A straight cis-man could have made “herstory” as “America’s Next Drag Superstar.” Drag Race’s inclusion problem botches racialized queer histories, community discomfort and ally participation.
Protesters march at Alausa Secretariat in Ikeja, Lagos State, in October 2020.
Photo by Olukayode Jaiyeola/NurPhoto via Getty Images
The protests paved the way for healing, vitality and a new vista of productive life.
Nike ad in New York in 2018, showing former San Francisco 49ers quarterback Colin Kaepernick after his 2016 kneeling protest. Could a corporation sell an act like Kaepernick’s ‘kneel’ as an NFT?
(AP Photo/Mark Lennihan)
When artist Maurizio Cattelan’s work Comedian sold for $120,000, the art world went bananas. Little did we know it wasn’t the end of the story.
The 2002 installation ‘Rape Garage’ displayed statistics about rape, along with first-person narratives about sexual trauma.
Stefanie Bruser, Josh Edwards, Katie Grone and Lindsey Lee. Mixed media site installation at “At Home: A Kentucky Project with Judy Chicago and Donald Woodman.” 2001-2002. Courtesy the Flower Archive, housed at the Pennsylvania State University Archives.
Many Renaissance-era masterworks depicted rape and sexual assault as erotic. Beginning in the 1970s, artists worked to redefine rape as a crime of aggression and act of female subjugation.
Drags kings have recently been declining in popularity, partly due to the evolving debate around gender and identity. But now a new and more inclusive drag culture is taking the stage.
In a world seemingly spinning out of control, music has important roles to play – either to reflect or interpret the state of affairs, or simply to provide solace.
Realpen Pencil is a young instant live drawing artist who lives and works in Accra, Ghana.
Nduka Mntambo
Ghana’s Chale Wote festival’s main aim is to provide an alternative platform for the arts. It uses street arts to break creative boundaries and cultivate a wider audience for the arts in West Africa.
Richard Demarco (left) with Joseph Beuys in the early 1970s.
The Demarco European Art Foundation
Hobart’s winter festival explores darkness, storms and the very nature of the universe, with artwork performed in an asylum; echoing the elements and conceived while on a residency at Geneva’s Centre for Nuclear Research.
Is this a dance work, an exhibition, or a melding of the two? Xavier Le Roy’s latest work, in Sydney, raises many questions, such as: Is it enough to present dancers as interactive, moving art objects?
Anita Hustas performing in Melbourne.
Phil Bywater