IT’S HARD TO alight on a response to Lisa Yuskavage’s paintings. The topless models and cute, lollipop-sucking young girls can look frosted, almost airbrushed, our culture’s detritus incongruously rendered with virtuosic technique. When paint is handled like this, both old masters and trashy
RONI HORN'S WORK urges us to see the unfamiliar in familiar materials and phenomena—the weather, for instance. She has described water as “just tumult everywhere endlessly, tumult modulating into another tumult all over and without end,” a notion she conveys particularly well in the 2000
You have to hand it to Michael Peppiatt’s Francis Bacon in Your Blood: That acute title calls up an entire juicy slice—slab?—of modernist antiquity. Emerging from London’s queer-Dickensian gutter like a pestilent hedgehog from an air-raid shelter (or sewer, his detractors said), Bacon saturated
Nearly twenty years ago, Susan Sontag, in “The Decay of Cinema,” lamented, “No amount of mourning will revive the vanished rituals—erotic, ruminative—of the darkened theater.” But a decade before this dirge was written, Boyd McDonald, who had largely abandoned going out to the movies in
PILOTS CALL IT “spatial-D,” short for spatial disorientation—the dizziness and inability to determine where your body is in space when you’re deprived of a clear visual horizon. The phenomenon can send a pilot into a tailspin; viewers of Hiroshi Sugimoto: Seascapes won’t crash anywhere, but they
Superficially, 2015 has been a banner year for Bill Bryson. After a long tour in development hell, the movie based on his 1998 book, A Walk in the Woods—his chronicle of a months-long trek, with an old friend, along the 2,100-mile Appalachian Trail—finally found its way into American theaters in
In Charles R. Rushton's 1991 black-and-white portrait, Agnes Martin (1912–2004) sits in a wooden rocking chair in the left third of the frame, beside the white cement wall of her New Mexico studio. One of her canonical six-by-six-feet canvases hangs low to the ground next to her, its horizontal
There’s a shorthand phrase in Israel for describing the politics of war and peace that permeates everything: ha matzav, “the situation.” You might come upon a conversation between two people and ask, “What are you talking about?” And the response would simply be “the situation.” This
The piney backwoods of East Texas might be the unlikeliest place on earth to produce a writer like William Goyen. He escaped via the navy, and he might have easily become an artist who left home and never looked back. Instead, that "bewitched" landscape loomed large. "All serious art celebrates mystery, perhaps," Joyce Carol Oates once wrote, "but Goyen's comes close to embodying it."
I'm Very Into You does nothing so routine as "revive" Kathy Acker's reputation. Rather, it makes a figure with whom we've grown familiar seem strange: It offers a new light in which we might read her work, and it brings to her new life.