Sharon Tey

Sharon Tey

@sdtey.bsky.social

Exhausted analytics professional.👩‍💻 Reader.🤓 Booklover.📚News junkie📰 University of Arizona🌵 🧊OUT!🤬

304 followers403 following483 posts

Go ahead, you grifting scumbag. Let’s open up all that legal discovery that comes with a lawsuit. Do it!

The New Republic@newrepublic.com

If he offered anything in return for the money, even just conversations with his father-in-law, then he would have violated U.S. bribery laws and the foreign agent statute. trib.al/aYl2OWe

Sharon Tey reposted

Sharon Tey reposted

Ramaswamy has produced an attack ad weaponizing the rape of his opponent, Amy Acton, when she was 12 years old. It features Acton’s mother, who abandoned Acton after she was raped by her step-father, fleeing the state with her husband. Here is the corporate money helping fund that ad.

Sharon Tey reposted

Zacharia story at core is another example of unqualified white person being hired by Trump administration. And I emphasize "white" because anger at DEI is NOT that unqualified black people were being hired, but that it blocked unqualified white people getting hired. www.yahoo.com/news/politic...

yahoo.comKatie Zacharia out as Trump's White House press secretary after 5 days on the job“It was an honor to work for him,” Zacharia wrote on social media.

Sharon Tey reposted

Today I saw the new 4 hour documentary Musk, directed by Alex Gibney. There were too many times to count that a sold out theater burst out laughing at Elon Musk, something he said or did, even sometimes just how he looked. I believe that is his worst nightmare come to life.

Sharon Tey reposted

#ResistanceRoots Pablita Velarde was born on this day in 1918 in Santa Clara Pueblo, N.M. She pursued painting at a time when it was not acceptable for Pueblo women. Her “memory paintings” document the traditions, culture and history of her community layered with subtle, indomitable feminism. /1

Sharon Tey reposted

Union, union, union. God bless the Newspaper Guild, which gave me my first union card and began my lifetime of believing in the power of and need for collective bargaining. Also shame on the Washington Post for this fight being necessary.

Karen Attiah@karenattiah.bsky.social

Wearing @postguild.bsky.social red today. I was able to challenge my @washingtonpost.com firing — and win reinstatement plus back pay — all thanks to being a part of the @wbng.org Guild. Binding Arbitration is a part of our contract. This is why unions matter!!!

Sharon Tey reposted

This is the most Republican story you will read all day. A Republican who represents Trump’s home district was arrested for molesting his OWN GRANDSON and could face the death penalty under a state law he sponsored. There has to be a German word for this.

rawstory.comFlorida Republican could face death penalty under child abuse law he championedA Florida Republican from Donald Trump's home district could potentially face the death penalty under a law he had championed as a state legislator.Mike Caruso, the Palm Beach County clerk of courts a...

Sharon Tey reposted

The ultimate Kafka-esque nightmare.

AILA@aila.org

"That was more than a year ago. Mosquera still sits in that same maximum-security prison with nowhere to go. No charges against him. No way to appeal his predicament. No sign that he will ever be freed." https://nyti.ms/4bNuZdv

Sharon Tey reposted

The stakes are high in November, but the mission is simple. It's about making sure we have a government that cares about working class people. That means passing Medicare For All, taxing the billionaires, and standing up to Trump's authoritarian agenda. Solidarity forever.

Sharon Tey reposted

Replying to @normornstein.bsky.social

He became a caricature, a complete toady to the man he had eloquently portrayed as a menace, warning the Republican Party that Trump would destroy it. Trump did, and destroyed Graham and decency at the same time. I wish I could say something nice about Lindsey now. I can’t.

