Artist Alicia Grullon performs the role of a UN representative for refugees to address the migration crisis at the southern US border.
A steadfast feminist in a male-dominated art world, Joanna Drew was among a handful of individuals who shaped contemporary visual art in Great Britain post-World War II.
Both the J. Paul Getty Trust and the Metropolitan Museum of Art have created online databases that bring thousands of artworks to screens across the globe. Here’s what most folks download.
As a non-specialist Rene d’Harnoncourt had a rare ability to engage deeply with objects across time, cultural specificity, and form.
Curators Jaishri Abichandani and Natasha Becker unpack Perilous Bodies, Radical Love, and the upcoming Utopian Imagination exhibitions — three exhibitions that formed one series for the Ford Foundation Gallery’s inaugural year.
The speed with which the Hong Kong demonstrators’ informative zines have been distributed, collected, and even exhibited internationally is remarkable. We spoke with ZineCoop, one of the groups behind the effort, to discuss why they are so powerful.
If art and culture can go beyond symbolic power and occupy both poetic and utilitarian registers, Mladen Miljanović succeeds with his Didactic Wall exhibition.
The Bastard Cookbook is more than a collection of recipes; it is a form of resistance against nationalism and xenophobia — and an homage to co-creation rather than assimilation
The book Mining the Museum: An Installation by Fred Wilson published in 1994 has particular insights that go beyond institutional critique and into our individual complicities that are crucial to consider now.
The video art of Isuma, the first international media organization created by and for Indigenous peoples, highlights the contemporary and historical impasses they are forced to navigate.
A conversation with Maia Chao and Josephine Devanbu, the founders of Look at Art. Get Paid., a program that pays people who wouldn’t otherwise visit art museums to visit one as guest critics of the art and the institution.
The RISD Museum has held this Benin bronze head in its collection for 80 years. “No one would have given it up unless under duress,” the curators say. But tracing its provenance and repatriating it is no simple matter.