Rare copperplate engravings made at an American Protestant seminary near Lahaina romanticize the same landscapes endangered by the actions of White settlers.
Newly deciphered drawings in the Gua Sireh Cave show the Bidayuh Indigenous people’s violent struggle against their oppressors, researchers say.
Artists are sifting through what was left behind, what was burned away, and what was buried both physically and emotionally to facilitate our track toward healing.
The violence of enslaver logic still lives on within the walls of Dutch cultural institutions, and has not even begun to disappear.
Nicholas Galanin’s 30-foot artwork in Brooklyn Bridge Park references an iconic Robert Indiana artwork to enact a critique of settler colonialism.
Two new books by Nigel Biggar and Adam Kuper advocate for wilful amnesia and collective repression of British colonial brutality.
From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
In conversations with Hans Ulrich Obrist, Glissant proposed an Art Museum of the Americas.
The documentary/fiction hybrid film 499 uses a fictional character to speak to real-life contemporary colonized people.
For all its bluntness, Exterminate All the Brutes never once utters the words “rape” or “capitalism.”
Attempting to interrogate its own lens, the documentary Stop Filming Us mixes sharp insights with disappointing shortcomings.
A hacked 3D scan of the famous sculpture shows how traditional models of heritage ownership might change in museums.