So in the year 2026, rightwing douche canoe doesn’t know if those accused and executed during the 1692 Salem Witch trials were actually guilty of witchcraft.🤦‍♀️

Madeline Peltz@peltzmadeline.bsky.social

Just left the great American state fair where I watched Michael Knowles debate a ten year old girl about the Salem witch trials in front of DOZENS of people

Wonderful thread on Ukraine. Reason to be cautiously hopeful. Ukraine never fails to amaze me.❤️

Anders Åslund@andersaslund.bsky.social

A lot has changed in the Russian-Ukrainian war. Let's sum it up: 1. Europe has replaced the US in finances & arms deliveries. Ukraine's financial situation is better than Russia's. Ukraine has better arms than Russia. 2. Ukraine has got rid of harmful US military advice & restrictions. /1

Sharon Tey reposted

There may have been world leaders somewhere in history that sounded dumber than this. But if there was, I don’t know them.

Aaron Rupar@atrupar.com

Trump: "I've ended eight wars, and soon to be a ninth. It could be ten. I don't think a president has ended one war."

Sharon Tey reposted

There is something powerful about women who know exactly who they are. This haka gave me chills. ❤️ This is what strength, pride, sisterhood, and femininity can look like. Students of Westlake Girls High School in Auckland, New Zealand, performing a powerful Māori haka. #SheShed

Sharon Tey reposted

Reminder

Larry Glickman@larryglickman.bsky.social

What “distressing” ideas? How are they “cocooned”? It’s amazing how much publicity one can get by reinforcing cliches that accord so little with the experiences of so many of us who actually teach college students.

Sharon Tey reposted

Mary Lovelace O’Neal, Distinguished Abstract Painter, Dies at 84 #Art #ArtLovers #BlackSky

