The museum forgets that it is already a violent graveyard of colonial-era cultural trophies removed from their homelands under dubious circumstances.
Bryan Zanisnik’s “Silk Monument” features archival images to honor the contributions of Syrian and Armenian migrants who worked in New Jersey silk mills.
Life in Palmyra did not stop in the third century but has gone on more or less continuously at the site for the 1,700 years since.
Khaled Al-Asaad was beheaded in 2015 after refusing to lead ISIS to ancient artifacts from Palmyra that he had hidden in a secure location.
Syrian director Feras Fayyad, whose film The Cave is nominated for Best Documentary Feature, is the latest high-profile artist experiencing visa troubles.
Matthew Schrier, who was captured by Al-Nusra Front in 2012, is accusing Qatar Islamic Bank of directly funding a charity that funneled money to terrorist groups in Syria.
For Sama directors Waad al-Kateab and Edward Watts talk to Hyperallergic about turning al-Kateab’s many hours of personal footage into a documentary.
Investigative journalism website Bellingcat, with the help of research group Forensic Architecture, seeks to put an end to the theories that the harrowing chemical attack against civilians in April 2017 was a “false-flag operation.”
The two countries signed a memorandum on the restoration of monuments and artifacts in the ancient city.
Artist Asad J. Malik’s project uses augmented reality to bring the Syrian conflict into everyday living spaces.
‘A Syrian Love Story’ has an opportunity to do delicate, powerful work; instead, like its subjects, it gets trapped within the limits of its own choices.
Since its capture by ISIS in May of 2015, Palmyra has become a kind of archaeological fetish for the West.