Showing posts with label Arts News on The Huffington Post. Show all posts
Showing posts with label Arts News on The Huffington Post. Show all posts

Tuesday, 30 August 2016

Sign Up To Pose Nude In Israel And Help Save The Dead Sea

Warning: This post contains nudity and may not be appropriate for work environments. 



It’s been five years since photographer Spencer Tunick captured 1,200 naked men and women swimming in Israel’s Dead Sea, their bodies looking no bigger than buoys bobbing in the salty water.


The photo shoot was originally meant to document the stunning beauty of the body of water, which stretches between Israel, the West Bank, and Jordan. However, the Dead Sea has been evaporating at an alarming rate ― about 1.2 meters per year. Thus Tunick’s project came to serve as an accidental homage to the sea in its former state. 



Tunick’s 2011 photos are slated to go on view this fall at a Tel Aviv gallery named 4 Florentin Space. While he is back in Israel, the artist is taking the opportunity to document just how much the Dead Sea has suffered over the past five years. He’s currently recruiting more individuals to strip down and enter the salty waters once again to mirror his previous shoot. 


Tunick will return this September, along with 1,200 naked friends, to Mineral Beach, the site of his previous artworks. Dr. Clive Lipchin, director of the Center for Transboundary Water Management at the Arava Institute for Environmental Studies, will also accompany him.


Together, the artist and water management expert hope the photos will raise awareness worldwide about the precarious state of the sea, and encourage leaders to take action. Scientists have long warned that, if the Dead Sea continues to dry at the current rate, the lowest point on earth will dry up completely by 2050. 



The Dead Sea we once knew doesn’t exist anymore,” Lipchin told the Jerusalem Post. “The harm that has been done on all environmental levels has caused damages that are partly irreversible ... the window of opportunity is narrow and will soon be closed.” 


This is Tunick’s first major project since July of this year, when he organized 100 bold women to pose nude at the Republican National Convention in Cleveland, thus protesting the Republican party’s hateful rhetoric against women. (Yes, the nudity is a standard theme for Tunick.) The Israeli project, however, holds a special place in Tunick’s heart. 


“Since 1991, I have traveled the world making immersive art with people of all races, religions, and nationalities,” he said in a press statement. “But Israel is a unique place that I hold close to my heart and is the only country in the Middle East where I can be allowed to have proper freedom of expression.”


If you love getting naked and saving the world, head to Tunick’s website to learn more about potentially participating in the shoot.


Tunick’s work will be on view at 4 Florentin Space in Tel Aviv from Sept. 14–28, 2016. 


H/T artnet News




-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c279fT

Take A Class On Reggae With Stephen Marley


Earlier this summer, Stephen Marley released “Revelation Part II: The Fruit of Life,” the second part of a concept project focused around reggae music. Marley’s intent with the first album, “Revelation Part I: The Root of Life,” was to show where reggae had come from. With the new album, Marley wants listeners to imagine what reggae can still become.


Partnering with an eclectic group of musicians that included Rick Ross, Pit Bull, Waka Flocka, Iggy Azalea, DJ Khaled and Shaggy, Marley set out to make an album that merged reggae with genres that are currently popular.


“’Root of Life’ was me paying homage to my roots and the music that comes from my culture, which is reggae music,” Marley explained to The Huffington Post during a phone call. “And then ‘Fruit of Life,’ which is the offspring of the root, is kind of joining other genres, some which have influenced reggae music like jazz and blues vibes, as well as music that reggae has influenced like hip-hop.”


 


Complex recently made a doc about “Fruit of Life” and Marley:





For Marley, this goal of joining genres together is spiritual work. Just like his father, Bob Marley, he sees his music as spreading the positive vibes of God. “For me, it has a lot to do with how we were brought up, so parenting and the people that we were around,” said Marley.


“We come from a very spiritual time. Rastafarian culture was very fresh to the world ... [we] were around that positive energy and using the music for the betterment of mankind, to empower people, mind and spirt, in a positive way. This became a part of us ― a part of our integrity, our morals as people.”


With “Fruit of Life,” Marley hopes to meet listeners halfway. By pairing up with a popular artist, he believes he can help his message resonate to those who normally wouldn’t give him a chance.


“We’re trying to cross boundaries and give everyone this message of love and unity and peace, especially in this time,” said Marley. “We have to meet them halfway and bring them into the light, rather than waiting for them to discover the light. Sometimes we have to bring the light to them and take them on their spiritual journey.”


 


Watch the video for “Scars On My Feet,” with Waka Flocka:




-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2byzDOA

An Advice Columnist For Women Who Are Actually Doing Just Fine For Themselves


You know that motivational poster every guidance counselor had? Maybe it had funky typographic art, or a sweeping landscape photo featuring twinkling stars. “Shoot for the moon,” it urged sullen high schoolers. “Even if you miss, you’ll land among the stars!”


Ours is an aspirational culture. You can be anything you want to be! Maybe do something about that hormonal acne. If you dream it, you can become it! They make very effective over-the-counter tooth-whiteners these days. The sky is the limit! Get your piece-of-crap life together before it’s too late to become an astronaut.


The American dream, right?


Advice maven Heather Havrilesky, who writes the “existential advice column” Ask Polly at New York Mag’s The Cut, isn’t sold. For her, this “you can do better” attitude is more of a modern societal plague, an endless contest to be smarter, funnier, skinnier, have more well-curated Instagrams and more Twitter followers.


“What’s the purpose of seeming a million times hotter than you are?” she argued in a phone conversation with The Huffington Post last month. “Most women just want to be hotter than we are. [...] Which is just horseshit. What you’re saying, essentially, when you think that about yourself, is, you’re never quite there. You’re always one step behind.”


“I think that one of the biggest challenges is just to say, this is exactly where I’m supposed to be.”



