To be situated outside of the main event, to be refused entry, to be placed in a position of radical unknowing—these are deeply interesting aspects of Leigh’s work for me as a white woman. And perhaps more to the point, this is the position from which I must engage with the work, and it is demonstrably different from the place I typically occupy, marked as it is by my status as insider, learned, knowledgeable, comfortable. For centuries, all of culture’s agents—its makers, benefactors, and audiences—have been presumed to be white men, and for centuries, Leigh’s primary audience, black women, were denied a place in this hegemonic structure. This was not a victimless crime. There are ramifications. And one of them, Leigh suggests, is a profound need for intimacy and privacy, for secrecy, for going underground.Grim: Inquiry launched into Canberra's museums, galleries after funding, staff cuts
Grimmer: V&A opens dialogue on looted Ethiopian treasures. For god's sake, just send them home.
Sure, why not: Picture Yourself at the Museum of Selfies
The writer's method: Anne Helen Petersen's How I wrote about the Nashville Bachelorettes (she is so worth following on Tiny Letter)