The uncanny painting by artist Jamie Coreth has prompted speculations of a Dorian Gray-style bargain and drawn comparisons to Madame Tussauds’s wax figures.
But the court ruled unanimously that Harvard was not legally obligated to return the photographs.
Collected in the late 1800s, the recently rediscovered platypus and echidna specimens were key to demonstrating that mammals could lay eggs.
Sharona Franklin’s artwork is a celebration and commemoration of what is gained and lost with scientific advances that result in biohazardous waste.
The first and best thing the university can do to atone for its past of exploitation and profiteering is simply to renounce its present-day exploitation and profiteering.
The school announced a $100 million fund to “redress” its legacies with slavery, but holds on to daguerreotypes of Tamara Lanier’s enslaved ancestors.
In this episode of the Hyperallergic podcast, Lanier talks about her continuing quest for justice that includes the return of the daguerreotypes depicting her enslaved ancestors.
Set in a realm where humans are no longer sovereign, Candice Lin’s elaborate installation foregrounds the lives and deaths of felines, critters, microbes, and demons in a practice of making kin.
Perhaps Ai is untouchable. If that is the case, where were we left when judging his new art?
The former shield featured the family crest of Isaac Royall, Jr., who made his wealth through the labor of enslaved people.
Wallis tore up the rule book and pointed a way forward for British painting.
In Homelands, artists variously characterize home as “a transient dwelling,” “an ongoing process,” and “other people.”