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In as much as especially concerning

the future, a significant amount of energy and attention continues to be paid to pointless distractions – and this is certainly not referring to Barbie, good grief, which is entirely legitimate cultural production compared to

Influencers Built This Wellness Startup

Anything related to hyper loops or one-way tunnels, ‘crazy golf’, or fiat money. Hardly an exhaustive list, play along at home.

If the whole artifice rests on ‘there is only so much attention’ (bandwidth in the common parl) then lettuce take that idea to heart. Frivolous at this point is tantamount to dangerous and irresponsible. Concern about not bumming people out in proximity to the imminent collapse of the Gulf Stream leads to, let’s say, an incoherent narrative.

Priority has never been our muse, with one or two exceptions, but let’s get organized. At least theoretically imagining the painful stuff first – what would you be willing to give up? Just go ahead and get it out of the way, at least mentally, because that seems to be what frightens people the most. So, pop the bubble: imagine a world without cruises – no, go deeper – cars! Ouch. But see – that’s where to start.

Even the intention could begin to help (us) re-organize how we think about what we think about. Envision liberation, rather than ignore the possibility of collapse.

Image: Peace. Solemnity. Liberation by Aristarkh Lentulov (1917)

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Stare decisis

The previous three Supreme Court Justice nominees – Gorsuch, Kavanaugh, and Barret – knowingly lied in their confirmation hearings.

From an archived Artforum preview:

Through October 15, New York’s Museum of Sex hosts Barcelona-based artist Laia Abril’s exhibition “On Abortion: And the Repercussions of Lack of Access.” One chapter of her larger project “A History of Misogyny,” “On Abortion” chronicles obstacles to reproductive choice in across the world. Abril employs a documentary mode common to conceptual art, drawing on the testimonies of individuals who were denied care. She pairs black-and-white photographic portraits of her subjects with typed statements and evidentiary images of their struggles, such as maps of their travels to neighboring countries for health care and photos of shadowy waiting rooms and plum pits (as one woman describes the size of her fetus). The subjects include Françoise, a septuagenarian Frenchwoman who performed five thousand clandestine abortions from the ’70s to the ’90s, to three Chinese women—identified by their initials ZWF, FJ, and GYL—whose abortions and sterilizations were forced upon them. Abril also uses the photographic grid format to depict the desperate measures people have taken to end pregnancy throughout history, from herbal mixtures to the coat hanger method. Alongside Abril’s work, curator Lissa Rivera exhibits birth-control artifacts from the Museum of Sex holdings and gynecological tools from the Burns Archive, a private collection in Manhattan devoted to medical photography and objects from the nineteenth and early twentieth centuries. The sober nature of Abril’s exhibition sharply contrasts with the spectacular format of the MoSex shows directly above and below hers—on webcam models and fin de siècle stag films, respectively. Still, on a recent busy Friday night at the museum, “On Abortion” invited quiet contemplation from a busy crowd.

In January and February, the two-part show “Abortion Is Normal” was mounted at the downtown galleries Eva Presenhuber and Arsenal Contemporary Art. Conceived as a fundraiser for Downtown for Democracy, a liberal super PAC, the show donated its proceeds to Planned Parenthood and efforts to support voter education on reproductive rights. Curated by Project for Empty Space Newark cofounders Rebecca Pauline Jampol and Jasmine Wahi and co-organized by Marilyn Minter, Gina Nanni, Laurie Simmons, and Sandy Tait, the show brought together over fifty diverse artists—several with blue-chip appeal, like Barbara Kruger and Cindy Sherman. While the title polemically defined reproductive rights as normal healthcare, the works on view approached bodily and sexual autonomy in various ways, oscillating in attitude between anger, celebration, and grief. Carrie Mae Weems’s photograph The Broken, See Duchamp, 2012–16, depicts the artist in a spread-eagled posture reminiscent of Etant donnés; Hayv Kahraman’s paintings of fair-skinned, dark-haired women, punctuated with woven bits of canvas, suggest the fracturing and mending potentials of art in the wake of traumas related to sexual violation and migration. Jane Kaplowitz’s painted portraits of Ruth Bader Ginsburg lionize the Supreme Court Justice, while Jon Kessler’s multimedia collage Birmingham, 2019, mourns the victims of the 1998 bombing of an Alabama abortion clinic by the terrorist Eric Rudolph.

Image: Hayv Kahraman, Barricade 1, 2018, oil on linen, 50 x 78 x 3”.

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Fixing it

Notwithstanding the [late] reckoning with our very own special coup, the one we think we dodged and the very one over which Our Media is fascinated by exactly all the wrong details; the battle between Chicago and lake Michigan; and the new Gilded Age space flights for plutocrat tourists, the economy seems to have magically withstood a pandemic (Narrator: It’s not magic):

Initial unemployment claims came in at 360,000 for the week ending July 10, below the previous week’s revised read of 386,000. That reading matched the consensus forecast among economists, according to Bloomberg.

