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Series:

Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster
Series: Blackness and the Not-Yet-FinishedGuest Editor
Chaun Webster

Blackness and the Not-Yet-Finished is a grid for inquiry in a series of conversations on the instability of blackness, that blackness itself is on the move in ways that complicate popular discursive practices that represent it as fixed. This grid borrows from Margo Natalie Crawford’s text Black Post-Blackness where they describe the not-yet-finished in relation to “The Unfinished Poem” by Adam Webber, saying, “The idea that the poem will be finished when poetry is no longer necessary suggests that the unfinished poem is battling the dominant cultural power tied to the ‘finished’ poem. This poem sheds light on black post-blackness by emphasizing that there is a politics tied to the unfinished; the black cultural revolution will continue to have a circular, unfinished nature (black-post-black-black…) until the finished, stable nature of global white supremacy is undone.” (116) So too Blackness and the Not-Yet-Finished as theme, seeks to emphasize the destabilizing and fugitive force of blackness, its circular ongoing-ness, and asks with Fred Moten, “What will blackness be?”

Poet and graphic designer Chaun Webster draws from an interest in the work of sign in graffiti, the layering of collage, and the visuality of text. These methods are used in Webster’s work to investigate race – specifically the instability of blackness and black subjectivities, geography, memory, and the body. Correspondingly much of these investigations engage the question of absence, how to archive what is missing from the landscape particularly as a number of communities watch in real time, neighborhoods once populated with familiar presences, dissolve in the vernacular of redevelopment and its attendant colonial logic. Webster’s debut book, GeNtry!fication: or the scene of the crime, was published by Noemi Press April 2018.

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Design Literature Moving Image Performing Arts Visual Art
9-6-2018

Blackness and the Not-Yet-Finished

Chaun Webster
wac_10159
1Kerry James Marshall, untitled water study for Gulf Stream, 2004. Collection Walker Art Center, Minneapolis.
Literature Performing Arts Visual Art
9-13-2018

A case for this: the (new Black) here and now

Lisa Marie Brimmer
1Image credit: Aaron Mallory
Design Literature Performing Arts
10-4-2018

Out of Place: Black Triage and its Afterlife

Aaron Mallory
1Photo Credit: Uiphotographic.
Literature Performing Arts Visual Art
10-19-2018

Black Convivial: On Blackmospheres and Sci-fi Social Work

Tikkun Bambara
wac_3665
1Ad Reinhardt, Painting, 1960. Collection Walker Art Center, Minneapolis.
Literature Moving Image Performing Arts Visual Art
10-31-2018

Are We Black Yet?: On Blackness as Art

Davu Seru
1Nina gone in. Credit: Terrion Williamson.
Literature
11-2-2018

Everything Is Everything, or How Black Women Will Survive the End of the World

Terrion L. Williamson
Gibney
1Image courtesy Shannon Gibney.
Literature
11-6-2018

My Blackness. (Still) Unfinished.

Shannon Gibney
1Photo courtesy of Chaun Webster.
Literature Performing Arts Visual Art
11-13-2018

Even “The Smallest Cell Remembers”: Notes on Research

Chaun Webster
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