Yes, it does. It hurts everyone.
Laci Green is the bees knees.
https://www.youtube.com/channel/UCJm5yR1KFcysl_0I3x-iReg
Go see her stuff. She has really great stuff. Lots of stuff. Stuff.
Boom, Crash, Roar!
Untitled (from the Thunder, Lightning series)
by Milo Roy & James M. Roy
acrylic and pencil on canvas
#createarteveryday
Socialist Obama crashes our economy to a new high on the Dow Jones
18,140.44
at today's close.
at today's close.
Thanks Obama.
In The Midst Of Measles Outbreak, Black Families Become Prime Anti-Vaxxer Recruits
By: Shane Paul Neil
The anti-vaccination movement has been a point of contention amongst parents, medical professionals and government officials for years dating back to the study published by Dr. Andrew Wakefield, published a study linking vaccinations with autism in 1998. The study has since been discredited and in the process Wakefield had his medical license revoked. Despite this, the waves created by the study continue to be felt almost twenty years later with some parents actively refusing to have their children vaccinated. One of the most prominent and outspoken parents among them is Jenny McCarthy. The former Playboy bunny and actress has penned three books espousing her view on the anti-vaccination movement. The most recent measles outbreak, which reportedly started at Disneyland and has since spread to Arizona, has been linked to the anti-vaccination movement. Currently all but two states (West Virginia and Mississippi) make religious exemptions for vaccination. In addition, 19 states allow for “philosophical” exemptions. California currently allows for both religious and philosophical exemptions, as does Arizona.
In the midst of the controversy, families of color are being actively recruited by anti-vaxxers. While the anti-vaccine movement has been traditionally white and affluent, blacks are considered fairly easy targets due to a general distrust of the medical community dating back to the Tuskegee experiments. As Monika Brooks, advocate and Executive Director of the Mocha Autism Network puts it “The accusations from the 2004 CDC whistleblower incident has widened the already strained gap between families of color and the medical community. It prevents families from seeking help for not only atypical neurological challenges, but also for simple physical medical challenges.”
Despite the fractured relationship between blacks and the medical community, vaccinations remain at a fairly high rate because as Brooks puts it “many of us don’t consider it an option. We don’t ask. “While vaccination rates for black children are lower than their white counterparts, the disparity is generally more attributable to economic and availability factors more than any philosophical viewpoint.
There are currently 100 cases of measles that have spread to 13 states following the Disneyland outbreak.
http://thisweekinblackness.com/shane-paul-neil/in-the-midst-of-measles-outbreak-black-families-become-prime-anti-vaxxer-recruits/
Shane Paul Neil
In addition to writing for TWiB and appearing on Sportsball and #TWiBPrime Shane works as a freelance writer and content marketing consultant.
Collection
Collection
1954/1955
Oil, paper, fabric, wood, and metal on canvas
80 × 96 × 3 1/2 in
© Robert Rauschenberg Foundation
San Francisco Museum of Modern Art (SFMOMA)
A “Combine” is neither a sculpture nor a painting but
rather a hybrid of the two. Robert Rauschenberg developed the term to
describe a series of works he began in 1954 that eluded traditional art
media categories. Collection (1954/1955) is the artist’s first
“Combine painting,” an early type of Combine that hangs on the wall like
a traditional painting but reaches into three dimensions with various
elements attached to the work’s surface—such as the silk veil over the
mirror attached just off-center and the found wood scraps along the top
edge. This work also marks a new approach to color. In a decisive move
away from the experimental monochromatic series of white, black, and red
paintings he created between 1951 and 1953, Rauschenberg began Collection by
covering three panels with red, yellow, and blue fabric and layering
them with innumerable collaged, drawn, painted, and sculpted elements.
The same year that Rauschenberg began Collection he started to
experiment with extending the three-dimensionality of the Combines,
incorporating both wall and floor components and even creating fully
freestanding works, such as Untitled, in the Panza Collection at the Museum of Contemporary Art, Los Angeles.
Collection is distinctive for the range and variety of materials it incorporates. In contrast to the approach seen in his Red Paintings (1953–54) and his Black paintings (1951–53), where the collage papers and fabrics typically play second fiddle to the painted passages, here Rauschenberg gives everyday objects the same prominence as conventional art materials. Comic strips, squirts of oil paint, art magazine illustrations, and a host of textiles jostle for attention, and gestural paint strokes drawn directly from the vocabulary of Abstract Expressionism carry the same compositional weight as newspaper clippings of car thefts and department store advertisements. Rauschenberg creates a sense of equality across this diverse visual field in part through the work’s structure. The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom. The resulting three-by-three grid both consolidates and unifies the work’s otherwise chaotic surface.
During preparations for Rauschenberg’s 1976 retrospective at the National Collection of Fine Arts (now the Smithsonian American Art Museum) in Washington, D.C., organizing curator Walter Hopps approached the artist about naming several Combines that until that point had remained untitled. Rauschenberg’s choice of Collection as the title of this work can be read in a number of ways. Hopps suggested that the artist was paying homage to the National Collection of Fine Arts, the first venue on the retrospective tour. Interpreted more literally, the title could reference the collection of wayward scraps scattered across the composition, from the tiny fabric reproductions of masterpieces by Vincent van Gogh (1853–1890) and Pierre-Auguste Renoir (1841–1919) to the print of Nicolas and Guillaume Coustou’s bas-relief Le Passage du Rhin (ca. 1733) and the Re Umberto Brand food packaging in the upper left corner. Through such acts of gathering and combining, Collection bridges cultural references high and low. It also links Rauschenberg’s early artistic explorations with a new phase of experimentation. The Combines brought Rauschenberg international success, and their innovative approach to blending materials and categories remains one of the most significant developments in the history of twentieth-century art.
Collection is distinctive for the range and variety of materials it incorporates. In contrast to the approach seen in his Red Paintings (1953–54) and his Black paintings (1951–53), where the collage papers and fabrics typically play second fiddle to the painted passages, here Rauschenberg gives everyday objects the same prominence as conventional art materials. Comic strips, squirts of oil paint, art magazine illustrations, and a host of textiles jostle for attention, and gestural paint strokes drawn directly from the vocabulary of Abstract Expressionism carry the same compositional weight as newspaper clippings of car thefts and department store advertisements. Rauschenberg creates a sense of equality across this diverse visual field in part through the work’s structure. The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom. The resulting three-by-three grid both consolidates and unifies the work’s otherwise chaotic surface.
During preparations for Rauschenberg’s 1976 retrospective at the National Collection of Fine Arts (now the Smithsonian American Art Museum) in Washington, D.C., organizing curator Walter Hopps approached the artist about naming several Combines that until that point had remained untitled. Rauschenberg’s choice of Collection as the title of this work can be read in a number of ways. Hopps suggested that the artist was paying homage to the National Collection of Fine Arts, the first venue on the retrospective tour. Interpreted more literally, the title could reference the collection of wayward scraps scattered across the composition, from the tiny fabric reproductions of masterpieces by Vincent van Gogh (1853–1890) and Pierre-Auguste Renoir (1841–1919) to the print of Nicolas and Guillaume Coustou’s bas-relief Le Passage du Rhin (ca. 1733) and the Re Umberto Brand food packaging in the upper left corner. Through such acts of gathering and combining, Collection bridges cultural references high and low. It also links Rauschenberg’s early artistic explorations with a new phase of experimentation. The Combines brought Rauschenberg international success, and their innovative approach to blending materials and categories remains one of the most significant developments in the history of twentieth-century art.
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