This year, Romero will be installing photographs of California’s Indigenous peoples on billboards and public places throughout Los Angeles.
Why Are the Noses Broken on Egyptian Statues?
This essay is an account of truly learning to see what is and is not present in these objects.
A Museum Director Asks: What if Art Museums Can’t Measure Up to the Present Moment?
As the world moves rapidly toward irreversible and necessary change, art museum directors are talking about adapting their institutions to the times. But what if adaptation is not enough?
“Why Is Television Dumb?” and Other Musings by Nam June Paik
In the recently published collection We Are in Open Circuits, Paik’s prescient critiques of image consumption suggest he probably would’ve been great at Twitter.
Pseudoarchaeology and the Racism Behind Ancient Aliens
Where, exactly, the idea of ancient aliens building the pyramids began — and why some academics think racism lies at the heart of many extraterrestrial theories.
The Beatitudes of Bill Traylor
I wonder if it is possible for black Americans and white Americans to really see the same thing when they look at the creations of institutionally minted “modern” black artists.
Why We Need to Start Seeing the Classical World in Color
The equation of white marble with beauty is not an inherent truth of the universe; it’s a dangerous construct that continues to influence white supremacist ideas today.
An Illustrated Guide to Linda Nochlin’s “Why Have There Been No Great Women Artists?”
First published in ARTnews in 1971, Nochlin’s essay is considered to be one of the first major works of feminist art history.
The Worst McMansion Sins, From Useless Pilasters to Hellish Transom Windows
Kate Wagner’s blog McMansion Hell is like a snarky DSM-IV for all that ails contemporary over-building in suburban developments.
A Brief History of the Art Collectives of NYC’s Chinatown
Chinatown has long been a home to radical organizers and artists, collectives, and movements that have taken on questions of art production and displacement.
Why Are There Dead Birds on Victorian Christmas Cards?
One of the more curious recurring images on 19th-century Christmas cards is the dead bird, which may symbolize mortality or something more ritualistic.
Artist Anton van Dalen on the East Village, Saul Steinberg, and Pigeon Keeping
Next time you’re walking through the East Village, take a moment to look up at the skies over Tompkins Square Park. You might just spot Anton van Dalen’s flock of snow-white pigeons. The artist, who first learned to rear the birds at the age of twelve, is one of the few remaining pigeon keepers in Lower Manhattan.