Portraits and hauntings are inseparable bedfellows in film history.
The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
The artist talks about investigating the gender spectrum and the female gaze.
Female intelligence and female obsession, in the air
Writing with the body as her touchstone, the novelist channels a woman warrior in The Book of Joan.
Satirizing the “late-capitalist late-patriarchy” in Catherine Lacey’s The Answers
The eminent artist discusses her materials, “frozen gestures,” and the illusion of form.
“This is not a movie that invites you to really empathize with these characters, nor is that the point.”
Kate Soper’s Here Be Sirens explores, through beautiful harmonies and curious discords, the constraint of fixed roles and the desire to release oneself from them through the activity of research—finding the origin of the fixed identity being key to redefining and freeing oneself.
Nicole Demby reflects on the aesthetics of femininity and the gendered codification of labor and the physical form within the work of three contemporary women artists.
Thinking is not an incorporeal process. The mind is a muscle.