Hyperallergic to host the launch of Anemones, a new magazine that will cover stories of liberation and anti-colonialism in the United States, Palestine, and India.
Yemeni human rights organization Mwatana has issued a report based on years of research, titled, “The Degradation of History: Violations Committed by the Warring Parties against Yemen’s Cultural Property.”
As educational institutions, museums should feel an obligation to be forthcoming about provenance issues with items on display.
From the 1880s to 1940s, a community of mostly Arab Americans thrived in a Lower Manhattan neighborhood that would later be the site of the World Trade Center.
The Global Guides program at the Penn Museum hires recent refugees from the Middle East to give personalized tours. The leader of my tour was Moumena Saradar, a refugee from Syria who has lived in Philadelphia for two years.
The documentary Bellingcat explores the limits and possibilities of activists using social media and public data for investigation.
A book forms a disturbing, diverse account of a very turbulent year.
Even with a tighter virtual program, IFFR is still setting the standard for this year’s arthouse film slate.
Once artists leave Syria many find that international borders are closed to them as they try to build a professional and creative life in exile.
While the museum presents its attempt to identify trafficked antiquities as an altruistic enterprise, its policing of the antiquities market also distracts from its historic role in acquiring looted objects.
In 2010, cartoonist Sarah Glidden embarked on a trip with two reporters to speak to refugees and make a book about how journalism works.
Targeting Iranian cultural heritage is first and foremost bad because of the devastating effects it would have on Iranians. We in the rest of the world may feel a real loss, but that is secondary at best.