United States/Canada

  • Freed But Not Free

    September 17, 2014 - 

    As part of Creative Time’s exhibition “Funk, God, Jazz, and Medicine: Black Radical Brooklyn,” a collaboration with Weeksville Heritage Center, Creative Time Reports is featuring essays related to the history of African-American struggles for self-determination in Brooklyn. Here, the writer Sharifa Rhodes-Pitts meditates on the limits to freedom imposed by a legacy of institutionalized racism.  More
  • Tempus Fugit in the People’s Republic of BK

    September 17, 2014 - 

    As part of Creative Time’s exhibition “Funk, God, Jazz, and Medicine: Black Radical Brooklyn,” a collaboration with Weeksville Heritage Center, the writer and musician Greg Tate evokes a time and place he calls “Original Brooklyn: the radically Black BK of haute culture and avant-cult leaders.”  More
  • Spatial Justice: Rasquachification, Race and the City

    September 15, 2014 - 

    Intervening in discussions about gentrification and placemaking, cultural activist Roberto Bedoya champions the creative resilience found in communities of color—and exemplified by the Chicano practice of Rasquachification—to suggest “placekeeping” as a strategy for advancing racial justice goals.  More
  • Clearing the Air: Artists Take on Corporate Influence in Natural History Museums

    September 2, 2014 - 

    Ahead of the People’s Climate March, Creative Time Reports Editor Marisa Mazria Katz speaks with the artist collective Not An Alternative about their Natural History Museum, a new project that confronts the unsavory influence of corporate cash on science institutions.  More
  • Molly Crabapple

    The United States Wants the World to Forget These Prisoners

    July 21, 2014 - 

    A product of the war on terror, Communications Management Units (CMUs) have cut hundreds of Americans—most of whom are Muslim—off from the outside world, often by labeling their acts of dissent “terrorism.”  More
  • PR

    Editor’s Letter

    Five years after Creative Time Reports’ inception, the project is coming to a close. Editor Marisa Mazria Katz reflects on some of the most moving pieces that solidified CTR as a unique platform that elevates artists’ voices.

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