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This Feminist Film Platform Won’t Spoon-Feed You Culture
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Charles Gaines: “My System is a Firewall Between My Subjectivity and the Work”
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Explore the Print Sale for Lesbians and Gays Support the Migrants
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María Berrío: “My Characters Are Part of a Full World Who Can’t Exist Without Others”
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Spiritual Homes: The Artist Behind LRNCE Turns to Painting
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Elephant’s Pick of the Artists Making a Mark in April
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Misheck Masamvu: “We Sit at the Table but Don’t Know How to Use the Tools…”
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Otis Kwame Kye Quaicoe: “Who Is This? Why Are They Staring So Deeply at Me?”
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Tyson Reeder: “The Yellow Palm Trees Really Pop on the Jackets”
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Marking Time: Keeping Art Alive During the Covid Year
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Elephant’s Brand-New Biannual Magazine Is Here
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The Food Chain: Lockdown and the Culture of Consumption
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When Fashion Meets Art: RED Valentino Inspires a New Generation of Image Makers
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Lost & Found: Kenny Rivero Redraws a Personal Landscape of New York
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Bo Choy: “I Act as a Conduit Between Different Worlds…”
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Fabric of Life: Bisa Butler Stitches Classic Photos Into a New Context
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Hocus Focus: What Happens When Art and Sorcery Intersect?
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A Stitch in Time: The Artist Embroidering Himself into History
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Clashing Perspectives: The Powerful Tension of Gary Burnley’s Combined Portraits
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Sharing Her Pain: How Tonia Nneji’s Physical Suffering Powers Her Work
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Is It Still an ‘Art Film’ If I Can Watch It on My Phone?
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Ludovic Nkoth Evokes the Migrant Crisis in Visceral Paintings of the Open Sea
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“I’m at My Most Productive When I’m Most Miserable”: Liv Fontaine
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Zoë Buckman Uses Embroidery to Confront Femininity and Trauma
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