Why is black skin perceived as a threat in American public spaces? How come a 17-year-old boy is portrayed in the American media as a thug? And how do a sandwich, a bible, or a bunch of keys get identified wrongfully as weapons and lead to the shooting of innocent passersby? Rotem Rozental writes about artist Cara Levine's project "This Is Not a Gun," which reacts to dozens of incidents of police shooting at citizens – mostly black men – as a result of misidentification.
A mother screams as her baby is wrenched from her arms; a sex fest featuring Canada's founding fathers and various forest animals; and Miss Chief – a powerful, sexy, transgender indigenous figure in traditional attire, beads, and feathers. Liora Belford visits "Shame and Prejudice: A Story of Resilience," the travelling exhibition of the work of artist Kent Monkman, who wonders where are the painters who have documented the hunger, the poverty, the pain, and the annihilation of a whole culture.
Efrat Vital's show, Winnie (Real Daughter), presented recently at the Herzliya Artists' Residence, brings to the fore the denial and suppression of the problematic history of racism, slavery, and Colonialism in the southern part of the United States. Hagai Ulrich has visited the show, and he suggests thinking about it from a local point of view as well.
The exhibition "The Color Line: African-American Artists and Segregation" has gone a long way to illustrate the struggle for the civil rights of blacks in the USA, but at the same time, it traps the art on display in a conceptual prison. Revital Madar writes about the recent exhibition at the Musée du Quai Branly in Paris.