A baka pygmie woman cooks inside her mongulu hut in the village of Ndjibot, Dja Faunal Reserve.
Lara Aitor
October 25, 2016
Ward Long
October 19, 2016
Marie Therese Walter was Picasso’s mistress and model, from 1927 until about 1935 and the mother of his daughter, Maya Widmaier-Picasso. Their relationship began when she was seventeen years old; Marie Thérèse always hoped that Picasso would marry her one day. She eventually hanged herself four years after Picasso’s death
Jordi Pizarro
October 13, 2016
Zoe Childerley
October 8, 2016
The Zulu parade emerged around the turn of the twentieth century and grew out of New Orleans’s African American community. Members of benevolent organizations, groups that engaged in community organizing, decided that if Mardi Gras was going to be segregated, they would begin a Krewe (a Mardi Gras club) of their own. They crowned a king, who wore a lard can atop his head and held a banana stalk as a scepter, mocking the class privilege of most white Carnival Krewes. It got launched in 1909 by black working-class men -- dock workers, wagon drivers, bartenders, hustlers, pimps . Zulu was considered an alternative to the «whites only» activities of Carnival. It began as a spoof, but gained popularity with working class and some of middle class as time passed. It was a subtle form of protest against the powers that be without crossing the line of «expected and accepted» racial behavior. There are all kinds of ways to interpret the meaning of Zulu and the notion of an African American man wearing blackface, which was typically the hallmark of the minstrel show. The most obvious of these readings is to view the use of blackface as an attempt to seize upon racist symbols and invert them as demonstrations of African American power. That African Americans choose to wear blackface demystifies racist cultural symbols and norms, robbing those symbols of some of their sting. By embracing and amplifying white stereotypes of black character, Zulu was a safe way to mock the mockers. Its clownish royalty punctured the pretensions of the ermine-bedecked white elite. The strategy made the black bourgeoise uncomfortable, however. The Civil Rights era was complicated for Zulu. What had been an important and subtle outlet for African Americans in New Orleans, open to many interpretations, suddenly was a contested ritual. Some African American observers were not happy with the use of blackface, which suggested that participants in Zulu were happily playing the fool for white New Orl
Nicola Lo Calzo
October 5, 2016
Alfredo Chiarappa
September 28, 2016
Tamara Dean
September 20, 2016
Hiroshi Okamoto
September 14, 2016
Aaron Blum
September 12, 2016
Simon Móricz-Sabján
September 6, 2016