America’s Black creative class is busy both re-framing some parts and eradicating others, of the life, culture, and history that we have led.

"The internet in and of itself is very male and very pale and very English. The way that we write copy, the way we code, the way we find solutions to technical problems, all ascribe to that philosophy of 'white, male and pale.'"

Who controls the machines? How are they made? And who makes them?

We still see male-dominated lineup after male-dominated lineup, at clubs and festivals predominantly run by male bookers and promoters.

Social media jobs may not involve coding. They may not involve debugging. They may not involve writing a novel or reporting. But they’re still analytical as fuck, with a measure of art in there.

We may be persuaded that “art is for everyone”; the Internet finally democratizing its creation, its distribution, and its valuation. And yet, the democratization of art argument is necessarily laced with issues of means, access and opportunity.

Behind-the-scenes with stealth startup Curatoric, and conversations with creators, historians and curators of African and Diasporic African art.

Botticelli, 26 pairs of panties, hundreds of broken tea cups and challenging what it means to be feminine.