snakemoons

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	<title>snakemoons</title>
	<link>https://snakemoons.com</link>
	<description>snakemoons</description>
	<pubDate>Thu, 11 Apr 2024 22:34:28 +0000</pubDate>
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		<title>Homepage — left</title>
				
		<link>https://snakemoons.com/Homepage-left</link>

		<pubDate>Mon, 11 Apr 2022 18:45:26 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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Jasmine Amussen (b. 1989, Eureka Springs, Arkansas) is a writer, editor, and library worker in Atlanta. 
She currently serves as a member of the board for W.A.G.E. She is working on an essay about the Faulknerian horrors of The Summer I Turned Pretty and is updating the Taylor Swift syllabus she made for her friends.&#38;nbsp;

&#60;img src="https://wageforwork.com/api/certificate?wagent=983" style="width: 180px"&#62;


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		<title>⎤⎤⎤</title>
				
		<link>https://snakemoons.com/35105672</link>

		<pubDate>Thu, 30 Nov 2023 16:44:11 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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⎤⎤⎤

Chantal Michelle 
Grace Villamil

11.17.2023Track 1 written by ⎤⎤⎤ 
Track 2 written by ⎤⎤⎤ &#38;amp; Patrick Shiroishi 
Recorded and mixed by Rabih Beaini @ Morphine Raum, Berlin DE
Mastered by Giuseppe Ielasi 
SUPERPANG&#38;nbsp;
&#60;img width="1006" height="1012" width_o="1006" height_o="1012" data-src="https://freight.cargo.site/t/original/i/a15dae745ac767ede9b59a8252e1c09a805ef81f469940d94d08e0dc504c9000/Screenshot-2023-11-27-at-9.54.30AM.png" data-mid="198262565" border="0"  src="https://freight.cargo.site/w/1000/i/a15dae745ac767ede9b59a8252e1c09a805ef81f469940d94d08e0dc504c9000/Screenshot-2023-11-27-at-9.54.30AM.png" /&#62;photo courtesy of the artists.
PURCHASE THE ALBUM ON BANDCAMP

	Writing about music is the most pleasurable exercise in the writing profession. Music beckons writing into a vast and unruly landscape, a place where writing can stretch, play,&#38;nbsp; grow, destroy itself, destroy others, and birth new worlds. I can think of no art form that creates such kaleidoscopic potential for another. That isn’t to say writing about music is easy – quite the opposite. It is just as vital to our existence as breathing and just as impossible to parse. The breath you release when your baby takes its first, the last breath you share in someone’s mouth as they leave you behind, the first breath you take after you give up —impossible, but any writer who would pass up the chance to write about music isn’t a writer worth reading.
So, when approached by Chantal Michelle and Grace Villamil, the two women who make up ⎤⎤⎤, to write about their debut, I immediately said yes. I had been captivated, alarmed, impressed, betwitched!, by their individual work and knew that I would be just as moved by their collaboration. I put my headphones on and eased into my seven hour train from Berlin to Kraków, and experienced, for the first time in my decade-long art writing career,&#38;nbsp;the genuine precipice of music's inscrutability.
The language available in that train compartment was failing me at every level, in every conceivable way. It wasn’t because my knowledge of additive synthesis or waveforms or distortion is barely above layman, it was because I couldn’t be sure of what the instructions were for handling the emotions being demanded by the music. 

The opening minutes of the first track (also called ⎤⎤⎤) progressed reassuringly. The pace never seemed to outgun my own heart, a natural pulse. There is something menacing about the word ‘natural’ and it’s sister terms — organic, wholesome, biodynamic. That things of the earth are good, to be desired, healthy, safe, and that their opposite — unnatural, synthetic — are dangerous, bad, threatening. There are plenty of examples of this duality. Nuclear fission is a natural, organic process, and is our most perilious weapon. Diabetics lead healthy and happy lives using synthetic insulin to maintain their blood sugar, artifically propping up a bodily system. 
As each sound joined the next, I started thinking strange, terrifying thoughts, ones seemingly disconnected from what I was hearing.
I began to fixate on the blood vessels and veins in my teeth, and wondering if vampires – who I don’t think of as undead human beings but as humanoid shaped insects – had the same systems in their mouths. The music skittered around my mouth, a mouth that my sex has provided with more tastebuds than other others, to taste and identify more poisons. The sex that has also enhanced my eyesight, providing me with more colors. All in service of protecting me –the bearer of the children– from danger. The mechanism made sense, but the process which turned that mechanism on didn’t. What naturally occurring danger demands that I have more sensitivity to green?
My mouth filled with saliva.
I understood that I was being affected by my surroundings as I listened to ⎤⎤⎤,&#38;nbsp;an inherent fact of listening. This mutability marries our art forms – no man steps into the same river [book/album] twice – but there are considerations that can be taken, classifications and awareness that helps one stay focused and present. I paused the album and took stock of myself.
 
