Page 23 - Rt Critic News Today

Throughout the 1990s, the Persian Gulf functioned like a sandy dreamlike abstraction in Hollywood cinema.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

Kyungmi Shin’s Monsters, Vases and The Priest at Sperone Westwater is an act of ceremony. Moving between timelines, the artist has collapsed the space of images through painting to form an important site for contemplation; for gathering distant experiences and ushering them into the present. In understanding her family lineage she avoids self-mythologizing and instead, more broadly, examines the beauty and dignity of the Asian experience.

Tony Leuzzi is a poet, visual artist, and educator. The author of four poetry collections and editor of one anthology, he is also a frequent contributor to the “Books” section of The Brooklyn Rail.

In CENTURY, Garner on occasion blends in subtle African dance threads and ballet. In the adrenalized first scene, the dancers wear character/jazz shoes and comport themselves as if in a cabaret, swanning across the stage, long legs scissoring. A fireman carries a woman, who extends one leg like a steeple.

I was once asked what carries my love? / I replied / My breath…

In early December, my friend Joey Merlo and I sat down for coffee to discuss the upcoming remount of his acclaimed play, On Set with Theda Bara, directed by Jack Serio. Originally premiering at the Brick Theater’s Exponential Theater Festival in 2023, it’s the story of a middle-aged detective trying to solve an especially harrowing case: the disappearance of his own kid.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

As I think of the successes and failures of artists’ legacies, I’ve learned different stories tell different life’s circumstances, depending on luck and persistent efforts on the behalf of those who are dedicating their lives to perpetually keeping the artists’ works alive and contextually relevant in the former, while in the latter what requires of the artists’ caretakers, be it members of their families, friends or colleagues there my lack of clarity of intentions or s...

Amy Butowicz’s nine large-scale drawings now clipped to the wall at Peninsula feature hands, feet, and other less identifiable body parts pressing into or encircling each other like the doubled-over folds of stretched putty. Clearly a thematic of touch is at play, but in a way different from the artist’s earlier work, which was more squarely abstract or else alluded to nature, design history, or aspects of human form alone. In a crucial development, several works at Peninsula, by contr...