{"id":8042,"date":"2023-11-14T01:51:53","date_gmt":"2023-11-13T23:51:53","guid":{"rendered":"https:\/\/tahneyalexandramay.com\/?p=8042"},"modified":"2024-03-18T15:21:08","modified_gmt":"2024-03-18T13:21:08","slug":"yazmin-bradley","status":"publish","type":"post","link":"https:\/\/tahneyalexandramay.com\/index.php\/2023\/11\/14\/yazmin-bradley\/","title":{"rendered":"Sticky Teeth | Micro\u2013interview with Yazmin Bradley"},"content":{"rendered":"
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I don\u2019t want my work to be seen as merch. I am not a brand.<\/p>\n

\n\u00a0–\u00a0<\/i><\/span><\/span>\u00a0<\/i>Yazmin Bradley<\/i><\/p>\n<\/blockquote>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sticky Teeth’s<\/a> micro-interviews have less to chew off.\u00a0\u00a0<\/i><\/b><\/span><\/p>\n

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Ft. words from creative professionals at the intersection of the arts and writing.\u00a0<\/span><\/p>\n

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In this edition, writer Yazmin Bradley speaks on<\/span><\/span>\u00a0the icky privatisation and forced consumerism of the creative process, and the\u00a0<\/span>humbling experience<\/span>\u00a0of getting intimate with beloved genres in community settings.\u00a0\u00a0<\/span><\/p>\n\n

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xx Tahney<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Yazmin Bradley is a writer from unceded Dharug Land, Western Sydney.<\/h2>
She primarily explores class, the body and dragons. Her latest essay,\u00a0Thirteen Ways of Looking at a Substack<\/a><\/i>\u00a0was published by The Suburban Review.<\/a><\/div><\/div>
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Tahney:\u00a0<\/i><\/span>What’s been on your mind?\u00a0\u00a0<\/h2>
Yazmin Bradley: <\/i>I\u2019ve been grappling with the concept of Bookstagram for a while, it\u2019s got me by the horns so to speak. Capitalism wants to privatise every inch of the creative process, render everyone a sole trader for the purpose of selling our skin, our hair \u2013 the dirt under our fingernails. Authors need successful Instagram accounts now. They need thousands of followers to justify to publishing companies why they are worth reading.\u00a0<\/div>
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What this means is that the author becomes a brand, the work a derivative \u2018offering\u2019 the way mindless content creators sell \u2018merch\u2019. I don\u2019t want my work to be seen as merch. I am not a brand. I want to be cleaved from my work, abandon it. But instead, I\u2019m labouring over a platform that is full of a lot of people unconsciously fuelling capitalism: it\u2019s this vacuum of consumerism which prices out a lot of people. Surprise.\u00a0\u00a0<\/div>
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We do the work of publishing houses for them. We feverishly sell to one other. We brand ourselves as \u2018readers\u2019 or \u2018writers\u2019 and crave more more more.\u00a0

Fav creatives working with writing\/language?\u00a0<\/h1><\/div>
Toni Morrison, N.K. Jemisin<\/a>, Willo Drummond<\/a>, Amal El-Mohtar<\/a>, Chloe Timms<\/a>, George Eliot, Senaa Ahmad<\/a> – actually, let\u2019s talk about Ahmad for a moment.\u00a0<\/div>
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She has this gorgeous, sticky way of writing; images get lodged in your mind in hyperpop colours, gummy and tactile. Her prose is clipped, postmodern, an acerbic wryness that is too slippery to catch. It\u2019s like trying to eat a stained glass window.\u00a0<\/div>
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N.K. Jemisin and Amal El-Mohtar make me excited, too, the centre of my chest starts tingling like popping candy. It\u2019s like they chew up words and spit out magic, and then you have all this imagery and subtext to sift through. I feel like a dog doing an enrichment exercise. I come back to their work again and again and there\u2019s no dulling of that feeling of awe and wonder.\u00a0 \u00a0<\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A quote from one of them?<\/span><\/h2>

You will want to hear that Anne takes solace in these precarious days, so let\u2019s say that\u2019s true: She takes that trip she always meant to, an ethereal island resort where every day the indigo waters whisper Get out, get out while you still can and the jacarandas whistle a jaunty tune of existential dread. She cashes in her many retirement portfolios, she doesn\u2019t so much throw parties as fling them, handfuls of bacchanalia into those feverishly starlit nights.<\/i><\/p>

From\u00a0<\/i>Let\u2019s Play Dead <\/i>by Senaa Ahmad in Lithu<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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What have you been working on lately? <\/h1>\n

I\u2019ve been helping my grandmother write her memoir, and it\u2019s forced me to engage a lot more with the genre as a whole and interrogate its conventions (it\u2019s my favourite book genre). I was working at Parramatta Library when we first started her project, and it was one of those strange moments where timelines converge; my job was less rigorously bookish than it was community care and holding space for people\u2019s stories, and here I was holding space for my grandmother too. <\/p>\n

