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Ford Foundation President Darren Walker has published a response to New York City’s criminal justice reform community, which is organizing the protest at the Ford Foundation today. He writes: “The Ford Foundation is unwavering in its commitment to ending mass incarceration. We envision a world where people are not locked up in cages, treated inhumanely, and stripped of their dignity. To work toward this goal we support a range of initiatives and organizations working to eradicate the harmful footprint of mass incarceration and protect and promote the humanity and dignity of all people.” He adds a personal note, “As a black man with many family members who have been ensnared in the system, I know, personally, that the distance between justice and injustice is perilously, painfully short—especially as a result of entrenched discrimination and economic inequality. I am proud of our work—all of it—to reform a discriminatory system that treats millions of people so unfairly.”
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.