Now, it is spectacularly clear to me that his homeland, this culture, has it out for us.

Sieng’s been doing graphic, curatorial, and production work on this project for the last two years, and we’ve had many, many (many) conversations about what it means to balance our individual interests as artists (although Sieng would say he’s a designer) alongside our commitments to working in our respective communities.

I created the piece to memorialize and respect those who were not able to make it to America after the Secret War in Laos.

Like, I can’t un-hear the bizarreness, the disrespect to genuine blue collar workers in the opening paragraph of the photography essay in #4.

Someone who comes to this site is looking for me, Allison, specifically, either as a person or as an artist.

And it’s this: I’m compelled to show how I get it ‘done’, this ruminating aspect of making art, because I’ve had to piece together from others’ excerpts this ‘way’, and, maybe watching someone go through it would have saved me some time and confusion.

The posted title of this video is very misleading – problematic – especially given not only the context in which the titular ‘quote’ exists, but the larger cultural conversations about beauty and Blackness that Adichie does address.

Adichie’s perspective in this clip resonates with the work I did in Game Face:

Young told me this year at a civil rights summit in Austin that St. Augustine was unique in the civil rights movement in one respect: “It was the only place where our hospital bills were greater than our bond bills.”

In Public Speaking (Read-Along) and Public Speaking (Marginalia) respectively, I source and ‘re-mediate’ into contemporary dialogues about citizenship and scholarship speeches like Barbara Jordan’s Statement on the Articles of Impeachment and Martin Luther King Jr.’s Beyond Vietnam – A Time to Break Silence.

I’ve excised the rest
Out of respect for the living

If you see your father being ripped off in the sharecropping fields of Mississippi, you take a certain message about your own prospects.

And while in nature it makes sense to adjust ourselves to new landscapes, that doesn’t seem the ‘right’ expectation to hold of newcomers in human communities where a plurality of experiences/perspectives seems useful.

I am fascinated by how both Ta-Nehisi Coates and Cord Jefferson leverage their respective platforms, Coates at The Atlantic and Jefferson at Gawker, to vigorously discuss the construction/experience of race in America.

This is a specific kind of blinder worn by racists: If an abuse happens to white people also, it’s not racism, it’s just life.

Unlike with white presidents, nobody’s even fired a gun at President Obama, and so Oprah must be speaking disingenuously when she says there is a special hatred for Obama in the nation’s air.

What I’ve come to recognize and realize is that they view things from a secular perspective where spiritual beliefs are oftentimes put to the side, especially if it’s not understood.

In the Hopi perspective, I work for everybody.

My interdisciplinary practice draws on my experiences in literature and photography; in installations of video, sound, and paper-based objects, I document the ways gesture and language are shaped into specific narratives.

Throughout my work, I privilege my personal history and relationships. My lived experiences, who and where, how and why – and my perspectives on them – matter immensely.