B-SIDE-ART

  The Draken Harald Hårfagre has done something no movie prop ever needs to do: it has actually crossed the Atlantic Ocean, under its own sail, with a real crew rowing real oars through real North Atlantic swells. Built in Norway using traditional Viking shipbuilding techniques, it is the largest longship constructed in modern times. This summer, it sailed toward Oslo for the July 17 premiere of a film in which it plays a ship that, historically speaking, could not have existed for another two thousand years. In Christopher Nolan's "The Odyssey," the Draken stands in for an ancient Greek warship from the Late Bronze Age — the world of Homer, roughly 1600 to 1100 BCE. The Draken is a Viking vessel, a design that would not exist until the ninth century CE. Nolan built his film around practical effects rather than digital fabrication, and reportedly told the Los Angeles Times he needed something wooden-hulled, built with ancient technology, that could survive open ocean in g...

  For years, anyone could walk into the Kunsthaus Zurich and stand in front of paintings by Van Gogh, Cézanne, Matisse, and Max Beckmann without paying a private collector a cent to see them. The works belonged to Werner Merzbacher, a Swiss businessman who built his fortune in fur trading and currency exchange, and who had quietly placed much of his collection on long-term loan to the museum since 2018 — an arrangement that asked nothing of the public and depended entirely on his own continued goodwill. Merzbacher died in 2024. The goodwill, according to Swiss reporting, may not have survived him. Wikimedia Commons, Public Domain — Vincent van Gogh, "Wheatfield with Crows" (1890). Reference image only. Much of what Merzbacher owned had come to him through his wife's family — inherited by way of his grandfather-in-law, Bernhard Mayer, a name that appears nowhere on museum wall labels but sits quietly behind an Impressionist, Post-Impressionist, Fauvist, and German Expressi...

  On July 15, 2026, plainclothes officers moved through Mong Kok's narrow shopfronts and into two bookstores that had spent years selling what larger chains would not. At Have A Nice Stay, opened by a group of former journalists, and at nearby Greenfield Book Store, police arrested five people connected to the two shops — two men, three women — citing Hong Kong's national security law. All five were later granted bail. Behind the counters, shelves still held whatever inventory hadn't yet been flagged as "seditious," a designation no bookseller in the city can fully predict in advance. This is not an isolated incident. It's the third such raid in four months. In March, police detained Book Punch founder Pong Yat-ming and three staff members, reportedly seizing a biography of Jimmy Lai, the pro-democracy publisher now serving a 20-year sentence. In June, two other booksellers were arrested on charges of selling seditious material and receiving funds from foreign...

  Paris, around 1990. Lee Bae, a painter newly arrived from Cheongdo, South Korea, has no money for oil paint or canvas. Rent alone strains what little he has. He needs a material he can afford, and at a modest shop — by most accounts a gas station or a neighborhood supermarket — he finds an inexpensive bag of ordinary barbecue charcoal, the kind sold for grilling, not for art. He buys it anyway. Nothing about the material asks to be looked at — it is fuel, ash-black and cheap. But he opens the bag, turns a lump over in his hand, and does not put it down. That small act of thrift, a poor painter buying what he could afford instead of what he wanted, becomes, over the following decades, one of the more improbable turns in contemporary art. Charcoal is wood that has already died once — burned, blackened, reduced — yet it does not simply end there. Lee Bae found in it a material that had passed through fire and come out the other side, still capable of holding form, still capable of b...

  For most of the twentieth century, a Jesuit residence in Dublin had a dark, dramatic painting of a betrayal hanging quietly in its dining hall. The priests who ate beneath it believed it was the work of a minor Dutch follower of a more famous Italian master. It hung there through decades of dinners, unremarkable, misattributed, until a restorer finally looked closely enough in 1990 to recognize what it actually was: a lost original by Caravaggio himself, "The Taking of Christ," painted around 1602 and missing from the historical record for nearly two hundred years. That kind of disappearance was not unusual for him. Caravaggio was, by multiple accounts, the most electrifying Italian painter to work since Michelangelo — whom he was not related to, though he shared the name — and he was almost completely forgotten within years of his own death. Paintings were quietly reassigned to other artists' catalogues. His name barely survived the century he died in, and it would tak...

  The room had been excavated in 2010 by the National Geographic Explorer William Saturno. Sixteen years later, someone was still staring at one faint patch of paint on its east wall, trying to work out what it said. The building is a small masonry structure at Xultun, a Maya site in the jungle of northeastern Guatemala, 340 kilometers southwest of Guatemala City. Its interior walls are covered with portraits of seated and kneeling men, each labeled with the title taaj — "obsidian," a term for a class of scribes and scholars — and with more than fifty faint mathematical notations scattered across the plaster like a scratch pad nobody bothered to erase. One cluster, designated Text 19, sat below a larger, already-deciphered inscription: eleven small hieroglyphs, ten centimeters tall in total, easy to miss even for people who had been staring at this room for years. The Met, Public Domain — Chakalte', "Relief with enthroned ruler" (770 CE), Maya, La Pasadita, Guat...

  Every tattoo Noore Yazigi has ever given herself disappears under black gloves the moment she starts work — except one. Arabic script stretches across her wrist, spelling the word for Palestine, and it stays visible whether she's on duty or off, catching whatever light comes through the windows of Monolith Studio in Brooklyn. Yazigi is of Palestinian and Lebanese descent, and her own hands carry the lightest scribbles of the same permanent ink she gives her clients — Arabic letters twisting along the veins of her fingers, like practice marks she never bothered to hide. Yazigi has become known there as the artist who brings Arabic calligraphy into a tattoo studio. What she inks onto skin traces back to a script that, for over a thousand years, mostly lived somewhere else: the pages of the Quran, the walls of mosques, the borders of illuminated manuscripts copied by hand for royal libraries. She is moving that same visual language onto a surface it was never historically meant to t...