so now you’re about to turn twenty and the world hasn’t gotten any bigger for you. you’re untouched, unloved, unprepared. your parents still pay for your gas. your friends all have internships. one of them even got cast to be in a movie. you’ve got all this talent that you don’t know how to share. you just want to fuck someone, anyone, to feel a little less like an island. the man at the McDonald’s drive-thru held both sides of your hand when he handed you your change and you cried the entire way home. skin burns. you’re about to turn twenty and you feel like you’re fifteen. you sleep for fourteen hours and still need a nap. the world is shrinking one empty heartache at a time.
you’re scared you’ll never find anyone to love you, not even well. you’ll settle for anything.
you’re about to turn twenty and they never remind you how young that is. falling in love does not make you grow up, heartbreak does, and there is more than one way to fall apart.
you’re about to turn twenty and it’s okay if you aren’t ready. it’s okay if you aren’t ready. it’s okay.
Da Zi Baos (Union Square, New York), 1982
”We saw the street and the museum as potential sites of invigorated dialogue on the nature of the appropriate place for epiphany and action, places where disensus and conflict could be planned, and clashes between public and private could be refigured. The poster project Dazibaos was modeled after the large character poster that went up during the Democracy Wall movement in China – the landscape of social reflection in which contestation can be seen as a basis of democracy.
We tried to understand this invigorated dialogue as taking place in regarding art objects themselves, in the feelings of de-centeredness in delegating objects as having power or an aura, from which comes the dialogue of appreciation of that power and its social implications. From poetics comes conversation and then collective decentering and the search for resolution forms poetics.
To this end artifact and art were hung together, archive and collection were dispersed, the line of the commercial gallery was overcome by the salon, and could become an emotional enactment of the ensemble of feelings inherent in political work." - Doug Ashford
“the fuck you going to do about it”
"sorry i cant make it to work a cow is sitting on my car"
"…Roger tries not to think…" -Zak Smith, an illustration from the first book of Gravity’s Rainbow by Thomas Pynchon.