Amanda Stronza creates memorials for animals killed on roads and sidewalks by pairing striking photographs with dedicatory text. Through this practice, she invites onlookers to “see, care, and be reminded of the bonds we share with the nonhuman world.”
Weaving a reflective essay with a virtual gallery, artist Kwynn Johnson draws upon the rich history of volcano-inspired art to creatively reimagine the twenty-first-century Caribbean landscape.
Inspired by shared Zoom somatics and careful attention to spiders and lichen, Petra Kuppers offers a collection of four poems about the experience of being with others online amid isolation.
In her poem and photo exhibit, Les James reflects on how protest artists transformed the Robert E. Lee monument in Richmond, Virginia and spoke back to history.
Drawing from postcolonial, Caribbean, Black, and Indigenous Studies, Sophie Sapp Moore and Aida Arosoaie curate a reading list that highlights the complex dynamics of plantation worlds, past and present. Their syllabus is the perfect end to our series on the Plantationocene.
In this multimedia meditation, Petra Rethmann describes how the practice of sensorial attunement (or attention to the world around her) brought healing and clarity to her pandemic isolation.
What does abolition look like? Ki’Amber Thompson discusses the need for more abolition visuals and how the Charles Roundtree Bloom Project brings outdoor healing justice to youth impacted by incarceration.
What does abolition mean for the everyday ways we relate to ourselves, to other humans, to the land, and to the more-than-human world? In this poetic essay, Ki’Amber Thompson wonders how water—and the call to “be like water”—might change the way we think and talk about abolition.
Astrophotography saw Kaitlin Moore through months of COVID-19 lockdown, developing connections among the universe’s most isolated subjects.
A visual history by Daniel Macfarlane digs into the archives to document how Niagara Falls was remade for energy, tourists, and profit.