Inherent in these works is the suspicion that the game used to be more culturally significant, a stronger means of common experience, more straightforward with greater characters: Is this just a fluke of collective memory?
Some of the greatest minds in human history have advocated non-retaliation. Why has this never become a cultural value?
Japanese artist Sakuho Ito calls attention to the underlying and often denied causes of pollution and climate change.
Cattelan both mocks and embraces the capacity of the art world to create stars and make money, but what exactly is his message?
Destroying the environment, playing the philanthropist card.
Joseph Bellows Gallery in La Jolla, California shows the lifework of one of America’s best but underappreciated post-World War II photographers.
In Philip K. Dick’s novel A Maze of Death, doomed space travelers while away their time living through bizarre adventure scenarios in an advanced virtual reality system. Everything seems real, with their actual circumstances and previous virtual trips temporarily forgotten. Only after emerging from the system can the travelers realize their actual situation again and…
Is there a better model than what is called active learning, based on the passion, goodness and integrity of the individual teacher, and the desire to help elevate the life experience and self-development of others?
The type of landscape painting that Darthea Cross does has a history behind it which might be subtitled “from allegory to entropy.”
An online exhibit helps us realize what it took for African Americans to gain access to America’s art museums.
A look at sex in some of the most notorious films from the progressive 60s onward to see whether changing views on sexual relationships have popped up in our porn.
Public Art in New York by Seongmin Ahn
One of the “greatest” poems in the English language, found in virtually every poetry anthology, is based on shoddy interpretations.
In a new show at the Dayton Art Institute, Changing Times: Art of the 1960s, several pieces from the permanent collection are used to take a look at just how radical and dynamic the changes in art were in the 1960s.
The American paradox: even with “freedom” and equal protection under the law, social and economic injustice were not only still possible but rife.