In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.
The cover is the work of four APPI women at the magazine, reflecting on the rise of anti-Asian violence in the wake of this week’s horrific hate crimes.
The documentary Coded Bias reveals how prejudices are written into the algorithms that run our world.
A semi-fictionalized account of Christian Cooper’s own experiences, It’s a Bird takes on racist dog whistles with necessary straightforwardness.
The carriage has been the subject of controversy because of a triptych on its sides, “Homage of the Colonies,” which depicts South Asian and African people kneeling before a white woman seated on a throne.
Whether we examine Warhol’s work from a Marxist viewpoint or through the lens of queer studies, what has been sidestepped in nearly every discussion is his relationship to race and ethnicity.
“People yell at me ‘go back to China’ or ‘hey, coronavirus.’ I face these attacks at least twice a week on my way to work,” says Korean-American artist Kate Bae, who was physically assaulted near Bryant Park.
@ChangeTheMuseum is posting “stories of unchecked racism” that speak to the discriminatory practices plaguing cultural institutions.
Incidents include a staffer being asked to cut their dreadlocks and the permanent installation of a plantation parlor against the advisement of Black staff.
John Wilson’s 1952 mural “The Incident,” is a salient meditation on the horrors of lynching and though physically lost, the mural endures in archival images, preliminary sketches, and studies.
A campaign to fight racism against Black players in soccer stadiums backfired as it presented controversial images of primates to advance its message of tolerance.
Four art students in Savannah, Georgia, were confronted by a man telling them to speak English.