Emily Eveleth’s paintings of doughnuts are lurid, funny, unsettling, sexy, off-putting, luscious, puffy, bawdy, and excessive.
Tamara Lanier’s battle for the ownership of her ancestors’ images is forcing the law to contend with the the institution of chattel slavery in interpreting intellectual property parameters.
As a free, powerful, and unpredictable woman, the witch has long been a crucible for mainstream society’s darkest fears.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.
In a world delighted and entertained by displays of material excess, Diane Simpson shows that there is another possibility.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
Through the medium of paint, Nowinski seeks to connect the inner and outer states of her subjects.