ig:@subwayhands
ig:@subwayhands
Oswaldo Guayasamín (Ecuadorian, 1919-1999), Los desesperados, 1970. Oil on canvas, 63 x 43 in.
Santa Monica, 1979
Puerto Rican Chicagoans protest police brutality, 1973, Chicago
Vyse Ave at East 178th St., Bronx, NY, 1980
Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word “love” here not merely in the personal sense but as a state of being, or a state of grace - not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.
Is it not the singularity of life that terrifies us? Is not the decisive difference between comedy and tragedy that tragedy denies us another chance? Shakespeare over and over demonstrates life’s singularity — the irrevocability of our decisions, hasty and even mad though they be. How solemn and huge and deeply pathetic our life does loom in its once-and doneness, how inexorably linear, even though our rotating, revolving planet offers us the cycles of the day and of the year to suggest that existence is intrinsically cyclical, a playful spin, and that there will always be, tomorrow morning or the next, another chance.
©Philip-Lorca diCorcia
Gianni, 1987
“There is a fury in all of us women because we have been non-consensually touched and moved and shaped and pretzeled and bottled and sold and marketed and told to dance in so many ways. And it’s enough. It’s enough.” -Tracee Ellis Ross for The Violet Book