The O-1 visa application that demands documents, testimonials, and cash is a kind of gatekeeping that determines whether one is considered an artist at all.
False and varying claims about documentary images made by Candida Höfer and Dorothea Lange ultimately create a deeply malleable “unsettled subject.”
The pandemic has compounded the financial challenges already affecting immigrant artists, who earn just 88 cents on the dollar compared to US-born artists, says the Center for an Urban Future.
The Donut King follows the multiple rises and falls of entrepreneur Ted Ngoy.
From the John Singer Sargent frontal nude painting of McKeller in Boston’s MFA, I’d imagined Thomas as tall and slender. Looking more closely, I can see that even 100 years ago a body like Thomas’s was not accidental.
In a video about the rescue boat, which exceeded capacity this weekend and declared a state of emergency, Banksy says that EU authorities “deliberately ignore distress calls from ‘non-Europeans.'”
Isabel Sandoval writes, directs, and stars in Lingua Franca, a drama about a trans immigrant from the Philippines trying to avoid deportation.
Libre Gutierrez’s installations, Transportapueblos, Companion of Migrants, are tattooed with maps of Mexico and provide supplies like water.
Sandy Rodriguez situates America’s ongoing practice of migrant detention within a centuries-long project of violence against indigenous peoples, starting with Spanish contact in 1519.
A yearlong series at the Bronx Documentary Center shows how nativist US immigration policies have affected people from many different walks of life.
Tom Kiefer’s aim — to document atrocity — is clear. But his exhibit at the Skirball Cultural Center raises a number of important ethical and legal questions about whose stories he tells, and how.
Letters penned by Marc Chagall reveal his immigration difficulties to New York during World War II and his concern for his daughter who followed him on a separate ship, carrying a large case of his works.