Sexual awakening amid poverty and violence in Édouard Louis’s The End of Eddy
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
Nicotine, the author’s third novel in as many years, dives into the world of East Coast anarchists.
New York, London, Berlin—all are familiar names on the global trade routes of contemporary art. Less so Moscow, which has only regained some of its avant-garde glory in the new century. In this short time, Olga Chernysheva has emerged as an acute observer of post-Soviet life.
“It’s a different kind of terror when you’re constantly being arrested. Your mind starts exercising self-censorship on its own.”
Grémillon’s film presents the truth, which is political but rarely correct, if we understand “correct” to be the just order of things.
The second week in January, when I wrote this piece, marked the fiftieth anniversary of the war on poverty. More than forty-seven million people are currently living below the official poverty line.
Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his MoMA exhibition Anthology.
Sebastián Silva’s highly realistic films are also thrillers. Set in Chile and performed by ensemble casts who replicate their counterparts in life with stunning veracity, his latest film, Old Cats, opens in New York this spring.
Lawrence Chua speaks to the filmmaker about Thai history and its ghosts.
How does national identity influence the interpretation of an artwork?
Filmmaker Taylor delves into Solnit’s book, A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster, where the preconceptions of human nature are exposed and the triumphs of civil society are extolled.
Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.
Director Kelly Reichardt first gained widespread notice with her 2006 film Old Joy, a paean to post–9/11 political and personal miasma played out in the campfire conversations and road-trip recollections of two longtime friends in the Cascade Mountains of Oregon.
When asked what his plays were about, Harold Pinter once famously and facetiously replied that they were all about “the weasel under the cocktail cabinet.”
Robert Polito speaks with poet Susan Wheeler as her Ledger and Record Palace were about to be published.
Brooke Alfaro is a quiet man, so I feared that interviewing him would be arduous, but I was wrong.