One of the biggest challenges is just to say, this is exactly where I'm supposed to be.
Heather Havrilesky


In July, Havrilesky published a book entitled How to Be a Person in the World: Ask Polly’s Guide to the Paradoxes of Modern Life. It compiles a tantalizing assortment of shiny new Ask Polly columns as well as a few select favorites from the archive, reaching back to when the column launched on The Awl in 2012 (Polly moved to The Cut in 2014). 


When I reverentially opened the book, I was genuinely counting on it to help me with the titular mission. As a city-dwelling millennial woman who has long supplemented or replaced therapy with eager dives into the Ask Polly archives (sample inspiring lines: “We are deeply fucked in many ways, but we are not uniquely fucked”; “Your disappointed Chihuahua eyes are beautiful”), I was ready to spend an afternoon in a state of emotional deep-tissue massage.


Though self-help isn’t my jam, and I rarely take advice, I believe in Polly’s power because she’s not a self-helper or an advice-disher; not really. That’s not to say the Los Angeles-based writer is some sort of newbie. Havrilesky wrote an advice column for Suck.com starting in 2001, then answered advice-seekers on her own website for years. Along the way, she was also working as a TV critic for Salon and writing a memoir called Disaster Preparedness that came out in 2010. But all that experience didn’t translate into a more conventional agony aunt: It forged her into the opposite.


Ask Polly is an anti-advice column, a self-help sanctuary that doesn’t push self-improvement or transcending your limits. When you’ve grown up surrounded by motivational posters telling you that a successful life means shooting for the moon and at least making it to the stars, a quotidian 20-something existence of paying bills with a just-OK job can spark a crisis of self-loathing. For young people who are, as Havrilesky put it, “fed on other people’s perfection at this moment,” no practical advice is as precious as what Ask Polly offers: the assurance that you’re probably just fine, that you’re basically normal, that you’re going to figure things out as long as you give yourself a break.


As a result, few, if any, advice columns have the same aura Ask Polly radiates, of being able to jump-start a sputtering soul or flagging spirit. It’s not a parade of questions dithering over where to sit your divorced aunt and uncle at your wedding or the precise, pithy retort to use when someone rudely comments on your pregnancy belly in public. It’s an in-depth journey into each questioner’s most intractable life issues, an attempt to draw out the universally relatable aspects of those problems, and a bid to empower that person ― and readers ― to sally forth and fix their own ramshackle life.


As I told Havrilesky during our phone interview, Ask Polly has always impressed me as less an advice column than a pep talk column. Where Slate’s Prudie is your prim aunt who doesn’t think any of your boyfriends are good news, and Miss Manners is that family friend who spends your whole wedding gossiping about RSVP cards not having pre-applied stamps, Polly suits the role of your badass older sister ― a woman who’s done and seen it all, and wants you to know she’s got your back, no matter what bullshit you’re pulling.


“It’s easy enough to rubberneck advice columns that are like, ‘I did this wrong thing,’ and the advice columnist says, ‘You’re an idiot. You need to do it this way instead,’” Havrilesky told me. “It opens your heart to read these things that are kind of like, Oh my God, I remember how that used to feel.”


She particularly sees the need for this with young women, who are often plagued with self-doubt and showered with conflicting advice about how to make themselves hot, successful, desirable, easygoing, cool, smart, impossible to leave, and impossible not to fall in love with.


“There’s a lot of ‘here’s how women fuck up, here’s how women screw up everything they do, don’t be like them.’ All those messages that are like, ‘think really hard and memorize these strategies that have nothing to do with you,’” Havrilesky pointed out. “It’s like cramming for a test.”


Any harried college student who’s flailed in a final exam can tell you: In the long run, cramming isn’t an effective strategy for mastery of the material.



You actually have to slow down and let people keep feeling what they’re feeling so they don’t turn off their feelings.
Heather Havrilesky


Not that Ask Polly is a mindless affirmation dispenser or a vending machine for life-choice approval. Havrilesky won’t tell a letter-writer to keep sawing away at a relationship or friendship that’s toxic or one-sided, and she doesn’t give carte-blanche to advice-seekers who are acting like selfish dicks. “This isn’t really winning,” she writes to one woman who keeps getting involved with unavailable men. “It’s hurting yourself and hurting other women in one blow. It’s serving your ass on a platter not to a prince but to a predator.”


But Havrilesky also won’t give the answer often glibly provided in the comments: “Just move on. Get over it.” After talking the perpetual other woman through the ugly motivations and uglier effects of her behavior, she empathizes with her feelings of shame, anger, confusion, and loneliness ― and she paints a way out: “You may wonder, without the excitement, without the drama of the forbidden guy, what is there? Stay with that thought. Stay with the messy aftermath,” she writes. “Imagine yourself at a party, not sparkling. Imagine losing. Imagine being small and sorrowful and admitting how little you know [...] Forget seduction and intrigue. Talk to the other women at a party. Then go home and take a bath and feel good about sticking to your principles and being the honorable person you really are, deep inside.” A typical response clocks in at around 2,000 words.


Why the long-form approach to what basically boils down to messages like stop fucking other women’s boyfriends? “[S]ometimes people are like ugh, it’s so long-winded, why does it have be so long,” Havrilesky sighed, “but you know, what I’m trying to do is use language to bridge a gap between the things that you hear from people all the time that you don’t take in and the things that you feel all by yourself that you feel like other people can’t understand. And it takes the right language to get there.”


“I don’t take it lightly,” she added. “I don’t want to waltz in and say, ‘Yeah, yeah, you’ll get over it.’ So much of your life as a young person is other people saying, ‘Oh, yeah, yeah, yeah, I went through that, no big deal, just fucking get on with it.’”


Instead, Ask Polly allows space for feelings, however uncomfortable or improper those feelings are, under the theory that people have to move through those feelings naturally, rather than suppress them, to actually get over them. “You actually have to slow down and let people keep feeling what they’re feeling so they don’t turn off their feelings,” Havrilesky told me. “It’s easy as a young person for the world to tell you to get over it, and getting over it, basically what it means is that you don’t ever get over it.”


“The idea of a lot of my columns is to stay where you are,” she said. If you’re mourning someone, you continue to mourn them, and you follow your feelings to where they’re going to be.”


