Mediums: in the art world we never stop talking about them, and I don’t mean the kind of mediums in the turbans and staring into crystal balls. The main agenda of modernist art (at least as Clement Gr
Mediums: in the art world we never stop talking about them, and I don’t mean the kind of mediums in the turbans and staring into crystal balls. The main agenda of modernist art (at least as Clement Gr
The recent uproar over NSA surveillance can obscure the fact that surveillance has been an indelible part of contemporary life for decades. And cinema has long been aware of its power?and potential fo
The recent uproar over NSA surveillance can obscure the fact that surveillance has been an indelible part of contemporary life for decades. And cinema has long been aware of its power?and potential fo
“There they rest, inert, impertinent, in gallery space—those book forms either imitated or mutilated, replicas of reading matter or its vestiges. Strange, after its long and robust career, for the boo
Photography might be called the lost cause of cinema, gone in projection and too soon forgotten. But what is the mysterious region between photography and narrative cinema, between the photogram--a s
The hero stands on stage in high-definition 3-D while doubled on a crude pixel screen in Billy Lynn's Long Halftime Walk. Alien ships leave Earth by dissolving at the conclusion of Arrival. An illusor
The hero stands on stage in high-definition 3-D while doubled on a crude pixel screen in Billy Lynn's Long Halftime Walk. Alien ships leave Earth by dissolving at the conclusion of Arrival. An illusor
Victorian novels, Garrett Stewart argues, hurtle forward in prose as violent as the brutal human existence they chronicle. In Novel Violence, he explains how such language assaults the norms of writte
In The Look of Reading, Garrett Stewart explores the centuries-long tradition of reading pictured in figure painting, arguing that it constitutes a neglected genre in the history of art. Lavishly ill
Italian director Michelangelo Antonioni claimed, three decades ago, that different conceptions of time helped define the split in film between European humanism and American science fiction. And as Ga
