Over on Fact Tank, we dug into the data on child care, gender and work, and stay-at-home mothers.
Nannies take note! I know this is about daycare centers, but the costs at centers are directly tied to the pay that we as individuals get: parents use these well-known costs to evaluate how much they think is appropriate to pay for individual care. Usually they recognize they need to pay a little more per hour for the individual care and the convenience of having someone come to them, but low wages in institutions depress wages everywhere else.
And it also lets us know how much the people who care for children - and thus, the children themselves - are valued. In my state, considering a 40-hour workweek for 48 weeks a year, daycare workers are getting $6.10 an hour…which doesn’t include any kind of overhead, etc.
How do your wages stack up?
WHY DO PEOPLE CALL IT FUCK, MARRY, KILL WHEN THEY COULD CALL IT BED, WED, BEHEAD
easy there henry
whos henry what thef uck?
*faint laughter from Britian*
Okay yes, good history joke, but for absolute serious why aren’t we calling it Bed Wed Behead
Of course, the ultimate moment of being Female in Public comes when a woman, deep in thought, is told by a strange man to SMILE. (And this happens only to women.) Gentlemen, let’s get this straight. There is no part of my body that belongs to you, not even my facial expression.
Contemporary Art Week!
Series: Self-Evident Truths
These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.
I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.
The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.
The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?