Two artists manifest, claim, and demand space in a society that operates around violence against black women’s bodies while pretending that they don’t exist.
we consummated our marriage / on a bed littered with sour faces / of dead presidents, liberated livestock / sweating through the dollars.
The poet on responding to atrocity through formalism and sneaking an epic into his upcoming collection.
The filmmaker discusses his resurgent work still/here and the examination of landscape and history through the lens of race.
An art of the body and the environment.
On resisting parasitic invasions—from the poisons in our soil, to toxic masculinity in the psyche.
The unraveling and retelling of history.
Performances that address the affliction of racism.
The artist’s works amend the white supremacist mythology contained in American monuments and historical paintings: “Democracy requires a clear understanding of the past, including its mistakes.”
The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
On stage and in the studio, Kwak (aka Xina Xurner) summons bodies, objects, and energies that flourish at the “seams of the illusions of fixed identity.”
The emerging playwright takes on beauty standards and societal expectations.
The ocean’s iron lungs.
The art and politics of Korean skin care.
Thinking the politics of race in contemporary dance.
Stories that magnify what it means to be black in America through a satirical, uncanny lens.
The artist talks about claiming noble lineages through hybridized portrait paintings.
The poetics of the microdose.
A hopeful yet tempered view of digital culture.
A film uncovers an episode at the origins of the civil rights movement.