An amazingly layered and nuanced long-read from Adnan Khan seeks to answer the question “How…
I’m on the road still – currently in Houston at the Grantmakers in the Arts 2014 Conference in Houston, Texas. This year’s conference will focus on grantmaking, race, and social justice, so I will be blogging from the conference for the next few days about issues pertinent to artists of color.
I’m speaking at the Monday morning plenary, on how the future of journalism is looking more and more like public art. Here’s a cleaned up version of my talk. – LDP
What is the future of journalism? The increasingly terrifying answer is that no one truly knows – in a time of budget cuts and a shifting media environment, it would be all too simple to despair. But in times of great turmoil we see some of the greatest forms of inspiration. In the media world, we are beginning to redefine what journalism is and what journalism can be. What is journalism, but a way of informing the public? What is art, but the expression of ideas made public? And what happens when the walls between the two start to fall?
Early experiments show a need for journalism to leap off the page, phone, and tablet and into other types of spaces. The “Reveal” project from the New York Times R & D lab, placed news, weather, and biometric data like a users weight and heart rate into a tricked out mirror.
The team started this project to “to explore how the relationship between information and the self is evolving.” So information moved from pages to personalized surfaces. But where else? Read the Post #GIA14: Journalism as Public + Art
By Guest Contributor Hunter Oatman-Stanford
This post is an edited version of an interview that ran at Collector’s Weekly on May 30, 2014.
In a country where institutionalized racism has been the norm for centuries, black barbershops remain an anomaly. Though initially blocked from serving black patrons, these businesses evolved into spaces where African Americans could freely socialize and discuss contemporary issues. While catering to certain hair types may have helped these businesses succeed, the real secret to their longevity is their continued social import. For many African Americans, getting a haircut is more than a commodity—it’s an experience that builds community and shapes political action. As both a proud symbol of African American entrepreneurship and a relic of an era when black labor exclusively benefited whites, black barbershops provide a window into our nation’s complicated racial dynamics.
Quincy Mills, a professor of history at Vassar College, started looking closely at black barbershops when assisting Melissa Harris-Perry with research for her first book, Barbershops, Bibles, BET: Everyday Talk and Black Political Thought. Harris-Perry was investigating the ways African Americans developed their worldviews through collective conversation, specifically looking at three sectors: black churches, entertainment, and barbershops.
Harris-Perry wanted to do a close study of barbershops, but was worried that as a woman, her presence would alter the nature of the space and its conversation. In her place, Mills observed the interactions of a barbershop on the South Side of Chicago four to five days a week during the summer of 2000. “As I sat there day in and day out, I couldn’t help but wonder how these spaces have been situated historically,” says Mills. “I had seen passing mentions of black barbershops in the literature on black urban history, but there weren’t any books on the topic. I wondered, ‘Were these shops the same in 1940? And what about 1840?’”
Mills spent the next decade researching the barbershop trade for his book, Cutting Along the Color Line: Black Barbers and Barber Shops in America, drawing fascinating connections between race, capitalism, and culture. We recently spoke with Mills about the roots of black barbershops and their relevance today.
Read the Post Straight Razors and Social Justice: The Empowering Evolution of Black Barbershops
by Guest Contributor Ramesh Fernandez
Two days ago I was walking on my way to work and, as always, I have my coffee on Flinders Lane in central Melbourne. While waiting for my coffee, a well-meaning Australian came up to me and asked me what my ethnicity was. I had no idea who he was nor did I know what he wanted. Who is he, and why is he so enthusiastic to ascertain my identity–where I come from?
Did I find him racist and condescending? Yes.
Was there a power dynamic inherent to this question? Yes, there was.
On this occasion, I pondered the situation silently, which put the questioner in an awkward position. “Here we go again,” I told myself. Do I answer this, or tell him what I think, that he is just another racist trying to judge people by where they come from or what they look like? If I were to question or argue with him, would my actions be interpreted as reverse racism on my part? I chose to simply walk away rather than answer the question. Read the Post The “Where Are You Really From” Power Dynamic
by Guest Contributor Jen, originally published at Disgrasian
July is National Minority Mental Health Awareness Month. Across the board among minority groups in the US, stigmas surrounding mental health and treatment are much greater than they are for whites. So, while July is almost over, I hope this is only the beginning of the Asian American community and other minority communities championing a shame-free discussion about our mental health.
To kick off this month, my friend, Nigerian American poet and mental health advocate Bassey Ikpi, who started The Siwe Project to raise awareness of mental health issues in the African diaspora, declared July 2 “No Shame Day.” No Shame Day was designed to encourage people to share their stories and struggles with mental illness openly via social media. I’ve talked about my depression in the past–though upon reflection, not nearly enough given how much I care about destigmatizing mental illness–so I, of course, had to participate. (Plus, I want to be more like Bassey when I grow up. You would too if you knew her.)
by Guest Contributor Rob Fields, originally published at Bold As Love
So it was great to see Shawn profiled at Jay-Z’s Life And Times in an interview by Fanon Che Wilkins. Here, he talks with Wilkins about the impact of Morehouse on him and his group of contemporaries and fellow classmates that include Saul Williams, Sanford Biggers, and Tahir Hemphill, to name a few:
Well what’s interesting is that Morehouse is not known as a school that focused a great deal on the creative arts, but many of us pursued art because of our tremendous desire to offer something artistically meaningful to the world that was particularly relevant to reclaiming our dignity as a people. Read the Post Behind The Scenes With Shawn Peters