In the first of a series of posts leading up to the release of Molly’s upcoming memoir, Drawing Blood, we’d like to share with you an image from the book with some of the accompanying text:
We walked through the frozen streets to the Oum Kalsoum Cafe. Over hookahs and sticky sahleb, we decided to catch a bus to the south of France. On a cold Parisian night, whimsy can pass for magic. We found a town too small to have ATMs. The sole hotel had decorated its reception room with butterflies in glass boxes. Above one, the proprietor had written,
“I am sorry. I used to do this but no longer. You’re more beautiful when you are living.”*
“Old Hebron is honey-stoned and blue-doored—the sort of charming Mediterranean labyrinth that, in another universe, would be full of obnoxious tour groups. But thanks to the occupation, it’s scarred by gates, concrete barriers, barbed wire, and checkpoints. A souk where gold was once sold lies empty, the doors of its many shops welded shut by the IDF, its merchandise still inside.”
“The Oppresive Architecture of the West Bank” – Molly Crabapple. VICE
Yesterday, the widely read Italian newspaper, La Lettura, republished an open letter Molly had written to Lena Dunham, in response to her signing of a petition against Amnesty Internationals recommendations to decriminalize sex work.
As a benefit and tribute to the late comic book writer/photographer Seth Kushner, a set of 13 collectors’ cards have been published to benefit Seth’s wife and son. Each card features one of his portraits of top New York City creators like Molly, Neil Gaiman, Art Spiegelman, Scott McCloud, and Chris Ware. The cards retail for $15 a pack, and $25 for a pack with a single creator signature.
“The Syrian air force has a habit of following their first barrel bomb with a second. People say this is to kill first responders. (The government still denies that it uses barrel bombs.)
Despite this, the crowd did not run away. They dug in the rubble with their bare hands—old men, Civil Defense volunteers, and militants alike—all except the media activists shooting video. When they found a victim, they gathered to help snatch them out, screaming “Allahu Akbar” as they did. Once they laid the victim in an ambulance, they began to dig again.”
“Scenes from Inside Aleppo: How Life Has Been Transformed by Rebel Rule” – written by Marwan Hisham, illustrated by Molly Crabapple. Vanity Fair
The elaborate mythology of racial difference created to sustain American slavery persists today. Slavery did not end in 1865, it evolved. #SlaveryEvolved
The legacy of slavery can be seen in the presumption of guilt and dangerousness assigned to African Americans, especially young men and boys, the racial profiling and mistreatment that presumption creates, and the racial dynamics of mass incarceration.
EJI’s Race and Poverty project explores racial history and attempts to deepen our understanding of the legacy of racial injustice. By telling the truth about our past, EJI believes we can create a different, healthier discourse about race in America.
More information here: http://www.eji.org/raceandpoverty
“Nearly a year after the end of Protective Edge, little has changed in Shujaiya. A few houses have been patched up, but many more are nothing but rubble. Piles of prescriptions fluttered in front of the destroyed Ministry of Health. Everywhere homes lay collapsed like ruined layer cakes, the fillings composed of the flotsam of daily life: blankets, cooking pots, Qu’rans, cars. In one pile of dust I saw a child’s notebook, abandoned. “My uncle collects honey,” the nameless child had written on the first page.”
“Shujaiya Dust: Gaza Is Still In Ruins a Year After the War” – Molly Crabapple. VICE
Show Me The Money: The Image of Finance, 1700 to the Present
The latest film from the AHRC looks at ‘Show Me The Money’ – a new exhibition which charts how the financial world has been imagined in art, illustration, photography and other visual media over the last three centuries in Britain and the United States.
This exhibition asks what does ‘the market’ look like? What does money really stand for? How can the abstractions of high finance be made visible? The project asks how artists have grappled with the increasingly intangible nature of money and finance, from the South Sea Bubble of the eighteenth century to the global financial crisis of 2008.
This AHRC film guides us through the exhibition featuring works ranging from satirical eighteenth-century prints by William Hogarth to newly commissioned works by artists Cornford & Cross, and James O Jenkins, as well as the first UK exhibition of international artist such Molly Crabapple.
The exhibition includes an array of media: paintings, prints, photographs, videos, artefacts, and instruments of financial exchange both ‘real’ and imagined. Indeed the exhibition also charts the development of an array of financial visualisations, including stock tickers and charts, newspaper illustrations, bank adverts, and electronic trading systems.
To find out more about Show Me The Money please visit the www.imageoffinance.com, website for information, interactive games, and more.
Molly Crabapple is an artist and writer in New York. Her 2013 solo exhibition, Shell Game, led to her being called “Occupy's greatest artist” by Rolling Stone, and “an emblem of the way that art could break out of the gilded gallery” by The New Republic. She is the fourth artist in the last decade to draw Guantanamo Bay. Crabapple is a columnist for VICE, and has written for The New York Times, Newsweek, The Paris Review, CNN, The Guardian, The Daily Beast, Vanity Fair, and Der Spiegel. Her illustrated memoir, Drawing Blood will be published by Harper Collins in 2015.
Get In Touch
Speaking Engagements: The Lavin Agency
Literary Agent: Lydia Wills
Special Projects: Quinn Heraty at Heraty Law
"Equal parts Hieronymus Bosch, William S. Burroughs and Cirque du Soleil."