If Ludwig Wittgenstein’s Tractatus Logico-Philosophicus radically redefines the scope of philosophy, it has proved irresistibly suggestive to literary theorists, poets, and artists.
Colby Deal’s photographs capture very little on an individual basis, but an entire world when taken in aggregate.
Artists in My Life dissolves the fourth wall between artist, art object, and viewer, offering a welcome approach to arts writing as an extension of how artists live.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Gladman’s poems suggest how ecological knowledge can affect how we can imagine cities.
Julia Guez knows that her poetry can make a “real ask” of readers, with its peculiar vocabulary and indeterminate tendencies, and that gives her hope.
Using the pressures of adolescence and indoctrination of the church as a framework, Campbell captures the stress endured by young women and their bodies.
Laura Larson’s City of Incurable Women draws from archival materials to speculate on the lives of women who were famously hospitalized for hysteria throughout history.
Immy Humes’s The Only Woman is a deeply satisfying array of women scientists, artists, writers, medical students, politicians, and even criminals, all pictured among their fellows.
The camera became the center of Chauncey Hare’s life, and a tool for awakening his political consciousness.
In no small feat, Why I Make Art condenses artists’ multifaceted, meandering spoken stories into lively, relatable narratives that draw the reader in.
Author Jillian Hernandez theorizes the intersecting formations of gender, class, and race in relation to the self-presentation of Black and Latina women and girls.