One classic Ask Polly column, which appears in the book, counsels a woman who’s struggling with protracted grief over her father’s unexpected death. Havrilesky’s whole response ― which draws heavily on her response to her own dad’s death during her 20s ― reads like a cool tonic to the lonely, bereft soul. And true to form, this isn’t because she douses mourners in sunny cheer, but because she gives us permission to stay in our real, messy, inconvenient feelings. “You are not stuck. You are not wallowing,” she summed up. “This is a beautiful, terrible time in your life that you’ll always remember. Don’t turn away from it. Don’t shut it down. Don’t get over it.”






Don’t get over it. That’s not an advice columnist truism. Neither is encouraging people to accept that where they are is exactly where they’re supposed to be. If all that is true, what is the purpose of advice?


But here’s where we are now: Everyone, especially Snapchatting millennials, feel the pressure to use each 24 hours of the day ― the same number as Beyoncé has! ― to meet the most superficial goals of fabulousness, and it’s possible all that anxiety and effort poured into achieving visible success and happiness only detracts from our actual success and happiness. 


“A lot of the people who write to me who are young [...] think they can control their lives by calibrating their presentation,” explained Havrilesky. “And really what you create when you’re constantly trying to calibrate and curate yourself is an intensely neurotic animal.”


“Social media feeds into that,” she added. “A lot of us just need a reminder not to do that, and to accept the flawed imperfect self.”


Havrilesky is often her own best example. She writes about accepting her limitations ― that she would never be the hot, laid-back girlfriend past men wanted her to be, that certain artistic ambitions of hers would not make her rich and famous ― and for all that, she’s built a successful creative career and is married with children. “I’m really about forgiving yourself for who you are and giving yourself space to be just as lame as you are, in some ways,” she told me. Accepting your imperfections and quirks might seem like giving up, but she sees it as part and parcel of building a life that is sustainably happy and rationally ambitious. 



It’s important to accept where we are and proceed into the world without expecting to be better than we are.
Heather Havrilesky


Not to mention, she offers a way for you to enjoy your own accomplishments rather than constantly pick apart even your greatest moments of triumph, as she cops to doing herself. “I did this NPR Weekend Edition interview,” she recalled, “and I was driving home, and I said to my husband, ‘Well, I was a little less brilliant than I wanted to be.’ I was perfectly great, I was myself, but I wasn’t better than myself, is what I was telling him. This impulse to be better than yourself is just really interesting.”


When it comes down to it, she admitted with some regret, we can’t all be Beyoncé ― who, it turns out, Havrilesky adores. “I write music, so I’m really drawn in by that,” she told me, as she rhapsodized about the genius of Beyoncé’s tour and stagecraft. “To be that gorgeous and to sound that good, and to look that good, and to move that way [...] It’s understandable that people want to reach towards that kind of illusion. And it’s art.” 


Still, she said, “As mortal humans, we’re happiest when we’re not reaching for that. When we resist the temptation to form ourselves in the image of these mediated demigods. It’s important to accept where we are and proceed into the world without expecting to be better than we are.” 


No one’s putting “proceed into the world without expecting to be better than you are” on a motivational poster. Maybe someone should. Or maybe we should all just take a weekly dose of Ask Polly and be grateful Havrilesky is out there telling us to stay where we are, forgive ourselves for our faults, and not to expect for one minute to wake up as Beyoncé.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bOUOfQ

Monday, 29 August 2016

Gene Wilder's Sweet Mania Shines Brightest In These Memorable Scenes


Toward the end of “Willy Wonka & the Chocolate Factory,” the titular shepherd has lost hope. None of the golden-ticket holders have proven worthy heirs to his factory ― until the hero, Charlie, emerges at the 11th hour with a kind gesture. ”So shines a good deed in a weary world,” Wonka proclaims.


Gene Wilder, the man who gave life to Willy Wonka’s rich imagery, died Sunday at the age of 83, leaving behind a series of fantastic deeds in an increasingly weary world. His performances in “Wonka,” “The Producers,” “Young Frankenstein,” “Blazing Saddles” and a handful of other films, plays and television shows are certifiable classics. It helps that Wilder’s physical skill became tantamount to his screen presence. His characters are known for their expressive mania, carrying light and dark sides that emphasize the complicated nature of the events surrounding them. Wonka, for example, is both a soothsayer and a brute, hiding behind the facade of his institution’s steel arches. Popular culture adores his every wrinkle and, by extension, it adores Gene Wilder. 


In the wake of Wilder’s death, it’s time to look back at the roles that made him a legend. Willy Wonka may be everyone’s go-to, but there are so many more, both on the list below and beyond it. Wilder’s work makes life a little less weary.


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2cmXQKB

What It's Like To Be Raised Unapologetically Black And Mexican




“I am Black, I am Mexican. The black gold of the sun and the descendant of the feathered serpent. I am her grandson, and she is my grandmother.”


Those are the first words Rush Davis says in We are mitú’s latest video “An ode to being Blaxican.” In the mini-doc, the California-baed artist discusses his identity and his grandmother, Dolores Morado, talks about what it was like to marry a black man and raise kids who are both Black and Mexican.


“It’s hard raising mixed kids,” Morado says in the video. “You try to show them, you know, they’re no different than anybody else, but you have people that don’t see it like that.” 


In the video, Davis opened up about the difficulties that come with growing up caught between two identities. His grandmother also discussed the criticism she faced for marrying and having children with a black man.  


“[My aunt] came over and she said that I was going to have to be strong in order to be able to raise them, but people were gonna talk about them,” Morado said. “And then I said to her, ‘And they can kiss my ass then’...I figure like this, any kid I got if God didn’t want me to have that baby, I wouldn’t have it. And he allowed me to have them, and they’re mine.” 


Mexico recognized it’s 1.38 million Afro-Mexican for the first time in a national survey in January. The “black” racial category is expected to debut in the 2020 national census. 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bwuIOl

Awesome New Company Lets Kids 'Wear Their Imaginations'

Watch out, fashion world. This new company is giving kids the chance to design their own clothes, and the results are super stylin’. 


