"The way this movement is represented will have a big impact on whether it succeeds. We need to take care with our image making; we need to build trust; we need to get consent whenever possible; we need to understand the goals the movement is fighting for. Ultimately, our sovereignty as Indigenous peoples is interwoven with Black liberation. When their image is honored, we are all honored."
Creative director, visual storyteller and educator Josué Rivas wrote about his experience documenting the Black Lives Matter protests in Portland, OR for The Nation.
In the 1960s, Michael Snow drew a simple outline of a walking woman. When he cut the shape out of a large piece of cardboard he realized he’d also created a stencil he could use to make copies of the shape. Snow subsequently used that shape over and over to explore a wide range of different media and techniques, ultimately creating over 200 pieces using the silhouette."
"A virtual ballroom experience. I am looking for the best of the best in Face, Commentator vs. Commentator, Hands Performance, Old Way, and Femme Queen Performance. But only a select few will be chosen to walk. If interested in walking contact Rashaad Newsome studio here on Facebook at Rashaad Newsome Studio, on Instagram at @rashaadnewsome or by email at email@example.com with a past or current video clip of you performing the category you want to walk."
"American Artist’s video, entitled '2015' (2019), is a response to the racially biased 'predictive' policing practices used by today’s law enforcement. In the piece, audience are given a POV through the lens of a fictitious police dashboard camera, superimposed with an imagined, futuristic, and ominous crime 'forecasting' display. The video’s narrative places viewers on a ride through the predominantly black neighborhood of East New York, while an unseen cop makes their rounds deterring 'future crimes.' As Artist opts not to reproduce the violent imagery that sensationalizes black death in mass media, implied acts of deterrence happen off camera. In this intimate screen share with the artist, we are given a behind-the-scenes look at the various tools, datasets, and predictive policing policies currently employed across police departments, which inspired the video."
"Being able to operate from a space of agency around art, that's what my point is. The agency part to me is the best thing. Because the artist's intention, yeah, that's a really valuable bit of information and people dedicate their careers to building monographs, to building exhibitions, to recording these really necessary and vital stories about a work of art. But I think as a visitor to these works, that confidence to visit a work, that confidence to make your own decision, is equally important. And that gets lost when we're like, Do I get it? Am I smart enough? Am I this enough or that enough to have this encounter?"
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