Hart's self-portraiture engages with disability art as it focuses on a self-representation that explicitly rejects and complicates traditional representations of breast cancer survivors and people with impairments/disabilities.
Museums are tied to the interests of their funders and the power structures of their governing bodies, creating an impossible-to ignore-tension between the institution and the often radical artists showing their work within the institution’s walls.
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 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.
Fashion has become a way to wear a statement, and brands have decided to capitalize on stances against injustice to make money and secure their place on the imaginary wokeness scale of which the public seems so conscious.
A program to begin addressing the fundamental injustices that have afflicted people of African descent in America since the arrival of European pioneers in the New World.
On "the importance of listening to black rage and valuing its political, social, and artistic potential."
"feeling your heart beat through your screaming chants, hearing your sorrow through the reverbing stomps, smelling the fear in your every breath, and touching the hope in your gravelly voice" Poetry.