A public mural of Kamala Harris reveals her portrait created in vibrant yarn. The project was spearheaded by the L.A.-based, international “yarn bomber” and street artist London Kaye, and brought to life by over 150 crocheters.
In “The Catastrophist,” Lauren Gunderson expertly captures our new sense of how time passes and memories are made—or not made—by telling an epic yet intimate story about her husband, virologist Nathan Wolfe.
As the Moroccan government has increased repression of journalists, activists and artists who challenge norms, Moroccan photographer Fatima Zohra Serri continues creating work that makes women’s bodies and experiences visible, from menstruation to marriage to street harassment.
We can never gather all the facts of any story that enters the public consciousness. What we can do is resist reducing our assumptions to the oldest nouns at hand. The ones that have been around for a thousand years or more—the ones that imprison women in two dimensions of male design.
“La Leyenda Negra,” available on HBO Max and HBO Latino, is a rare gift, offering glimpses into the contradictory forces at work in the coming of age of Latinx teenagers in contemporary America.
Featuring works by 16 women artists, the ecofeminism(s) exhibition at the Thomas Erben Gallery in NYC presents art that “delights the eye, provokes the mind, and can inspire change.”
“Resist Everything but Temptation” analyzes Oscar Wilde’s anarchist philosphies and offers a way of framing creative work that can lead us to its more conscious political use.
Pussypedia is a bilingual, gender and ability inclusive, illustrated encyclopedia of the vagina—and it recently won a Webby for People’s Voice Award for Education.
Posing in front of mosaic tiles and Victorian paintings, sporting handmade outfits like feathered, cotton candy-colored dresses or quarantine-friendly bathrobes, a young woman exposes the misogynistic undertones of art at big-name museums like the National Gallery in London and the Getty in Los Angeles. She stands at about a foot tall with an annotated notecard on a small wooden stick in hand. Her name is Barbie.
Why are there not more recognized women artists in museums? Why are artworks by women—especially native artists who are women—classified as a separate and distinct form? That is, not as art but as craft? “Hearts of Our People: Native Women Artists” goes right to the core of that question.