The author and translator of Brother in Ice confront Romantic notions of genius, dysfunctional family expectations, and other challenges to self expression.
A revival of Leos Carax’s 1986 film showcases the director’s wholly original vision.
Sears Modern Home
Don’t touch the river. And here you are with seaweed between your teeth.
Tristan Patterson’s Dragonslayer is a portrait of Josh “Screech” Sandoval, a So-Cal skateboarding punk romantic. Pamela Cohn spoke to the filmmaker about the difficulties of capturing such a mercurial personality on video.
Since Victor Frankenstein first conjured the monster that assumed his surname in Mary Shelley’s novel Frankenstein, his harrowing creation has assumed countless incarnations.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
In The Seventh Beggar, Pearl Abraham has created a novel about the nature of storytelling beginning with Genesis. She takes us into a world that ranges from golems to robotics, mystical systems to artificial intelligence.
In 1964, more than a decade before Hernan Bas was born, Dieter Roth painted portraits with biodegradable materials such as processed cheese and chocolate.
Painter Julie Langsam suggests the failures of two artistic movements—Romanticism and modernism—through her use of non-traditional landscape styles.
“Decoration in this folk sense is a kind of culturalized representation of nature. It’s closest to the raw elements that reflect a very specific geographical location in historical time. The importance of it for me is that I can have these circumstances of time and place in crystalline form, and I can feel those realities, feel the history that they inevitably speak about in this natural cultural sense.”
A roundtable discussion on whether or not art can reverse history and the notion of the “sublime” within painting.