Mom and entrepreneur Jaimee Newberry founded “Picture This” ― a new service that allows kids to turn their drawings into dresses.



The process is simple: Parents choose a dress size and print out the coloring book-style templates available on the “Picture This” website. Once their kids have colored and decorated the templates, the grown-ups can upload photos of the completed designs on the website and place their orders. The finished dresses arrive within a few weeks.


“Picture This” was inspired by a dress Newberry made for her daughter, Zia, inspired by her artwork. In a Medium post detailing the history of “Picture This,” Newberry wrote that Zia loved the dress and told people, “I’m wearing my imagination!”




“Due to the positive response and requests from Zia’s friends and classmates to also ‘wear their imagination,’ friends Ken, Igi, Stephan and I chatted about how to turn this concept into something where kids everywhere could have fun with hands-on drawing and coloring, and then see their imaginative artwork come to life in wearable fashion form,” Newberry explained.


In addition to kid-sized dresses, “Picture This” also allows kids to design dresses for their dolls. And although the service currently only offers dresses, they have plans to expand the clothing options.


For now, Newberry invites families to try out the service and post photos of their dresses on social media with the hashtag #PictureThis.


Based on the wide spectrum of kid art in the world, it’s clear these dresses will certainly be ... unique.


H/T BoredPanda

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c4YsR4

About That Sexy Cat In Kanye West's 'Fade' Video


Kanye West debuted the video for “Life of Pablo” track “Fade” at Sunday night’s MTV Video Music Awards. The video was met with one resounding response from fans and critics alike: What’s the deal with that sexy cat-lady? 


For the majority of the three-minute, 45-second video, viewers ogle the oiled up bod of bananas beautiful Teyana Taylor as she danced “Flashdance”-style around a retro gymnasium. Toward the end, she hops into the shower with her real-life partner Iman Shumpert of the Cleveland Cavaliers, where they proceed to love on each other in the most private of spaces in the most public of ways. 


But the real kicker comes about 15 seconds from the end, when Taylor poses nude alongside her man. Only, she’s been transformed into some kind of cat-woman hybrid. The newly animorphed babe and her beau stare intensely into the camera as it pans out to reveal a flock of white sheep, and also a baby. Suddenly, we’re looking at a strangely sexual family pastoral, all in the video’s original retro-kitsch gym environment. 


Since the video’s release, reddit has been abuzz with potential fan theories behind the bizarre catwoman. Is she an embodiment of female objectification ― a woman literally turned into a pussy? Is the scene a modern day riff on a biblical prophecy: “The ‘lion and the lamb shall lay down together”? Is Kanye just pulling an absurdist, emo middle-schooler move here, telling the masses they’re all sheep? 






For most of “Fade,” Kanye feeds us a familiar fantasy, which we eagerly gobble up. First there’s a gorgeous woman dancing like a warrior goddess, then a very beautiful couple getting it on. We know these images, we’ve seen them before ― in art, in film, in advertising, in our imaginations, in our dreams.


And then, right at the end, for only an instant, Kanye throws in a wild card. Something at once delicious and disturbing flashes across the screen, so briefly that before you can digest what it is and what it means, it’s gone. 


Taylor’s cat face is pure camp ― part Michael Jackson’s “Thriller,” part Broadway’s “Cats,” part the utterly bizarre 1980s television series “Beauty and the Beast.” And yet plenty of artistic references come to mind, as well. Will Cotton’s sugary visions of Katy Perry floating atop the clouds, Jeff Koons’ wonderfully unsettling golden sculpture of Michael Jackson and Bubbles, Deana Lawson’s stunning photo of unclothed black bodies staring straight into the camera.


Here, as with 2013’s “Bound 2,” Kanye toys with visuals typically associated with low production value and bad taste, mutating them into the stuff of high art. Fame, of course, is the weapon that makes this possible, the power that transforms anything Kanye touches ― no matter how ugly, inane, or bizarre ― into something worth seeing, something worth dreaming about. 





In his review of “Bound 2,” art critic Jerry Saltz dubbed the term “The New Uncanny” to describe Kanye’s aesthetic, in which artifice, camp, prestige and sheer will are used to create something genuine, ambitious and completely discombobulating. “The New Uncanny is un-self-consciousness filtered through hyper-self-consciousness, unprocessed absurdity, grandiosity of desire, and fantastic self-regard,” Saltz wrote.


As Saltz notes, fame isn’t only Kanye’s reward, it’s his most successful medium. He performs his fame and in doing so, becomes less of a human and more of an an artwork, a symbol, even a religious figure. It’s hard to look at Taylor and Shumpert, bodies pressed together, without immediately thinking of Kim K and Kanye bouncing gleefully atop his motorcycle. In this gloriously cheesy landscape, Kimye are of this world and also, with Kim’s alien nipple-less breasts, outside of it. 



Another image that comes to mind, however, is Jeff Koons’ 1991 hyperrealist painting series, “Made in Heaven,” in which the artist ― also proficient in performing fame ― painted himself and his then-wife Cicciolina having sex. Like Kanye, Koons wholeheartedly praises the tacky and trashy as beautiful and pure. For both, bodies are best oiled up and exaggerated, midway between real life and cartoon. 


Few women embody this state of being more than, of course, Kim Kardashian West, as well as her family. Famous first and foremost for performing their daily lives, the Kardashian women have slowly transformed their physical selves, inviting captivated fans from around the world to follow suit, through Kim’s favorite waist-training corset or Kylie’s lip kits. The Kardashians slowly evolve to resemble Kim’s airbrushed automaton in “Bound 2,” and we viewers take note. 



When Kylie first debuted her new, plumped-up lips, the public deemed the look fake, overdone, strange, too much. Now, however, her brand of lipsticks are virtually always sold out, her pout is what we desire to emulate, a beauty that even nature can’t compete with. The Kardashians themselves live out Kanye’s foremost motto: that fame creates art creates beauty, that what’s campy and dumb and fake can, in the right hands, possess extraordinary meaning and value. 


