Gods of the Blood

react/review vol. 2, "The Spirit in the Shadow" (2022)

“…13 In one interview, art historian Elizabeth Lev bemoaned the nativity stating "The Catholic Church has an incredible tradition of beauty, and yet, after a year of difficulty, we've put up something that makes people mock Jesus." 14 The dismissive language of these negative reviews fall within traditions of relegating advancements in art, science, and technology to the secular realm, assumed fundamentally incompatible with the sacred -an idea that Pope Francis has pushed against in past speeches and engagements. 15 In a call for unity after the nativity's unveiling, even Pope Francis responded, tweeting "While humanity's ruin is that everyone goes their own way, in the nativity scene everyone converges upon Jesus, Prince of Peace in the night of the world."…”

“…aesthetic judgments. 14 One illustrious scene that exemplifies this stance is sketched in the article's endnotes where Behne draws comparisons between an art critic's shallow aesthetic analysis of an image by Kandinsky, and a sea urchin's poisonous tongue which similarly thrusts forward in mere reaction to a chemical stimulus in its surrounding. Materializing amid fragmented thoughts in kind, concepts such as creative interiority and evolutionary objectivity surface for the first time to reveal their ecological sources and foreshadow Behne's crucial contributions to the history of art and architecture in the 1920s and 1930s.…”

“…When creating these works, Cain asks: "What does it look like seeing people in spaces that they may not look like they exist there, but they still there, something about them is still there, they exist in the bricks, they exist in…regards to labor, in regards to memory, in regards to…the shadows?…So that was my interest, thinking about it outside of…the U.S. Census Bureau, or…in the wake, ways in which we exist in the wake." 14 With its depiction of multigenerational ancestral figures, Turk and Fillmore is an homage to this historically Black district of San Francisco and honors African American migration and labor histories. While the train locates the viewer at the historic substation, it might also reference the waves of African American migrants from the Midwest and the South who were given free train tickets in the 1940s to work in San Francisco and Richmond's shipyards.…”

“…5 (2001): 165. 14 Francisco Calvo Serraller, "Look to The Ladies," in Antonio Saura: Damas (Madrid: Fundación Juan March, 2005), 182. 15 Georges Boudaille, Antonio Saura (Paris: Cimaise, Décembre 1967 -Janvier 1968).…”

“…Though she knows the saints disapprove of her behavior, she holds them near, "between my tits, close to my heart." 14 The narrator is a selfidentified sucia who needs a new saint to look after her without judgement, a saint with whom the sucia can empathize. She needs Saint Sucia, a figure at the intersection of Catholic sainthood and deviance.…”