Hear from barber Joshua Livingston about the power of community spaces to support connection and well-being, whether when visiting an art museum or getting a haircut.
Joshua Livingston: So, it wasn’t a bad haircut, it’s just that she wants it to grow
cards relating to the Primavesis—a postcard of June 26, 1912, to Emilie Flöge in Bad
Bad Neustadt an der Saale, 1996, p. 347, doc. no. 2.171 [translated from the French
In this interview, exhibition curator Kiki Karoglou shares provocative insights into the contemporary relevance of mythological hybrid beings and offers a behind-the-scenes look into the making of the exhibition.
In this period, beauty is associated with good character, and ugliness with bad.
The Frank Lloyd Wright Room was originally the living room of the summer residence of Frances W. Little, designed and built between 1912 and 1914 in Wayzata, Minnesota, a suburb of Minneapolis.
of the central windows‘ ornamentation and grumbled that the amended form „is not bad
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
that our world was created in the intermingling of the cosmic forces of good and bad
How is Black dandyism integral to Black identity and the history of fashion?
The bad stuff. The things-nobody-could-help stuff.
The memory, meaning, and makers of Palestinian embroidery.
by more experienced hands, perhaps by her mother, to protect her daughter from bad
The archaeology of rubbish.
Because essentially trash, as bad as it is, that did sustain us.
This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
in the 1420s after Conrad von Soest’s Niederwildungen Altarpiece [Stadtkirche, Bad
