Madeleine Mitchell formulates a model for assessing Craft Revival coverlets as art in order to argue for their consideration in the art historical scope.

Gentrification, activism, and community come together and conflict in the Plateau-Mont-Royal’s street art.

Kent Monkman and Rebecca Belmore appropriate the materials and styles of colonisers to express Indigenous themes as they relate to anticolonialism.

The Grand Escalier sites the contradictions of Second Empire society that existed in post-Haussmann Paris. Acting as a microcosm of the newly modernised city, the space privileges the flâneur, veils the Parisienne, and erases the existence of those who do not perform social respectability.

A deep dive into the history of Montreal’s Chinatown via examinations of multiculturalism, aesthetics, and survival.

Mohawk photographer Shelley Niro and urban Iroquois photographer Jeffrey Thomas reclaim photographic authority to unsettle and repurpose the colonial archive and its myths.

Danse macabre (édition Heidelberg, 1488) emphasizes the innate ties between human individuals and attempts to bridge social divides in an institution which has historically promoted these exact class divisions and social hierarchies—an act which may be consequently understood as a demand for social change in contemporary society.

The OWI took advantage of the popularity of comedy shows to explain government goals in simple terms and encourage Americans to make sacrifices for the war effort.

The Virgin may be understood as the quintessential figure of both iconographic universality and malleability—allowing for the simultaneous creation of a shared identity across the Byzantine Empire and of unique particularities relevant to specific sacred sites.

Lily-Cannelle Mathieu argues that radioactive photographs have the potential to cause affective, embodied responses in beholders by disturbing their bodily integrity, the material frontier of their very being.

The art produced in the Soviet peripheries, particularly in Central Asia, provides insights to the complex and nuanced way the Soviet Union embedded itself in local society.

By showing that post-Soviet culture and queerness are not mutually exclusive, and by playing with the idea of a queer Western ideology, artists have exposed the contradictions surrounding the invisibility-visibility dichotomy imposed by the state.

In the heat of second-wave feminism and political revolution, Judy Chicago (born in 1939) played a central role in using art as an expressive tool for social change.

This collection seeks to complicate established narratives surrounding the use of Christian iconography by queer artists and subjects in the contemporary period.

Like poetry, Rossi’s architecture is crowded with allusions and rhythm. If one only reads the words and not the meaning, then it becomes a one-dimensional, distant and opaque conception. Once consciousness and wisdom penetrate the layers of his creation, the beauty within it will bloom.

It is possible to argue that Michelangelo’s Rape of Ganymede, gifted to Tommaso de’ Cavalieri, expresses the artist’s ambivalent homoerotic feelings about his love for Tommaso.

As viewers we are attracted to a spectacle which is at the same time delicate and morbid, drawing us in by playing upon our nostalgic connection to the perceived beauty of nature and our fascination with witnessing the traumas of others.