Sarah E. Bond is an associate professor of history at the University of Iowa. She blogs on antiquity and digital humanities, and is the author of Strike: Labor, Unions, and Resistance in the Roman Empire (Yale University Press, February 2025).
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The virtual reality tour of Rome at the heart of Rome Reborn started as a digital humanities project collaboratively developed by dozens of artists, classicists, archaeologists, and 3D modelers.
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A new exhibition at the British Museum underscores the material remains associated with the Assyrian king Ashurbanipal, and their display alludes to Britain’s long and fraught history with Iraq.
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Where, exactly, the idea of ancient aliens building the pyramids began — and why some academics think racism lies at the heart of many extraterrestrial theories.
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A newly opened exhibition at the Harvard Art Museums features animal-shaped drinking vessels from across the ancient Mediterranean called Rhyta.
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The exhibition Stampede prods the viewer to consider how artists use animals to represent human traits and critique the world we humans live within.
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The use of fasces by alt-right groups is another attempt to commandeer the insignia of ancient Rome to connect their movements to the bygone power and legitimacy of the Roman empire.
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SPQR initially stood for Senatus Populusque Romanus (the Senate and Roman people), but a growing number of white supremacists have adopted the acronym to symbolize their movement.
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During work along the right bank of the Tiber this summer, the archaeological group Cooperativa Archeologia uncovered what was first thought to be a villa, but later considered to be a church.
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A site in Israel continues to turn up stunning polychromatic mosaics from the late Roman empire that challenge current notions of ancient Jewish aesthetics and the art of depicting scripture.
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The College Board’s recent decision to begin their curriculum for Advanced Placement (AP) World History at the year 1450 CE will omit millennia of global human history and may further support a Eurocentric view of the world within US high schools.
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In the Italian city of Pesaro last month, a court ruled that the Getty Museum’s prized “Victorious Youth” statue should be returned to Italy, and in response, the J. Paul Getty Trust issued a public reply, noting that Italy has no cultural claim on the statue.
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One of the most celebrated statues from antiquity, the “Discobolus” remains a cautionary tale about the ways in which we speak about ideal bodies through the art we curate and display.