Daniel Fuller reviews the life and work of Nancy Elizabeth Prophet in Nancy Elizabeth Prophet: I Will Not Bend an Inch at the Spelman College Museum of Fine Art, Atlanta.
In November’s co-publishing initiative with Oxford American, Holly Devon reports on Amtrak’s new Mardi Gras Service line that restores passenger rail transit between New Orleans and Mobile on the Gulf Coast.
For Burnaway’s TRICKSTER theme feature and for November’s co-publishing initiative with Oxford American, Isabella Marie Garcia considers parafiction as a tool in the conceptual practice of Najja Moon, where artist and basketball player collide.
stephanie s. cortés shares the artists at the heart of Huerto Semilla (Seed Garden) in Puerto Rico for the first installment of Burnaway’s Care In Precarity submissions, a collaborative open call with CCCADI.
In a special week-long editorial series on zines in anticipation of Burnaway’s Book//Zine fair, Florida-based artist Paul Shortt speaks to the art of tabling a zine fair.
To celebrate Burnaway’s second artist edition, Jennifer Dudley speaks on the concealment and poetic erasure of Joy Drury Cox’s work in this GHOST theme feature.
In a special week-long editorial series on zines in anticipation of Burnaway’s Book//Zine fair and in October’s co-publishing initiative with Oxford American, Shanley Poole considers the work of Winston-Salem based artist c hart, whose zines reflect on pop culture, personal experience, and the local drag scene.
Francess Archer Dunbar explores the practice of Nadia Tahoun, a Palestinian American artist and founder of Flower Shop Collective, based between New York and Tahoun’s hometown of Miami.
![Unknown (American). [Studio Portrait], 1940s – 50s. Gelatin silver print. The Metropolitan Museum of Art, New York, Twentieth- Century Photography Fund, 2015 (2015.330). Photograph by and courtesy of The Metropolitan Museum of Art, New York.](https://s1.burnaway.org/wp-content/uploads/2025/09/1.-Unknown-American.-Studio-Portrait-1940s–50s-1-540x529.jpg)
Justin Chance reviews the ties to dandyism in the South and Caribbean as seen in Superfine: Tailoring Black Style at The Metropolitan Museum of Art, New York.
