If the iconic NASA astronaut is a confident (male) neo-colonist, Forner’s Astronauts are infantile, unprotected, vulnerable.
Shows like “The White Lotus” distract us with progressive politics, while stealing our eyeballs for the very people the shows lambaste.
Does the author-read audiobook offer a perfect confluence between person, authorial persona, voice, and aesthetic form?
Artist Simone Leigh curated a series of intellectual sermons directed by Black women who grieved, strategized, loved, and yearned for community.
“We bring our own creativity into what we see—the seams get filled in, smoothed over, by our looking.”
Howard Becker pointed out that critics, curators, suppliers, and administrators are as important to the creation of art as artists themselves.
Even in Shakespeare’s era, theaters literally shielded people from the state. Today’s theaters might talk sanctuary, but rarely practice it.
In what ways might art resist a colonial state? Can a painting function as a land rights claim?
Art made by AI subverts our usual understandings of creativity as a uniquely human power.
For decades, South Asian architecture was impelled by the promise of a new society after empire. Now, such buildings are being demolished.
Chicago—for women artists of various backgrounds—demanded a new art to advance the struggle for freedom by imagining other possible worlds.
A new play centers on a Black woman who stops “accommodating white people” and, instead, asks them “about their love affair with my death.”
In painting immigrants, George W. Bush seeks to ingratiate himself with the American public. But his crimes must be remembered.
Why are Anglophone novels more worthy of attention than Ottoman shadow puppetry or the art of knot-tying? Just what are the humanities for?
"You cannot talk about race without talking about cotton. The materials that I use are desperately important as a layer of meaning in the work that I make."
Postwar culture was divided between “freedom” and “totalitarianism.” Or was it?
Once, Black women employed textile arts both as a mutual aid network, and as a safe space to envision a Southern Black liberated life.
On both sides of the border, artivistas—art activists—infuse their creative and political work with minority struggle and solidarity.
What do we see when looking at art from the perspective of the infrastructures that sustain it?