Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
Bey does not simply document Black life, but Black existence in a nation-state built upon the creation and maintenance of our subjugation.
To commemorate the 400-year anniversary of the arrival of the first slave ships in the United States, a recent exhibition at the Allen Memorial Art Museum explores Paul Gilroy’s concept of the “Black Atlantic.”
It’s clear: We need space for new narratives. But how far will we get if the space-making rests in the hands of the colonizers?
The photography in this show imagines what stations of the Underground Railroad might look like, as the act of escaping enslavement is also essentially an act of imagination.
These portraits are not displayed in memoriam. They’re full of life.
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
The annual award to given to individuals who have “shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.”
In a perfect world, who would be the artist that captures the likeness of Obama for his official portrait?
The inaugural exhibition at the new Caribbean Cultural Center African Diaspora Institute is concerned with demonstrating how one comes to belong to a place.
It doesn’t seem right to call the latest issue of Aperture — its first issue dedicated to African American lives as represented by the medium of photography — a magazine. It is a powerhouse book; it does so much heavy lifting.
The 2014 Whitney Biennial has many things: oversized ceramics, big abstract and figurative paintings, experimental jazz, videos of people having sex, and bead curtains. What it doesn’t have all that much of is politics.