The George Floyd and Anti-Racist Street Art database includes more than 1,800 images of artworks worldwide.
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.
The University of St. Thomas has created the Urban Art Mapping George Floyd & Anti-Racist Street Art database, which has received over 1,000 submissions.
An open letter criticizes the museum for staying silent for 10 days and for then offering a “message of neutrality using the artwork of Alison Saar, whose work is far from neutral.”
The Washington Post has created a video timeline of the police attack on protesters in Washington, D.C. on June 1.
Protesters’ removal of Edward Colston’s statue didn’t attack history; instead it corrected how we write it.
Worldwide, demonstrations protesting anti-Blackness gain steam, and people have torn down and graffitied monuments to Confederate leaders and imperialist figureheads.
Kanders, who was ousted from the Whitney board last summer after months of protest, says he will sell certain divisions of Safariland.
Images of the brutalized, dead, and dying can buy awards and recognition for journalists. When the opportunity presents itself, many rush to participate because they subscribe to the doctrine of redistributing pain as it is, not as it should be.
Slated for the upcoming cover of TIME, the border surrounding the painting will include the names of 35 American Black men and women who have lost their lives due to police brutality and racist vigilantism.
An open letter by curators Natalia Viera and Patrick Jaojoco outlines a series of demands that would steer the city’s expense budget “away from the NYPD, and towards social and civic services and education programs.”
The genesis of the term “loot” in colonial India has racist origins. Now, after the US president called for the killing of those “looting,” its origins become increasingly significant.