“In these plays, part of my job is to unflatten history in a way that’s engaging, and also shows us that it’s okay for us to feel overwhelmed and confused and scared by the world — that we’re not so different from the people who came before us. They got through it, and we will, too.”
“A lot of censorship in America has to do with the impulse to shut down what women have to say, literally hanging and burning them as witches to shut them up.”
A documentary about a “crazy genius,” theater owner and film distributor Donald Rugoff, a difficult but insatiable P.T. Barnum-like impresario whose storied rise and tragic fall in the movie business has been overlooked.
“If you are more critical or try to highlight some of the worst things that happen in America, then you are un-American or anti-American.”
“I’m an anarchist as an artist — I write what I want, however I want. I refuse to adhere to the forms that society hands down.”
Host Elizabeth Howard talks with Stephen Reily, Director of the Speed Art Museum in Louisville, Kentucky about the exhibition, “Promise, Witness, Remembrance.”
The reader comes away from Love’s Next Meeting with an awareness of the rich history of homosexual culture existed long before the Stonewall riots in the summer of ‘69.
One reason Fred Waitzkin’s work, outside of Searching for Bobby Fischer, is not as well known as it might be is that it doesn’t respect time-honored boundaries between fiction and nonfiction.
Last week, just a month after the publication of Loot in the US, the Met in New York announced that it was returning two Benin Bronzes to Nigeria.
“It is wonderful to see the variety, diversity, and the opportunities for Black artists to tell their stories and present themselves in ways that are not ‘traditional.'”