In advance of the next installment of his extensive history of New York City, Wallace expounds on the pivotal early years of the twentieth century.
Picture an area the size of Manhattan covered in sand. It rises and falls and disappears.
In the early 1960s, Eduardo Coutinho began shooting a film about the murder of Brazilian trade unionist João Pedro Teixeira.
Contis explores the construction of myth, place, and masculine identity in the enduring imagery of the American West.
My name is Donus Pane et Vinum.
I was born in 1250 in Barletta, Apulia.
My older brother Gualtarius Pane et Vinum
is the ancient great-grandfather of poet John Giorno
through his grandmother Maria Panevino, his father’s
I was a monk in retreat for many years,
and now a priest for forty years in the Basilica di
Santa Maria Maggiore.
“I’m interested in subterranean culture that says ‘I will trick you’ to official culture, ‘I will play you.’”
Blunt yet intoxicating, James Gray’s The Lost City of Z betrays its outsize ambitions and pained revisionism with every last scene
I’d rather be in my bed, eyes in the dark, lying on my back, head resting on a soft pillow, than in the desert, even in the company of Félicien David, even in the company of Sarah.
In the spring of 2015, An-My Lê was invited by film director Gary Ross to photograph on the set of Free State of Jones, his period war film inspired by the life of Newton Knight, a Mississippi farmer and Southern Unionist who led an armed revolt against the Confederacy in 1864.
If novelists could tell the story of climate change, they might spark the action scientists are calling for in order to save the planet.
Raoul Peck’s I Am Not Your Negro testifies that James Baldwin’s embattled America is still our own.
Two films tell the tragic story of reporter Christine Chubbuck’s on-air suicide in 1974.
Kassab Bachi, one of the most prolific Arab painters, has never exhibited in the Arts Club of Chicago. Yet three of his drawings were found on the backs of three framed artworks in the club’s storage.
A highlight of the Hammer Museum’s Made in L.A. biennial, Small’s work spins history from cultural leftovers, false starts, and simulations.
On genre, influence, and getting weird in fiction.