I was alone and tired, traveling to a country I had never visited that had a powerful hold over a part of my literary imagination. I was isolated, I hated being the American who only speaks English but there was no way I would speak Russian. I was confined – I wasn’t frozen in place, but I could not leave. My reading material on this journey was limited to Daemonic Genius: A Biography of Richard Wright, a biography filled with stories of racial terrorism, psychotic violence and the agony of exile. I had my “good” headphones, something I used to consider a luxury but Chantal and Grace quickly reclassified as a need. &#38;nbsp;Richard Wright, ⎤⎤⎤,&#38;nbsp; Kraków’s vampires, The War, and everything else that could be fed to me was starting to collapse into an ominous palpitation. 
A few deep breaths later, I was ready to start again.
Track 1 does not have any vocalizations that can be discernable as ‘lyrics’, but the ‘rework’ by Patrick Shiroishi does, to terrifying effect. The distance provided and deployed by ⎤⎤⎤and Shiroishi compound and further isolate. What’s the most horrifying scream – the one that is close by or the one that is somewhere, lost in the possibility of the horizon? Expectation, anticipation, words deployed by writers to prettily address a climate of anxiety – ⎤⎤⎤’s anticipation never gives way to anxiety, which is an exceptional feat for an album which seeks “to guide the listener into a state of catharsis — one that functions as both antidote and mirror to contemporary society”, considering the base of contemporary life is a ceaseless anxiety, and for an album that was recorded ‘live’.

Conjuring fear, exhaustion, violence, cruelty and dispassionate witness is a task which most of us shy away from, that our art shies away from, because frankly it’s almost entirely impossible to survive. Music, writing, all art, has long been regulated to the realm of ‘soft power’, the weapon of war that isn’t bombs or shells or bullets. Burning your fingertips, retinas, ears, trying to articulate the diabolical nature (there, that word again!) of societal problems quickly morphs into a sacchrine, cloying martyrdom when regulated to the effort of trying to ‘change hearts and minds’. &#38;nbsp;These are the riches of our blood, the gems created by the pressure of our own ideas, shunted into the banality of propaganda.
This is why language was failing me on that train, and why it continues to fail me now. I simply don’t have the time.&#38;nbsp; ⎤⎤⎤doesn’t have the time. We do not have time to be stuck changing hearts and minds when there are lives (yours, mine, theirs, others) on the line.&#38;nbsp;
 ⎤⎤⎤ furthers the long overdue movement of music from the realm of soft power into something more akin to the power of a bullet – immediate, shocking, irreversible. ⎤⎤⎤ abandons the assumed ouroboros cycle of violence, death and time for the forward movement of a strike. Across thirty expansive minutes, ⎤⎤⎤does not so much let slip the dogs of war as redefine and reengage with the shared rage, cruelty and malevolence that cannot be sublimated by the schemes of war, not now, not ever.


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		<title>Editorial</title>
				
		<link>https://snakemoons.com/Editorial</link>

		<pubDate>Mon, 11 Apr 2022 18:45:27 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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Burnaway
Editor
2018 - 2023
Burnaway is an Atlanta-based, non-profit magazine of contemporary art and criticism from the American South,&#38;nbsp; published online weekly and in print annually. 
Through its editorial program and cultivation of emerging arts writers and journalists, Burnaway connects the region’s diverse creative communities and develops exchange between Southern art, and the national and international arts audiences.
Since 2008, the magazine has brought vital critical dialogue to the issues facing Southern artists, institutions, curators, and writers, who often represent the country’s most pressing social and cultural challenges. 
My work as Editor at the magazine sought to expand what is considered ‘contemporary art’, &#38;nbsp;and provide thoughtful criticism as part of a sustainable ecosystem within the South. &#38;nbsp;Every summer I develop and administer the yearly Art Writing Incubator, Burnaway’s signature education program. &#38;nbsp;

Burnaway is a 501 (c)(3) non profit and is WAGE certified.&#60;img width="330" height="145" width_o="330" height_o="145" data-src="https://freight.cargo.site/t/original/i/fd5f1f846dcb1de80cc345b7ee875d1c3eea2d162d75eb9c53fcecba5d5639e3/5c85b0dd85aeea050c315d1a.svg" data-mid="139357685" border="0" data-scale="6" src="https://freight.cargo.site/w/330/i/fd5f1f846dcb1de80cc345b7ee875d1c3eea2d162d75eb9c53fcecba5d5639e3/5c85b0dd85aeea050c315d1a.svg" /&#62;


