Main Gallery

SORT Random (lowest)Random (highest)Date (lowest)Date (highest)Views (lowest)Views (highest)Favorited (lowest)Favorited (highest)Social shares (lowest)Social shares (highest)Post Date (lowest)Post Date (highest)

Forest activist and environmentalist Julia Butterfly Hill spent two years (Dec. 10, 1997-Dec. 18, 1999) living 180 feet high, on two six-by-six-foot platforms, in the canopy of a thousand-year-old redwood tree named Luna to help make the world aware of the plight of the redwood forest.

For artists exploring themes of violence towards humans and animals, there is a fine line between thoughtfully engaging and needlessly shocking the viewer; being sensationally explicit can turn people away while being tacit or innocuous may fail to make an impact.

"This project was launched in the wake of the police shooting of 16-year old Brooklyn resident Kimani Gray. Blue NYPD barricades left in piles around the city were spray-painted with the names of people killed by police, then re-deployed in public space."

This project is a participatory art action initiated by the Action Office in 2024.

In 2013, Shell sent out press releases about their upcoming event, the Science Slam, which would aim to “celebrate the company’s responsible oil production” and “showcase ideas for renewable energy by scientists and students.” Essentially, Shell organized this event in the hopes that it would allow the multinational oil company to appear as if it is actually concerned about the environment and finding alternatives to oil.

Say hello to ArtActivistBarbie (AAB), whose modus operandi is small signs, big questions and a fabulous wardrobe. With her inviting call to arms, “Refuse to be the muse!” this fierce new incarnation of Barbie is helping to challenge art galleries and museums worldwide about their woeful lack of women and other minorities in their collections, and reluctance to consider the female gaze.

Concept 1. This is a participatory art action initiated by Action Office, aiming at questioning current democratic elections in Singapore and shaping an alternative possibility. 2. Design the pocards to resemble ballots, inviting people to fill out election results and mail them to the corresponding country’s polling stations or current government.

Wilson’s intervention was a correction of the museum’s identity in the sense that it made the underlying racism apparent. Using glass cases and neat labeling, Wilson’s installations mimicked the usual methods of museum display but with a twist so that a new voice or persona was created. As he said it himself: “By bringing things out of storage and shifting things already on view, I believe I created a new public persona for the historical society.”

On Sunday April 3rd, Art Not Oil coalition member group BP or not BP? occupied the Great Court of the BP-sponsored British Museum with a 'disobedient exhibition'. Called 'A History of BP in 10 Objects', the exhibition featured artifacts submitted by frontline communities around the world who are fighting back against the impacts of BP's operations.