Michael W. Clune argues that a popular mantra about art – everyone’s judgment is equal – impedes our ability to imagine a world outside of the capitalist marketplace.
Millennials and GenZ had time to contemplate the real harms wrought by capitalism during the pandemic shutdown. Perhaps they might read Oscar Wilde, now.
The New Woman Behind the Camera, an exhibition of midcentury women photographers, captures the ways they documented a changing world and reimagined their place within it.
Robert Altman’s Nashville is sour and sympathetic, accurate and exaggerated, messy and beady-eyed, a sprawling canvas reminiscent of Bosch or Breugel.
When I touched a copy of the Beatles’ Rarities from the odd, older man’s box of records, the hair stood on the back of my neck. These are the tales of a record collector.
‘All the Streets Are Silent’ Celebrates the Cross-Fertilization of Hip-Hop and Skateboarding in Pre-Gentrification New York
Elkin’s All the Streets Are Silent shows how skate crews and rappers picked up the mantle of guerrilla art and commerce in the post-Warhol and Basquiat years.
Louis Menand’s articulation of the relations between people, ideas, and forms in his work of Cold War history, The Free World, does not rely upon hierarchy.
Durrell’s unquestioned assumption of superior European culture paradoxically allows him to be keenly responsive to Alexandria’s multinational mix.