Taylor as Catwoman is Kim gone a step further, a step stranger, a step darker. Is it too much? Maybe for now. But Kanye has shown us his ability to shape our tastes, our cultural norms, even our sexual desires before. He has successfully infiltrated our perceptions and invaded our cultural imagination. 


With “Fade,” Kanye gives us what we want and takes us a step farther, introducing us to beautiful, dark, twisted fantasies we didn’t even know we had. Get ready for the Kardashian Kat Kit, coming at you in 2018.


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c3kPWL

We're Sorry, But Bob Ross' Curly Hair Is A Lie






Bob Ross, patron saint of happy little trees, harbored a deep, dark secret. He loved clouds. He loved streams. He loved squirrels. But he did not love his hairdo.


Nope. That spherical helmet of coiled locks, the one that rested atop his head each and every episode of “The Joy of Painting”? He hated it. He hated every twist and turn his tresses took. But what’s even more shameful (but, let’s be real, very obvious) about his hair hatred? Those curls he loathed aren’t even real.


He ― gasp! ― had a perm. Cue origin story:







As NPR tells it, Ross ― freshly retired from the Air Force ― was in the midst of a career transition when he settled on his very specific hairstyle. He’d yet to break into the hard and fast industry of televised painting instruction and was a little tight on cash. So, acting according to some mighty questionable logic, he got a perm in order to avoid ever having to pay for a haircut again.


“He got this bright idea that he could save money on haircuts. So he let his hair grow, he got a perm, and decided he would never need a haircut again,” Ross’ former business partner Annette Kowalski explained to NPR.


Like most hair-related decisions, Ross came to regret his chemically-treated ‘do. Alas, before he could change it, that murky brown globe became his signature look. So much so that his company decided to use it in its logo. As a result, “he could never, ever, ever change his hair, and he was so mad about that,” Kowalski said. 


Let us take a moment of silence to remember the perm that might never have been. Because a show starring this guy ― reciting the words, “You can do anything you want to do. This is your world.” ― just wouldn’t have been the same:




Wow. 




You can read the entire Bob-Ross-themed interview with Annette Kowalski over at NPR.


Bonus: Here’s our story on the woman painting her way through “The Joy of Painting.” And as always, if you need a little Bob Ross R&R, he’s streaming on Netflix, YouTube and Hulu.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c9zByi

This 19,000 Square-Foot Flower Carpet Is The Ultimate Gesture Of Friendship


You may not have been aware that this month marked the 150th anniversary of Belgo-Japanese relations. But it was. And to celebrate, Belgium went all out, putting everyone who’s ever bought their BFF a bouquet of flowers to serious shame. 


On Aug. 12, over 100 diligent volunteers pitched in to create a massive, 75-meter long, 24-meter wide flower carpet in front of the Grand Place in Brussels, Belgium, in honor of the longstanding Belgo-Japanese friendship. (That’s nearly 250 feet long and 80 feet wide.)


Talk about #friendshipgoals. 



The magic carpet, made from 600,000 flowers including begonias, dahlias, grasses and dyed bark, was part of the biannual Flower Carpet of Brussels festival, which has blessed the city of Brussels with the unusual art form (flower carpeting) every other year since 1986. 


This year’s masterpiece, made in under four hours, stretched over 1,800 square meters (approximately 19,000 square feet), depicting traditional Japanese good luck talismans in vibrant oranges and deep reds.


According to Masafumi Ishii, the Ambassador of Japan to Belgium, the flowers, birds, wind and moon represent natural beauty (or kacho-fugetsu), the koi fish symbolize strength and growth, and the pine trees and bamboo are good omens. And then there are the cherry blossoms, because, “of course.” 



Happy friendiversary to Belgium and Japan; you make a great pair. And you sure know how to celebrate platonic love. 






-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c34l0P

Authors Are Rallying To Preserve Langston Hughes’ Harlem Home


In his poem “I, Too,” Langston Hughes writes a scene of protest, in which he ― the “darker brother” of America ― is sent to eat in the kitchen, metaphorically speaking. But “tomorrow,” he says, he’ll stay seated at the table when company comes. “They’ll see how beautiful I am,” he writes, “And be ashamed.”


(Hughes, it should be noted, did not always protest so quietly. Five years before his death he wrote an all-caps poem that’s been hailed as one of his most innovative.)


The poem is an appropriate namesake for a new Hughes-centered endeavor: I, Too, Arts Collective, which is currently raising funds online. The organization, founded by Renee Watson, aims to be a haven for young people interested in art and literature, rooted in Harlem, where Hughes lived and wrote. The best part: the organization would be headquartered in Hughes’ former home, a now-vacant building in need of preservation.


“I see a need for young people to know about and understand the legacy they are a part of; the artists and activists who paved the way for them,” Watson wrote on Generosity, where you can donate to her endeavor. “I also believe artists need affordable spaces to create and share their work.”


She got the idea for the space after walking by Hughes’ former home several times, remarking to herself that it was a shame to see such a historically important space go unnoticed.


Watson aims to raise $150,000 to get the arts collective off its feet; so far she’s raised over $72,000. Today, author John Green has offered to match all donations up to $5,000, signaling just how significant this effort is to writers.






Novelists Alexander Chee and Celeste Ng joined the conversation, too, by tweeting under the hashtag #WeNeedThisSpace.


“It is still too easy for history to erase Langston Hughes,” Chee tweeted, but Watson’s campaign is on its way to making such an erasure impossible.  

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c0g5C5

10 Creative Tattoos That Celebrate The Beauty Of Breastfeeding

Mom Rosa Montero wanted a tattoo that represented her daughter, and after she decided to incorporate breastfeeding, she found a design and took it to artist Nate Sorenson for some tweaks.


Montero told The Huffington Post that the tattoo, which received more than 5,700 reactions on Facebook page Breastfeeding Mama Talk, captures the bond between her and her daughter. 


