If anything, the limitation of this big book is actually that it’s not big enough, that it gestures towards -- without fully including – so very much that is within the ken of its ambition. But the short version of this review, simply, is this: I can’t really picture a better book than this one
In these dark and brooding times it is Kafkaesque tragicomedy that strikes the right note of collective mirth. The Iranian government recently staged an anniversary celebration of Ayatollah Ruhollah Khomeini's momentous return from exile in France. The cardboard reenactment of his arrival has been the subject of effusive internet mockery since photos from the state-affiliated
Just as the face-reading art of physiognomy was a reflection of social and scientific standards instead of an actual science of character, today's “It” girl is as much a reflection of tastemakers’ collective sense as she is an owner of her own talent.
In the opening scene of Julia Leigh’s debut film Sleeping Beauty, Lucy (Emily Browning), our beautiful college-student protagonist, serves as a medical test subject. She leans her head back as the doctor slowly threads a tube down her throat, then fills a balloon in her chest with air while she holds the tube in place.
This is the story of how I came to be profoundly disillusioned with the modernist photographic tradition. Through careful study of their work, it came to my attention that Eugène Atget, André Kertész, Brassaï, Robert Doisneau, and Henri Cartier-Bresson, men whom I had once taken for heroes, were involved in the systematic corruption of the
A newly revised Starting Out is in order. But what would such a thing look like? Under my editorship it would be present- rather than future-oriented, and it would exult an ethic of making do. Entire chapters would be devoted to advice on living, if not stylishly, then passably while servicing debt. It would be