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These days, I worry that David Mitchell is losing touch with reality.
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It is an apt time to honor these pioneers: to recognize that we are here, and have always been here, making compelling art from under the shadow of oppression.
Read MoreIntroduced by gigantic moving set-pieces and robots with prison searchlights for eyes, Bolt often looks like poster art.
Read MoreAn Arts Fuse regular feature: the arts on stamps of the world.
Read More“We’ve let too many valuable creative people leave for Brooklyn, Austin, and Portland. We need to do something about that.”
Read MoreKevin Young’s poetic line is generally on the concise side, generating a pithy, earthy, evocative quality that hovers somewhere between the haiku-like jazziness of Robert Creeley and the delta blues of Son House or Skip James.
Read MoreSo what was so impressive about the lineup of films at the 17th Maine Fest? Catnip for me are 35mm films on the big screen..
Read MoreThe Commonwealth Shakespeare Company’s production of “The Two Gentlemen of Verona” is spunky and engaging — but the play is spun in one direction, away from its weird edginess.
Read MoreAuthor Christian Caryl ends “Strange Rebels” with the idea that “if the experiences of 1979 suggest one conclusion, it is that we should never underestimate the powers of reaction.”
Read MoreViolinist Anne-Sophie Mutter gave a searing, intense reading of the solo part in Nostalghia (In Memory of Andrei Tarkovskij).
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Visual Arts Commentary: John Singer Sargent — A Particular Sort of Loner