“It truly represents the beauty and love and commitment that is our breastfeeding story!” she said.



A quick scan of the hashtag #breastfeedingtattoo on Instagram shows the idea is somewhat of a trend. After all, what better way to show your support for breastfeeding than some seriously cool ink?


Some moms take inspiration from friendly mermaids, while others include a bit of flower power. What they all have in common though is their portrayal of the connection between a mother and child through breastfeeding.


Here are 9 other creative breastfeeding tattoos:


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bytrn7

Ben Affleck Teases A Future Batman Villain Who's Actually Worth Fighting Against

Superhero films in the DC universe as of late all suffer from a common problem: lackluster villains. Really, “Suicide Squad”? You expect us to fear Cara Delevingne and her army of blob people?


On Monday morning, Ben Affleck (née Batfleck) gave comic book fans everywhere some hope that future films actually might include a compelling antagonist. The actor shared what appears to be test footage from future “Justice League” movies, or Affleck’s solo Batman project, on social media of the one of the most famous supervillains around. 






The short clip introduces audiences to Deathstroke, aka Slade Wilson, a former soldier turned assassin with super strength abilities and a grudge against some of the most famous heroes in the DC lineup, like Green Arrow. The character was played most recently by Manu Bennett on the CW’s “Arrow,” where he clashed with Star City’s savior for two seasons. 


“Justice League” doesn’t hit theaters until 2017 and there’s currently no time frame for a standalone Batman film, so we’ll just have to sit and wait patiently for a foe worth fighting against. 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bDzokn

Unconventional Portraits Help Viewers Cope With Grief And Loss


In 2007, photographer André Penteado lost his father to suicide. Overwhelmed with grief, Penteado turned to psychotherapy to unpack his feelings, but found that the process, a stalwart in his life until then, wasn’t as helpful as it had been in the past. Seeking another form of healing, he looked up nearby support groups, and finally found what he’d been looking for: a salve through sharing and discussion.


“Attending the first meeting was the most helpful thing I did at that time. Sitting in a room full of people who, without barriers, shared the most extreme experience they had had in their lives, gave me again a sense of belonging,” Penteado explained in an email exchange with The Huffington Post. “Even though I didn’t say anything that night, I was able to understand that I wasn’t alone, that my experience wasn’t unique but was, in fact, something that had happened to lots of people in the past and that, unfortunately, will happen to others in the future.” 


His participation in the group inspired him to work on a photo series that would extend the lessons he’d learned to others who’ve lost loved ones to suicide.


“To have a suicide in one’s family involves a lot of shame, guilt and anger and in many cases people are not encouraged to share their feelings about it,” Penteado said. So, hoping to open avenues of communication about the unfortunately taboo topic, he asked his fellow support group members if he could take their photos, along with photos of the spaces and items of their lost loved ones. Over 20 said yes, and he got to work on his series, “I Am Not Alone.”



In the portraits of his fellow support group members, Penteado frames his subjects head-on, courageously confronting the camera. “I wanted to make clear that we were not ashamed of anything and that we were dealing with it,” he said. “I believe that the more open society is to discuss the hardship of life, the more we will be able to help each other, to have compassion.” 


His images of lost loved one’s rooms are composed meaningfully, with personal items like CDs, plants, books, artwork and clothing on hangers crowding the corners of the frame, rather than occupying the center of the frame. The effect is a feeling of unease, a feeling that the scene extends beyond the photo itself, and a feeling that something from the photo is askew, or missing. 


Penteado said this choice came from his preference for quiet images. “It is very easy to create a photograph that is visually overcharged with emotions,” he said. “I think the world is saturated by this kind of imagery. [It] doesn’t leave anything for the viewer, any room for complexity. It just says: ‘LOOK! EMOTIONS! CAN’T YOU FEEL IT?’ We don’t need photographs that yell at us.”


For Penteado, images that pack less of an overt emotional punch allow room for viewers to roam around, imbuing scenes with memories of their own experiences. He describes his style as generating, “a kind of forensic feeling, an image used just to record something for further analysis.”


And because his subject — grief — is an acute experience, sharp and specific, such openly interpretable imagery might be the perfect way to depict it.



If you or someone you know needs help, call 1-800-273-8255 for the National Suicide Prevention Lifeline. Outside of the U.S., please visit the International Association for Suicide Prevention for a database of resources.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bUwav3

These Are The Fearless LGBTQ Youth Who Live In Jamaica's Sewers


“For me, what brought me to the gully [is that] people started finding out that I’m gay in my community,” Daggering, the subject of a 2014 Vice documentary, explained in “Young and Gay: Jamaica’s Gully Queens.”


Daggering is one of nearly 25 gay and trans youths who, after being expelled from their homes and rejected by their families due to their sexual orientations, took up residence in the city of Kingston’s storm drains, a place they refer to as the gully.


“Right now, we all want to leave the gully because you don’t know what might happen,” Daggering continued. “Who will jump down. The gully is cold, mosquitoes bite you. So, in the gully, it’s like hell down there.”



London-based documentary photographer and journalist Christo Geoghegan chronicled the lives of these self-described Gully Queens ― the abuse they’ve endured, the bonds they’ve formed, and the steps they’ve taken to bring an end to Jamaica’s rampant homophobia. 


Although not altogether impossible, the thought of Jamaica evolving on its stance regarding LGBT rights is difficult to imagine for those living within Jamaica’s daily prejudice. “Homosexuality in Jamaica doesn’t have any hope,” a Gully Queen told Geoghegan in the Vice documentary. “It’s just no, no. It’s never going to happen. They’ll just kill us faster.”



As explained in the documentary, Jamaica’s gay population is divided mainly into two groups: the Rich Queens and the Scary Queens. The Rich Queens possess more wealth and stability, thus providing them insulation from the most violent outbursts of homophobia. 


