Ed Roberson’s motorcycle ride from Pittsburgh to the Pacific is a quest-romance, an exploration of American culture and American mythology.
In his new book, Tyler Green argues that landscape was Emerson’s method of glorifying territories shaped and bordered by White men.
In Paul, Daisy Lafarge delicately unpacks the power plays and mind games of a toxic relationship, with an emphasis on society’s — and art’s — silencing of women.
The shirtless, sweating men splayed across and against car hoods and dashboards in Derby convey a sense of bonded brotherhood and physical intimacy.
My Friends Are Missing, a stunning handmade paper-cut pop-up book by Keerthana Ramesh, features 30 critically endangered species from around the world.
The director’s collages hold the same kind of sly humor, quiet dread, and concise observations as his films.
Designing Motherhood includes over 100 objects spanning medical devices to depictions of laboring women in films.
Hell Hath No Fury provides fundamental clues as to why it seems that we cannot escape reincarnations of hell in either Dante or on Netflix.
In a hybrid text combining criticism and poems Robert Vas Dias explores the paradoxes of still life painting.
When the COVID-19 pandemic caused the world to go digital in 2020, a small team of artists, writers, and curators in New Delhi, India, started working on a dream project, prompted by the joy of print.
In 1999, photographer Naomi Harris followed a group of resilient seniors who, despite physical limitations and difficult pasts, were independent, sociable, and fun.
With Afghanistan’s “war rugs” a traditional art form was updated in response to the country’s brutal invasions by other nations.