Weekly Self Portrait

Guillermo Argueta "Culture" 2022

 

Mirzoeff

(Q) Among the most notable ongoing transformations, in addition to climate change, are the sixth mass extinction of living things, and the ever-growin clearance of over one quarter of the worlds forest

(Q) We have already not only long absorbed the costs of this conflict but learned to find them beautiful

Main Point: 

Chapter six being labeled as "The Changing World," can be interpreted in different ways. The author begins by asking "How do we know when the climate has changed?" To then giving scientific explanation on how "the very concept of climate is an abstraction, a human rendering data over time that cannot be observed in and of itself." Overall, the author trying to explain how this "change" cannot be observed in that very moment. Instead, it has to be throughout a period a time and although the changes are for the worse, we need to appreciate what is left before it's taken away. 

(Q) “I made this portrait for her family,” says Sherald. “I mean, of course I made it for Vanity Fair, but the whole time I was thinking about her family.

(Q) “I wanted this image to stand as a piece of inspiration to keep fighting for justice for her. When I look at the dress, it kind of reminds me of Lady Justice

Amy Sherald Effect

(Q) She activates the double function of portraiture as the recognition of a worldly identity and, in the best instances, the surprise of an evident inner life

(Q) As is natural in a time of transition, Sherald, too, is still learning.

Kehinde Wiley

(Q) “I know how young black men are seen,” he said on a recent winter afternoon in his studio in the Williamsburg section of Brooklyn. “They’re boys, scared little boys oftentimes. I was one of them. I was completely afraid of the Los Angeles Police Department.” 

(Q) His mom enrolled him in a free art course at a state college. Suddenly, he knew how he wanted to spend his life; his career unfolded with remarkable velocity.

Black masculinity

(Q) Already embodies so many of the themes of representations, self--ownerships, and unlikely presence that troubles Wiley's work

(Q) Almost all of his mature work features black subjects against backdrops that are intricately patterned, or refer to classic art--historical settings