This week, Robin D.G. Kelley on the Arnautoff murals, Instagram is ruining architecture, animal rights on the left, the best classical music of the 21st century, and more.
Adrienne Adar’s attention to botanical sentience seeks to decenter human perspectives on non-human entities.
When I got to know Bill Berkson, my life as a writer was completely changed.
A first-ever biography of the pioneering British modernist charts the creative path of an intense and deeply sensitive painter.
Diana Cherbuliez’s Trigger Warning looks at our society, where disasters occur on a regular basis and are fodder for our cultural anxieties and voyeurism.
An odd pairing of drawings by Eva Hesse and sculptures by John Chamberlain sets up unintended comparisons between two artists who otherwise seem to share only an ingrained rebelliousness.
The tension between classicism and chaos is one of the many things that sets Bruce Gagnier’s art apart from figurative sculpture stretching back to Auguste Rodin, Camille Claudel, and Edgar Degas.
The art and literature in Invisible Colors turn our gaze toward the blinding fury of the atom’s explosion in its singular purpose to raze and slaughter.
At the Portland Institute for Contemporary Art’s Time-Based Art Festival, performances by Mia Habib and Ligia Lewis stood out for their engrossing contributions to the ever-evolving medium.
Poverty wages, scarce benefits, job insecurity, and difficulty to unionize. After a spreadsheet about adjunct salaries went viral, professors discuss why their struggle should matter to everyone.
Thanks to a new release from the American Genre Film Archive, an obscure yet ahead of her time feminist auteur is finally getting her due.
Relish Italian luxury retailer Seletti’s “Burger Chair” — which looks uncannily like Claes Oldenburg’s “Floor Burger.”