Mallory Nezam

There is a quote commonly used within The Movement (as we call it) that reads, “They wanted to bury us.

Laura Scheriau

Street art, more often than not, has a message greater than existing for art's sake. A political or social critique accompanies the graffiti, performance, intervention, and even the occasional yarn bomb. This is artivism - art as activism. Laura Scheriau muses on the phenomenon.

Shaun Randol

It took him fifty years, but he finally did it. Arthur C. Danto's experience with Andy Warhol's "Brillo Box" (1964), coupled with his understanding of Marcel Duchamp's "Fountain" (1917), convinced him that there must be something intrinsic about that thing we call "art" that transcends genre, context, and history. At the end of his life, Danto published his findings in What Art Is. Shaun Randol has this review.  

Arie Amaya-Akkermans

Christto and Andrew

"Extended Identity" (2012) explores the idea of globalization and how it allows a person to extend his or her identity through learning about other cultures. The idea of transformation is explored mainly due to technologies that increase our capabilities to search for and interact with new and other individuals who seem very far away, and yet we are able to share a great part of their cultural being.

World Policy Journal

by Harry W.S. Lee. Originally published by our partner site, World Policy Blog.

In a prison-issued white sarong, the artist enters, blinded by a black bag over her head, stumbling her way on tiptoes, her legs trembling from hunger and fear. On the floor, she struggles to devour rice and the water through the black bag, venting out heavy gasps, punctuating with groans—a disturbing sight almost too private to be public.

J. K. Fowler

Talya Chalef is an independent theatre-maker working in multidisciplinary visual performance work and is currently based in New York City where she is pursuing her MFA in playwriting within Columbia University's School of the Arts.

Nia Hyatt

In major cities they are everywhere and they are nowhere. The homeless are as much a part of the urban portrait as are speeding taxi cabs, camera toting tourists, rushing businessmen and police on patrol, yet passersby prefer to avert their attention rather than look the threadbare in the eyes. They are invisible. Until now. Nia Hyatt reviews The Invisible Man, directed by Arthur Yorinks.