︎ Letters 
Letter From Arkansas: In the Pines&#38;nbsp;
Letter From Mississippi: Southern Hospitality
 A Love Letter in Louisville: Breonna Taylor&#38;nbsp;
Letter From Atlanta: St. Roch Blues&#38;nbsp;
 Letter from Atlanta: You’re Obviously in the Wrong Place&#38;nbsp;
Letter From Atlanta: Telepathic Archives of Our Own 
Letter From Atlanta: Old Town Fury Road

︎ Features 
Our Mascots, Ourselves
 Today, Your Native Hosts
 Dreams Change. Friends are Forever. 
I Wanna Do Bad Things With You
Ride Wit Me 
Writer’s Bloc&#38;nbsp;
 Sweet, Tender, Hooligan: The Utopian Aesthetics of Skateboarding
&#38;nbsp;

︎InterviewsWithout architecture, there would be no ‘brick’, without architecture there would be no Stonewall, Invisible Histories
 Toya Worthington 
Azikiwe Mohammad
 Wihro Kim


All Rights Reserved. © Jasmine Amussen


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		<title>Writing</title>
				
		<link>https://snakemoons.com/Writing</link>

		<pubDate>Mon, 11 Apr 2022 18:45:28 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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Other Writing

Selected Work


&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/5b06bcb4fa0718625d4e91b34268ff7b0e3e84a33cdfd65899a78088087fee75/maxresdefault-1.jpg" data-mid="247576239" border="0"  src="https://freight.cargo.site/w/1000/i/5b06bcb4fa0718625d4e91b34268ff7b0e3e84a33cdfd65899a78088087fee75/maxresdefault-1.jpg" /&#62;
&#60;img width="1440" height="956" width_o="1440" height_o="956" data-src="https://freight.cargo.site/t/original/i/ef0dc22e903f192cd01b361a257085037892d1333be7a5ed49599a1af300dadc/cfd9183b-5e1d-4fca-9395-2a99316300c5.jpg" data-mid="242021329" border="0"  src="https://freight.cargo.site/w/1000/i/ef0dc22e903f192cd01b361a257085037892d1333be7a5ed49599a1af300dadc/cfd9183b-5e1d-4fca-9395-2a99316300c5.jpg" /&#62;
&#60;img width="2000" height="1110" width_o="2000" height_o="1110" data-src="https://freight.cargo.site/t/original/i/8cc7221112503585dfdb04d84f66e14aacef29715b02c6245667d4791318dc24/bbf9-hero1-desktop-editorial.jpg" data-mid="227884070" border="0"  src="https://freight.cargo.site/w/1000/i/8cc7221112503585dfdb04d84f66e14aacef29715b02c6245667d4791318dc24/bbf9-hero1-desktop-editorial.jpg" /&#62;
&#60;img width="1006" height="1012" width_o="1006" height_o="1012" data-src="https://freight.cargo.site/t/original/i/a15dae745ac767ede9b59a8252e1c09a805ef81f469940d94d08e0dc504c9000/Screenshot-2023-11-27-at-9.54.30AM.png" data-mid="198255180" border="0"  src="https://freight.cargo.site/w/1000/i/a15dae745ac767ede9b59a8252e1c09a805ef81f469940d94d08e0dc504c9000/Screenshot-2023-11-27-at-9.54.30AM.png" /&#62;
&#60;img width="634" height="456" width_o="634" height_o="456" data-src="https://freight.cargo.site/t/original/i/0ef2dc7fb5dcb510bd16cc4cd84ad14d97dde53fea88297432fcd0aa4b7781ab/Screen-Shot-2022-01-11-at-8.16.58-PM.png" data-mid="139363353" border="0"  src="https://freight.cargo.site/w/634/i/0ef2dc7fb5dcb510bd16cc4cd84ad14d97dde53fea88297432fcd0aa4b7781ab/Screen-Shot-2022-01-11-at-8.16.58-PM.png" /&#62;
&#60;img width="1042" height="1350" width_o="1042" height_o="1350" data-src="https://freight.cargo.site/t/original/i/f854356b36c1cfd3ef654e21a2a6d78cee6a0c23a12cf3da4663321578838f3c/1324888.jpg" data-mid="149544916" border="0"  src="https://freight.cargo.site/w/1000/i/f854356b36c1cfd3ef654e21a2a6d78cee6a0c23a12cf3da4663321578838f3c/1324888.jpg" /&#62;
