If neon was an icon of mid-century capitalism as Luis de Miranda puts forth in Being and Neonness, what does it represent in our period of late capitalism?
In this excerpt of a history of the UK music press, A Hidden Landscape Once a Week, Tony Stewart recalls his time as writer and deputy editor at NME (1971-85) — the strengths and pleasures of teamwork and the vital role of the visual in the energies of a rock paper.
Olivia Erlanger and Luis Ortega Govela's Garage challenges the beguiling, energizing, and yet limiting power of the garage in America as a symbol of escape and reinvention.
If art is about the fostering and maintenance of traditions, then the Russians were proposing a kind of anti-art. An exploration of the exhibition catalog, Russian Dada 1914-1924.
While it's unlikely that you will ever come across an acknowledged gay, lesbian, or transgender person featured on an official holy card, it's quite possible that some individuals thus pictured snuck in under the radar, so to speak. Ria Brodell's Butch Heroes brings that tragic oversight to light.
Mitchell B. Merback exploits the cryptic nature of Albrecht Dürer's Melencolia I in order to encourage deeper speculation into one's self and the manner in which one engages with the world through the oft-misunderstood condition of melancholy.
Lee McIntyre's 'Post-Truth' is a history lesson and a call to action asking liberals to defend the concept of objective truth. But is it the best approach to the problem?