Voluminously well-read author and amateur librarian Alberto Manguel opens The Library at Night, a compendious treatise on the role of the library in human culture, with a startlingly bleak question.[...]
You know what I say when someone tells me they “can’t” draw?
Even those who’ve yet to discover the transformative effects of Lynda Barry’s wonderfully corrective Picture This know how to draw something.
In 2010, Serbian artist Marina Abramović had the honor of being the subject of a popular retrospective at New York’s Museum of Modern Art.[...]
A vague sense of disquiet settled over Europe in the period between WWI and WWII. As the slow burn of militant ultranationalism mingled with jingoist populism, authoritarian leaders and fascist factions found mounting support among a citizenry hungry for certainty.[...]
Every successful artist must master the art of accepting rejection. “Fail better,” said Beckett in his grim euphemism for perseverance. “I love my rejection slips,” wrote Sylvia Plath in every hopeful poet’s favorite quote. “They show me I try.[...]
The Swedish artist Anders Ramsell spent the better part of the last year and a half working on a tribute to Ridley Scott’s Blade Runner, and now it’s ready for the world to see. Running 35 minutes, Blade Runner – The Aquarelle Edition follows the original movie’s general storyline while taking certain liberties.[...]
Looking like a haute couture treatment of “As the World Falls Down” from Labyrinth, by way of Peter Jackson’s Beautiful Creatures, the “Director’s Cut” of this Louis Vuitton ad above, titled “L’Invitation au Voyage,” is pretty stunning.[...]
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We’ve seen plenty of post-modern decay in writers before George Saunders—in Don DeLillo, J.G. Ballard—but never has it been filled with such puckish warmth, such whimsical detail, and such empathy, to use a word Saunders prizes.
Has any political party in Western history had as vexed a relationship with art as the German National Socialists? We’ve long known, of course, that their uses of and opinions on art constituted the least of the Nazi party’s problems.[...]
In 1901, Vittorio Alinari, head of Fratelli Alinari, the world’s oldest photographic firm, decided to publish a new illustrated edition of Dante’s Divine Comedy.[...]