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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.