J. Paul Getty Museum published a free, digital catalogue documenting one of the richest troves of lamps from the ancient Mediterranean world.
Since 2008, the Foldit game has engaged the public in solving puzzles for science. Now it’s tackling crop contamination.
The festival presents exceptional films in all styles of animation, from anime to stop-motion.
With Frank Lloyd Wright Paper Models by Marc Hagan-Guirey, you can build tiny models of Fallingwater, the Guggenheim Museum, and Taliesin West.
On Wednesday, Deborah De Robertis was acquitted for her performance in which she shouted, “Mona Lisa, my pussy, my copyright,” while revealing her vagina.
By pairing unrelated images that share surprising similarities, Photographic Treatment by Laurence Aëgerter encourages dementia patients to make their own connections between them, stimulating mental activity.
Jim Marshall photographed the spread of the peace sign between 1961 and 1968, with his images now published for the first time by Reel Art Press.
This exhibition is a ten-year survey concentrating on Peter Krashes’s paintings that emerged in an almost symbiotic relationship with his political involvement as a community organizer.
What separates Ken Gonzales-Day’s exhibition Bone-Grass Boy from the mass of artwork addressing the politics of representation is its investment in intimate autobiography.
At a moment as dystopian and erratic as Dada itself, the performance biennial presents work rife with whimsy and depth to confront complex histories and a stupefying present.
In which Schneemann discusses rejecting academic language, reveling in flesh, how any respectable gallery needs a “token cunt,” and, naturally, cats.
This week in art news: Anti-gentrification groups protested Omer Fast’s exhibition in Chinatown, a campaign was launched to save an iconic artwork on Auschwitz, and reporter Tim O’Brien recalled an exchange with Donald Trump over a Renoir knock-off.