Through writing and political activism, Ding questioned the ways in which China's State and Party demanded that she flatten her ideologies and personhood to fit cleanly within a single, legible identity: the model socialist woman.
"The Bight" and "The End of March" cast light upon an invisible line that connects Elizabeth Bishop's earlier work to her later work.
Mainstream drag culture in 2018 could not be further removed from the art form’s roots. How did we get here?
Despite the fact that ancient Greeks would most certainly have found white marble sculptures to be ugly and bare, scholars have chosen to perpetuate the idea that white marble was/is the pinnacle of Grecian beauty in art.
Eight years after the release of Tyler, The Creator's "Yonkers," the skateboarding teenagers from Ladera Heights, who liked eating roaches and pissing off authority, are cited as one of the most influential groups of the decade.
Marie de France explores Capellanus’s ideal of the ennobling power of love but does not appear to subscribe to it unconditionally.
"There cannot be a clear division, a borderline, between landscape and me. Rather, we flow through each other. Maybe we are fundamentally made from the same material."
"Rather than waiting around for an apocalypse, how can the monster play as a queer reimagining of relations for carrying on together?"
Much Ado about Nothing can be read as a challenge to "male insecurity that stems from the connection between male honor and female chastity."
"Whether Tony Soprano or Don Draper, the mysterious men with a complicated past and an even more complicated present reflected not only changes in viewing patterns but also a deep change in how the nation reflects itself on television. But who are the "Difficult Women" of the television revolution?"