According to Sámi artist and architect Joar Nango, “colonization and architecture are not separate phenomena.”

L’histoire du Salon public du Louvre, racontée à travers le sujet caché de la race.

Bles imagines a novel frontier through the overlooked set-pieces of Northern Renaissance paintings—one where nature is a primary narrative-emotive device conveying the Lord’s wrath.

When curating Artemisia Gentileschi, what story does one tell—that of a violent life or a pioneering businesswoman?

“All wars are fought twice, the first time on the battlefield, the second time in memory.”

Using Unconscious Rivals and other Roman genre scenes as a case study, Taryn Power examines the use of Roman literature and history as a language for discourse about gender, sexuality, and urbanity in late-nineteenth century London.

Botticelli’s Venus exhibits a dual, paradoxical nature: she is both shamed into modesty yet empowered by her sexual agency. Consequently, she may be understood as a symbol of sexual— and thus societal emancipation for oppressed and marginalized individuals.

Precisely what an NFT is, relies on the evolving understanding of ‘authenticity’ that has been central to the art market since its inception.

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.