Eyedrum with Ajmal Millar and Johnnie Ray Kornegay III which we titled Disguises Welcomed Here, I dove into the belly of the beast, exposing its guts to the world. This work is aptly called But Meredith Boo-Fucking-Hoo. I put my most kept secrets on display. Parts of me that I didn’t want anyone to know about. Things that I kept hidden from view.
What I present to you are some of these materials, remnants, findings, that I have been accumulating, fueled by a desire to understand who the fuck I am.
1 note
·
View note
Text
Two Poems By Yoon Nam
Yoon describes these poems as “almost a coupling, connected together by the lines from Gerald Manley Hopkin’s poem, especially by the word ‘adazzle’.”
0 notes
Photo
Lauren Luloff, Blue Spruce, 2017, bleached bed sheets and fabric, 92 x 110 inches
2 notes
·
View notes