More Than A Magazine, A Movement
Blink Twice, now streaming, reminds it audience that not all women are allies and not all men are predators. But some get away with acts of sexual violence akin to murder.
And when survivors band together, we’re going to do more than just dance on your table. In the blink of an eye—we’ll turn your private island into your personal hell.
Autumn Breon is using performance and mixed media art to both celebrate Black women’s achievements and honor their struggles. Her latest performance, Dignity Denied, shines a light on the case of Adriana Smith.
“I wanted to show what lack of autonomy, what surveillance looks like, and durational performance felt like the best way to highlight her situation.”
“You might have a six-week abortion ban. You might have whatever other oppressive policies in place. We have always found ways to aid and abet each other, and we always will.”
The new documentary Dear Ms.: A Revolution in Print, celebrating the trailblazing history and enduring impact of Ms. magazine, premiered at the Tribeca Film Festival in June and is available to stream on HBO Max beginning Wednesday, July 2, at 9 p.m. ET/PT.
We are thrilled for the film’s release and the opportunity for millions more people to experience the story and legacy of the magazine. Ms. is more than a magazine—it’s a movement. And it’s crucial we continue to build an intergenerational, intersectional and diverse feminist coalition for the road ahead—because, as the film reminds us, we’re “at this crossroads moment for feminism, journalism and American values.”
“Have you no sense of decency, sir?” The iconic query—best known for the public takedown of U.S. Sen. Joseph McCarthy and his fearmongering campaign and persecution of Americans with supposed ties to communism and other “transgressions”—is making a comeback.
With renewed relevance and urgency, U.S. Rep. Bill Keating invoked the line a few weeks ago as a rebuke of fellow House member U.S. Rep. Keith Self whose boorish behavior at a committee hearing included deliberately, cruelly misgendering Congressional colleague U.S. Rep. Sarah McBride.
But the appeal took on technicolor form last weekend, thanks to the vision and handiwork of award-winning graphic designer Bonnie Siegler. Her Hands Off! protest signage is serious, next-level art: capturing the political moment and long litany of transgressions by Donald Trump, Elon Musk and so many of their cronies and capitulators.
Liberation—running off-Broadway through April 6—offers a timely exploration of feminism, generational divides, and the persistent struggle for women’s rights, showing how much has changed … and yet how much remains the same.
In OUTCRY: Alchemists of Rage, Clare Major’s powerful direction and classical-violinist-turned-punk-singer Paris Hurley’s (of Object as Subject, an LA-based art punk band) high-octane music frame this riveting 30-minute documentary on Whitney Bradshaw’s ongoing social practice project, OUTCRY.
The short film follows the photographer from her home in Chicago to D.C. for a reproductive freedom march, then to Denver for an OUTCRY exhibition, and on to Dayton, Ohio, for a scream session just prior to voting on Issue 1, which enshrined abortion rights into the Ohio Constitution.
This film is available to stream from March 14 to April 12 in the AMC + “Future of Film: Athena Rising Stars” collection.
Boomerang Theatre Company’s premiere production of Mercutio Loves Romeo Loves Juliet Loves by Gina Femia is keenly, tenderly aware of the pain of high school theater and being a teenage girl.
Directed by Scott Ebersold, the play is “a new queer kinda adaptation of Romeo and Juliet,” according to Boomerang’s online program, marking the first-ever production of Femia’s new play.
Mercutio Loves Romeo Loves Juliet Loves is running at The Jeffrey and Paula Gural Theatre at ART/New York until Nov. 24, 2024.
Though her fame as a designer came through the success of her iconic wrap dress, Diane von Furstenberg has said, “I don’t think I had a vocation for fashion; I had a vocation to be a woman in charge.”
Towards the end of the exhibit—on display at the Skirball Cultural Center in Los Angeles until Aug. 31, 2025—a QR code directs visitors to sign up for her more recent innovation: the “InCharge platform,” which serves as “a place to rally, where we use our connections to help all women be the women they want to be.” Its aim urges women to make “first a commitment to ourselves” by “owning who we are” and then to use the platform to “connect, expand, inspire, and advocate.” It is her latest project in a lifetime of advocacy meant to strengthen women.
With just days before polls close in the 2024 elections, art on display in east Austin, Texas, declares, “You can’t control us. You can’t stop us.”
This year we commemorate the 51st anniversary of Women’s Equality Day with perhaps more optimistic urgency than ever before.
Amid the buzz, there has been an overt, palpable melding of pop culture and politics. That includes on Broadway, where the two-time Tony Award winning show, Suffs, tells the story of the fight for women’s suffrage—and all the humanity and perfectly imperfect organizing strategies of the cadre of activists who won the right to vote for women—in song.