“Sometimes people say, ‘you play soccer?’ in that kind of tone.”
This was Riley Steege’s (’19) first line in the #LIKEAGIRL campaign commercial aired on July 20, 2016, by Always, emphasizing the idea that adolescent girls should never quit sports and to stay confident in who they are.
Queer British Art 1861-1967 at the Tate Britain celebrates the 50th anniversary of the decriminalization of homosexuality. It strives to spur conversation on the fluidity of gender and sexuality of famous artists and their subjects in a time where such talk wasn’t socially acceptable. The show spans from 1861, when the sentence for sodomy was decreased in the U.K. from death to life in jail, to 1967, when sex between two consenting males was legalized.
The pieces of paper with their bursts of color and striking statements were scattered across the white walls. Sun poured through the windows, drawing attention to even the smallest details of the paper, serving as an introduction to “In Paper We Trust”, an exhibition organized by the Dot Project, a gallery that focuses on showcasing emerging contemporary artists. The exhibition houses distinct pieces that are only on paper in order to move away from the frigidness of framed pieces.