New Formation: Janelle Monáe’s Radical Emotion Pictures
"Dirty Computer" finds Monáe not only inserting herself into traditions that can’t fully contain her but resculpting them in her likeness.
"Dirty Computer" finds Monáe not only inserting herself into traditions that can’t fully contain her but resculpting them in her likeness.
Robert Wood reviews the "great poetic gift" of "João" by John Mateer.
On the exclusion of Armenian artists from the Glendale Biennial.
Geoff Nicholson focuses on “Double Vision: The Photography of George Rodriguez,” edited and introduced by Josh Kun.
Colin Marshall on "Burning," Lee Chang-dong's latest film based on a Haruki Murakami short story.
Kristin Marguerite Doidge attends Nora and Delia Ephron’s off-Broadway hit play "Love, Loss, And What I Wore."
Electrifying and entertaining, "The Rise and Fall of D.O.D.O." uses rich characters and a gripping plot to make a well-researched, time-traveling adventure.
Why are we so fascinated right now with technological utopias predicated on the rise of artificial intelligence?
The duality that Sylvia Plath wrote about in her thesis provides the basis for the personality of Esther, the protagonist of Plath’s “The Bell Jar.”
K. Aleah Papes considers Kogonada's 2017 debut feature film "Columbus."
This is the third installment in a bi-monthly column that will explore some of the different cultural facets of popular feminism.
"'The Plant Messiah' aims to ignite a movement." Jeremy B. Yoder on Carlos Magdalena's new book.
Wim Wenders, one of cinema's greatest living directors, tells the astonishing story behind his new documentary "Pope Francis: A Man of His Word."
"Religion and Film" makes the otherwise confusing relationship between religion and film perspicuous in ways that few academic studies have .
Andy Fitch and Andrew Epstein discuss the work of Joe Brainard and his fabled "I Remember" structure.
Primitivism is back, not that it ever left. Ben Etherington on the historical and contemporary notions of primitivism.