In this anthology, editor Joanne C. Bamberger wants to get to the essentials of why Hillary is repeatedly judged by benchmarks markedly different than those facing a male candidate.
The story’s heroine, Jennifer, is on the cusp of turning 40 while dealing with a difficult divorce, job stress, and the trials of building a life that allow her to function on all fronts.
Yes, there’s plenty of sex. However, the show is far more than just thrusting bodies in motion.
“Seven Deadly Sins: Wrath — Force of Nature” at Wave Hill in the Bronx brings together twelve artists who have their fingers on the pulse of climate change and extreme weather.
The dialogue went far deeper than a mere discussion of the current landscape of the Bronx art scene. It raised questions, and some hackles, about competing community needs, gentrification, constituencies that are too frequently powerless, and big money.
Adriana Zavala, guest curator, qualified Kahlo’s home as an “extension of her personal cosmology,” saying, “There are still things to learn about Kahlo.”
Weider is preoccupied with an examination of domestic objects. Her visual terrain is repeatedly populated with diaristic contemplations of ordinary furniture: dressers, chairs, tables, beds.
“Art was all that I ever wanted to do,” said Ehrenhalt. For a girl born in 1928, it wasn’t going to be smooth sailing.
In the book, “Dorothea Lange: Grab a Hunk of Lightning,” Lange’s photography is presented with equal weight given to Lange’s intuitive eye for structure and composition, as well as to her burning commitment to social justice.
Art workers need to be remunerated in order to survive.