Francey Russell inspects Amy Seimetz's "She Dies Tomorrow," hailed as the first COVID film.
It’s Over
Reviews
Smashing Statues, Building Community
Erin L. Thompson thinks about what it means to record the process of destroying art in Aaron Tugendhaft's "The Idols of ISIS."
Photographing a Bruise: Catherine Opie’s “Rhetorical Landscapes” at the Regen Projects
Jonathan Alexander looks at bruises and swamps Catherine Opie’s “Rhetorical Landscapes.”
It’s My Difficulty: On Jameson Fitzpatrick’s Pricks in the Tapestry
"Fitzpatrick’s excesses feel authentic, his revelations glorious," writes Quinn Roberts.
Contemporary Female Artists at the First Virtual Frieze Art Fair
Catherine Corman features a few prominent artists in the first ever virtual Frieze Art Fair, which ran May 8 through 15, 2020.
The Patience of the Hand: On Elias Canetti’s Crowds and Power and Our Current Crisis
Seth Lerer rediscovers truth in Elias' Canetti's "Crowds and Power."
On Their Worst Behavior: Clifford Garstang’s House of the Ancients and Other Stories
J.D. Ho looks at capitalism and American hubris in Clifford Garstang's "House of the Ancients and Other Stories."
Art and Futility: A Review of Juan Cárdenas’s Ornamental, Translated by Lizzie Davis
Dashiel Carrera looks at the recent translation of Juan Cárdenas's psychological, dystopian novel "Ornamental," from Coffeehouse Press.
Collective Memory and Intergenerational Trauma in Finding Sally
Hannah Borenstein reviews the CBC documentary by director Tamara Mariam Dawit.
Looking the Wrong Way: A Review of Red Tory: My Corbyn Chemsex Hell by Spitzenprodukte
Ross McElwain reviews Spitzenprodukte's latest novel, set in the inner circles of the UK government around 2015.
