If the case of John Berger’s debut novel, A Painter of Our Time, still enrages sixty-three years after its release in 1958, a writer’s wrath especially might be attended by the smallest, wistful pang. An idea-driven meditation on the rol [...]
Artist Gabriel Orozco doesn’t necessarily want to disappoint, nor does he want to fail, not in a literal sense. Rather, he wants to protect his right to be a beginner.
Hockney’s entire production over the three decades since 1982 has been shadowed by death and in many ways can be seen as a direct response to all of that dying—a defiant celebration of life (“Love life!”) in the face of annihilation, the assertion of an almost aching tenderness in the very craw of mortality.
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