Noise in Formula 1 is reaching a breaking point where pleasing both fans and host communities may not be possible anymore.

Afghanistan has been exporting war rugs since 1979—many now hang in museums. So why don’t we know their makers?

According to Sally Whitman Coleman, Gerard David’s landscapes are non-functional alongside other Flemish Primitives—but Emily Vescio disagrees.

The Fuller Brooch dually embodies constructs of Englishness and the “Anglo-Saxon.”

Intricacies of type design influence our impressions as we read and thus our understanding of the world.

Anthony Portulese argues that the Group of Seven’s artwork promotes the illusion of a country born on uninhabited lands.

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.