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Rohingya Refugees Arriving by Boat, 2017
Refugees arrive on the Bangladesh side of the Naf River on October 1, 2017, after fleeing their village in Myanmar.
![A woman and a baby are helped off a boat.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/2017_RohingyaRefugeesArrivingbyBoat_FH261964.jpg?h=eb24755d&itok=pei1Gszb)
Refugiados Rohinyá llegan en Embarcaciones, 2017
Refugiados llegan al territorio de Bangladés cruzando el río Naf el 1 de octubre de 2017, después de huir de su aldea en Birmania.
![A woman and a baby are helped off a boat.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/2017_RohingyaRefugeesArrivingbyBoat_FH261964.jpg?h=eb24755d&itok=pei1Gszb)
Glenn Ligon, Untitled - Four Etchings [A]
In this white on black etching, Glenn Ligon repeats "I do not always feel colored," a phrase from Zora Neale Hurston's essay "How It Feels to Be Colored Me."
![Black ink etching on white paper with the words "I do not always feel colored" written repeatedly. The ink gets smudged and illegible toward the end](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11335_Medium_res.jpg?h=38731381&itok=Jh7iUy6T)
Glenn Ligon, Untitled - Four Etchings [B]
This black-on-white etching quotes Zora Neale Hurston's essay "How It Feels to be Colored Me."
![A black ink etching on white paper with the words, "I feel most colored when I am thrown against a sharp white background" repeatedly printed. The words smudge and get blacker at the end](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11336_Medium_res.jpg?h=a6843db5&itok=YsJY4iEp)
Glenn Ligon, Untitled - Four Etchings [C]
In this black-on-black etching, Glenn Ligon uses Ralph Ellison's quote from the prologue of his novel, Invisible Man (1952): "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus side-shows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only themselves, or figments of their imagina-"
![Black on Black etching that says, "“I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me.”](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11337_Medium_res_0.jpg?h=c978a40d&itok=rRnW4TXY)
The Artist and His Mother by Arshile Gorky
This image, which is on the cover of Facing History's publication Crimes Against Humanity and Civilization: The Genocide of the Armenians was painted by the artist Arshile Gorky. It is based on a photograph of Gorky and his mother, Sushan der Marderosian, taken in 1912. Although Gorky is generally identified as an American artist, he was born Vosdanig Adoian near the city of Van in what was then the Ottoman Empire. A few years after the photograph was taken, Gorky and his mother were victims of the Armenian Genocide. While he survived, Gorky remembers his mother dying in his arms. As an artist Gorky returned to the subject of the 1912 photograph many times throughout his career.
![Painting of artist Arshile Gorky and his mother.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-09/GenocideOfTheArmeniansArshileGorky.jpeg?h=83a548ea&itok=vPFn3ux0)
The Artist and His Mother by Arshile Gorky (en español)
This image, which is on the cover of Facing History's publication Crimes Against Humanity and Civilization: The Genocide of the Armenians was painted by the artist Arshile Gorky. It is based on a photograph of Gorky and his mother, Sushan der Marderosian, taken in 1912. Although Gorky is generally identified as an American artist, he was born Vosdanig Adoian near the city of Van in what was then the Ottoman Empire. A few years after the photograph was taken, Gorky and his mother were victims of the Armenian Genocide. While he survived, Gorky remembers his mother dying in his arms. As an artist Gorky returned to the subject of the 1912 photograph many times throughout his career. This resource is in Spanish.
![Painting of artist Arshile Gorky and his mother.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-09/GenocideOfTheArmeniansArshileGorky.jpeg?h=83a548ea&itok=vPFn3ux0)
"Shall We Call Home Our Troops?" (1875)
Wood engraving by Thomas Nast from Harper's Weekly depicting the reaction of the radical South toward African Americans after the North does not follow up their promises.
![Reaction of radical South toward Negro after North does not follow up her promises to the Negro.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/1875_ShallWeCallHomeOurTroops_FH140922_0.png?h=e9b139c1&itok=V7N6KFpC)
"The Birth of a Nation" Summarizes Reconstruction
Title cards, or intertitles, from The Birth of a Nation, a 1915 film portraying D.W. Griffith's racist vision of life in the South during the Civil war era.
![Title cards, or intertitles, from The Birth of a Nation, a 1915 film portraying D.W. Griffith's racist vision of life in the South during the Civil war era.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/1915_TheBirthofaNationtitlecardsdescribingReconstruction_FH2169421.png?h=ca3390b1&itok=EdxwGVd6)
"The Anti-Chinese Wall" Cartoon
This 1882 cartoon shows stereotypical imagery of laborers, among whom are Irishmen, an African American, a Civil War veteran, Italian, Frenchman, and a Jew, building a wall against the Chinese.
![This 1882 cartoon shows stereotypical imagery of laborers, among whom are Irishmen, an African American, a Civil War veteran, Italian, Frenchman, and a Jew, building a wall against the Chinese.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/1882_TheAntiChineseWall_FH2168777.png?h=49e1352e&itok=87tPdNc2)
Aftermath of the Ramaphosa Riots
A child pushes a trolley cart through burnt debris after violent xenophobic clashes at the Ramaphosa informal settlement on the outskirt of Johannesburg on May 21, 2008.
![A child pushes a trolley cart through burnt debris.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/2008_AftermathoftheRamaphosaRiots_FH281928.jpg?h=a5f2f23a&itok=L3gio3La)