&#60;img width="502" height="796" width_o="502" height_o="796" data-src="https://freight.cargo.site/t/original/i/fceaf4a954702d8a0550638b01b84bf3b943c0995c4e2a1b84c70e78d1744da8/Screen-Shot-2022-04-11-at-4.59.08-PM.png" data-mid="139366832" border="0"  src="https://freight.cargo.site/w/502/i/fceaf4a954702d8a0550638b01b84bf3b943c0995c4e2a1b84c70e78d1744da8/Screen-Shot-2022-04-11-at-4.59.08-PM.png" /&#62;
&#60;img width="810" height="504" width_o="810" height_o="504" data-src="https://freight.cargo.site/t/original/i/5479dce267a40062c8a331ef7ce464c07a30e94c06bcfe93e59d0de7c10efa71/Screen-Shot-2022-04-11-at-4.34.08-PM.png" data-mid="139364020" border="0"  src="https://freight.cargo.site/w/810/i/5479dce267a40062c8a331ef7ce464c07a30e94c06bcfe93e59d0de7c10efa71/Screen-Shot-2022-04-11-at-4.34.08-PM.png" /&#62;
&#60;img width="1120" height="712" width_o="1120" height_o="712" data-src="https://freight.cargo.site/t/original/i/f65066b5a2b5edff29b82ed88f0b8e7ce5b59f5647910be3b0b06cf573d4aee7/thumb_2387_1120_0_0_0_auto.jpg" data-mid="139366722" border="0"  src="https://freight.cargo.site/w/1000/i/f65066b5a2b5edff29b82ed88f0b8e7ce5b59f5647910be3b0b06cf573d4aee7/thumb_2387_1120_0_0_0_auto.jpg" /&#62;
&#60;img width="1358" height="1919" width_o="1358" height_o="1919" data-src="https://freight.cargo.site/t/original/i/3a150b1cb4d78f70d7e777b64f1dce1b6c8848b97e37f131c9adbcce3c88c832/b905c98c-33c8-41b7-b083-73ca99882452_Limbo_Magazine_Cover-min.jpg" data-mid="139364445" border="0"  src="https://freight.cargo.site/w/1000/i/3a150b1cb4d78f70d7e777b64f1dce1b6c8848b97e37f131c9adbcce3c88c832/b905c98c-33c8-41b7-b083-73ca99882452_Limbo_Magazine_Cover-min.jpg" /&#62;
&#60;img width="661" height="1024" width_o="661" height_o="1024" data-src="https://freight.cargo.site/t/original/i/e8b1b1a828633d4e02f911f4114548edc494b9267a30d1d0ed6fe6b4e2951f25/hillary-clinton-in-1969-09-661x1024.jpg" data-mid="139363903" border="0"  src="https://freight.cargo.site/w/661/i/e8b1b1a828633d4e02f911f4114548edc494b9267a30d1d0ed6fe6b4e2951f25/hillary-clinton-in-1969-09-661x1024.jpg" /&#62;
&#60;img width="745" height="598" width_o="745" height_o="598" data-src="https://freight.cargo.site/t/original/i/0c07e61df70be6e31e845f43ec4e6cbf38051d035e512e0c4fd379069f2520d7/Screen-Shot-2022-04-11-at-4.34.54-PM.png" data-mid="139364077" border="0"  src="https://freight.cargo.site/w/745/i/0c07e61df70be6e31e845f43ec4e6cbf38051d035e512e0c4fd379069f2520d7/Screen-Shot-2022-04-11-at-4.34.54-PM.png" /&#62;
&#60;img width="388" height="350" width_o="388" height_o="350" data-src="https://freight.cargo.site/t/original/i/bd708e78a85f3d76fe74f9eae94b2435c8189828d9a931d8a81214f2a3ad64ca/Screen-Shot-2022-04-11-at-4.31.34-PM.png" data-mid="139363787" border="0"  src="https://freight.cargo.site/w/388/i/bd708e78a85f3d76fe74f9eae94b2435c8189828d9a931d8a81214f2a3ad64ca/Screen-Shot-2022-04-11-at-4.31.34-PM.png" /&#62;


All Rights Reserved. © Jasmine Amussen


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		<title>Speaking / Teaching / Other</title>
				
		<link>https://snakemoons.com/Speaking-Teaching-Other</link>

		<pubDate>Mon, 11 Apr 2022 18:45:28 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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SPEAKING TEACHING 
&#38;amp; OTHERSELECTED EXPERIENCE
2016 - PRESENT

