Stand & Witness: Art in the Time of COVID-19

Bailey Betik

Wild Notes: A Review of Dawoud Bey’s Elegy

Bailey Betik

An Unflinching Look: An Interview with Photographer Benjamin Dimmitt

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Covid Light and Darkness Alike

Bailey Betik

“Beer, Prayer and Nellydrama”: (Im)Possibilities in Max Vernon’s The View UpStairs

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Ecologies of the Sacred: A Review of Valérie Loichot’s Water Graves

Bailey Betik

Spectacles of American Nationalism: The Battle of Atlanta Cyclorama Painting and The Birth of a Nation

Bailey Betik

“The Room that We’re Able to Take Up”: Forrest Lawson’s Queer Aesthetic

Eric Solomon

An Unlikely Bohemia: Athens, Georgia, in Reagan’s America

Ayoung Kim

“Within Thy Circling Pow’r I Stand”: Immersive Video from Sacred Harp’s Hollow Square

Jesse P. Karlsberg

Beyond Fairyland: Writing and Curating Queer Miami

Allen Tullos

Quilting Conversation

Bailey Betik

A Video Excerpt from The Well-Placed Weed: The Bountiful Life of Ryan Gainey

Bailey Betik

Ways of Unseeing: Crowdsourcing the Frame in Roger May’s Looking at Appalachia

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Loving-Moonlight(ing): Cinema in the Breach

Eric Solomon

Rose Library Highlights: Amos Kennedy, Jr.

Clint Fluker

LiFT Art Salon: Hammonds House II

Clint Fluker

LiFT Art Salon: Hammonds House

Clint Fluker

LiFT Art Salon: Gallery 72

Clint Fluker

Six Degrees of Alan Lomax: A Review and Multimedia Excerpts

Allen Tullos

Dancing Around the “Glaring Light of Television”: Black Teen Dance Shows in the South

Bailey Betik

Opening Remarks: 2014 Callaloo Conference

Bailey Betik

Gordon Parks at Atlanta’s High Museum of Art

Bailey Betik

MARBL Presents Atlanta Intersections: Photographer Chip Simone on Atlanta and Photography

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Africana Archives: Making Art at the Schomburg

Bailey Betik

Keep Your Eye upon the Scale

Bailey Betik

Music and Mobility on the Streets of New Orleans: A Review of Roll with It

Bailey Betik

Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee

Bailey Betik

Somewhere Like Real Life: On Richard Linklater’s Boyhood

Bailey Betik

Art, Diaspora, and Identity: The John Biggers Papers

Bailey Betik

Something True about Louisiana: HBO’s True Detective and the Petrochemical America Aesthetic

Bailey Betik

A Real American Horror Story: On Steve McQueen’s 12 Years a Slave

Bailey Betik

“Gaps in People’s Lacks”: James Franco’s As I Lay Dying

Bailey Betik

Brushes with War

Bailey Betik

Eggleston’s South: “Always in Color”

Bailey Betik

Race and Difference in the “Other America”: A Review of Anne Braden: Southern Patriot

Bailey Betik

Beasts of the Southern Wild and Dirty Ecology

Bailey Betik

A Review of Matt Miller’s Bounce: Rap Music and Local Identity in New Orleans

Bailey Betik

Telling the Raymond Andrews Story: The Making of Somebody Else, Somewhere Else

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Medicine as Memory: Radcliffe Bailey at Atlanta’s High Museum of Art

Allen Tullos

Flatlands in the Outlands: Photographs from the Delta and Bayou

Bailey Betik

Documenting Migrants: An Interview with Charles D. Thompson

Bailey Betik

Winslow Homer and the American Civil War

Bailey Betik

Wounds, Vines, Scratches, and Names: Signs of Return in Southern Photography

Bailey Betik

Life in a Shatter Zone: Debra Granik’s Film Winter’s Bone

Bailey Betik

Goin’ to Chicago and African American “Great Migrations”

Bailey Betik

Revisiting Flaherty’s Louisiana Story

Ra'Niqua Lee

Rising Up

Ra'Niqua Lee

Prop Master at Charleston’s Gibbes Museum of Art

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Gold Records in Deep Space

Robert Billups

Starlit Screens: Preserving Place and Public at Drive-In Theaters

Allen Tullos

Television News and the Civil Rights Struggle: The Views in Virginia and Mississippi

Allen Tullos

Place, Time, and Memory

Ra'Niqua Lee

John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival

Ra'Niqua Lee

An Upcountry Legacy: Mary Black’s Family Quilts

Bailey Betik

A Horrible, Beautiful Beast

Bailey Betik