By cutting, reframing, and layering, artists, including Rodell Warner and Alanna Fields, encourage a re-viewing of the past.
For three and a half years, I ran Weeksville Heritage Center in Brooklyn while dealing with issues of precarity.
There is a century-long history of political mobilization by students of color on campus.
The most astounding result of our research was discovering how few museums had complied with the American Alliance of Museums’ simplest requirement: having a public collections policy.
How erroneous assumptions about Cuba can skew our understanding of the country’s cultural centers.
There are many benefits of artist residencies, but for me, the best conditions for making art involve being paid to work where I already have the infrastructure.
“Black Refractions,” a touring exhibition now at the Utah Museum of Fine Arts, throws into vivid relief the state’s shameful record on race.
In the middle of a pandemic that hit New York hard, Frieze returns to the city with an in-person art fair, aggressively pursuing making money.
In launching Art at a Time Like This we felt an enormous responsibility in starting an art platform that responds to crises in the US and abroad.
In times of racial upheaval, we tend to ask Black artists to contribute to the discussion. But when the news cycle shifts, the demand seems to wane.
Much is lost when cultural forms are understood primarily through the lens of property ownership — whether they are expressed as physical objects or digital code.
We need to make it clear to our museums that we do not want to walk around in galleries of stolen artworks.