The Scary Queens, or Gully Queens as they call themselves, are impoverished, often without the support of their families and without prospects of finding a job. With nowhere to hide, they are constantly subjected to hateful acts of violence, enacted solely on the basis of prejudice and animosity. They live in the dark corners of public spaces, where resources are scarce and danger is a constant threat. 


Because of the classist division between the Rich Queens and the Scary Queens, many Jamaicans project blame unto the marginalized youth for their own persecution, using the Rich Queens as evidence that some queers live in safety and security. Thus, the dominant narrative criminalizes the LGBTQ youth instead of victimizing them.  



Geoghegan is not interested in either criminalizing or victimizing. He wants to celebrate the Gully Queens and all that they represent. Alongside his film, Geoghegan crafted a series of stunning portraits showing his subjects in positions of power and resilience.


The photographs, which Geoghegan described as “stylized documentary,” feature the Gully Queens drenched in natural light, in the environment they call home. He explained that, conventionally, Gully Queens dress up in glamorous clothing and makeup before a night of work in the sex industry, to engage in the ritual of self-expression without the dangerous reality of a night on the streets.


Despite the photos’ realistic qualities, fantasy manages to creep its way in through the poses they assume, the personas they exude. “I wanted to be able to use the photographs and accompanying documentary film as a way for them to display their sexuality and personality the way they wanted to,” Geoghegan said, “and not the way that society had told them that they should.”



According to a recent interview with Feature Shoot, since these photos were taken, Jamaican police have evicted the Gully Queens from their storm drains. Geoghegan has since found it difficult to contact those he interviewed and photographed, but hopes to return to Jamaica soon to follow up on their stories. 


Ultimately, Geoghegan does not want his series to force viewers to feel sorry for his subjects. He wants us to admire the individuals portrayed ― their strength, their beauty and their style.


“The photos aim to be a celebration of their spirit amidst the adversity they face each and every day and not purely ‘misery porn’ that only focuses on their hardships, because there is so much more to them than just that,” he said. “The Gully Queens are a new movement in Jamaica’s fight for LGBTQ equality and they are here to stay.”





-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2by0h7u

Sensual Photos Eroticize The Nude Male Form, And We Don't Hate it

Warning: This post contains nudity and may not be appropriate for work environments. 



Women are nice to look at. This has been confirmed over and over again by the art and entertainment industries, which traditionally linger over the female body, fetishizing it for the viewing pleasure of others.


For centuries, women artists have worked tirelessly to settle the rift between the representation of women who are seen and those who are heard, emphasizing that women are artists, writers, directors, and photographers as well as subjects. Swiss photographer Alexandre Haefeli is taking a different approach to the gender imbalance, suggesting that, well, men’s bodies are nice to look at, too.


And he is not wrong.



In his series “The Company of Men,” Hafaeli depicts men in various states of undress, sensually posed behind a gaze mostly reserved for women. The images depict very pretty boys, in a state between innocent romance and carnal desire, who seem to exist in a space of pure fantasy.


The photographer does not hold back in eroticizing and objectifying his male subjects, showing that, just as women should be celebrated for their intelligence, strength and talent, men can be celebrated for looking mighty fine. In an email to The Huffington Post, Hafaeli described the many aesthetic references interwoven throughout the series, ranging from gay iconography, Greco-Roman sculpture, and camp.



Throughout his experience creating the 80-piece series, Hafaeli described his greatest challenge as finding men willing to participate, open to expressing their bodies in such a traditionally feminine way. And yet the end results certainly prove that sensuality is as masculine as it is feminine, illuminating the serious limitations of traditional gendered associations. 


Hafaeli’s so-pretty-it-hurts images idealize and sexualize the male body in all the right ways, showing that there is power in softness, vulnerability and beauty. Boys, you’re more than just your good looks. But, for lack of a better word, dammmmmnnn. 


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2c3EiH1

Sunday, 28 August 2016

Balloon Athletes Star In Olympically Awesome Animation




The Rio 2016 Olympic Games is over, and the Paralympics is yet to begin.


So why not use this downtime to watch a stunning animated clip which imagines athletes as balloons. The inflatable competitors wrestle, dive and run just like humans — but with some hilarious results.


United Kingdom-based animation studio Animade posted the wonderful “Olympops” video to Vimeo last week, and it’s now going viral.


Check it out in the clip above.


type=type=RelatedArticlesblockTitle=Related Coverage + articlesList=57af02d5e4b071840411980b,57b955b5e4b03d513688d2b4,5794b6a4e4b01180b52f4a0b

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2btMZ0e

Saturday, 27 August 2016

One Man’s Quest To Document The Highways That Tore His City Apart


The Interstate Highway System, ushered in by President Dwight D. Eisenhower 60 years ago, was heralded as a groundbreaking public works project that connected the country like never before. But those 47,000 miles of federally funded pavement also decimated urban centers.


Photographer Michael DeFilippo has spent the last five months documenting freeways in his city of St. Louis. He completed the series this week, tied to the 60th anniversary, and ahead of his own 60th birthday Friday.


He says about half of the city’s neighborhoods are bordered or intersected by an interstate.  


“I wanted to show the unintended consequences and impact of the highway on a very beautiful and vibrant city,” he told The Huffington Post in an email.



DeFilippo, who mostly gets around by bike, got closer to the high-speed streets than most people do when they’re not driving. 


“I spent some time on the shoulders of busy roads, under highway overpasses, walking up and down access ramps at interchanges,” he said.


The experience reminded him of a 2011 assignment photographing a tornado in Joplin, Missouri.


“While standing on the edge of I-55 or I-44, looking down a barren ribbon of concrete with residential neighborhoods on both sides reminded me of Joplin after the tornado, except the cars on the Interstate were not stacked on top of each other,” he told HuffPost.


DeFilippo’s photos aren’t filled with decay, nor do they seem particularly grim at first glance. Many feature historic buildings and city landmarks under bright blue skies. But the freeways are still always present, and there are moments of dark humor: In one photo, a trick of perspective makes it look like cars on a flatbed trailer are driving in midair through houses. In another, a truck whisks a mobile home down the freeway juxtaposed with an abandoned building in the background. 



