Deborah Krieger

It’s clear that these new works reflect a clear change not only in the formal qualities that have come to define Goodman’s decades-long career, but also in the emotional effects these works evoke. The murky and eerie element has been substituted for a clearer, brighter aesthetic, which is quite telling; Goodman’s body of work, which she refers to as a “visual diary,” as she calls it, has “always come from [her] emotions.”

Is the vibe of sincerity real in The Bold Type, or merely a veneer applied like a coat of pretty nail polish because suddenly, feminism is fashionable?

This Beautiful Fantastic does a messy dance with the specter of the Manic Pixie Dream Girl, because Bella does seem to fulfill this role for Alfie, Vernon, and Billy in the diegetic sense, even as her subjectivity is placed at the forefront for the audience.

Carefully balancing the demands of narrative, characterization, and theme, Corlett has created a thrilling and memorable story.

The question, then, becomes one of desire. What is it audiences are supposedly looking for? Is it truly nostalgia if the atmospheres of these reboots reflect our own times more than their original?

Is it better to present works chronologically to show the artist’s development and growth in the macro sense, or to group works by medium to show a more micro look at how the artist evolved their use of each medium?

Goma says, “I’m a humanist. I give a lot of importance to human interaction and creation, so it’s just something that is inspiring to me, and helps get me up in the morning.”

I don’t relish watching more of "Will" until it starts to veer away from the clichés and give us a young Shakespeare worth rooting for.

"How to Live Together" is hardly an abstract thought experiment; it has an overall message and mission to spread about coexistence—not only among humans, or among nations, but between humans and the earth itself.

"Chance Acquaintance" never really gave itself a chance to be more than a lackluster display of some truly beautiful paintings paired with some less-notable sculpture.

[Riot's] work centers on critiques of mass media, politics, aesthetics, and commercialism, to name but a few ten-dollar words, with a specific focus on the very myths that make up and sustain the idea of United States. Powered by a 'tolerable amount' of THC and quoting Shakespeare and Guy Debord, Pat Riot is perfectly poised as an artist both predating and belonging to our current turbulent political times.

While the overall effect of "Thingness" might come across as scattered to a casual observer, it is in fact a carefully wrought exploration of Yingmei’s own complicated relationship with speech and with communication, using meaningful objects as vessels for the words she has always struggled to express.

On the whole, "Artists In Residence 2016" lacks a larger cohesive theme or formal unity.

"Thoughts and ideas come and go from our minds. We forget things and often remember again when we enter a dream like state."

The Handmaid’s Tale, within the context of the show, clearly gives lie to the idea that all women are bound together by some vague idea of sisterhood, but the extra-diegetic aspects of the show’s non-approach to racial issues don’t reflect this keener approach to solidarity.