Interview
Very Semi-Serious: A Partially Thorough Portrait of New Yorker Cartoonists, a new documentary by Leah Wolchok, offers a behind-the-scenes look at the workings of the magazine’s 90-year-old cartooning department.
Interview
Since the release of his 2004 feature debut The Face You Deserve, Portugal’s Miguel Gomes has become arguably the most exhilaratingly perplexing figure in world cinema.
Interview
At first sight, Mark Bradford’s paintings attract viewers with their bright colors and often grand scale.
Interview
Loie Hollowell’s current exhibition at 106 Green, an artist-run gallery in Greenpoint, offers up the results of many years of inquiry into female agency and sexual expression.
Interview
Angela Dufresne had a couple of beers cracked open and ready when I arrived at her East Williamsburg studio. It was an old-school painting studio – which somehow surprised me, perhaps because Dufresne’s work is so dense with contemporary theory.
Interview
Last week, Brooklyn-based artist Kameelah Janan Rasheed was on her way to a four-day trip in Istanbul, hoping to explore a metropolis known for its architectural marvels and history.
Interview
Steven Nelson, professor of art history at UCLA, and Director of the African Studies Center, recently tweeted that he is a member of a rare and exceptional group: one of six full professors in art history, who are black, in the United States.
Interview
The new stone is a fusion, through fire, of molten plastic and natural materials.
Interview
Last month the Brooklyn Public Library bestowed its inaugural Brooklyn Eagle Literary Prize for a work of non-fiction on DW Gibson for The Edge Becomes the Center: An Oral History of Gentrification.
Interview
Queerness revolts in the Podunk setting of Taylor Mac’s newest play, Hir, currently running at Playwrights Horizons.
Interview
Mathew Hale has responded to the seven questions by making entirely new works as answers.
Interview
The odd one out in Carroll Dunham’s current exhibition of paintings at Barbara Gladstone is “Culture as a Verb” (2013-2015). It’s the closest thing Dunham, or anyone in my recent memory, has come to painting the feeling of terrified, paranoid sorrow.