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Clifton’s writing on illness and medical treatment is sharp, critical and socially engaged, but it also reflects something deeper. Perhaps we can call it self-love.
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Rosi shows his subjects in moments of extreme vulnerability, bringing his camera into spaces of profound loss.
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“One Night in Miami” is a spectacular debut for King and should put her, Powers and Ben-Adir on track for further triumph at the 93rd Academy Awards.
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The poems of this collection talk to each other, like neighbors carrying on a conversation through open, opposite-facing windows across the street.
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“These artists and their practice are an invitation to rethink aesthetic hierarchies at the center (of mainstream art) and to expand the borders of how art history has typically been run,” she said.
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“Where Do We Go?” presented an arresting technological display that made the event more than just a privatized concertgoing experience.
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Trethewey writes about loss and monuments with a masterful hand, but what made the talk exceptionally poignant were Foster’s considerate but challenging questions.
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The movie is marketed as a romantic comedy, but rather than conforming to its genre, “My Prince Edward” dismantles it.
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“A House Is a Body” becomes increasingly repetitious on the subject of marriage but remarkably original in the face of death.
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The vision of “The de Young Open” combines two phrases that are not often heard together: “local community” and “the fine arts.”
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