Every now and then there comes a book which is like an arrow shot into the heart of things because it has the power to redeem the fading, diffuse enterprise of bookselling and novel-gazing both, all the misbegotten hours spent … Read More
The Morning After Virginia said she would make the breakfast herself. For it was a beautiful London morning in June. She kicked back the covers and looked at Cady Stanton’s luscious ass. Smelled faintly of honeysuckle. Or was that patchouli? … Read More
The utilitarian function of the museum as mere container has long been eclipsed by its function as signifying apparatus. On the one hand, the design of the interior is responsible for the terms of encounter with individual works of art. On the other hand, the shape of the exterior mediates and proclaims a role for art within the surrounding architectural landscape, cultural mise-en-scène, and even historical moment.
Frankly, I hope he rots in hell. There is no figure more odious than the man who supplants democracy with tyranny. Augusto Pinochet sailed into power on the crest of the military coup dï¿½etat that threw democratic President Salvador Allende out of office and into a coffin.
Before I launch into abstract, quasi-provable thoughts as to why the Vagina Monologues rocks my socks, I’ll put forth two concrete arguments for why this show, opening February 15th, is unique, funny,
and well worth seeing.
The political history of South Carolina is full of funny stories. Yet amid a landscape scarred by utter military catastrophe, deep racial injustice, and still bitter historical tragedy, these stories seem sometimes not so funny. Or maybe they’re funnier. During the presidency of Franklin Pierce, Congressman Preston Brooks cudgeled Massachusetts Senator Charles Sumner nearly to death with his cane.
Photographs are unquestionably deemed to be accurate representations of the real; whereas a painting is inherently considered to be a fictive interpretation of its subject, a photograph simply reports its subject as it is. Or does it? How is this … Read More
Jean Baudrillard was a poor philosopher and a poorer sociologist. As a writer, he was inconsistent and cracked-out – as much inclined to the output of turgid rivers of prose clotted with effluvial jargon as he was to effervescent plunges … Read More
Many works of art have emerged in the aftermath of the 9/11 attacks as part of the collective struggle to commemorate, understand, and situate them within the rapidly coalescing frieze of our shared memory. Thanks to the plethora of novels sprung up in the ashes of disaster, we are now privy to such worthwhile phenomena of universal human interest as the tone-poetic hi-jinks of the chattering classes in the months preceding the big event, as in Claire Messud’s respectable novel The Emperor’s Children, and the annoyingly precious musings of the insufferably earnest, as in Jonathan Safran Foer’s not-so-respectable novella Extremely Loud and Incredible Close.
“If thine eye offend thee, pluck it out.” -Jesus, Matthew 18:8 “Your right eye is half-a-millimeter too high,” Dr. Christian Troy informs an aspiring model during the pilot-episode of Nip/Tuck. “And you have an Irish nose,” he quickly adds as … Read More
It’s fitting that the two floors housing the exhibitions “Picasso and American Art” (reviewed in the issue of October 12) and “Edward Hopper: Highlights from the Collection” are adjacent. These shows typify two different trends of 20th century American art … Read More