The decline in the seasonally adjusted number resumes the overall downward trend of the volatile data series after an unexpected rise in initial claims last week. The Labor Department noted that this marks a new pandemic-era low.

While the number of Americans newly filing for unemployment benefits tends to bounce around from week to week, it’s been on a general downward trend after spiking to record-shattering numbers amid the early days of the pandemic last spring. The return to that downward trend matches other data suggesting a steadily recovering labor market.

360K is still a very many lot of people, and yet you ask: after years of making sure our billionaires had enough nest eggs to color-coordinate their space suits, how was it possible to get through a year of very limited economic activity and still be able browse and sniff at the want ads and generally avoid most of the fascist tendencies on offer? Give. People. Money.

CARES and PPP run themselves out by design, which is helping people stay afloat. This is why we’re longing for vacations instead of standing in breadlines. And the infrastructure bill will bring more of this – not gifts and not luxuries – but investments in people and how we live, with recommendations for new arrangements for different needs that WE have made absolutely necessary (see Chicago example above and read the history). Move the monuments. Buy the trains. Pay the carpenters, or become one. As legend has it, the profession has a storied past.

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Not the Same as it Ever Was

Things shutting down, a leadership vacuum and sports leading the way to a quieter next few weeks brings up a lot of possibilities that fall on the interesting/frightening continuum. What will be the new normal that follows this different normal?

Virtually every activity that entails or facilitates in-person human interaction seems to be in the midst of a total meltdown as the coronavirus outbreak erases Americans’ desire to travel. The NBA, NHL, and MLB have suspended their seasons. Austin’s South by Southwest canceled this year’s festival and laid off a third of its staff. Amtrak says bookings are down 50 percent and cancelations are up 300 percent; its CEO is asking workers to take unpaid time off. Hotels in San Francisco are experiencing vacancy rates between 70 and 80 percent. Broadway goes dark on Thursday night. The CEOs of Southwest and JetBlue have both compared the impact of COVID-19 on air travel to 9/11. (That was before President Donald Trump banned air travel from Europe on Wednesday night.) Universities, now emptying their campuses, have never tried online learning on this scale. White-collar companies like Amazon, Apple, and the New York Times (and Slate!) are asking employees to work from home for the foreseeable future.

But what happens after the coronavirus?

In some ways, the answer is: all the old normal stuff. The pandemic will take lives and throttle economies and scuttle routines, but it will pass. Americans will never stop going to basketball games. They won’t stop going on vacation. They’ll meet to do business. No decentralizing technology so far—not telegrams, not telephones, not television, and not the internet—has dented that human desire to shake hands, despite technologists’ predictions to the contrary.

Yet there are real reasons to think that things will not revert to the way they were last week. Small disruptions create small societal shifts; big ones change things for good. The O.J. Simpson trial helped tank the popularity of daytime soap operas. The New York transit strike of 1980 is credited with prompting several long-term changes in the city, including bus and bike lanes, dollar vans, and women wearing sneakers to work. The 1918 flu pandemic prompted the development of national health care in Europe.

It seems like a good time to wonder: do you have stuff to Read? Write? Paint? Plant? Play?

Work on other stuff, or just yourself. Rest, and stay healthy. Think about what ‘different’ might be like, how it could be better.

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Elevation of Silicon Valley

The lowest point in San Jose is 13 feet below sea level and though it has its high points, I agree that the tech boom is probably done. The way in which profits are squeezed from marginal web apps has gone the way of wide brim ties for the moment, and though Musk remains a hero at the major news outlets there seems to be only shadow chasing for the big start-up fashion show funding carnival that was all the rage until the lights came on. And despite the hype, even autonomous vehicles appear to be circling back to their original question: how?

BUT… the economy is… booming? Okay, the business news will all turn negative as we reach full employment and wages go up because anything that is good for workers must be bad. The captains of cronyism continue their long-term project of undermining capitalism from within. Now they’ll have pay higher wages or else. I kid. Will the know-nothings in power begin to learn to love the tariffs as they slingshot back at US? How many socialists will take the oath of office after November? Can capitalism be crippled without putting representative democracy in traction, too? This is to say nothing of the boiling racism at the heart of every policy question from immigration to the environment to voting rights.

Okay, enough vacation. Everybody back to work.

Image: Author photo from a somewhat great height.

