By all accounts, [Mike] Brown was One Of The Good Ones. But laying all this out, explaining all the ways in which he didn’t deserve to die like a dog in the street, is in itself disgraceful. Arguing whether Brown was a good kid or not is functionally arguing over whether he specifically deserved to die, a way of acknowledging that some black men ought be executed in the street.
To even acknowledge this line of debate is to start a larger argument about the worth, the very personhood, of a black man in America. It’s to engage in a cost-benefit analysis, weigh probabilities, and gauge the precise odds that Brown’s life was worth nothing against the threat he posed to the life of the man who killed him. It’s to deny that there are structural reasons why Brown was shot dead while James Eagan Holmes—who on July 20, 2012, walked into a movie theater and fired rounds into an audience, killing 12 and wounding 70 more—was taken alive.
Gif as art by Gary Card (via Visionaire).
Works by Ghanaian artist El Anatsui:
"Ozone Layer," 2010.
"Red Block," 2010
"Gravity and Grace," 2010.
"Amemo (Mask of Humankind)" (detail), 2010.
"Gli (Wall)" (detail), 2010.
"Between Earth and Heaven" (detail), 2006.
"Untitled (Boxer),” Jean-Michel Basquiat. 1982.
"Both Members of This Club,” George Bellows. 1909.
(via The Moment)
"Up From Below," Samantha French. (via The Moment)
Clara Hallencrutz. (via Style.com)