Lot #2018
Gender: Neutral.
Model: Loose.
Fabric: 100% cotton.
Fabric Weight:8.0 oz/yd² (270 g/m²).
Fabric Thickness: Moderate.
Fabric Strench: Non-Stretch.
Care Instructions: Machine wash at 30°C (gentle cycle); Do not bleach; Tumble dry low; Iron at low temperature, avoid ironing on print; Do not dry clean.
Features: Casual, Cute, Street, Daily Casual, Pure Cotton, Short Sleeve, Regular Sleeve, Round Neck / O-Neck, Regular, Loose, Summer.
Easter Egg: Lot #2018 references the response to Afro-Absurdism. The socio-politico-cultural movement described as Surrealism depicts the universal human quest in maladroit juxtapositions of loneliness, revulsion, madness, non-reality, angst, and euphoria within an ambiguous, incongruous, and albeit symbolically paradoxical framework. Surrealism is not merely fantastical or bizarre melting clocks without time, African villages turned on its side, or bowler hats, but a vanquishing of death, or at least the fear of it. It is the sanguine face we wear in response to life by incomprehension; resigned to an existence without Biblical meaning. The word first appeared in 1917, in the literature of French poet Guillaume Apollinaire who used it to describe his own work 'The Breasts of Tiresias'. He believed Surrealism and all of its discomfiting awareness meant the fruits of the human condition freed from the task of imitating the human condition. Surrealism was born out of the spirit of Dada, it emerged in Europe during the tenuous-turbulent years of WWI leading up to WWII. It crosses borders seamlessly between animate and inanimate, conscious and subconscious. However, Freud himself disparaged this ideology. He acknowledged that Surrealist artists were producing great works, but wholeheartedly believed that ego and conscious laid foliage along the passage. So the art continued, but the movement of the bizarre, the irrational, oftentimes hyper-attentive and hallucinatory lost its vigor and momentum. Later, in 1974 Amiri Baraka coined the radical-racial plurality of Afro-surrealism. D. Scot Miller penned the manifesto in 2009 with permission by Baraka, in it he asserted the Afrosurreal rejected the quiet servitude that characterizes existing roles for African Americans…" It is the Future-Past, present-day realism, and the everyday lived experience, it is Samuel R. Delany's 1974 Dhalgren, Toni Morrison's Beloved, Arthur Jafa and "the alien familiar," Kanye West Yeezus, Beyonce & Jay going Apeshit in the louvre, "Get Out" and "Atlanta", "Sorry to Bother You," Prince's Purple revolution, Bob Kaufman, Jean-Michel, Ralph Ellison's 1952 classic novel Invisible Man, African and African-Caribbean artists André Breton and Aimé Césaire, René Ménil's Antillanité movement, Kool Keith's Dr. Octagonecologyst! This is Afro-Surreal! Afro-Surreal postulates the internal black experience beyond the rational mind, striving to manifest with this visible world. Afro-Surrealists recognize the concept of "symbolic immortality," that we might be freed from the tyranny of the mundane, of logic, and that we might discover truths more real than reality. Afro-surrealism is the juxtapositions of untamed thought, cymbals of deeper experience between the primal Dionysian and the plastic intellectual Apollonian, the Dionysian speaks to the emotional mind, while the Apollonian speaks to the rational mind. Afro-Surrealists build distinctive worlds ruled by unfiltered, unapologetic blackness. This is Afro-Surreal! While Afrofuturism refers to free expression of black subjectivity, the unearthing and sometimes reconstruction of buried African history, a contemporary genre of Black diasporic writers, artisans, musicians, theorists, and philosophers that blend Afro-culture, sci fi, magical realism, technology, and traditional African myths & mysticisms. It is the language of rebellion taking many forms, both posthuman and technological, an intersectional lens through which we view futures or alternate realities, where worlds exist without European colonialism or pseudo-Western Enlightenment. Reimagining new forms of temporality at the intersection of time, memory, and love, while seeking to reclaim black identity. Afrofuturism is a reaction to European expression, and the global status quo, it wrestles with political, economic, social, and technological inequalities. The term derives from a 1994 essay "Flame Wars: The Discourse of Cyberculture" by Mark Dery, an author, critic, and essayist. Dery used the term to define "speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th-century technoculture — and more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future." That describes W.E.B DuBois, Ralph Ellison, Octavia Butler, Martin Delany, Charles Chesnutt, Nnedi Okorafor, Edward Johnson, John Coltrane, Miles Davis, Jimi Hendrix, Outkast, Erykah Badu, Solange, Sun Ra, George Clinton and his band Parliament and again Prince.
