"One young woman, who got in a heated argument with a men’s rights activist at a protest in Canada, was subsequently dubbed as “little red frothing fornication mouth” by AVFM and had all of her private contact information published by MRAs. She received hundreds of elaborate threats of violence. One anonymous commenter invited her to “enjoy being anally defiled.” Another gloated: “I would actually cum cutting that bitch’s throat.” Another outspoken feminist told me personally that she had to get the FBI and the state police involved when AVFM targeted her. Authorities found the threats she received so credible that they advised her to leave home for two weeks, taking her husband and young child with her. Increasingly, men’s rights activists target women offline as well. Last month, members of the organization Men’s Rights Edmonton hung large “wanted”-style posters of a professor all over the University of Alberta campus, calling her a bigot. Her crime? She was involved in the university’s anti-rape campaign."
Some examples of how “men’s rights activists” are threatening and intimidating feminists. There is absolutely no justification for this kind of behavior, and I urge all anti-feminist men (and anti-feminist others) to at the very least not stoop to the level of threatening atrocities or publishing someone’s personal information. I may not agree with your points of contention when it comes to the feminist movement, but that will never cause me to harm you or your family. AVFM and similar MRA groups need to be stopped, for the safety of society as a whole.
From “A Good Men’s Rights Movement is Hard to Find” by Jaclyn Friedman
(Source: wolf-of-death-valley, via stalinistqueens)
“James Luna often uses his body as a means to critique the objectification of Native American cultures in Western museum and cultural displays. He dramatically calls attention to the exhibition of Native American peoples and Native American cultural objects in his Artifact Piece, 1985-87. For the performance piece Luna donned a loincloth and lay motionless on a bed of sand in a glass museum exhibition case. Luna remained on exhibit for several days, among the Kumeyaay exhibits at the Museum of Man in San Diego. Labels surrounding the artist’s body identified his name and commented on the scars on his body, attributing them to “excessive drinking.” Two other cases in the exhibition contained Luna’s personal documents and ceremonial items from the Luiseño reservation.
Many museum visitors as they approached the “exhibit” were stunned to discover that the encased body was alive and even listening and watching the museum goers. In this way the voyeuristic gaze of the viewer was returned, redirecting the power relationship.
Through the performance piece Luna also called attention to a tendency in Western museum displays to present Native American cultures as extinct cultural forms. Viewers who happened upon Luna’s exhibition expecting a museum presentation of native American cultures as “dead,” were shocked by the living, breathing, “undead” presence of the luiseño artist in the display. Luna in Artifact Piece places his body as the object of display in order to disrupt the modes of representation in museum exhibitions of native others and to claim subjectivity for the silenced voices eclipsed in these displays.“
(Source: swirlofenjoyment, via mostsmartest)