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Alhelí

@casadefauxdobe.bsky.social

Professional nerd in Latinx Studies Currently a postdoc @ CLALS, U Penn I write about art, the built environment, adobe building practices, and tourism in NM 🌸 she/her/ella 🌸

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Texas Conference of the AAUP@texasaaup.bsky.social · 2w ago

Dr. Iván Chaar López: “If you want a productive university…that supports the state, its citizens, its neighbors, I’m not sure that you want the workers in this institution to be nervous, to be looking over their shoulders… Academic freedom is not under duress—it’s being dismantled.”

Prof Denied Tenure: Academic Freedom at UT Being Dismantled

Border-surveillance researcher Iván Chaar López received a near-unanimous recommendation from faculty and outstanding external support letters. Still, he was denied tenure without explanation.

insidehighered.com

Jody Rosen@jodyrosen.bsky.social · 3w ago

Funny Graceland sendup but what makes this A+ is its spoof of broader trends: 80s boomer-pop's Scramble for Africa (Simon, Byrne et al) AND the Magical Negro theme that ran thru such period pieces as U2's Rattle & Hum, Billy Joel's "River of Dreams," &—of course, supremely—TOTO I bless the rains...

Alhelí@casadefauxdobe.bsky.social · 3w ago

research note for today: the power went out, trapping the archivist and I in an elevator without air circulation for about an hour, waiting to be rescued by firemen after they put out a structure fire around the corner. library has had same number of staff since 1851 (2).

Shannon Mattern@shannonmattern.bsky.social · last mo.

Yet another fantastic exhibition at CUNY’s James Gallery: Sovereign Acts III, the third installment of a series, began in 2012, exploring Indigenous performance. I’m so glad to have learned about Cara Romero’s work.

Photograph: an Indigenous woman standing in front of a hot pink backdrop, with her hands holding two artifacts. Around her are objects fixed to the wall and on pedestals; the photo is surrounded with a high contrast black-and-white diamond border // Cara Romero NÜWÜWÜ, Chemehuevi Indian Tribe, b. Inglewood, California, 1977 Naomi, 2017 Photograph printed on Legacy Platine paper. Courtesy Cara Romero Gallery + Studio. In Naomi, part of Romero's First American Doll series, she reimagines the role of dolls that children use to perform a developing sense of self. The starting point of the series was Romero's desire for her daughter to grow up in a world with a wider, more accurate set of representations and identifications. Romero worked intergenerationally with Leah Mata Fragua, a Northern Chumash woman from San Luis Obispo, to create a doll modelled on Leah's daughter Naomi Whitehorse. By holding true to Chumash culture-down to the actual pinecones and the black and white abstract pinecones on the box that are often used in customary artworks-she reclaims doll culture for contemporary Native girls. -WN, 2026A CPA photograph depicting, four young indigenous people and a baby sitting at top a pile of cathode ray tube televisions // Cara Romero 1977 NÜWÜWÜ, Chemehuevi Indian Tribe, b. Inglewood, California, TV ndians, 2017 Inkjet print. Courtesy Cara Romero Gallery + Studio. Romero imagines what television should have been if it could have been populated by real Pueblo people and their storied existences. Actor/Models Crickett Tiger, Kaa Folwell, Santiago Romero "10, and Dina Devore and their child are juxtaposed with more stereotypical images on the TV screens. Romero uses speculative fiction and portraiture to create a tribute to our contemporaneity that breaks the primitive vs. modern myth of colonialism. It is a tribute to the actors and models today. :/ Cara Romero 1977 NÜWÜWÜ, Chemehuevi Indian Tribe, b. Inglewood, California, TV ndians, 2017 Inkjet print. Courtesy Cara Romero Gallery + Studio. Romero imagines what television should have been if it could have been populated by real Pueblo people and their storied existences. Actor/Models Crickett Tiger, Kaa Folwell, Santiago Romero "10, and Dina Devore and their child are juxtaposed with more stereotypical images on the TV screens. Romero uses speculative fiction and portraiture to create a tribute to our contemporaneity that breaks the primitive vs. modern myth of colonialism. It is a tribute to the actors and models today.For gridded screens featuring grainy, redtoned videos // Michelson KANIENKEHAKA, Six Nations of the Grand River, b. Buffalo, New York, 1953 Pehin Hanska ktepi (They Killed Long Hair), 2021 Single-channel video projected onto wool trade blanket. Courtesy of the artist. In 1876, the Lakota, Cheyenne, and Arapaho led by the brilliant Crazy Horse and Chief Gall, went to battle against the U.S. 7th Cavalry commanded by Lieutenant Colonel Custer. Often called Custer's Last Stand because he was summarily defeated. The Battle of the Greasy Grass as it is known by the Lakota was marked with a Veteran's parade in 1926, which you can see projected onto a red trade blanket. Michelson duplicates and loops the footage to play counterclockwise (Mohawk ceremonial direction) on the blanket in reference to the Lakota winter count. Winter counts are complex historical documents that use a memorable event to mark the nation's history of that year. A Lakota historian is charged with remembering the stories recorded mnemonically in pictographs often arranged in a circle pattern on a hide. The title of the work is taken from the winter count entry for 1876. The names of some of the warriors present are Lone Wolf, White Horse, Black Whetstone, Limpy, Pine, Hollow Wood, Sun Bear, Kills Night, Fast Walker, Dog Friend, Beaver Heart, Shoots Walking, Young Hawk, and Little Moon. Crow scout White Man Runs Him was present representing the 7th Calvary. Michelson takes an event that often celebrates Custer as a Martyr and centers the First Nations point of view of westward expansion as land theft and attempted cultural eradication. —Alan Michelso Three tall, vertical red banners hung in the window: we are born into the concept of war we are born into war crying before we are taught the truth about the sIns of our country aesthetics are Indigenous to this body crawling out of the earth and there is no safe space in a colonized place
Rev. Dr. Derek M Ballard PhD@derekmballard.bsky.social · last mo.

look, I ain't ever gonna quit. as long as I can make at least one person feel less alone in this life I'm gonna keep grinding out these comics. landlords can kiss my grits.

Rev. Dr. Derek M Ballard PhD@derekmballard.bsky.social · last mo.

I’m $500 short on rent after the answer-seeking Europe trip. But I’m making a long form comic about it & I’m about to put up a new comic for preorder. it was worth it. plz consider supporting via a one time tip. if you can’t no worries. I just appreciate your readership: ko-fi.com/derekmballard

Places Journal@placesjournal.bsky.social · last mo.

"These museums gently pique their publics, not through ostentatious materials or seriousness of affect, but by going big and making a sport of art, or at least curious stadia of its venues ... tousling art world bobs and suburban mullets equally, if not lightly." Joe Day, on LA's newest museums:

Museums and Megastructures

Los Angeles’s Academy Museum, Lucas Museum, and Geffen Galleries at LACMA test contemporary assumptions for museum design and the role of major cultural institutions.

placesjournal.org