When it comes to 20th century intellectual power-couples, no two represented more disparate ideas about marriage and freedom than the chain-smoking liberationists Sartre and de Beauvoir on the one hand, and the neoliberal economists Milton and Rose Friedman on the other.
While trying to work on a book about illness on a residency near the former POW camp of Stalag-17B, Jonathan Garfinkel is drawn into friendship and dark contemplation with the Australian transdisciplinary artist Ian Strange
The question of whether plants could have consciousness has not been left quietly back in the ’70s, as Linda Besner discovers in Zoë Schlanger’s new book, The Light Eaters.
Does a dream house imply a dream self? Linda Besner, hunting for a home, considers how the photography used in listings serves as a malleable, market-driven form of portraiture.
An excerpt from a recent lecture at Koffler Arts by historian and artist Natalia Romik on the hiding places Jews in Poland and Ukraine created during the Holocaust.
As the dwindling number of spaces vital to Toronto's working artists continue to struggle or turn to rubble, Josh Greenblatt investigates the multi-fronted policy response it will take to enable artists to thrive as more than a civic afterthought.
As Barbra Streisand reflects in her new memoir, Isaac Bashevis Singer was famously grumpy about her film adaptation of his short story “Yentl the Yeshiva Boy”. Should there even be such a thing as a definitive Yentl?
The blue you see is not the same blue that I see; I hear you differently than you want to be heard; my nose, my room, my furniture, my language is not the same as yours.
Despite the deliberate erasures of Soviet historiography, the site of the massacres at Babyn Yar reveals a story spanning several eras of Ukrainian history—though mostly by examining how that story was allowed to be told.
