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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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In the age of COVID-19, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music — mostly available by streaming — for the coming weeks. More offerings will be added as they come in.
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The rewards are slight in new politically-minded books by a pair of shrewd and perceptive women.
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A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
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The show may be a case of inside baseball, appealing to a small group of art history majors and museum lovers. But it offers a fascinating look at innovation at one of the country’s most revered, and most traditional, colleges.
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Is the artist’s direction of clothing choices — and how he painted the garments — a sufficiently compelling inquiry in which to anchor an exhibit?
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Ludwig Hohl belongs in the line of such lucidly contentious thinkers as Karl Kraus, Pascal, and Lichtenberg, commentators whose writing oscillates between the traditions of literature and philosophy.
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The point of Bob Dylan’s project is emotional rather than definitive: to probe the power of song to influence us, make us feel, and ultimately transform us.
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We Carry Their Bones arrives at a time of increased interest in the history of racism and reform schools, particularly in Florida.
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Legendary percussionist Bill Bruford’s recorded output reveals him to be a restless innovator who went from one band to another so he could learn more about his instrument and about himself as a musician.
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Holiday Commentary: Making Room for the Stranger