	O︎THER
︎&#38;nbsp;“TOPDOGS AND UNDERDOGS” CITATION, CRITICS OF COLOR AND THE THEATRICAL LANDSCAPE, 2025.
︎ “TAYLOR SWIFT’S HARRIS ENDORSMENT HAS THRILLED FANS – BUT WILL IT MOVE THE NEEDLE?” INTERVIEW, THE GUARDIAN, 2024.
︎ “COULD TAYLOR SWIFT REALLY SWING THE 2024 PRESIDENTAL ELECTION?” INTERVIEW, THE GUARDIAN, 2024.
︎ “ART CRITICS: NEXT ENDANGERED SPECIES?” INTERVIEW, THE NEW YORK TIMES, 2023.︎
“THEY DIDN’T JUST LOVE HIM. THEY KNEW HIM.” YOUNG ATLANTA ACTIVISTS MOURN JOHN LEWIS. INTERVIEW, THE NEW YORK TIMES, 2020.
︎ MACDOWELL CALDERWOOD FELLOW OF JOURNALISM - 2020
︎ CRITICAL MINDED CRITICS OF COLOR GRANT - 2020
︎ CREATIVE CAPITAL GRANT REVIEWER - 2019, &#38;nbsp;2020, 2021︎ AICA-USA, BOARD OF DIRECTORS
2022- PRESENT
︎ MURMUR MEDIA, SECRETARY OF THE BOARD 2016 - 2018

	SPEAKING &#38;amp; TEACHING︎ THE ORDER OF &#38;nbsp;MYTHS: UTOPIA, TERRORISM &#38;amp; MILLENNIAL ESCHATOLOGY IN “RIVERDALE”, GEORGE WASHINGTON UNIVERSITY, ART DEPARTMENT. LECTURER, MARCH 2025.︎ my vibes r totally effed 4ever.....: AGAINST RECIEVED ART INTERNET ENGLISH, AICA-USA. LECTURER, FEBRUARY 2025.
︎ SERPENT QUEEN’S GAMBIT: BISEXUAL JURISPRUDENCE, ANTI-NATALISM AND MILLENNIAL ESCHATOLOGY IN “RIVERDALE”, SYRACUSE UNIVERSITY, FILM DEPARTMENT.
LECTURER, SEPTEMBER 2023.

︎ EDITOR AND ARTIST AS ARTIFICE, UNIVERSITY OF GEORGIA, THE ATHENAEUM. 
LECTURER, OCTOBER 2022.

︎ SCHOOL OF LIBERAL ARTS PROFESSIONAL MENTOR, SCAD ATLANTA.
LECTURER, JANUARY - MARCH 2022.

︎ CRIT CROSS: WRITING OUTSIDE THE BUBBLE, VEREIN_K &#38;amp; DEPOT, VIENNA.&#38;nbsp;
LECTURER, DECEMBER 2021.

︎ AESTHETICS OF UTOPIA AND TERRORISM, SYRACUSE UNIVERSITY, TRANSMEDIA DEPARTMENT.&#38;nbsp;
LECTURER, OCTOBER 2021.
︎ /DIALOGUES: SUPPORTING CRITICS OF COLOR, EXPO CHICAGO. PANELIST, APRIL 2023.
︎WHERE I’M CALLING FROM, INFERNAL GROVE &#38;amp; YES WE CANNIBAL. MODERATOR, MARCH 2023.
︎ ART WRITING FUTURES: A VIEW FROM THE UNITED STATES, AICA-USA. PANELIST, OCTOBER 2021
︎ ATLANTA BIENNIAL: OF CARE AND DESTRUCTION, ATLANTA CONTEMPORARY. MODERATOR, JUNE 2021.


&#38;nbsp;© jasmine amussen


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		<title>Contact</title>
				
		<link>https://snakemoons.com/Contact</link>

		<pubDate>Mon, 11 Apr 2022 18:45:28 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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mail

instagram
last.fm
letterboxd&#38;nbsp;
 linkedinprivate library


&#60;img width="1180" height="1192" width_o="1180" height_o="1192" data-src="https://freight.cargo.site/t/original/i/8cc31d3eefb44268ba54c5dfb7955ff2fdc831d13f372e04a708d797061be77f/senior.jpg" data-mid="190079037" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/8cc31d3eefb44268ba54c5dfb7955ff2fdc831d13f372e04a708d797061be77f/senior.jpg" /&#62;
self portrait on Spectra at MacDowell, Peterborough, New Hampshire, February 2020.
© jasmine amussen


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		<title>CV</title>
				
		<link>https://snakemoons.com/CV-1</link>

		<pubDate>Thu, 11 Apr 2024 22:34:28 +0000</pubDate>

		<dc:creator>snakemoons</dc:creator>

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		<description>CV&#38;nbsp;Jasmine Amussen
Writer &#124; Editor &#124; Library&#38;nbsp;
Atlanta, Georgia
jasmineamussen@gmail.com
Master of Fine Arts, Bard College&#38;nbsp;2025&#38;nbsp;
Website &#124; Linkedin

FeaturesFeature: The Summer I Lay Dying. Burnaway, Atlanta, Georgia. May 25 2026.

