Chauvet developed 'Zapatos Rojos,' which takes the form of dozens or hundreds of pairs of red shoes publicly displayed in site-specific formations. Each pair of shoes connotes the absence of a femicide victim, or a disappeared woman or girl.
Since the 1990s, a largely underground upwelling of trans creativity has helped new trans identities, communities, and political movements come together. Trans Cinema provides an entryway to the wildly diverse and creative cinema made by trans creators, including those who are BIPOC.
Architecture can no longer be conceived as an isolated object, detached from the technical networks that sustain contemporary life. This condition calls for new readings and approaches.
In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.
In 2021, women held only 28% of professorships in higher education and research institutions, even though they comprised 48% of PhD students, according to data gathered from a sample of 900 EU and non-EU institutions.
The request is made in her signature Aussie drawl, something that musicians attempting to break into the international market would attempt to disguise in decades previous. Yet for the Amyl and the Sniffers frontwoman, everything from her peroxide mullet to proudly bogan background has become an important hallmark.
I want to grow brands that I'm passionate about, and dirty soda has always been a part of my life. It wasn't just this viral moment that people who watch Secret Lives saw. It was something that's more sustainable.
The most obvious example is the adoption of the singular 'they' to replace clunky constructions like 'he or she' and 'he/she.' Language purists argue that this is ungrammatical, even though 'they' has been employed in just this way by authors as diverse as Chaucer, Shakespeare, Austen, Dickinson, and Shaw.
I looked up and saw him looking right at me, and I'm just glad I moved right, because moving left would have basically sent me into the centre [of the shot].
Founded in 2014 as a tongue-in-cheek alternative to the esteemed Whitney Biennial, the Every Woman Biennial has evolved into an intergenerational showcase that mixes emerging talent with established feminist art stars while maintaining the scrappy, activist energy that inspired it in the first place.
Historically, architectural culture has been organized around narratives of singular authorship and individual recognition. These frameworks often obscure the collaborative nature of design and marginalize contributors who do not occupy positions of institutional authority. Women architects have long participated in shaping buildings, cities, and architectural discourse, yet their work has frequently been overlooked or attributed to partners, firms, or broader teams.
What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.
The debut explores the idea that while we create the world around us, that world simultaneously creates us. It's a concept long familiar to architects, for whom design has often been framed as a civic duty. Yet Censori's approach is not without precedent. A surge of feminist artists in the 1960s and 1970s, including Alina Szapocznikow, used the body, or its absence, in conjunction with furniture to explore domesticity and sexual liberation.
