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Rebecca Lowe Mosena

@rebeccmo

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Dehydrated & in my lane
📍Chicago

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July dump 🪩💥 by @rebeccmo

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3 years ago

Best day ever 🪩🤍💐
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Planning @forloveoflove
Florals @oliverafloraldesign
Signage @itserinpetty
Venue @commonhouserva
Makeup @tai.captivatingcomplexion
Photography @madiellisphoto
DJ @ant_boogie_ taken in Richmond, Virginia by @rebeccmo

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Frida’s house… taken in Casa Azul - Museo de Frida Kahlo by @rebeccmo

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4 years ago

Year 6 ❤️‍🔥

📸: @madiellisphoto by @rebeccmo

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4 years ago

Happy Friday from Allegra, this sick emerging artist who made a masterpiece during her nap time with one stamp alone! She happens to have a painting of mine hung behind her crib…a daggone honor 🥹. She shoulda reworked it while she was at it @stuartawillson taken in New York, New York by @rebeccmo

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by @rebeccmo

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5 years ago

John was on some Mr. Big shit makin’ sure my girls were in town this weekend 🧨💍💖 @5amle @heleniscomingforyou taken in Chicago, Illinois by @rebeccmo

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5 years ago

Last night, @nicfiyote, @c_crain_, @mishwaa and I hosted the pilot for our online workshop, “Visioning Futures Through Collective Memories”— on radical vulnerability and collective racial memory as experienced in America. This was a labor of love, and we’re thrilled with the outcome thus far. Huuuge thanks to our workshop participants—who joined remotely from across the country—for being willing to sign on to the unknown and create such an extraordinary shared space.

We created a Visioning Futures Toolkit with resources for you to promote radical vulnerability in your community—download the full version by clicking the link in my bio, or email me at rmosena@gmail.com!

Lastly, please consider taking 15-20 minutes from your day to fill out our anonymous survey, as your perspective will aid in our ongoing research (click the “Public Survey” link on page 4 of the Toolkit)💥

#visioningfutures #radicalvulnerability by @rebeccmo

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5 years ago

Continuing to celebrate #GeorgeFloyd’s life and lasting impact on this world today, and moving forward with direct intention as we have so much farther to go. I hope today’s guilty verdict brings as much peace as is possible to his loved ones. #justiceforgeorgefloyd #blacklivesmatter by @rebeccmo

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We don’t just need reform, but a full reallocation of resources for us to reenvision the inherently racist system that is American policing, which further maintains and perpetuates racial hierarchy in this country. Today, I donated to the @naacp and @aclu_nationwide, both of which are nonprofits putting resources towards confronting, dismantling and reconsidering this system.
Join me?
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In this stainless steel sculpture, “Strike” (2018), by @hankwillisthomas, Thomas directly references a 1935 lithograph by Louis Lozowick (pictured second). The lithograph, which Thomas saw at the @whitneymuseum in their 2015 exhibition, “America Is Hard to See”, shows a Black man defending himself against a police officer's aggression during a worker's strike. Rather than reproducing the entire scene, however, Thomas removes the lithograph's main action, focusing instead on two limbs in direct opposition, as one hand seizes the wrist of the other. Even without the larger narrative depicted in Lozowick's work, a clear message of protest and resistance comes through in Thomas's sculpture, largely due to the presence of the police baton.⁣
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In the context of the United States’ deep history of police brutality inflicted upon its Black citizens, juxtaposing these two artworks—created nearly eighty-five years apart—emphasizes the history of violence in America and the long road Black communities have faced in their struggle for equality in a country founded on notions of freedom and the pursuit of happiness, a contradiction Thomas regularly addresses in his practice: "Almost all of my work is really about trying to reconcile how, in this great country, we continue to allow things that are so antithetical to our values to exist."⁣

#hankwillisthomas #defundthepolice #blacklivesmatter by @rebeccmo

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6 years ago

#BreonnaTaylor #justiceforBreonnaTaylor by @rebeccmo

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6 years ago

Before moving to Chicago in 2016, I encountered this mural on Mott Street in NYC, and it’s stuck with me ever since. It’s framed in my home and my office at SAIC as a necessary reminder to be still, to situate, to recalibrate. Presently, this mural speaks to so much more than work alone as this pandemic continues to wreak havoc and distance us from family and friends that we lean on—all during a year that has made us question everything.

I’m leaving this here as a friendly reminder to take care of yourself, to take time, to distinguish sense from nonsense, and to lean into the changes speeding our way. I struggle with this daily myself, but you all have made it so much easier to bear 💫 #inmyfeelings
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𝘏𝘰𝘸 𝘵𝘰 𝘞𝘰𝘳𝘬 𝘉𝘦𝘵𝘵𝘦𝘳, is a mural made in collaboration by @publicartfund, artists Peter Fischli & David Weiss, and @guggenheim curators Nancy Spector & Nat Trotman.

Originally installed in 1991 near a commuter rail line in Zurich, the mural is an adaptation of a list the artists saw displayed in a ceramics factory in Thailand. Critic John Kelsey noted, “Taken from a factory in Thailand and displayed in a supremely wealthy nation with one of the strictest immigration policies in Europe, the text becomes an ironic reflection on the way things go for commuter drones within a productively mobilized post-society, some of whom happen to be artists and curators: ‘SMILE.’”

The mural’s audience in New York 25 years later is, if anything, even more subject to the piece’s ironies. As Hickey notes, many in the art world and outside it are now torn between a culture of “self-care and consideration of a more holistic life” and an increasingly frenzied mode of daily existence—driven, in part, by digital tools that didn’t exist when the mural was first shown. Hickey says, “We may all love this idea of working in a different way, but so often we find ourselves caught up in this ceaseless rush to complete a task, get on to the next thing, and be everywhere at once. I think many of us respond to this desire for something different, and the manifesto, the mantra of the mural speaks to that.” (Caitlin Dover, Guggenheim Museum) taken in NoLita by @rebeccmo

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