Samuel Marion’s satirical corporate website shows how the far right might leverage environmentalism to justify white supremacist agendas.
@ChangeTheMuseum is posting “stories of unchecked racism” that speak to the discriminatory practices plaguing cultural institutions.
On Instagram, Kana Hashimoto’s images of nocturnal Tokyo unwittingly capture the odd feeling of time itself as the coronavirus pandemic drags on.
The classic documentary Salesman, which turned 50 this year, presaged our current age of megachurches and Christian influencers.
Just hours later, ironically, one of the participating artists, Micol Hebron, had her account suspended for posting a topless photo outside of Instagram headquarters.
The court also ordered that Facebook, which owns Instagram, reveal the owner of Scene and Herd, an anonymous Instagram account responsible for sparking a #MeToo movement in India’s arts community.
Artist Alicia Grullon performs the role of a UN representative for refugees to address the migration crisis at the southern US border.
Academia often treats migrants as homogenous. Social media provides a way to present their narratives in an open and empowering manner.
Chan Jae Lee (Grandpa Chan) started his simultaneously heartbreaking and heartwarming account Drawings for my Grandchildren to document the rapid growth of his grandchildren.
The documentary #followme peels back the artifice of social media’s popularity economy.
As Notre-Dame burned, there was controversy over people responding by sharing selfies they’d taken at the cathedral. But there may be public value in this practice.
On the subway, where so many norms revolve around not touching each other in certain ways, these moments of mutual touch are a kind of breach, a suggestion of real contact. @subwayhands explores that space.