‘The Marvelous Mrs. Maisel’ is the story of a young artist coming of age and into her own. Midge finds that art doesn’t have much to do with becoming an agent of change.
While it’s not a universal truism, more often than not, bad morals make for bad art, and the unwillingness to say so produces even worse criticism.
Sharing gorgeous pictures and well-crafted stories with our children is an excellent way to combat the dehumanizing habits and beliefs that make our world shrill, angry, and sad.
You can tell a lot about a person’s politics and outlook on life—and mental stability—by looking at the poems he writes.
Frank Gehry’s hideous design has finally cleared the last official review-board hurdle. A groundbreaking ceremony is set for November 2. Only one man can end this travesty.
Previous Star Trek series had a problem with overly utopian idealism. Now the problem is that they’ve beaten all of it out of the franchise.
Despite pervasive emphasis on contextualizing, the responses gives no hint of substantial historical knowledge beyond the received tropes of popular culture and press.
There can be no debate about the propriety of keeping the following statues intact. There is only one side: they must be smashed.
A federal court judge just rejected Richard Prince’s claim that his use of another artist’s work was so patently innovative, he shouldn’t have to go to trial for charges of infringement.
It’s abhorrent to insist that, merely because of her skin color, Dana Schutz shouldn’t paint an image that is meaningful, respectful, and striking.
I had feared it was unwise for Beyonce to give ideas to mere mortals that they, too, can survive Glamour Shots lighting and harsh sunlight.
The artist didn’t break any laws by copying a sculptor’s work. But he did deprive us of an amazing story about that woman’s creativity and imagination.
Except for a few hushed conversations in the bathroom the day after the election, politics stays outside the DC museum where I volunteer. That’s where it belongs, on Pennsylvania Avenue.
A recent controversy over cultural insensitivity at the Whitney Museum in New York betrays the Left’s basic incapacity to process conflict and confusion over the rule of law.
Harvard’s James Simpson and likeminded scholars have selectively wielded their theoretical chainsaws to disfigure the humanities into hideous totems of ideology and politics.
A culture war is not a street fight. Axing the endowments scores points but still leaves the arts captive to academia and its maze of orthodoxies.
‘Fearless Girl’ is an unintentional representation of contemporary feminism in general: loud but empty messages about female ’empowerment.’
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