This work interrogates the perspective of the conventionally powerless and the covert control they are able to exercise. In other words, The Soup displays the powerful nature of topping from the bottom.
I once expressed an interest in fanfiction about the television show Succession and she looked at me with infinite pity in her eyes and said “I think we’re just very different people.”
Feeds are flooded with videos of Japanese and Korean supermarkets, convenience stores, and 7/11s. What does it mean for Asians to be "next in line to disappear," when they are now made so increasingly visible in contemporary media?
"You’re wondering what they’re wearing and they’re making money off of your attention." How have the fashion aesthetics of the rich contributed to wealth inequality?
A visual information society, always susceptible to the mistrust of mediation, always fraught with anxiety about photography and the news, with their privileged relationship to the real, always worrying about the “truth”––these are observations already metabolized, and the exhibit does not take them in new directions, nor does it find new forms for its expressions.
Although the internet has always depended on circulation, particularly since the visual turn, it is when those aesthetics begin to originate online that the source of our reality begins to falter.
"Love Is the Message, the Message Is Death" tasks audiences with witnessing a strategically curated assemblage of a checkered U.S. history of police brutality, promotions of church gospel, distilled expressions of dejection, perseverance for social change, beatific song and dance, and other acts of Black performativity and expressivity in all its awesome variety.
To the plethora of objections "Salò" and "Lolita" multifaceted works of art have encountered, I add one more challenge: Is this artwork really that necessary?
The thirds installment of "A Seat at Our Table," featuring “Fashion Activism: The Politics of Dress During the Civil Rights Movement” by Taylor Haynes, “Aretha Franklin's R-E-S-P-E-C-T-ability Politics: Hair, Music, and Activism” by Kayla Perez, “Redefining "Femininty": How Black, Queer Women Musicians Subvert Expectations of Womanhood” by Nina Ahmadi, and “Hip-Hop, Black Masculinity, and Sexuality--Frank Ocean and Tyler the Creator” by Sean Salmons.
For the first time in recorded history, one can now travel to any large urban development and perceive architecture that appears familiar regardless of its geographical location. How did this standardization come about?