The National Portrait Gallery in London has published a compendium of what portraiture means for the 21st century. While the media may be more tech-heavy than previous centuries, the examination of self remains, perhaps with even more questions of what that means than before.
What’s stunning about Matt Kish’s illustrations for Heart of Darkness — one for every page of Joseph Conrad’s text — is how sunny they are. His modest palette comprises yellow, green, black, and white, with the occasional hit of red, orange, or blue. The novel, on the other hand, is tonally dark: sepulchral and miasmic.
It seems like a lot of artists just have it together, never missing a beat in churning out work as if on an assembly line powered by boundless creativity. Of course the truth is, everyone gets in a rut sometimes that can feel like being lodged in the Mariana Trench.
Meticulously painted like old advertising signs but conveying the kind of telegraphed poetry you might find scrawled on a bathroom wall, Stephen Powers’s murals have been lodged into the street dialogue of cities from New York to Philadelphia to Belfast. A new book brings together the narrative of his public art for the first time.
Women have been involved in cartoons and comics from their beginning, although much of their work has languished in the greater story of graphic narratives. And it’s not for the reasons you might think.
The ninth issue of CLOG, the architecture publication that emphatically “slows things down,” focuses on the increasingly growing interest in the city of Miami and the transition from a major shipping port and vacation destination to an architectural powerhouse.
Photographer Michael Ernest Sweet scavenges the constant contrasts of people in New York City for shots that show the grittiness and grime of its collective persona. Some of these photographs have been collected into a noir narrative called The Human Fragment, a monograph released in December by independent literary publisher Brooklyn Arts Press.
The Beautiful Thing That Awaits Us All (Nightshade Books, 2013) is Laird Barron’s fifth book and his third collection of short stories. Barron’s fiction is Horror with a capital H. He has a Weird Lovecraftian streak, and he doesn’t care who knows it.
The recent death of William Weaver, the acclaimed translator of Italo Calvino, Umberto Eco, Primo Levi and other modern Italian authors, spurred memories of the translation class he taught at Columbia University back in the late 1970s. A small group of students listened attentively to his thoughts about how best to go about rendering the literature of another culture into English.
Hello, New York: An Illustrated Love Letter to the Five Boroughs and Meanwhile in San Francisco: A City in its Own Words — each being published in March by Chronicle Books — are like compilations of memory from living in a city.
PARIS — The post-media suggestion itself has been the subject of deliberation for around two decades now. This audacious anthology cleverly brings some of these historical texts together, along with newly commissioned ones, to explore the shifting ideas and speculative practices associated with the idea of post-media.
The dirty alchemy of photographer Roger Ballen in combination with frenetic rap-ravers Die Antwoord resulted in the video for “I Fink U Freeky” in 2012. Now a monograph distills the mix of the South African collaborators to its elements.