Big Mouth' company Titmouse is behind the adaptation of Wyatt Kennedy and Luigi Formisano's supernatural coming-of-age story.

Frustrated with the absence of positive representations of Black people in art, John Wilson responded by providing images of Black dignity while addressing the painful realities of racial prejudice.

Camille Henrot uses abstract art to explore the realms of child (and dog) care in her smartly playful debut show at Hauser & ...

A range of interpretations and depictions of the Black figure is currently on view at the Philadelphia Museum of Art (through ...

Anthony Azekwoh, Osinachi and Imran Tilde’s artworks collectively declare, “We were here in every creation story and every ...

Tucked away in the World Cinema Documentary Competition, this Canadian animation from half-brothers Seth and Pete Scriver ...

Historical narratives have long misrepresented the stories of the Black people in America. Black representation has often ...

Once upon a time, animated feature films in America largely came from a single studio founded in 1923. Disney’s lush art and lovable stories became ... Read More ...

The most notable representations of the human condition often stem from animated counterparts encapsulating emotional ...

A Metro Vancouver and Fraser Valley painting company is getting all kinds of attention after making a racist post on its Facebook page. The post, which was shared on its page on January 28, reads, “We ...

The movie more or less lifts Pilkey’s illustration style from the graphic novels, translating it from hand-drawn 2D art to CG animation ... pong-ball heads with black dots for eyes.

When White (“Pamela: A Love Story,” “The Keepers,” “Serena”) was brought on to the film by producer Tig Notaro (who joined him at our studio) and her producing partner Stef Willen ...