Feature:&#38;nbsp;Bomber’s Row.&#38;nbsp;e-flux, New York, NY. December 18 2025.

Feature: South Got Something to Say.&#38;nbsp;Boy.Brother.Friend, London, UK. February 23 2025.

Feature: Letter From Arkansas: In The Pines. Burnaway, Atlanta, Georgia. February 23, 2023.

Feature: Letter From Jackson: Southern Hospitality. Burnaway, Atlanta, Georgia. September 23, 2022.
Feature: Naomi Osaka, Mariah Carey and biraciality in pop culture, Dazed Media. London, United Kingdom. July 5, 2022.Interview: Invisible Histories &#38;amp; without architecture there would be no stonewall; without architecture there would be no “brick”. Burnaway, Atlanta, Georgia. June 1, 2022.
Feature: Our Mascots, Ourselves. Burnaway, Atlanta, Georgia. May 16, 2022.Feature: A Love Letter in Louisville. MOMUS, Toronto, Canada. September 28, 2021.

Feature: Dreams change. Friends are forever. Burnaway, Atlanta, Georgia. September 02, 2021.Review: Mainly For Women at SCAD Savannah. Burnaway, Atlanta, Georgia. March 08, 2021.
Feature: Letter From Atlanta: St. Roch Blues. Burnaway, Atlanta, Georgia. February 08, 2021.


Feature: YUKIO MISHIMA: Death of a Man. 032c, Berlin, Germany. November 25, 2020.Feature: I Wanna Do Bad Things With You. Burnaway, Atlanta, Georgia. October 29, 2020.Review: Slender Tenderness: Luther Hampton at TOPS Gallery, Memphis. Burnaway, Atlanta, Georgia. September 22, 2020.


Feature: Ride Wit Me. Burnaway, Atlanta, Georgia. July 08, 2020.
Feature: You’re Obviously in the Wrong Place. Burnaway, Atlanta, Georgia. January 21, 2020.Feature: Old Town Fury Road Postscript. Burnaway, Atlanta, Georgia. December 31, 2019.
Feature: Telepathic Archives of Our Own. Burnaway, Atlanta, Georgia. November 29, 2019.
Feature: Writers Bloc. Burnaway, Atlanta, Georgia. September 16, 2019.
Feature: Sweet, Tender, Hooligan: The Utopian Aesthetics of Skateboarding. Burnaway, Atlanta, Georgia. September 16, 2019.Feature: Old Town Fury Road: LIL NAS X, ‘Daddy Lessons’ &#38;amp; The Black Yeehaw Agenda . 032c, Berlin, Germany. June 21, 2019.

Feature: Letter from Atlanta: Old Town Fury Road. Burnaway. Atlanta, Georgia. June 15, 2019.Review: Eschatology on the Internet: The Nocilla Trilogy. ART PAPERS. Atlanta, Georgia. Summer 2019.

Review: ARTHUR JAFA: A SERIES OF UTTERLY IMPOSSIBLE STATISTICS. 032c. Berlin, Germany. May 19, 2019.Interview: Black, Soft and Wavy: Azikiwe Mohammad. Burnaway. Atlanta, Georgia. May 10, 2019.
Interview: Finding A Secret Place: Wihro Kim. Burnaway. Atlanta, Georgia. Feburary 06, 2019.