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Plenty

Even when

Louise Bourgeois: Self Portrait, 2007
there’s plenty wrong, there’s still plenty of the other, too. It just gets crowded out, like blue sky by rain. No need to blow sunshine, just a little pushback – like this digression on the graphic sensibility of Louise Bourgeois:

Born in Paris in 1911, Bourgeois suffered more than the usual number of grievous blows to the psyche, and her inner life stayed tightly wrapped around their memory. War, illness, sexual jealousy, mental instability were all things she witnessed in her first decade, and she never forgot—or forgave—any of them. As a teenager she learned that the attractive young Englishwoman who lived with the family as a tutor was also her father’s mistress, and this betrayal in particular was something she never got over. In addition, or perhaps in response, her mother was fragile and often ill, and young Louise became her companion at various spas and treatment centers; she was released from her caretaker role by her mother’s death when she was twenty-one.
After the loss of her mother, and encouraged by her charming and tyrannical father, Bourgeois started a small business selling works on paper, prints, and illustrated books out of a corner of the family’s tapestry workshop on the Boulevard Saint-Germain. To acquire her stock, she scoured the auction houses and book dealers, and she seems to have absorbed, almost overnight, the dominant graphic styles of the day. She had a particular affinity for Bonnard and Toulouse-Lautrec, as well as other artists who used the illustrated book form, which was then in vogue. Something about these livres d’artiste, as they were known—the way they combined text and pictures, and the way the image was printed from engraving or etching plates, the whole satisfying feel in the hand of beautifully made paper embossed with rectangles of finely drawn tones of gray—formed the template for how Bourgeois would think about her own art, on and off, for the rest of her life.

Have a template for how you think what matters most to you. Seems like all the advice anyone might need.

Image: Louise Borgeois: Self Portrait, 2007. MOMA

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Wynema: A Child of the Forest

The illusion itself is a reasonable encapsulation of our fascination with Native Americans. And the unfortunate bigoted bullying that compels our childish attention to the sewer to and from which so much is presently flowing does also provide an opportunity to remind.
Despite even the earliest Experience of William Apess (1829) to reject the stereotyping of Indians, our wider ambivalence about native identity in the face of slaughter, genocide and Christianity (I know) has left most Americans on the wrong side of a deep divide. We need to learn so much more than our cartoon histories allow. So let’s do.

Creek writer Sophia Alice Callahan wrote the first novel written by a woman Native American called Wynema: A Child of the
Forest, which was published in 1891. The novel stresses how a white girl’s progressive adoption of an
identifiably Native American perspective enhances her relationship with a Native American girl named
Wynema.

By ensuring mutual comprehension and respect and, on a larger level, promoting intercultural
bonds they break down the barriers that their own cultures had enveloped them with. As the story
progresses, both the white girl named Genevieve and Wynema learn more about one another’s cultural
customs, and this cross-cultural appreciation fortifies their loving relationship.
While Wynema starts out as Genevieve’s student, she soon becomes her friend and her sister, which the novel suggests evolves not
simply with the passing of time but rather from Genevieve’s increasing understanding of and respect for Muscogee people. As
Genevieve becomes more assimilated into Muscogee life, she refers to Wynema specifically as “a friend” rather than as a pupil or
protege. Moreover, Genevieve’s acceptance of Wynema and Robin’s marriage and, thus, of Wynema as a sister coincides with a
profound shift in the way that Genevieve refers to the Muscogee. Whereas she once referred to them with the objectifying label of “this
people” (emphasis added), by the end of the story she tenderly deems them “my people” (emphasis added). The novel further
highlights that the Muscogee are “her people,” a sign of her acculturation, when they welcome her back after her return from a trip to
her mother’s home with all of the unbridled enthusiasm and “warmth” afforded to any member of the tribe, including Wynema.

Other Native American writers are listed at the link. A wonderful contemporary Native Canadian writer, Joseph Boyden, is the author of an amazing novel about World War I, Three Day Road.
Familiarize yourself. Don’t let a stupid bully hung up on a childish reference be the stand-in for anything in your consciousness. Reject the caricature, if not on behalf of its target than in solidarity with its origin.

Image of Sophia Alice Callahan via wikipedia.

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Entry into the school of your choice ™

It’s back to school time! Lunch pails and school slates may have given way to Uber eats and iPads, but one anachronism that remains is the ability for donors to get their kids into the best schools. With the Trump Justice Department launching a dubious new project targeting discrimination against white students in university admissions policies, I’m not going to explain why a diverse population in any university is not just a nice thing, but inarguably a crucial component in a country or society’s progress. Straight-up affirmative action cannot even be used college admissions, and yet still the white kids suffer.
But I do wonder how all Harvard (or any college where this happens) students and alumni are not diminished when a rich guy can make a large donation to assure admission for his under-achieving offspring? Maybe this clumsy attempt to mollify the persistent mythology of oppressed white students will accidentally put the spotlight on just how uneven admissions processes – and other, nefarious types of preference – in the round remain. There is something rigged about the process, just not probably what is commonly believed.