Baldwin and Buckley at Cambridge is at least the third example in six months of artists using their latest work to stage explicit self-castigations of their own past work.
Continue reading “Culpability”
Baldwin and Buckley at Cambridge is at least the third example in six months of artists using their latest work to stage explicit self-castigations of their own past work.
Continue reading “Culpability”
When playing a celebrity, actors can don one of three general approaches:
Continue reading “Voodoo, Indeed”
Terrifier 2 has Charlie Chaplin’s Tramp written all over it.
Continue reading “Hysteriacal”
Shakespeare’s plays reside so firmly in the public lexicon that their famous lines elicit chuckles of recognition out of audiences.
Continue reading “Radio Everywhere”
Two straight days of calling attention to seemingly throwaway moments in art that nevertheless demonstrate the practical alchemy of the relationship between audience and art.
Continue reading “All Expressions on the Artistic Front”
I’m on the perennial hunt for the artistically unexpected.
Continue reading “(theatric)visions”
“Why is this movie talking down to me?” is a criticism usually lobbed at “artsy-fartsy” cinema.
Continue reading “Scowl”
Memory is slippery.
Continue reading “Roles Roles Roles”
I know I’m in the presence of my favorite type of art when I find myself repeatedly asking:
Continue reading “What The?!”
The Wooster Group makes an art out of wielding a minimalistic approach for maximal and maximalist effect.
Continue reading “Maximalist Minimalism”