Arts writer/curatorial assistant. Swarthmore/Fulbright Austria alumna. I love museums/galleries/curating/pop culture/fan studies/tv/movies/transmedia/writing. email@example.com.
The manipulation of the traditionally nonthreatening and feminine art of crochet into something diseased, fossilized, and displayed almost makes Lazarus Taxa come across as a memorial to the ossified lost potential snuffed out by the famously overbearing social norms of the Victorian era.
Who wouldn’t want to be a part of Avery’s coterie of smiling, brightly-dressed army of (often elderly) Jewish ladies standing against Nazis and winning? If resistance can look natural, then surely it’s not a stretch to imagine yourself taking part, and then even less of a stretch from there to finding a way to become a “resister” yourself.
"The Last Mrs. Parrish" fits well within the mold of Gone Girl-esque thrillers: it has the requisite unsympathetic female protagonist, features endless double-crossing and conniving and plotting, and is threaded throughout with cutting commentary on the roles and expectations of marriage.
Directed by Ruben Östlund and winner of the 2017 Palme d’Or at Cannes, "The Square" is half riotous art world satire, half disturbing drama about the ways in which people egregiously fail one another. Using the museum as a particularly apt example, The Square explores the idea of “the square” as a space that depends on the unspoken societal social contract in order to function properly.
Viewed alongside the photograph of the contemporary family, who is very much alive, we can think of this dialogue as hinting at a change in how Van Deman came to conceptualize her work: the image of the family reminds us—and her—of the very real human lives being studied and sought after in the excavation depicted in the previous photograph.
Right as you cross the threshold into Ahrong Kim’s show “Internal Voice” at the Clay Studio, you’re met by five pairs of eyes set into brightly colored teapots resting at eye level on plinths jutting from the wall. The eyes, embedded into fragmented faces, exposed from brow line to the bridge of the nose, gaze at you almost impassively, their nonchalance at odds with the variety of textures and patterns that claim the rest of the body of the pottery.
"The Florida Project" is ultimately a beautiful, rough portrait of childhood set against the backdrop of the remains of the dreams of adults, which, like so many Florida oranges, have become overripe and rotten.
Holding back tears while finishing Gail Honeyman’s astounding debut novel, Eleanor Oliphant Is Completely Fine—and in a restaurant no less—I knew I had to talk with the author.
When it comes to music and performance, Kimaya Diggs does it all—composing songs, playing guitar and piano and cello, crafting poetry, directing choirs, writing plays, singing songs in twenty-seven languages—and now she can add recording her debut album, "Breastfed," to that hefty list.
Fritz Lang’s 1927 silent film Metropolis and Alex Garland’s 2015 film Ex Machina share many commonalities. While these two sci-fi films come from different countries (Germany and the UK, respectively) and from wildly differing eras, social contexts, and technological standpoints, both films have much in common in terms of their portrayals of gender, as well as the key association of technology with social class divides.
Teen Girls Take On Sexism In Sophie Strauss' "Quiz In A Magazine" Video: Interview With Animator Becca Schuchat
Sophie Strauss is a singer-songwriter on the rise, characterized by her lush sound and witty, poetic lyrics. BUST is premiering her newest music video, “Quiz in a Magazine,” a short, incisive song about sexism and the murky, confusing nature of girlhood. I caught up with Becca Schuchat, the educator and animator who worked with a class of young women to create this video, to ask her about her influences, ambitions as an artist, and, of course, how the “Quiz in a Magazine” video came to life.
Kadish makes reading about people reading about history captivating and thrilling.
Indeed, the approach to mise-en-scène in "Columbus" is set up by actual dialogue spoken early in the movie: Richardson’s character Casey is introduced to us while murmuring a sort of tour-guide spiel about the Eliel Saarinen First Christian Church — how even though the door and cross on the building’s façade (and the clock on the tower) are purposefully off-center, they still manage to be balanced and beautiful.
'Almost Adults' is a clear labor of love and prompts some genuine laugh-out-loud moments, even if the momentum disappears in the second half of the narrative.