The new cookbook from ‘Top Chef’ alum Ashleigh Shanti features recipes from five micro-regions of the American South.

Photo: Johnny Autry

For the 2024 election issue, the Voice commissioned four alumni artists to reinvent the get-out-the-vote poster in light of the November U.S. election.

Artwork: Christina Seely

New cooking classes for older people of color could delay the onset of diet-related diseases—and provide a host of other benefits, too.

Photo: Courtesy of The Good Life

Michael Rosmann, also a clinical psychologist, drew on 50 years of counseling farmers to write ‘Meditations on Farming.’

Photo: Courtesy of Michael Rosmann

Robyn Metcalfe, the producer of a new, award-winning documentary, explores economics, biology, and mortality in an attempt to understand why people are so devoted to making cheese.

Photo: Courtesy of Wicked Delicate Films

Some community leaders say Oakland’s first environmental plan to address pollution and other health risks over the next two decades ignores resident recommendations.

Cementerio del Barrio de los Lipanes (Cemetery of the Lipan Neighborhood) is a sacred burial site for the Lipan Apache Tribe in Texas. I consulted for Big Bend Conservation Alliance, working with Dr. Nakaya Flotte to develop interpretive text panels for the site.

Photo: MASS Design Group

Edited by Lesly Deschler Canossi and Zoraida Lopez-Diago, Black Matrilineage, Photography, and Representation focuses on the Black female body, specifically the Black maternal body. Read my contribution to the bookhere or purchase it at the link below.

Cover Art: Andrea Chung

Created with support from the Andy Warhol Foundation for the Visual Arts, The Ostracon aimed to elevate figures and ideas outside the mainstream of contemporary art—from public policy, indigenous rights, and folklore to community organizing, historic preservation, environmental science, journalism, and food justice—that may offer insight into new forms of making art that are more responsive, relevant, and connected to the way we live now as individuals and communities.

Photo: Courtney Cook and Italy Welton. Courtesy of JACK, New York. Photographed by Ed Forti

The Walker Art Center unveils Shadows at the Crossroads, a multimedia project by Seitu Jones and Ta-coumba Aiken in collaboration with Soyini Guyton.

Photo: Courtesy of Paul Schmelzer

Contributed a catalog essay for the solo exhibition Alexandria Smith: A Litany for Survival, curated by Lynne Cooney at Boston University.

Artwork: Alexandria Smith, The Incognegroes, 2018; acrylic, oil and enamel on canvas; 60 x 72 in.

Catalog essay for the solo exhibition Jordan Weber: kNOw Spaces, curated by Jehra Patrick at Law Warshaw Gallery, Macalester College.

The metaphor of the table evokes images of folks coming together to break bread, to discuss personal and political issues, and to cultivate an atmosphere of community. For artists Seitu Jones and Theaster Gates, the table is more than a metaphor; it’s also a medium.

Photo: Andy King

The celebrated artist Wangechi Mutu discusses the advantages that arise when things go wrong in her creative process.

Artwork: Wangechi Mutu, Riding Death in My Sleep, 2002; ink and collage on paper; 60 x 44 inches. Collection of Peter Norton, New York. © Wangechi Mutu

Called the "official photographer“ of the house ballroom scene, Gerard H. Gaskin knew when he secured his first book deal that it was a feat not just for him but also for the queer community he’s photographed for over twenty years.

In the Williams College archives survives a purple hardback cookbook gold-stamped with the title Harry H. Hart’s Favorite Recipes of Williams College, With Training Table Records, Notes and Menus (1951). The eponymous author was a training table chef at Williams College, cooking for various sports teams and, before that, fraternities, from 1917 until 1954.

"It is no surprise that farming, gardening, food production, and eating itself have become more common among artists’ concerns," says Amy Lipton, director of the New York branch of Ecoartspace, a bicoastal organization that promotes environmental art through curatorial projects and lectures. "Food prices, industrial agriculture, monoculture in farming, and bioengineering are all on the rise and becoming larger problems," she adds.

Food-based artworks have audiences hungering for more.

Artwork: Jennifer Rubell, Padded Cell, 2010.

For some artists, cake is a subject. For others, it’s a medium. This article features works by Will Cotton, Marina Abramovic, Clare Grill, Dustin Wayne Harris, and Victoria Yee Howe.

Artwork: Clare Grill

In 2004, Bay Area conceptual artist April Banks traveled to West Africa, which produces seventy percent of the world's cocoa, to learn firsthand about the cocoa farms of the region and their relationship to the modern-day chocolate industry. Her related research has been wide, including travel to cocoa farms in Cuba and a visit to the New York Board of Trade. Free Chocolate, Banks's resulting body of work, follows cocoa's global exchange from forest to palate, farmer to consumer, illustrating the mingled effects of desire, greed, and manipulation.

As the Brooklyn Museum’s Manager of Interpretive Materials, I led the interpretion program (didactic texts, interactives, etc.) for all collections and more than thirty temporary exhibitions, including ©Murakami, Global Feminisms, Annie Leibovitz: A Photographer’s Life, 1990-2005, Judy Chicago’s The Dinner Party, and Tigers of Wrath: Walton Ford.