The light in Sharkey’s images doesn’t so much cover his subjects but illuminates them from within.
“Unions Renewed” explores the changing role of organized labor under financial capitalism. It maps meaningfully onto the arts.
Eric Baus’s sentences follow the rules of grammar, but something inexplicable happens by the time you reach the end.
The Haunting of Lin-Manuel Miranda deconstructs the Broadway play’s abolitionist portrayal of the founding father with incisive, impeccably-researched satire.
Paul Celan’s truest homeland, paradoxically, was the German language — the language of the Nazis who imprisoned him in a forced labor camp and murdered his parents.
Revised and expanded, The Art of Pixar gathers color scripts from the studio’s short and feature films, mapping out the emotional beats of each story in lush hues.
I cannot think of another contemporary poet who is willing to expose his vulnerability, worry, and pettiness through the lens of humor.
Elizabeth Gray’s poems seek to discover where we are in the midst of a battle we can never fully see.
In Shame Space, the narrator obsesses over sex, money, fitness, drugs, friends, work, and self-hatred.
Prosaic and profound, Horn’s book “Island Zombie” feels like standing before art again.
John Yau and Albert Mobilio select a few choice titles from the past year.
In “Shaping the World: Sculpture from Prehistory to Now,” the issue crying out to be addressed is: where will sculpture go next?