A blogger’s shaky snapshots from an exhibition opening reveal where a Lakshmi-Narayana statue stolen from a temple in Kathmandu in 1984 had ended up: the Dallas Museum of Art.
Whose and Whom brings together artists from around the globe who posit the body as a vehicle for performing gender.
Soundwalk Collective recorded wind at 200 villages and monasteries in Nepal to create an immersive experience at the Rubin Museum.
To coincide with the one-year anniversary of the April 25, 2015, earthquake in Nepal, the Rubin Museum of Art is launching a series of commemorative projects, including an online exhibition that celebrates the unique culture of the region.
Just in time for your summer beach trip, J. Crew has released a limited-edition tote bag emblazoned with a Slurpee-shaded landscape and discreet sans serif lettering wishing “Love to Nepal.”
Prime Minister Sushil Koirala has said the country needs about $2 billion for reconstruction and has expressed the hope that all buildings — homes, businesses, and historic sites — will be back up in two years.
The collection of the Nepal Fine Arts Academy (NAFA) is at risk of being lost following the April 25 earthquake that killed thousands and destroyed countless historic and cultural sites.
The Rubin Museum of Art opened an installation of Nepalese art today to launch its Honoring Nepal programming series, which celebrates the culture of the earthquake-devastated country.
A crucial need in any rescue effort — perhaps just as important to saving lives as medical supplies, food, and tents — is an up-to-date map that humanitarian workers can use to more efficiently navigate the rubble.
KATHMANDU, Nepal — The Kathmandu International Art Festival opened on a sunny November 25 morning in the grand ballroom of Yak & Yeti hotel in Kathmandu. Though this was the second international art festival (the first was Between Myth and Reality: Status of Women in 2009) to be hosted in the new republic of Nepal, in terms of scale, it was unprecedented, a rare non-profit and non-commercial endeavour showcasing the works of 95 artists from 31 countries spread across 16 venues.
Urban Knits, a small book of colorful photographs, explores a relatively new kind of graffiti called “urban knitting,” self-proclaimed to be the most “inoffensive” type of urban graffiti. Like most books of its kind, a collection compiled by theme, Urban Knits unintentionally shows the wide discrepancies in quality that exist in all forms of art, but that are especially prevalent in graffiti and street art. When the impetus for making art is not exclusively about the quality of the work itself but rather about the act of leaving a mark, the results are often less than imaginative. This seems to hold true for tagging as well as knitting.