Looking Inward, and Back, at a Biennale for the History Books
The New York Times
Eyes are the key metaphor in the Venice Biennale’s central show of 213 artists, an unprecedented percentage of whom are women.
In the months leading up to the election, Donald J. Trump sat for a slew of casual and unconventional conversations with podcasters and streamers. We watched them all.
In the last year, museums, book festivals, arts journals and other organizations have experienced bitter discord over what qualifies as tolerable speech about the conflict and its combatants.
John Krasinski may not have the raw energy of Glen Powell, but a collaboration with the stylist Ilaria Urbinati has paid huge dividends.
The star of Jacques Audiard’s showy new musical about a trans Mexican crime boss, Karla Sofía Gascón, adds soul to the melodrama. Zoe Saldaña also shines.
The powerhouse soprano, already a company stalwart at 37, still seems to be figuring out a character whose moods change on a dime.
The artist’s works are the subject of two New York shows, at the Metropolitan Museum and the Jack Shainman Gallery.
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The FX series strives to capture the complexity of its subject: the long sectarian conflict in Northern Ireland known as the Troubles.
Nora Holt was a pioneer of Chicago’s Black classical music scene. A friend of Josephine Baker, she later became a blues singer in Parisian nightclubs.
In the film “Conclave,” the costume designer Lisy Christl clothed an army of catty cardinals, from their miters down to their quirky glasses.
The sprawling PST festival of more than 70 exhibitions doesn’t quite live up to its theme of art and science colliding. But there is a handful of impressive entries.