Review
The subjects of our critic’s favorite albums of the past year include a dragon, a sex-obsessed priest, Mỹ Lai, and a grand pageant about Jewish history.
The textile arts have been dissed by so many narrow-minded educators and critics over the years that it is heartening to have two exhibits (and their catalogues) treat the art of the woven with the respect and awe that it deserves.
“Concrete Utopia” echoes “Parasite”’s sharp critique of class exploitation, but it applies a faster pace and more restless energy to its vision of economic meltdown.
Like the novel it is based on, “Eileen” eventually becomes a morally ambiguous, and twisted, noirish mystery.
Love for Nanci Griffith has empowered a hell of a record.
The heart of Friday’s performance came in stark impressions borne through Anjimile’s vulnerable voice — along with a little help from his friends.
In this promising filmmaking debut of Cord Jefferson, we’re given a too-rare peek in cinema into upper middle-class African-American life.
One wonders sometimes whether the weight of acclaim doesn’t place an author beyond critical reproach. The bandwagon effect.
Samara Joy uncorked her gospel pipes, the likes of which probably haven’t been heard on mainstream secular stages since Aretha Franklin.
Was John Singer Sargent just a talented flatterer of his wealthy patrons or was there more to him?
The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues