Kerry James Marshall, whose highly anticipated retrospective, “Mastry,” opens Oct. 25 at the Met Breuer, is steeped in classical training more thoroughly than almost any painter of his generation.
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I’m the first Muslim in Congress. I believe America can beat Islamophobia.
Fifteen years ago, the United States was attacked by terrorists claiming to act in the name of Islam. America’s response? “United We Stand.” Yet now it feels like Muslims face more hatred in 2016 than on Sept. 11, 2001.
View MoreHow a small town on Martha’s Vineyard became a getaway for African-American elite
As we count down to Monday’s special broadcast from the Smithsonian National Museum of African American History and Culture, we’re bringing you the stories behind the exhibitions.
View More11,341 Rape Kits were Collected and Forgotten in Detroit. This is the Story of One of them.
Ardelia Ali was raped in 1995. Twenty years later, her rapist was convicted thanks to the tireless efforts of prosecutor Kym Worthy.
View MoreFor Nearly 150 Years, This One House Told a Novel Story About the African-American Experience
On view in the new museum, the woodframe dwelling evokes the aspirations and limitations of the era following enslavement.
View MoreKatrina’s Hidden Race War
White vigilante justice tore through New Orleans after the storm. But no official investigation has shed light on the violence.
View MoreThe Internet May Be as Segregated as a City
New research traces the divides in people’s paths around the web.
View MoreCan School Integration Make a Comeback?
In 1954, Brown v. Board of Education declared that separate schools for black students and white students should be dismantled with “all deliberate speed.”
View MoreWhose Interests Do College Diversity Officers Serve?
Administrative bloat is driving up the cost of higher education—without doing much to help the most vulnerable students.
View MoreReconsidering the Black Panthers Through Photos
A black man helps an older African-American woman as she shops in an Oakland, Calif., supermarket. The image from 1972, by Stephen Shames, documents an initiative to protect the elderly in a crime-ridden neighborhood.
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