Gender: Neutral.
Model: Loose.
Fabric: 100% cotton.
Fabric Weight:8.0 oz/yd² (270 g/m²).
Fabric Thickness: Moderate.
Fabric Strench: Non-Stretch.
Care Instructions: Machine wash at 30°C (gentle cycle); Do not bleach; Tumble dry low; Iron at low temperature, avoid ironing on print; Do not dry clean.
Features: Casual, Cute, Street, Daily Casual, Pure Cotton, Short Sleeve, Regular Sleeve, Round Neck / O-Neck, Regular, Loose, Summer.
Easter Egg: Lot #2018 references the response to Afro-Absurdism. The socio-politico-cultural movement described as Surrealism depicts the universal human quest in maladroit juxtapositions of loneliness, revulsion, madness, non-reality, angst, and euphoria within an ambiguous, incongruous, and albeit symbolically paradoxical framework. Surrealism is not merely fantastical or bizarre melting clocks without time, African villages turned on its side, or bowler hats, but a vanquishing of death, or at least the fear of it. It is the sanguine face we wear in response to life by incomprehension; resigned to an existence without Biblical meaning. The word first appeared in 1917, in the literature of French poet Guillaume Apollinaire who used it to describe his own work 'The Breasts of Tiresias'. He believed Surrealism and all of its discomfiting awareness meant the fruits of the human condition freed from the task of imitating the human condition. Surrealism was born out of the spirit of Dada, it emerged in Europe during the tenuous-turbulent years of WWI leading up to WWII. It crosses borders seamlessly between animate and inanimate, conscious and subconscious. However, Freud himself disparaged this ideology. He acknowledged that Surrealist artists were producing great works, but wholeheartedly believed that ego and conscious laid foliage along the passage. So the art continued, but the movement of the bizarre, the irrational, oftentimes hyper-attentive and hallucinatory lost its vigor and momentum. Later, in 1974 Amiri Baraka coined the radical-racial plurality of Afro-surrealism. D. Scot Miller penned the manifesto in 2009 with permission by Baraka, in it he asserted the Afrosurreal rejected the quiet servitude that characterizes existing roles for African Americans…" It is the Future-Past, present-day realism, and the everyday lived experience, it is Samuel R. Delany's 1974 Dhalgren, Toni Morrison's Beloved, Arthur Jafa and "the alien familiar," Kanye West Yeezus, Beyonce & Jay going Apeshit in the louvre, "Get Out" and "Atlanta", "Sorry to Bother You," Prince's Purple revolution, Bob Kaufman, Jean-Michel, Ralph Ellison's 1952 classic novel Invisible Man, African and African-Caribbean artists André Breton and Aimé Césaire, René Ménil's Antillanité movement, Kool Keith's Dr. Octagonecologyst! This is Afro-Surreal! Afro-Surreal postulates the internal black experience beyond the rational mind, striving to manifest with this visible world. Afro-Surrealists recognize the concept of "symbolic immortality," that we might be freed from the tyranny of the mundane, of logic, and that we might discover truths more real than reality. Afro-surrealism is the juxtapositions of untamed thought, cymbals of deeper experience between the primal Dionysian and the plastic intellectual Apollonian, the Dionysian speaks to the emotional mind, while the Apollonian speaks to the rational mind. Afro-Surrealists build distinctive worlds ruled by unfiltered, unapologetic blackness. This is Afro-Surreal! While Afrofuturism refers to free expression of black subjectivity, the unearthing and sometimes reconstruction of buried African history, a contemporary genre of Black diasporic writers, artisans, musicians, theorists, and philosophers that blend Afro-culture, sci fi, magical realism, technology, and traditional African myths & mysticisms. It is the language of rebellion taking many forms, both posthuman and technological, an intersectional lens through which we view futures or alternate realities, where worlds exist without European colonialism or pseudo-Western Enlightenment. Reimagining new forms of temporality at the intersection of time, memory, and love, while seeking to reclaim black identity. Afrofuturism is a reaction to European expression, and the global status quo, it wrestles with political, economic, social, and technological inequalities. The term derives from a 1994 essay "Flame Wars: The Discourse of Cyberculture" by Mark Dery, an author, critic, and essayist. Dery used the term to define "speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th-century technoculture — and more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future." That describes W.E.B DuBois, Ralph Ellison, Octavia Butler, Martin Delany, Charles Chesnutt, Nnedi Okorafor, Edward Johnson, John Coltrane, Miles Davis, Jimi Hendrix, Outkast, Erykah Badu, Solange, Sun Ra, George Clinton and his band Parliament and again Prince.