After spending 444 days in a detention center in Arizona, an immigrant bought her own freedom with poetry. Alexandra Golugosova, a thirty-two year old woman from Russia, with a facility for languages and a newly inspired poetic flair, sent her poems to people in return for donations and raised enough money to pay her bond, with the help of a poet friend and a group of LGBTQ immigrant activists
This poem was written while Alexandra Golugosova was imprisoned at the immigration detention center in Eloy, Arizona.
In Eloy we have dates instead of names.
Nobody asks while meeting of your name -
They ask 'how much' and 'when'.
A poem inspired by the works in the "Take This Hammer!" exhibit at the Yerba Buena Cultural Center in San Francisco.
it begins with
tending to the feeling
below the neck;
the feeling below the neck
the feeling below the neck
is not everywhere,
Two poems by Maleny Crespo about motherhood and migration.
My mother became a woman at the age of 15. Two days after her quinceanera, she was gifted her first child. Her first born being me. Due to emotional and economic hardship in Mexico, she immigrated to the states. Existence is a poem embracing the beautifully painful reality of the wonder and difficulty my immigrant mother had to endure and how that is rooted at the core of my identity.
As more refugee boats pour onto the shores of Europe and more migrants are deported back home, often to face even more dangerous circumstances from whence they came, many authorities in "destination" countries like the US and European Union nations have tried to create policies to supposedly "deter" migrants from making the perilous journey in the first place.
The second installment of Taco Talk, a space where we invite artivists to have some tacos while we chat and learn more about who they are, their art and process, and to uncover a bit of what drives their work!
When you look at David Hockney’s paintings of suburban Los Angeles in the 1960s and 70s, you see glamor turned at a clever angle in the unforgiving sun, to mask the subsurface decay. It’s plastic surgery gone slightly wrong, the jagged lines clean and dirty at once. Pastel stucco walls hint at smudges of cheap lipstick and shattered plexiglass--the stuff that gets swept under the rug, literally and figuratively.
This interview and essay on a documentary project about the enigmatic performance artist Armen Ohanian elucidates the rich but cryptic history of a famous dancer of the early twentieth century. By playing on, challenging and ultimately subverting stereotypes of "the Orient" and the gendered cultural vernacular they entail, Armen--whose story has undergone something of a revival lately led by progressive contemporary artists--bestowed dramatic new forms of expression on a global audience.