So, I set up a workshop at the library to teach folks how to write their memoir. Some had dabbled in writing before, others had never tried. The workshop had started in silence, but by the end, I was able to step away from the table to fill up the tea and coffee stations. People were swapping stories without my help. The humbling fact was that I was no longer needed. <\/p>\n

I<\/span>What else we should be reading in\/on the arts? <\/span><\/p>\n

The most recent thing I\u2019ve released was Thirteen Ways of Looking<\/i> at a Substack for The Suburban Review, which was their creative nonfiction piece for #32 Subscribe. It\u2019s mostly a continuation of my answer to questions 1 and 3, except it’s funnier (I think). I even write about doing a striptease and flaying my skin in it. Sexy stuff. There\u2019s a little interview about it here. <\/a><\/p>\n

Anything that talks about Moon Wrasse.  <\/span><\/a><\/p>\n

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More on Yazmin Bradley here<\/a>.\u00a0<\/h2>
Interview by Tahney Fosdike.\u00a0<\/a><\/i><\/h6>
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\n\t\t\t\t\t\tHey! My name is Tahney. I design words that fill the space between you, your creative project, and your audience.\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\tGet in touch \t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\tAugust 21, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with David Willis<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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David Willis: “It is my personal mission as an art writer to strike a balance between critical rigour and concise readability.” <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tJune 30, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Carmela Vienna<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Carmela Vienna talks about the overreliance on AI in arts marketing and social media, and the need for more inspired, well-edited content, as well as treating arts marketing more seriously within arts orgs in general. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tMay 28, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tReview: Is the 2024 Venice Biennale too overwhelming?<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Too, with the Venice Biennale as a whole, in this unearthliness, the curatorial was a blur of impact and thought. I wasn\u2019t sure if it was possible to achieve anything cohesive. I\u2019m still not sure if it\u2019s possible to look at, en masse like this, the variety of mediums, ideas, and cultural contexts and get it and not just be overwhelmed, weary, and clueless.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tApril 25, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Haneen Mahmood Martin<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Haneen Mahmood Martin talks about shared accountability and diverse perspectives in the arts industry, matching words with actions\u2014i.e., more POC in leadership positions\u2014and the use of clear, accessible, but impactful language. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tMarch 18, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Liv Collins<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Liv Collins has an infectious energy rare in an industry of pretension. I’m really excited to feature her in this sticky teeth micro-interview for her truths about writing education at art school and some hot insider arts reading suggestions. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tFebruary 20, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Anna Kate Blair<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Anna Kate Blair speaks on the intersection of art, writing, and time. She explains her major concerns for lack of enough resources for the writing process itself, and also touches on history, capitalism and imagining alternative futures for creativity. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tJanuary 22, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Sarah Schug<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Brussels-based journalist Sarah Schug discusses the challenges of language in the art world, the need for accessibility, the diminishing value of art writing and her proud accomplishment\u2014a self-published book on Iceland’s contemporary art scene.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tDecember 17, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Erin McFayden<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer and editor Erin McFayden reflects on framing artistic activities as labour and advocating exploring the good it creates rather than its economic value \u2013 as well as her reccs for some artistic endeavours.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tNovember 14, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Yazmin Bradley<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer Yazmin Bradley touches on the pressure on authors under the commercialisation of Bookstagram \u2013 how can we reclaim the creative process from capitalism? She also explores working with her grandmother on her memoir and the possibilities of Substack for creativity. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tOctober 16, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Suzanne Claridge<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer Suzanne Claridge talks about ephemeral approaches to working with language and their belief that good arts writing should not lose sight of its purpose: the reader and experiencing art. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\t\t<\/div>\n\n \n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Writer Yazmin Bradley touches on the pressure on authors under the commercialisation of Bookstagram \u2013 how can we reclaim the creative process from capitalism? She also explores working with her grandmother on her memoir and the possibilities of Substack for creativity. <\/p>\n","protected":false},"author":1,"featured_media":8045,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_vp_format_video_url":"","_vp_image_focal_point":[],"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[537,523,359],"tags":[],"class_list":["post-8042","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-micro-interview","category-sticky-teeth","category-writing"],"acf":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/tahneyalexandramay.com\/wp-content\/uploads\/2023\/11\/IMG_5217-Yazmin-Bradley-scaled.jpeg?fit=1920%2C2560&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Pso7-25I","jetpack_likes_enabled":false,"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8042","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/comments?post=8042"}],"version-history":[{"count":65,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8042\/revisions"}],"predecessor-version":[{"id":8663,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8042\/revisions\/8663"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media\/8045"}],"wp:attachment":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media?parent=8042"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/categories?post=8042"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/tags?post=8042"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}