Review: Fandom at the Grand Palais: Michael Jackson on the Wall in Paris. 032c. Berlin, Germany. November 25, 2018.Feature: glossary: alternative (1) (with Tracy Soo Ming). ART PAPERS. Atlanta, Georgia. Fall 2016.
Publications
Publication: by hook (editor &#38;amp; contributor). Burnaway, Atlanta, Georgia. March 2024. ISBN:9781736101223
Paper:&#38;nbsp;“No New York Habits: Atlanta’s Cultural Engineers and Southern Diplomacy”, AICA International Congress. Kraków, Poland. November 13 - 17, 2023.
Publication: Where I’m Calling From (editor &#38;amp; contributor). Burnaway, Atlanta, Georgia. March 23, 2023. ISBN:9781736101216
Essay: “A Woman is a Nation”, Reckonings and Reconstructions: Southern Photography from the Do Good Fund. University of Georgia Press, Georgia Museum of Art. October 2022. ISBN: 9781946657145Interview: Toya Northington, Promise, Witness, Remeberance, Speed Museum of Art, Louisville, Kentucky. Published by University of Kentucky Press. October 2022. ISBN: 97817342248517Publication: Treasure (editor &#38;amp; contributor). Burnaway, Atlanta, Georgia. November 2021. ISBN:9781736101209
Feature: If this is hell, then I’m lucky: DJ Screw and the eye of the storm. 032c, Berlin, Germany. April 15, 2021. ISBN: 9783981743333Publication: Laws of Salvage (editor &#38;amp; contributor). Burnaway, Atlanta, Georgia. November 2020. ISBN:9781736101292
Publication: Stranger, Harder, Brighter (editor &#38;amp; contributor). Burnaway, Atlanta, Georgia. November 2019. ISBN:9780578547640
Feature: Plants Have Strange Powers. LIMBO Zine, London, United Kingdom. July 2020. ISSN:26343983
Feature: Captives. ART PAPERS. Atlanta, Georgia. Summer 2018. ISSN: 1524958117903Feature: glossary: lemonade. ART PAPERS. Atlanta, Georgia. Summer 2016. &#38;nbsp;ISSN: 1524958117706Feature: Megabus, and other routes. (with Erin Jane Nelson) ART PAPERS. Atlanta, Georgia. January 2016.ISSN: 1524958117703


Speaking, Teaching &#38;amp; PerformanceLecture: Homeland: Writing Ambient American Violence, AICA-USA, March 21, 2026.Educator: Art Critic Fellowship. AICA-USA, New York, New York. January 06 - April 15, 2026.


Performance: Friends are weapons, with Bill Dietz, The Ear Inn, New York, New York, March 4, 2026.
Lecture: The Order of Myths: Utopia, Terrorism &#38;amp; Millennial Eschatology in Riverdale, George Washington University, Washington D.C March 31, 2025.
Lecture: :-(&#38;nbsp;my vibes are totally effed 4ever...Against Recieved Art Internet English, AICA-USA, New York, New York. February 08 2025. 
Educator: Weekly Conversational English, Fulton County Library System, Atlanta, Georgia. January 2025 - Current.
Educator: Art Critic Fellowship. AICA-USA, New York, New York. January 06 - March 07, 2025.

Lecture: The Serpent Queen’s Gambit: Bisexual Jurisprudence, Millennial Eschatology, Anti-natalism and Feminine Death Drive in Riverdale, Syracuse University, Syracuse, New York. September 12, 2023.
Panel: /Dialogues: Supporting Critics of Color, EXPO Chicago. Chicago, Illinois. April 13 - 16, 2023.
Moderator: Where I’m Calling From, The Infernal Grove. Yes We Cannibal, Baton Rouge, Louisiana. March 18, 2023.
Lecture: “Editor and Artist as Artifice”. The Athenaeum, University of Georgia, Athens, Georgia. October 2022.Educator: Art Writing Incubator: Criticism as Care. Burnaway, Atlanta, Georgia. June 25 - August 04, 2022.

Educator: School of Liberal Arts Professional Mentorship, SCAD Atlanta, Atlanta, Georgia. January - March 2022.Lecture: Crit Cross: Writing Outside the Bubble. Verein_K &#38;amp; Depot, Vienna, Austria. December 16, 2021.
Lecture: “Aesthetics of Utopia and Terrorism”. Transmedia Department, Syracuse University. October 2021.
Panel: Art Writing Futures: A View from the United States. AICA-USA. October 2021.

Educator: Art Writing Incubator: Criticism Amid Crisis. Burnaway, Atlanta, Georgia. July, 2021.Panel:  ATLANTA BIENNIAL: OF CARE AND DESTRUCTION, Atlanta Contemporary. Atlanta, Georgia. June 2021.
Lecture: “The Utopian Aesthetics of Skateboarding”. Burnaway, Atlanta, Georgia. April 6, 2021.Educator: Workshop: Artist as Writer. Burnaway, Atlanta, Georgia. January 05, 2021.


