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A weekly email taking aim at the relentless absurdity of the 24-hour news cycle.
“Lightning Strikes, New Mexico 2014,” a photograph by Roger Deakins, whose work was on view from April 25 - 28 at The Photography Show, presented by AIPAD in New York City with Obscura Gallery.
© Roger Deakins. Courtesy of Obscura Gallery, Santa Fe, New Mexico
Bingo-Pong, a painting by Alasdair Wallace, whose work is on view through April 27 as part of the exhibition CHO! CHO LE!, at Arusha Gallery, in London.
Courtesy Alasdair Wallace and Arusha Gallery, London
Before they wake, a painting by Danielle Mckinney, whose work is on view through April 27 at Marianne Boesky Gallery, in New York City.
© Danielle Mckinney. Courtesy of Marianne Boesky Gallery
“Rodney & RJ, McCalla, Alabama,” a photograph by Ivan McClellan, from the book Eight Seconds: Black Rodeo Culture, which was published this month by Damiani Books.
© Ivan McClellan. Courtesy Damiani Books
Speiredonia Wing, a mixed-media artwork (porcelain, glaze, adhesives, canvas, steel, hardware, dye, pigment, thread) by Rebecca Manson, whose work is on view through April 27 at Josh Lilley Gallery, in London.
Courtesy of the artist and Josh Lilley Gallery, London.
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“The black public intellectual is called forth to explain the black part of that identity with little consideration for what formed the intellectual part. The white audience does not seek out black public intellectuals to challenge their worldview; instead they are meant to serve as tour guides through a foreign experience that the white audience wishes to keep at a comfortable distance. White people desire a representative of the community who can provide them with a crash course. It is easier, then, for a white public unwilling to grapple with the complexities of these varying disciplines, and the perspectives they produce, to reduce their engagement with black public intellectuals down to a handful of spokespeople, and hopefully, only one.”
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