“RESIST COVID / TAKE 6!” is displayed throughout Durham and Duke University’s campus.
Jameela F. Dallis
“Opulence, Decadence,” Curated by William Paul Thomas, Explores Complicated Notions of Black Abundance
“If you attained a surplus of something that you greatly desired, would you flaunt it, share it, hoard it, hide it, or spoil it?”
Kennedi Carter Talks Her Dreams, Influences, and Photographing Beyoncé
One of Durham’s own by way of Dallas, Texas, Kennedi Carter has had a banner year.
Why Durham’s Kennedi Carter and a Black Photographers Collective Didn’t Want Their Work in a Whitney Exhibit
“It’s just another example of the colonization of Black art and Black artistic rioting—whiteness trying to make a profit off Black pain and Black experiences.”
The Uneasy Immortality of Henrietta Lacks: An Afrofuturist Parable
“Project LHAXX” is the inspiration for a virtual festival at The Ackland Art Museum this weekend.
Ebony G. Patterson Drenches the Nasher in Mourning Glory
Unable to be contained by pedestal or frame, the artist’s distinctively embellished vision spills all over the museum’s walls in this immersive solo exhibit.
The Strange Immortality of Henrietta Lacks
In “Project LHAXX” at the Ackland, an Afrofuturist art collective invents a new language for a true story of science, consent, and survival.
Jasmine Powell Brings the Poetry of the Late Tiffany Austin to Life
Through four solos, Powell creates a sacred space for history, poetry, and dance in “Approximation of a Woman.”
Tristan André Parks Blurs into James Baldwin in “They Do Not Know Harlem”
At the Ruby, a tambourine marked the transitions between Parks and Baldwin, but the line was thin, and the effect was uncanny.
Jasmine Powell Explores the Vulnerability of Black Womanhood in Dance and Poetry
“Approximation of a Woman” unites Powell with dancers Jaylun Moore, Keisha Wall, and Kristin Taylor Duncan, in solos inspired by the late Tiffany Austin’s poetry.