blackartinamerica.comMary Lovelace O’Neal, Distinguished Abstract Painter, Dies at 84Remembering Mary Lovelace O’Neal, February 10, 1942 - May 10, 2026 Mary Lovelace O’Neal, the acclaimed painter, professor, and social activist whose expansive, materially rich canvases reshaped contemporary abstraction over a career spanning six decades, died at age 84.  Wednesday, May 13, 2026 — Today, the family of acclaimed African American abstractionist painter and social activist Mary Lovelace O’Neal announced her passing at the age of 84. Best known for monumental abstractions layered with soot-black surfaces, sweeping gestures, and richly textured fields of color, Lovelace O’Neal developed a visual language that defied easy categorization. Her work expanded the possibilities of postwar abstraction by insisting that formal experimentation and Black political consciousness could exist on the same canvas. Long regarded as an “artist’s artist” within the San Francisco Bay Area, Lovelace O’Neal’s later years brought renewed institutional recognition and a broader international audience for work that had remained fiercely independent throughout her career. Her works are held in major public and private collections, including the Smithsonian Institution, the National Gallery of Art, the Art Institute of Chicago, the Brooklyn Museum, the San Francisco Museum of Modern Art (SFMOMA), the Baltimore Museum of Art, and the Virginia Museum of Fine Arts, among others. Internationally, her work is represented in collections and institutions in Europe and South America, including the National Museum of Fine Arts in Santiago, Chile. Born in Jackson, Mississippi, in 1942, Lovelace O’Neal was deeply influenced by her father, Dr. Ariel Lovelace, a choir director and professor of music at Tougaloo College and the University of Arkansas. After studying with artist and historian David Driskell at Howard University, she moved to New York to attend Columbia University, where in 1969 she was the only African American student in the MFA program. The experience sharpened her determination to forge an artistic language rooted in gesture, scale, texture, and emotional force rather than prevailing artistic trends. Her rise to institutional prominence began in 1979 when SFMOMA presented her first major solo museum exhibition featuring the seminal Lampblack series, including Jabberwocky (1976–77). The monumental unstretched canvases, saturated with dense black pigment, soot, and shimmering surfaces, challenged minimalist conventions and established Lovelace O’Neal as a distinct voice within American abstraction. As she once explained, she preferred the physical labor of pushing pigment with her hands and rollers over the posturing of the art world. Throughout the 1980s and 1990s, Lovelace O’Neal’s work evolved through increasingly lyrical and experimental bodies of work exploring movement, landscape, Black political memory, and the physical possibilities of paint. The Whales Fucking series explored scale, humor, and physical force, while Panthers in My Father’s Palace brought a sharper symbolic charge to questions of memory, power, and resistance. She often gave her works provocative, poetic titles — including Racism is Like Rain, Either It’s Raining or It’s Gathering Somewhere — that asked viewers to reconcile beauty with the realities of the world around them. Known for her landmark Lampblack, Whales Fucking, and Panthers in My Father’s Palace series, Lovelace O’Neal remained an influential force in contemporary art throughout her later years. Her major exhibition, Blacker Than a Hundred Midnights Down in a Cypress Swamp, is currently on view at the Virginia Museum of Fine Arts. In the final decade of her life, her work received renewed recognition from the New York Times, Vogue, ARTnews, and leading museums and biennials. In addition to her artistic practice, Lovelace O’Neal shaped generations of artists through her nearly three decades at the University of California, Berkeley, where she became the first African American woman to receive tenure in the department and later served as chair of the Department of Art Practice. Her teaching reflected the same rigor and independence that defined her paintings, refusing to separate the act of making art from the act of living. Lovelace O’Neal shared with Vogue, “I don't categorize my work. I don't give it a new name. I just hope that in the future people see and know that this was a life’s work.”  Also in consideration of  her work after receiving the 2025 Murray Reich Distinguished Artist Award, Lovelace O’Neal, “For the next hundred million thousand years I am planning the continuation of a professional lifetime of laughing and lying, of morphing and incubating, until and throughout the making, till its manifestation—which has been my way of freeing myself.” Lovelace O’Neal’s contributions to contemporary art were recognized through numerous honors and awards, including the Anonymous Was A Woman grant, the Mississippi Governor’s Arts Award for Excellence in Visual Art, the French government’s Artist En France Award, the 2025 Murray Reich Distinguished Artist Award from the New York Foundation for the Arts, and the Lifetime Recognition Award from the Fine Arts Museums of San Francisco. O’Neal’s, is known as an abstract expressionist painter, civil rights advocate, and professor whose work and exhibitions span prestigious public collections in the United States and abroad.  Her life as an artist, she once reflected, “ain’t been no crystal stair—but not a single boring day.” It was, above all, a life devoted to painting, teaching, and insisting on the freedom to make work entirely on her own terms Lovelace O’Neal, whose career spanned six decades, leaves behind a body of work held in major public and private collections across the United States and abroad. Her paintings are included in the Smithsonian Institution, the Art Institute of Chicago, the Brooklyn Museum, the San Francisco Museum of Modern Art (SFMOMA), the Virginia Museum of Fine Arts (VMFA), and the Baltimore Museum of Art (BMA), among others. Internationally, her work is represented in the National Museum of Fine Arts in Santiago, Chile, and other significant institutional and private collections. A new generation of curators and institutions brought renewed attention to Lovelace O’Neal’s work in the 2020s, including major exhibitions in New York and San Francisco, her inclusion in the 2024 Whitney Biennial, and the 2025 Paris Noir exhibition at the Centre Pompidou. For media inquiries and interviews about Mary Lovelace O’Neal, email Jovan Hackley, Media Liason, at infoMLO@pointstwo.com or visit marylovelaceoneal.art. Featured thumbnail image photo credit:  Aubrey Trinnaman for the New York Times

Sharon Tey reposted

Part of what we're seeing is the long-foretold victory of Lee Atwater's covert racism strategy. Forty years later and journalists still have no ability to accurately describe a racist who doesn't use the n-word in public.

W.E.D.em Boyz@leftistwonk.bsky.social

Again this should inspire wall-to-wall media coverage for months. The crowning achievement of the Civil Rights Movement is dead. Black people just lost all of their remaining political power in the South. This is a monumental moment in American history that simply isn't being treated as such.

Sharon Tey reposted

As in any business, one way to grow the audience is when your competition screws up. That's exactly what's happening at ABC's World News Tonight. It's added nearly 1-million viewers so far this year thanks in part to Bari Weiss' mistakes at CBS. My latest: open.substack.com/pub/jennifer...

open.substack.comThe CBS Evening News may never recover from Bari Weiss' meddlingJust how bad are things at CBS? Insiders & seasoned pros say it's a train wreck, calamity, crisis, sinking ship & disaster as the marquee evening newscast hits new lows “not seen in this century.”