Brooklyn Poets, October 2017.įive Things with Anaïs Duplan. Listings Project Artist Features: Initiative to Re-imagine New Futures. “How Fatima Al Qadiri Uses the Internet to Create Multidisciplinary Protest Poetry.” Complex Magazine, December 2017. Read an interview with Bettering American Poetry here. “When the Play Ends, We Have Learned Nothing about the Protagonist.” Bettering American Poetry (Bettering Books, Fall 2017). “Ode to the Happy Negro Hugging the Flag in Robert Colescott’s ‘George Washington Carver Crossing the Delaware.‘” Academy of American Poets, February 2018. “Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?” Vassar Review, April 2018. “Black ‘N’ Relaxed II.” BathHouse Journal, May 2018. “Wundmale Christi (Wounds of Christ).” The Map Is Not the Territory, June 2018. “Communication after Refusal: The Turn to Love and Polyvocality.” MICE Magazine, June 2018. “Where Should I Look? an audio guide for the High Line.” The High Line, August 2018. “New Black Music Is This.” Curlew Quarterly, Issue 4, September 2018.
Omniverse, November 2018.ĩ Poems/The Lovers. “Detroit Make Some Noise for Human Error” and other poems. “Fear and Loathing (Comin’ and Goin’).” Los Angeles Review of Books, November 2018. “Martine Syms, My Only Idol Is Reality, 2007, 7:06” and other poems. “Making Use of the Mundane: Black Performance and Becoming.” No Tokens Journal, April 2019.įour poems. “Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?” Daata Editions, May 2019. “Eileen Myles, Precious Okoyomon and Anaïs Duplan perform for the Asylum Seeker Advocacy Project.” NOWNESS, May 2019. Two poems from Mount Carmel and the Blood of Parnassus. NYC Trans Oral History Project, June 2019. “The Practice of Poetry: A Tool for Conducting Emotional Research.” Poet’s House, July 2019.Īnaïs Duplan interviewed by xtian w. “Black curators discuss ‘insiders and outsiders’ in the art world.” Daily Iowan, October 2019. “Silence in Mount Carmel & the Blood of Parnassus and Take This Stallion.” Ploughshares, October 2019. Virginia Quarterly Review, December 2019.īlack Curators' Roundtable. Iowa City Public Library, October 2019. “Leah Gilliam, Sapphire and the Slave Girl, 1995, 18 mins. “For Alain.” The Yale Review, January 2020. “Creating Art While Empowering Artists.” University of Iowa, March 2020.īlack Secrets: ain’t english words for it. Montez Radio Press, March 2020. “I Held the Truth in My Hands.” The Continental Review, April 2020. “Anaïs Duplan: An Interview by Madison McCartha.” Action Books, April 2020. “What Does the Afrofuture Say? w/ An Duplan.” The Afrofuture Strategies Institute, May 2020. “Gmail – Re/ (e)Missive.” Martha’s Quarterly, No. “Martine Syms, Incense, Sweaters, and Ice.” alreadyfelt: Poems in Revolt and Bounty, October 2020. “I Will Always Be That.” Ploughshares, October 2020. “The Sound of Rioting: Twelve Notes on Lawrence Andrews.” Electronic Arts Intermix, June 2021.īlackspace: On the Poetics of an Afrofuture. On the Poetics of an Afrofuture: Interview with Anaïs Duplan. Male Friendship Gets Put to the Test in Keith Josef Adkins’ ‘ The Abandon.’ ALL ARTS, September 2021. Topical Cream, December 2021.Įxcerpt from I NEED MUSIC. Music is a Vehicle for Perceiving (Or, a Foundation for Artful Intervention). Nurturing Artists of Color at the Center for AfroFuturist Studies, The Sanctuary for Independent Media, January 2022Īrtforum: Sky Hopinka’s Top Ten Highlights of 2021Īrt21 Big Question: What Does it Mean to be a Visitor? Interview with Sky Hopinka, by Anaïs Duplan, 2021Ģ021 Queer|Art Recent Work Winner: Anaïs Duplan “We All Earned Our Freedoms by Giving Concerts,” f or Dave Harris’ Production Tambo and Bones The Breath of Empty Space: Poetic Response, Bronx Museum, 2022 Studio Check In with Anaïs Duplan, Studio Museum Harlem, 2021 Music is a Vehicle for Perceiving: Interview with Anaïs Duplan, Port Magazine, April 2022
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