This Saturday, Stuart W. Leslie will speak about “The Architecture of the Apocalypse.”
I’m not saying that this is what you should do instead of watching Hamilton on Disney+, but I’m not not saying it either.
A new book injects nuance into reductive historical interpretations of how the Cold War affected global art in the second half of the 20th century.
The documentary The Atomic Cafe dissects how American Cold War propaganda directed the country’s culture into putting a cheerful, upbeat face on possible apocalypse.
Amid continued misconceptions about the Cold War and Russia, the mission of the Wende Museum is vital.
The House of World Cultures’ exhibition tells the story of the Congress for Cultural Freedom’s use of an aesthetic of freedom, and contextualizes the lasting legacy of modernism within the geopolitical power struggles of the Cold War.
This weekend marks the opening of the museum’s new home in the remodeled National Guard Armory Building in Culver City.
Julie Anand and Damon Sauer are photographing the x-shaped calibration markers from a once top-secret spying project by the US government.
Dinner Party Politics: Food Culture in the Eastern Bloc, opening this Sunday, explores how gastronomic traditions in the former Soviet Union and socialist nations were linked to ideology.
As Cold War politics began to heat up along the peripheries of US and Soviet control, aesthetic preoccupations slowly started to give way to explicit engagement with the prevailing orders of power.
The threat of nuclear war with the Soviet Union reached new heights in the early 1980s, prompting authorities in Great Britain to devise a plan for saving its greatest art treasures, Bloomberg reports.
In the 1960s, while the United States and the Soviet Union were playing out their battle of who would make it to the moon first and so dominate the galactic skies, a former high school teacher in Zambia decided his country needed a space program.