But in a bid to capture everything and keep things real, a certain falseness creeps in.
“If no one had told me anything about the world, I would have invented boyfriends, sex, friendships, art. I would not have invented child-rearing.”
Golub’s art is meant to jolt. It punches you right in the face, then right in the gut.
“Spoiler: Weiner’s novel turns on a twist, though if you know his work, the unexpected conclusion actually turns out to be a predictable one.”
“Her etchings are at once a recapitulation and a way forward, a talmudic take on the themes that had long preoccupied her.”
At its best, Englander’s novel suggests that our self-understanding is limited, driven by the desire to justify ourselves.
Arbus’s work is so compelling because she is completely captured by what she captures.
Prostitution, Weimar Germany, the Holocaust, Vietnam, gender dysphoria and monsters all play a role in Emil Ferris’s thrilling graphic novel debut.
From a controversial Emmett Till painting to an act of virtual anti-Semitic assault, the Whitney Biennial is tough to assess. Maybe too tough.
Some voids can never be truly filled. That’s one of the hard lessons Daphne Merkin teachers in “This Close to Happy,” a memoir of depression.