Every so often, one comes across a work of art so seemingly impossible that one is forced to ask themselves: How? 

I’m used to asking myself that question most often when spectating the masterpieces from the Renaissance and Baroque periods. Without modern technology, Peter Paul Rubens and Caravaggio, just to name a couple, created life-sized and hyper-realistic scenes of grandiose moments in human and religious history: How? When looking at the work of Christy Lee Rogers, an American artist specializing in underwater photography, I found myself in awe for the opposite reason: How does Rogers make the results of a highly technological process feel so surreal? 

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Last spring, around 150 excited attendees of The Row’s Winter 2024 Collection Presentation received a statement from Mary-Kate and Ashley Olsen, the label’s designers. According to New York TimesFashion Critic Vanessa Friedman, the statement read:  “We kindly ask that you refrain from capturing or sharing any content during your experience.” 

How dare they?

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It’s election week in America. It's the once-every-four-years moment we consider how we view ourselves as a nation. Central to both campaigns is an American myth told over and over again: America is a place where anything can happen, where anybody can pull themselves up by the bootstraps and make something of themselves. A wild west where only the strongest and the fittest sit at the top of the hierarchy.

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In 2014, while promoting her fifth novel, Buzzfeed asked Helen Oyeyemi if she could share one of her personal superstitions. “I can recommend wearing blue mascara whilst writing,” she said. “I'm telling you, it really adds something.” Oyeyemi’s career reflects that superstition: like colored mascara, her writing is quirky and unconventional. As an author, Oyeyemi refuses to allow her words to exist within a singular genre, culture, or aesthetic.

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