What’s most remarkable about Carlos Lara’s Like Bismuth When I Enter is the palpable sense that the author is translating life into language.
The symbolism that runs through much of de Chirico’s visual art is also apparent in his poetry.
The poetry of Ariana Reines outlines a utopian prospect where suffering can be transformed into benevolent light.
Not every work tells a story; not every story told about a work enriches it.
NADA’s programming this year focuses on the local, emphasizing the ongoing programming of brick and mortar galleries over the quick fix of an art fair.
Jasmine Gibson’s training as a psychoanalyst seems to permeate the organization of her poems’ imagery.
A quiet exhibition conveys a unique vision on the outsider’s place in American society.
HOUSING, whose mission is to support artists of color, will relocate from Bed-Stuy to an as-yet undetermined location in the fall.
References to shadows, ghosts, and other “gothic” images in Nadia de Vries’s debut poetry collection can be read as representing relationships experienced online.
Reading these and the other poems that make up Out of Print what struck me was less the ostensive morbidity of Poirier’s images than the searing honesty underlying them.
For his exhibition, Daniel Turner turned a set of steel and wood tables and folding chairs into a fine dust and sprayed it on the floor of Berlin’s König Galerie.
I always remember Kate McGraw’s artworks as a colorful sprawl of integrated textures — equal parts playful, abstract, and socially aware.