On the first floor of the Gardiner Museum, in the Art of the Americas gallery, there is a large Maya plate dating to the 6th to 7th centuries CE. It features a large deity in the center of the orange and black earthenware object with a band of glyphs around the edge of the dish. This object is well-known to Maya specialists, not only for the mastery of the design, but because of the inscription that not only mentions the name and location of the donor but also explains that it was a plate used to serve white venison tamales.
In this episode, we talk to four experts in the field, Gardiner Museum educator and curator Siobhan Boyd, Metropolitan Museum curator James Doyle, cultural historian Margaret Visser, and Popti storyteller Maria Monteja to peel back the layers of history in this wondrous artifact from ancient times to learn about Maya traditions and culture through the lens of today.
A special thanks to musician SunSon for providing the music to this special series, which is produced by Hyperallergic in conjunction with the Gardiner Museum.
This and more in the current episode of our weekly Art Movements podcast.
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?