As in many cities, residents left St. Louis in droves in the second half of last century, cutting the population in half since 1970.


With no people besides the ones hidden in their cars, DeFilippo’s images are a reminder of how freeways helped empty out cities, displacing residents and allowing for suburban sprawl. (In past projects, he’s shown a more dynamic side of St. Louis.)


Urban planners used to consider freeway construction as a tool to cure city ills and clear “slums” ― overwhelmingly black neighborhoods ― Alana Semuels writes in The Atlantic. Communities were razed to make way for new roadways in cities across the country, from Detroit to Syracuse. Highways, along with housing restrictions that kept black residents out of the suburbs, fueled segregation and poverty, according to Semuels.


U.S. Secretary of Transportation Anthony Foxx announced an initiative earlier this year to push transit infrastructure that is more inclusive and not solely focused on cars.


The shift is shaped by Foxx’s experience growing up. His grandparents’ house in Charlotte, North Carolina, was just a few blocks from two interstates walled off by fences, according to news site Governing.


“My neighborhood had one way in and one way out, and that was a choice,” Foxx said in January.



More and more, urban planners and local officials are promoting walking, biking and mass transit. Making cities safe and accessible for pedestrians benefits the environment, local economies and residents’ health. 


Some cities have put that vision to work by actually tearing up freeways. One of the earliest projects is in Portland, which closed Harbor Drive in the 1970s and replaced it with a waterfront park.  


Others have “capped” them with pedestrian-friendly overpasses. One of these projects is in in St. Louis, a park over I-44 that links the Gateway Arch with the rest of downtown.


DeFilippo’s series ends with an photo of that connector. 



It’s “a start toward undoing some of the damage done to Saint Louis by this highway system,” he said.


See more of DeFilippo’s photos below and in the full series on his site.



_____




Kate Abbey-Lambertz covers sustainable cities, housing and inequality. Tips? Feedback? Send an email or follow her on Twitter.   


_____



-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2boOKKy

Friday, 26 August 2016

The 17 Most Awe-Inspiring Photos From This Week

From a monkey licking a mirror to thousands of swimmers taking the plunge, these are the best photos the world has to offer this week. Take a peek below:


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bmKgHk

The Story Of Lady Shalimar, A Self-Taught Artist Who Started Drawing At 70


Self-taught artist Lady Shalimar, born Frances Montague in 1906, adopted the name in the middle of her life, inspired by a brand of fancy perfume. The remainder of Shalimar’s life would similarly be dominated by an interest in fantasy and adornment, with every element of her being exaggerated, embellished and dripping in sparkles.


For the last 20 years of her life, Montague made autobiographical artworks of her life at New York’s Healing Arts Initiative (HAI), decadent line drawings depicting what she believed to be her many accomplishments, punctuated with swells of watercolor and squiggles of glitter.


In Montague’s drawings, she switches chameleon-like between roles as an opera singer, belly dancer, lion tamer and ballerina. Notes scribbled alongside the drawings designate particular locations, including the Moscow State Circus, the Canton China Peoples Theatre, and New York’s Diamond Horseshoe nightclub. And yet, according to HAI, Montague suffered from agoraphobia, a fear of the outdoors. It’s not clear whether or not she ever visited the specific places noted in her work.



“That’s the funny thing about it, you can’t know what she really did or what she just knew about or made up,” gallerist and collector Kerry Schuss explained in an interview with The Huffington Post. “They’re all self-portraits but it’s kind of impossible that she did all these things.” 


Schuss currently has a series of Montague’s work on view at his Lower East Side Gallery. With the drawings, there’s a massive book in which Montague, who passed away in 1996, recounts the fantastical details of her life. “Lady Montague made her debut in a fascinating place!” Montague writes. “The Paris Opera Theatre, her mother’s dressing room.” 


Whether she was really born in the Paris Opera house dressing room seems dubious, but as Schuss expressed, “when you spoke with her, she made it sound so real.”



Montague began creating art at the age of 70 years old, when, if the stories are true, she already had lifetimes of experience under her belt. She’d chronicled her adventures in delicate ballpoint pen drawings, in which factual and anatomical accuracy gave way to the magical melding of memory and imagination. Alongside her images, Montague kept notes, recounting supposed performances at theaters and clubs. Occasionally, she’d add snippets of reviews as well, most of which were quite complimentary. “Very exciting!” “A wonderful presentation!” “Star!”


In one drawing, Montague dons a gauzy lime green gown accented with pink roses, an orange cape, and matching green fingerless gloves. The garment slips down to reveal her breasts, though she seems anything but bashful at the wardrobe malfunction. In another, illustrating her role in a “Chinatown Theatre,” Montague wears an elaborate Chinese-style headdress, drizzling gold medallions from its turquoise wings. All images contain Montague’s signature sharp eyebrows, parentheses flipped on their sides, and a large birthmark beneath her lips. She had both in real life, although she drew them on.



In the early 1990s, Montague suffered a debilitating stroke, temporarily shattering her ability to draw. She eventually relearned the skill as part of her rehabilitation process, through her line took on a fragile, shaky quality, like that of a kid first learning to render her own likeness. “I love her line,” Schuss mentions when describing the work. “It’s from another era, when people were taught penmanship.”


Operating in a realm between confession and fantasy, Montague’s works communicate the pure power of self-expression, the radical act of projecting oneself onto the outside world as loudly, colorfully and extravagantly as possible. Combining Cindy Sherman’s passion for role-play with Aloïse Corbaz’s flair for the dramatic, Montague drafts the unlikely story of her fabulous life in deliciously surreal detail.


The dazzling drawings render traditional understandings of verisimilitude irrelevant; it’s abundantly clear that throughout her days Montague was no one but her truest self. 


Lady Shalimar’s work is currently on view, by appointment only, at Kerry Schuss Gallery in New York. 


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



from Arts News on The Huffington Post http://ift.tt/2bmuLiA

This Forgotten Book From The '70s Is Your New Feminist Manifesto