Educator: Workshop: Practical Writing for Artists. Burnaway, Atlanta, Georgia. December 02, 2020.Educator: Art Writing Incubator. Burnaway, Atlanta, Georgia. June, 2020.
Projects &#38;amp; Exhibitions
Exhibition (solo): The Vestal and The Fasces. Mimo Gallery, New York. February 9 - March 3, 2024.
Editorial Project: Promise, Witness, Remembrance. Burnaway, Atlanta, Georgia &#38;amp; The Speed Museum, Louisville, Kentucky. May, 2021.Editorial Project: Dossier: A Museum for James Baldwin. 032c, Berlin, Germany. Winter 2018/2019. ISBN: 9783981743333
Editorial Project: Living Walls, The City Speaks, Google Street Art Project, Pilot Partner, Atlanta, Georgia. 2013-2015.
Editorial Project: Living Walls, The City Speaks, Boulevard Tunnel, Atlanta, Georgia. 2014.
Editorial Project: Living Walls, The City Speaks, Conference, Atlanta, Georgia. 2013.
Producer: Killer Mike at The Goat Farm, Living Walls, The City Speaks Main Event, Atlanta, Georgia. 2013.Editorial Project: Living Walls, The City Speaks, JR: Unframed, Atlanta, Georgia. 2013.


Juries &#38;amp; BoardsBoard Member: Working Artists in The Greater Economy (W.A.G.E.), 2024 - Current.
Board Member: AICA-USA, 2021 - 2026, President of the Board 2024 - 2026.
Jurist: Borders &#124; No Borders, Houston Cinema Arts Festival. Houston, Texas. November 2023.Jurist: Creative Capital: Literature, 2021.Jurist: Creative Capital: Literature, 2020.
Jurist: Atlanta Celebrates Photography: Emergent &#38;amp; Multi-media, 2020.Jurist: Creative Capital: Literature, 2019.
Board Member: Murmur Media, 2015-2018.
Press &#38;amp; AwardsPress: “Taylor Swift’s endorsement has thrilled fans. Can it move the needle?” The Guardian US, New York, New York, September 11, 2024.
Press: “Could Taylor Swift Really Swing the 2024 Presidential Election?”. The Guardian US, New York, New York, February 9, 2024.
Press: “Art Critics: Next Endangered Species?” The New York Times, New York, New York, February 4, 2023Press: “They Didn’t Just Love Him. They Knew Him.” The New York Times, New York, New York, July 18, 2020.Grantee: Critical Minded: Critics of Color Grant, 2020.
Award: Calderwood Fellow of Journalism, MacDowell Colony. Peterbourough, New Hampshire. March 2020. 

Residency: MacDowell Colony. Peterbourough, New Hampshire. January - March 2020.


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		<title>Thesis</title>
				
		<link>https://snakemoons.com/Thesis</link>

		<pubDate>Mon, 11 Apr 2022 18:45:29 +0000</pubDate>

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auris SedA CURIOUS VEXATION
07–16–2024
Bard College, Writing
Advisor: Kabir Carter, co-chair, Music/Sound
Keywords:  Addiction, American South, Anarchism, Andrea Dworkin, Antinatalism, Arkansas, Biraciality, Bisexuality, Creative Nonfiction, Criticism, Cultural Criticism, Culture, Film &#38;amp; Television, Friendship, Georgia, Germany, Homelessness, Hurricane Katrina, Language, Law, Literary Satanism, Literature, Louisiana, Loving v. Virginia, Media Studies, Music Criticism, Music/Sound, Nontraditional Jurisprudence, Poverty, Queer Legal Studies, Rap,&#38;nbsp;Riverdale (The CW), Russia, Schizophrenia, Theodore Kaczynski, Vladimir Nabokov, Writing, Yukio MishimaArchive: THE VESTAL AND THE FASCES @ MIMO GALLERY

Continued @ SERPENT QUEEN’S GAMBIT

Please email me if you would like to talk more about this manuscript, lecture series, or anything else related to this work.&#38;nbsp;
	Deploying prose, epistolary form, and criticism, A Curious Vexation attempts to provide a supportive wreath for a theory of bi [racial/sexual] existence. Using Riverdale (The CW, 2017-2023) as the mechanism for this theory, ACV looks to start the forward motion towards a jurisprudence for the two most maligned binaries in the world to defend or destroy Loving V. Virginia and its accompaning miscegenate statutes. Lawmakers across the 5th and 11th circuit have openly called into question allowing Loving to stand, and Millennials are uniquely equipped to confront this particular strand of eschatological thinking. The container character within ACV exploits uniquely American catastrophes like Hurricane Katrina and recruitment to the Moderna COVID-19 vaccine trial – specifically recruited because of her bi [racial/sexual] identity – to further this vision.&#38;nbsp;I have presented different facets of my thesis thru lectures at Syracuse University (NY), George Washington University (D.C), a solo exhibition at MIMO Gallery (NYC), and I continue to work around the Riverdale theory and publish sporadically at SERPENT QUEEN’S GAMBIT.&#38;nbsp;
	

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