In the face of what increasingly feels like an impossible situation, we must steadfastly honor the profound history that underpins the plea for Palestinian decolonization, and the enduring legacy of sumud.
Coke Studio Pakistan serves as a framework for and an example of Pakistan’s dynamic culture that expands beyond music and entertainment to Pakistan’s role in global crises and its perception abroad.
In a digital age where concepts of productivity, technology, and identity are irrevocably tied together, Zima’s story offers a solution that ties together spirituality and technology.
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.
"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 those of us who lived in Europe at the time, photos of Independence Square were immediately recognizable. They represented shared wounds and terrifying possibilities for the near future.
Writing and research from Shatima Jones's interdisciplinary seminars, “(De)Tangling the Business of Black Women’s Hair” and “Black Experiences in Literature, Movies, and Television,” published in honor of Black History Month, 2021.
The second installment of "A Seat at Our Table," featuring “Modeling Race” by Netanya Ronn, “Redefining Black Beauty” by Tatyana Tandanpolie, “Blackness and Colorism in Kenya Barris’s Productions” by Britney Agyen, “Pelo Bueno/Pelo Malo” by Melany Canela, and “White Parents, Black Hair" by Rachel Goulston.
The first installment of "A Seat at Our Table," featuring “The Black Women Boss Ladies of Shondaland” by Cheyenne Porcher
“Black Motherhood on Primetime Television” by Courteney Celestin, “Laboring Women: Black and White Beauticians in Film” by Ava Marshall, and “The Liberation of Black Women through Cinema” by Kendra Brown.
The publication Harry Styles in a dress on the cover of Vogue's December 2020 issue reveals a history of mainstream fashion appropriating subversive, androgynous styles and redefining them within the gender binary in order to sustain itself with new trends.
