In her printmaking the artist searched for a constantly elusive vision.
The cameras no longer look at us because we’re famous; we’re famous because they look at us to death.
Why is Léon Krier defending anew the work of the Third Reich’s master builder?
Ralph Lemon’s Come Home Charley Patton
The war between democracy and aristocracy in Janet Malcolm’s Forty-One False Starts.
Baz Luhrmann’s The Great Gatsby, Richard Linklater’s Before Midnight
Victor Navasky’s The Art of Controversy: Political Cartoons and their Enduring Power