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.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.
It seems like we broke the ice to a growing consciousness that the status quo isn’t going to work.
Is it possible to revere the long illustrious history of Shakespeare in the Park, which includes fine Black actors such as James Earl Jones, while also suggesting it may no longer serve a changing city?
As funding organizations prioritize participatory public art processes and creative engagement, we might look George Rhoads’s corpus as an instigator of engagement.
If film festivals are genuinely interested in widening access to film, the lesson is clear: Don’t abandon hybrid festivals, but improve them and harness their potential to attract new and more diverse audiences.
The extreme views presented by orators are veiled by their adoption of design aesthetics typical of newscasters.
Our approach as an organization with 25 years of experience in producing digital community arts has been to reverse the power relations.
“March Through Time,” an interactive educational experience inside the popular online game, recreates the March on Washington, with embarrassing results.
We owe this rare opportunity to visit the Royal Collection to the temporary closure of the Picture Gallery, where the artworks usually hang.
Instead of anachronistic models that already reassert themselves in modern society, we should be able to see on the big screen just how badass, freethinking, and intercultural the premodern world really was.
We’ve encountered hundreds of people, selling human remains across Instagram, Facebook, TikTok, Etsy, and other online sites.