Painting by Walter Pichler.
Jonathan Franzen, James Casebere, Mary Robison, Barbet Schroeder, Julia Wolfe, Raimund Abraham, and Barry Hannah.
Painting by Walter Pichler.
Julia Wolfe has all the credentials a young composer could want: a degree from Yale, a Fulbright, and commissions and awards from the Kronos Quartet and Library of Congress. But she’s best known as one of the three founders of Bang on a Can.
Reviewer Rachel Greene considers the implications of separating the artist from the work itself, and speculates on the possibly limited degree to which we are given access to Francesca Woodman’s oeuvre.
According to reviewer Mona Simpson, A Practical Heart is Allan Gurganus’s best work yet.
Viewing Alex Brown’s paintings can be compared to spying an image through a heat wave, or through the blur of tears, creating a sense of “pleasurably anxious wavering between the discernable and the barely there,” writes reviewer Rachel Kushner.
In his new film, Michel Negroponte turns an engineer’s struggle to overcome seemingly impossible obstacles into a playfully hip little movie starring a robot named WISOR with witty one-liners.
Mitch Epstein’s enigmatic approach to conveying life in New York City gives one “the opportunity to ponder what photography can and cannot reveal about our public lives and our most private selves,” according to reviewer Marvin Heiferman.
Abby Goldstein profiles graphic design hero Sheila Levrant de Bretteville, cultural worker and head of the Yale Graduate School of Design.
Andrew Roy uses eccentric material and has a keen eye for distinct color and minute detail.
Zoë Anglesey discusses the talent of Willie Jones III, whose repertoire of distinct rhythms and cohesive accompaniment make for a very successful debut recording.
This First Proof contains the poems “Colloquy of the Cuy” and “Night Journey for a Friend.”
Raimund Abraham’s just-completed Austrian Cultural Center rises into the Manhattan skyline like a natural force. He and fellow architect Carlos Brillembourg discuss the philosophy that forms his buildings.
This First Proof contains the story “A Lepidopterist’s Tale.”
Casebere’s work is part of the pictures generation show now on view at the Metropolitan Museum of Art.
This First Proof contains the poems “Hells Bells” and “A Break in the Heat.”
Larry Sultan on Bill Owens’s photographs of suburban life in the 1970s and ’80s in all their beauty and banality.
This First Proof contains the story “Billy Goats.”
Archie Rand on the expansive, colorful works of Abstract Expressionist painter Louise Fishman.
George Fifield on the whimsically off-kilter anatomy of Rona Pondick’s sculpture merging human and animal forms in a comment on the twisted imagination behind genetic engineering and the psyche.
This First Proof contains the story “Taking a Stitch in a Dead Man’s Arm.”
This First Proof contains “The Dead Man’s Dream,” an excerpt from Under the Frangipani.
Diane Lewis on the unique exploration of landscape, structure, and space in Walter Pichler’s drawings.
In his book Pasquale’s Nose, Michael Rips takes to the cafés and squares of a town in Italy to relate the stories of the eccentric folks who live there.
Set amid the gangs of teenage snipers roaming the streets of Medellín, Our Lady of the Assassins, adapted by Barbet Schroder for the screen, pits a writer’s existential dilemma against the random acts of violence that punctuate life in Medellín.
Mississippi legend Barry Hannah is out with his twelfth book, the novel Yonder Stands Your Orphan, a masterpiece of ensemble performances linked together by prose that is lustrous, Baroque, and burnished with Hannah’s unique brand of beauty.
Appalling father figures, amoral children, the triumph of evil and remoreseless humor are just a few themes and concepts you’ll be turned onto in reading the works of Ivy Compton-Burnett.
This First Proof contains the prose poems “And the Talk Slid South” and “Hanging On.”
Matthea Harvey reviews the recently translated works of the Greek poet Cavafy, considering the themes of history and impressionism.
Jonathan Franzen has written two highly acclaimed novels and is about to come out with a third, The Corrections, a searing and broad-swathed American novel that takes on the triumvirate of family, economy, and mental health.
This First Proof contains the prose poems “From a Family Album” and “Without Reservations”.
In the early ’80s, Mary Robison and other Minimalist writers, reshaped the short story, throwing its traditional form and structure into question. Robison discusses her long-awaited novel, Why Did I Ever, with Maureen Murray.
Fiona Mazel contrasts Paula Fox’s fictional work to that of her forthcoming memoir, Borrowed Finery.