Larissa Pham’s Pop Song is at once a meditation on a wide ranging list of artists ranging from Peter Hujar to Agnes Martin and also a personal narrativ…
R. Michael Kelley, Photograph of Chuck Arnett's Tool Box Mural (1975) Gay Bar: Why We Went Out by Jeremy Atherton Lin. 306 pages. Little, Brown & Compa…
A Review of "An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979–1989"
One of my favorite recent novels was These Violent Delights by Micah Nemerever. The book tells the story about the dependent relationship between Paul …
"Heaven" by Emerson Whitney and "Catherine House" by Elisabeth Thomas
Glenn Ligon, Condition Report, 2000, Iris print, screenprint. Tate Afropessimism by Frank B. Wilderson III, 352 pp. Liverlight For me, reading Frank B …
Fifth floor of 101 Spring Street, Judd Foundation, New York The Self-Help Compulsion: Searching for Advice in Modern Literature by Beth Blum, 344 pp., …
Jasper Johns, White Flag, 1955. Encaustic, oil, newsprint, and charcoal on canvas. Metropolitan Museum of Art Why We're Polarized by Ezra Klein. Avid R…
David McDermott and Peter McGough, Queer, 1885, 1987. 44 x 88 inches, oil and gold leaf on linen, Pier Groups: Art and Sex Along the New York Waterfron…
The Topeka School by Ben Lerner, Farrar, Straus and Giroux, 304 pp. Duccio di Buoninsegna, Madonna and Child, ca. 1300, Metropolitan Museum of Art “Poe…
The Doll Factory by Elizabeth Macneal, Atria/Emily Bestler Books, 362 pp. John Everett Millais, “Mariana.” 1851, Tate Britain, Photo © Tate CC-BY-NC-ND…
How to Do Nothing: Resisting the Attention Economy by Jenny Odell, Melville House, 256 pp. While I was living in Bronxville during college, I would reg…