New multisensory approaches to presenting visual art propose solutions to barriers that limit access for marginalized audiences.
Amsterdam, Netherlands - April, 2017: Visitors watching ‘The Night Watch,’ Rembrandt’s largest and most famous painting in Rijksmuseum’s Gallery.
Shutterstock
The Dutch master has intrigued art-lovers for four centuries. His strength in depicting the human experience compels audiences even after four hundred years.
Mona Lisa, Musée du Louvre, Paris, April 2019.
Susan Broomhall
Preminda Jacob, University of Maryland, Baltimore County
A new piece of performance art features a lookalike Ivanka Trump vacuuming crumbs. Not only is it a cutting commentary on labor and gender, but it also highlights the complicity of the viewer.
A painting titled The Bridge Over the Waterlily Pond by Claude Monet.
AAP/National Gallery of Victoria
Bees can pick up unique characteristics in paintings by zipping quickly back and forth in front of them to detect abrupt changes in the brightness of an image.
‘Girl With a Balloon’ was renamed ‘Love Is in the Bin,’ after it self-destructed at a Sotheby’s auction on Oct. 5.
Sotheby's
Preminda Jacob, University of Maryland, Baltimore County
When artists destroy their works, it’s usually to express their disdain for critics, dealers and curators. But does this get lost in the attention, hype and money that follows?
Mario Klingemann’s ‘Neural Glitch Portrait 153552770’ was created using a generative adversarial network.
Mario Klingemann
If we’re going to grasp what makes Eakins’ art so tragically powerful, we should be honest about the man who made them – and the impulses that drove him.
Sir Anthony Van Dyck’s Charles I. Google Art Project.
For centuries, women with dwarfism were depicted in art as comic or grotesque fairytale beings. But artists are challenging these portrayals and notions of beauty and physical difference.
A Confederate statue lies on a pallet in a warehouse in Durham, North Carolina after protesters toppled and defaced it.
AP Photo/Allen Breed
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne