Disabled communities were among the most affected by the COVID-19 pandemic, and the sweeping changes to distanced work and schooling, as well as general vigilance about protecting those with compromised immune systems, made it clear how few accommodations we previously had in place. In response to this, and the ongoing hesitancy to put such protections permanently in place for those whose vulnerability extends beyond the COVID-19 crisis, the Ford and Andrew W. Mellon Foundations announced a commitment of $5 million in new funding for Disability Futures — a first-of-its-kind fellowship that launched last fall, created for disabled practitioners. The fellowship provided 20 disabled creatives working across disciplines, and across the country, with unrestricted $50,000 grants, administered through United States Artists.
Now, this new funding endowment will continue to spotlight the work of disabled creatives across disciplines and geography, with a cohort of 20 creatives with an emphasis on disabled practitioners who have been further marginalized by racism, sexism, and heterosexism. These funds will help support the initiative through 2025, including support for two new cohorts of fellows following this inaugural class, announced this week. The fellows present across a diverse range of gender and ethnic identities, disabilities, geographic locations, media, and ages.
The inaugural Disability Futures Fellows are: Navild (niv) Acosta, Patty Berne, Eli Clare, John Lee Clark, Sky Cubacub, Jen Deerinwater, Rodney Evans, Ryan J. Haddad, Jerron Herman, Carolyn Lazard, Jim LeBrecht, Riva Lehrer, Jeffrey Yasuo Mansfield, Mia Mingus, Perel, Leah Lakshmi Piepzna-Samarasinha, Alice Sheppard, Christine Sun Kim, Tourmaline, and Alice Wong.
In order to mark the debut of the fellows, the Ford Foundation, in partnership with the Andrew W. Mellon Foundation and United States Artists, are also presenting the first Disability Futures Virtual Festival. From July 19–20, the festival will present art and ideas from leading disabled artists, writers, performers, and designers. The virtual festival is free and open-to-the-public and honors the work of the Disability Futures Fellows and their collaborators through a series of new performances, conversations, and a virtual dance party. Anyone can register for the festival and get a sneak peek of the future that is possible when those historically relegated to the margins are given support at center stage.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
Brink is not a fun book, and it shouldn’t be.
Those who want to visit the museum muse have a surgical, KN95, N95, or KF94 face mask.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
This week, another Benin bronze is returned to Nigeria, looking at the Black Arts Movement in the US South, Senegal’s vibrant new architecture, why films are more gray, and much more.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.