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When I think of Kehinde Wiley's paintings, a couple of affiliated effects come to mind. In his work we look at history juxtaposed with a really unstable relationship to realism. But I don't want to start an essay with quotations from history – after all, that's what Kehinde Wiley's paintings are already doing. The essential issue at hand is to give some context to portraiture, hip hop visuality, sampling, collage, and quotation. I want to unpack some of the issues that Wiley engages in his work.
An email from Rev. Billy announces that Starbucks has stopped blocking Ethiopians from trademarking their ancient coffees Sidamo, Yirgacheffe and Harar.
[Terra Nova] • I’m in the middle of writing a book on making music with whales, a project which has taken me to Russia, Canada, and Hawaii, in search of giant sea creatures who want to jam. Sometimes they actually do. But some scientists I run across are more difficult than the whales themselves.
Time is the substance from which I am made. Time is a river that carries me along, but I am the river; it is a tiger that devours me, but I am the tiger; it is a fire that consumes me, but I am the fire.—Jorge Luis Borges
The story you are about to read is true.
[Daemonic Dispatches] • An introduction to the column "Daemonic Dispatches," which aims to describe with the cartographer's discerning eye and interpret with the mythographer's spirited clairvoyance the new daemonic lands breaking in upon human consciousness. . . in the spirit of the classic cartographers Samuel de Champlain and Charles Fort.
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