By louka yeoul
Just like I did in the Mark Lee article, I want to take this time to point out instances of cultural appropriation, which Stray Kids recently released a vague apology for amid renewed calls from fans to take accountability. Perhaps this sheds hope for a more inclusive and educated society, as idols aim to be role models…
I also would like to add this: if potentially interested in the songs analyzed in this piece, I recommend listening to “SKZ2020,” in which Stray Kids re-recorded old songs after a former member (Woojin) left the band. Since then, victims have come forward claiming that he sexually assaulted them—and I want to make it clear that I do not support him or condone sexual assault. Since he has not been a part of the band for about a year now, if interested in Stray Kids, please consider listening to the new versions of the songs I am analyzing to support the eight—not nine—of them.
By Jessica Liu
For Ava Hall, art acts as a microcosm of her life: “It’s not as much about a story as just one image that happened in my day,” she explained. Hall’s highly personal passion for her art and drive to artistically improve is evident in her grasp of visual art forms from animation to comics.
By Shiva Chopra
In the months after George Floyd's murder, my Instagram feed started filling up with photos. The normal Monets with their fluffy dresses and the jewel-tone balloon dogs from Koons were replaced by regular appearances by influential Black artists: David Hammons' “Untitled (African-American Flag)” or the neon light spelling "America" by Glenn Ligon. Curiously, however, these pictures did not seem to come from the places where those artworks are housed. Cultural institutions, galleries and museums have been mostly silent; many have taken months to respond to the social debate while others have yet to comment.
Black Lives Matter's protests encourage many companies to dig inward, do better. Promises for reform rippled through the art world after numerous calls to action from activists and artists. Hauser & Wirth, a blue-chip gallery with a range of artists, has reported its commitment to finding solutions; other galleries have vowed to audit their processes and identify measures for improvement. Tate shared a photo of “No Woman No Cry” by Chris Ofili, a painting which protests police brutality, thus describing the gallery’s responsibility to speak out for human rights and anti-racism. Some settled for quotes from Martin Luther King.
By Anya Shukla
Evan Williams lives and breathes music. Along with teaching composition and music technology at Rhodes College in Memphis, Tennessee, he composes, conducts, and performs for venues and performances all around the country. Williams’ music, inspired by minimalism and neo-romanticism, incorporates atonal noise, improvisation, and electronic techniques, such as techno and EDM, to create boundary-pushing work. I spoke with Williams to learn more about his artistic journey and thoughts on racial equity.