To archaeologists, understanding the building of the Pyramids at Giza is a matter of scaling up the labor system seen earlier at sites like Abydos.
Jan de Baen’s “The Corpses of the De Witt Brothers” has become the dominant visual representation of the brothers’ lynching, but whether it deserves this honor is debatable.
The impressive exhibition undertaken by the Capitoline Museums and the Torlonia Foundation was 40 years in the making, and placed close to 100 marble sculptures from the storied Torlonia collection on view.
A sense of risk permeates mainstream stories about the dark web. This unsafeness attracted the attention of those artists and creatives who critically focus on the study of digital tools.
In the recent tumult many seem to have missed how a recent executive order on “Promoting Beautiful Federal Civic Architecture” looks to enshrine the success of the 2017 “Unite the Right” in Charlottesville.
It seems that, in reinscribing the Mexican muralists who were “written out” of American history, the curators of Vida Americana replaced one exclusion with another.
Why are the Comprehensive Employment and Training Act (CETA) artist programs less well known than the Works Progress Administration (WPA) projects for being an instance when the federal government employed artists en masse?
Many scientific studies assume that the features of painted faces are the facts of the flesh-and-blood countenances to which they refer. This assumption is not only false; it is preposterous.
Once the official sculptor in the court of the last Habsburg king, Luisa Roldán is easily the most famous sculptor you’ve never heard of.
Canada and Impressionism closes an art-historical gap on the Canadian artists who made the journey to France — most of whom are little known or studied — and explores what happened when they went back home.
My family’s lore holds that my great-uncle was one of the 10,000 children who were sent to Britain to be fostered wherever they could.
In 1917, female New Yorkers were finally invited to the polling booths. An exhibition at the New-York Historical Society argues this victory was largely due to the local activism of the bohemians of Greenwich Village.