Rosie Kaplan, Connie Li, Rob Walker, Conny Zhao, and Jun Zhao beckon you to enter an inner realm which houses the digital and analog, the mundane and strange.
Kwami Coleman, Pilar Cerón, Sarah Galvin, Evelyn Guirguis, and Leo Yablans explore the variety of intense emotions we human beings experience as a result of existing in a world in which we are dominant.
Midge Maisel's strong-headed, Jewish-mother persona resembles your bubbe who nags you to nosh on a third helping of kugel and gefilte fish. However, she is to be reckoned with as she emerges as a comic who is not afraid to hold her middle finger up to the patriarchy.
Read with Butler in mind, Coetzee's "Waiting for the Barbarians" portrays the ways an empire manufactures reality, justifying its attack on a broad, different “other” whose lives are “ungrievable” and exist only to further the narrative that the state has constructed of itself.
I had never thought of a slave witnessing a volcano before; that specific scenario was not conceivable in my reality. As someone who had always longed to connect with the ghosts of my shared diasporic past, I had to know: How did slaves react to a volcano? My project was an attempt to communicate with history and, hopefully, sew together any holes left by neglect.
A case for why the mental health gurus on TikTok may be doing their adolescent viewers more harm than good, as well as why these adolescents are drawn to it anyway
"Rite of Spring" and "Tender Buttons" both adhere to a strict sense of organization and repetition in order to convey a move away from artistic norms of figurative expression toward more literal representation.
The city is distracting; if you make poor enough decisions and don’t think too hard about why you’re starting to get death premonitions, the monotony of it all can feel like a footnote.
From the outside looking in, many see Gallatin as a sort of bubble, an idealistic utopia without the consequences of the “real world.” However Gallatin has practical utility, and in fact, traditional education has a lot to learn from it.
"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.