Review
For director Frances O’Connor, the Gothic novelist is an artist who casts off repressive social norms and uses words to evoke (and exorcise) demons of terrible natural beauty.
It’s no wonder poets have been drawn to write about Guyer and Twombly’s work. We are carried away by an art that is always immediate, hic et nunc, but elsewhere too.
Veteran director Nicolas Philibert’s inspiring documentary about the humane treatment of the mentally ill touched the Berlin jurors in what was a generally disappointing competition.
This is an immigrant story that we’ve heard over and over again. Still, despite its familiarity, this particular quest for the American Dream — told in a wonderful and often funny mix of Spanish and English — is compelling and interesting.
Janet Malcolm never brings up the possibility that her powers of memory have dramatically diminished in old age. If that were the case, such an admission would’ve strengthened the book, giving it context. It would have humanized it, too.
Both jazz combos, The Bad Plus and Marc Ribot, sport connections to rock, which might have contributed to the sold-out room.
Instead of adoring function from an aesthetic distance, Matt Paweski confronts it where it lives. These sculptures play with the self-insistence that function has always had in modern design.
It is refreshing to encounter a script that is so determined to keep audiences off-kilter as it goes about undercutting domestic business as usual.
The banjo’s African relative makes its American debut via a new Smithsonian Folkways album.
Book Review: “What’s Prison For?” — A Case for Building Trust and Mutual Respect
In this valuable and necessary book Bill Keller argues that American prisons need to accept that men and women don’t stop being human beings because they’re in the custody of the state.
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