Pompeii in Color at New York University presents a scintillating close read on the fresco art of the lost city’s villas.
A testament to José Esteban Muñoz’s ongoing legacy and influence, the hybrid exhibition gestures towards the expansiveness and accessibility we need.
As part of Cyber Healing, artist Moréna Espiritual will be leading a dance workshop designed to “combat the erasure of Black history within Latinx culture.”
According to a document by the group Indebted Cultural Workers, MoMA director Glenn Lowry takes home about 48 times the salary of an education assistant at the museum.
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
Last year, a group of artists and activists developed a project satirizing Mexico’s mistreatment of the migrant “caravan” from Central America. When media outlets started broadcasting their satirical video, it triggered an outcry against what many cast as hypocritical racism and bigotry. Does it matter that the video was fake?
NeoRealismo: The New Image in Italy, 1932–1960 presents an intricate survey on how photography changed (or didn’t) during Italy’s transition from Fascism to democratic capitalism.
Emma Sulkowicz stood up against rape culture three years before the Harvey Weinstein story broke, but most articles about “Mattress Performance” erased the artist’s queer identity. Why?
Now working at New York University, Glenn Wharton is responsible for the comprehensive David Wojnarowicz Knowledge Base. Joan Jonas is next.
On May 11–13, the Institute for Public Knowledge at NYU will host an event dedicated to the politics of printed matter and digital archiving.
The Institute for the Study of the Ancient World explores widespread modes of timekeeping in the Greco-Roman world and their continued influence today.
Felix Gonzalez-Torres once made the argument that all art is political, even an artist’s choice to focus on the purely aesthetic.