Art in the age of mechanical reproduction was supposed to be devoid of the aura of the artist. How could something be original if everything could be copied? Crypto boosters suggest the blockchain can restore some of this lost luster, and they’re ready to use it to create an entirely new art market
Aisha Sabatini Sloan weaves together recollections of her own neck injuries and back pain with a study of visual artist Jean-Michel Basquiat’s diligent, abstract renderings of body parts and bones.
“We is an escape hatch. We is cheap. We is a way of simultaneously sloughing off personal responsibility and taking on the mantle of easy authority.”
On the Paris Review, Alex Abramovich talks with Billy Bragg about skiffle, the history of music, and duck jokes.
A prolific writer of fifty-four diverse books, and widely known for his Easy Rawlins crime series, Walter Mosley talks with The Paris Review about race, creativity, the book publishing industry, the confines of genre and his three decades depicting Black American life.
In this day and age, this is a pretty short list.
Megan Mayhew Bergman explores how women, often excluded from adventure narratives, carve out their own heroic space.
Making art is hard. For some people, it isn’t hard deciding to make art for commercial purposes.
Do you own your pet, or does your pet own you? This deceptively simple piece of short fiction explores fertility and fragility, and the ways we fail to protect those we love.
Planning to finance your retirement with your Beanie Baby collection? Think again.