Author Jillian Hernandez theorizes the intersecting formations of gender, class, and race in relation to the self-presentation of Black and Latina women and girls.
All over Instagram, medieval imagery has been remixed, captioned, and somehow reads as peak hilarious, depending on your sense of humor.
As a critic, I’m dying to make a meta-critique of the ways my communities are represented on screen.
As COVID-19 vaccinations continue rollout in some countries, many feel conflicted about the selfie.
As femicide rates continue to rise in the country, there’s more to consider than just the surface-level gesture of #womensupportingwomen.
In this chapter from her new book, The Selfie Generation, Alicia Eler examines how artists and others have harnessed selfies as acts of defiant self-representation.
In his collection of essays, Derek Conrad Murray explores questions of post-blackness by drawing on the artworks of Glenn Ligon, Kehinde Wiley, Mickalene Thomas, and Kalup Linzy.
Is funny art actually funny? The answer, as we see it, is a rousing chorus of “it depends.”
Everything Is Terrible! has 14,000 VHS tapes of the Hollywood film and wants $400,000 to lodge them in the southern California desert.
In his chilling project “YOLOCAUST,” Shahak Shapira manipulates the original selfies at the memorial to include actual photos of Nazi crimes.
A benefit sale over post–Inauguration Day weekend featured T-shirts, buttons, and works by more than 200 artists.
Genevieve Gaignard makes the personal political while also creating new American mythologies.