On a Friday evening, my partner and I wander into an auditorium at Brown University and find ourselves five minutes into what is apparently Kenneth Goldsmith’s poem “The Body of Michael Brown.”
If you’re looking for a very generous review of the Kehinde Wiley exhibition at the Brooklyn Museum, read Roberta Smith. If you’re looking for one that’s startlingly homophobic and racist, read Jessica Dawson.
Apple’s new release of iOS 8.3 beta and OS X 10.10.3 beta for testers includes a long-awaited emoji update, with new, racially diverse humanoid emoji.
Selma is a film in which every moment has weight.
Chinese American consciously simulates the American immigrant’s journey: hope, dehumanization, mixed blessings; individual narratives that together paint the greater arc of America.
Today, the European Network Against Racism (ENAR), a self-described “voice of the anti-racist movement in Europe,” released a statement titled, “Is art becoming the ultimate refuge of racism in Sweden and Denmark?”
A theatrical performance art piece scheduled to run at the Barbican in London later this month has become the subject of a protest, with 14,881 people (as of this writing) signing an online petition calling on the performing arts center to cancel the show.
Whitney V. Hunter staged a performance as protest at Union Square on Saturday, August 24. He laid down on the cobbled square and traced his silhouette 101 times in chalk.
Last night, in Ferguson, Missouri, police in riot gear entered residential neighbourhoods and lobbed teargas, flash bombs, rubber bullets, and noise cannons (also known as LRAD or Long Range Acoustic Devices) at people who were gathered peacefully to protest the killing of an unarmed 18-year-old, Michael Brown, by a still un-identified policeman.
Tomorrow, to mark the 200th anniversary of Norway’s constitution, two artists will open a human zoo in Oslo. “European Attraction Limited,” as the project is called, is actually a re-creation of a racist human zoo that Norway hosted in 1914, when the country celebrated the centennial of its constitution with a world’s fair.
If you are a woman writer who uses the internet, there’s a good chance you spent at least some portion of yesterday looking at (or bookmarking for later) the new VIDA count. For those unfamiliar with it, the VIDA count is an annual tally of the gender gap at literary publications.
This year, Carrie Mae Weems gets the distinctive honor of becoming the first African-American woman to have a retrospective at the Guggenheim — her first major exhibition at any New York museum, ever. It’s one of those honors that sits at an awkward intersection, both disappointing and profound.