Reminding us of what should never have been forgotten
Rickie Vasquez is wondering if all you ever have to offer him are crumbs.
“What do you do when you’re born—without your consent—and you find out later that your life was at the cost of someone else’s? That’s how high the stakes can be.”
“I don’t want the kind of career where everything is sensible and safe; I’d rather suffer through the anxiety of wondering where I’m going next than suffer the boredom of dancing in the same safe square.”
Radical feminist films from the legendary choreographer, artist, and dancer
She sitting across from me on the train and people are shooting crazy looks at her cause she shoulda got off four stops ago with the rest of the white people. They prolly wondering if she missed her stop. I know she ain’t, but no one’s asking.
“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”
“I don’t make films for the audience, I make them for the subjects, and I try to position those subjects and the camera so that there’s a element of generosity between the two.”
Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
Raoul Peck’s I Am Not Your Negro testifies that James Baldwin’s embattled America is still our own.
Douglas Kearney’s buck studies recasts worn out notions of black masculinity.
Friendship and the lies we tell ourselves in Zadie Smith’s Swing Time.
The celebrated choreographer of Bronx Gothic explores the embodiment of psychic space, the nature of memory, and who gets to write history.
For her residency at the New Museum, Leigh looks at the act of healing through the lens of black female caregivers, educators, and intellectuals.
“Life has a soundtrack. And certain music is a soundtrack to a certain type of identity or feeling. 50 Cent, the Game, and those kinds of guys—they made us feel like our lives were worth nothing, basically.”
”In a way, I am like some demented lawyer seeking only to get a hung jury—with the saving grace being that, when the truth is not obvious, people tend to do their most profound and significant thinking.”