Essays

Mark and Dot

While their careers took vastly differing paths—Tworkov had the mark and Kusama had the dot—their philosophical and gestural strategies ran in parallel, sharing a skepticism of prevailing aesthetic orthodoxies. Jason Andrew · Issue 8 ·

Joel Barlow’s Eccentric American Vision

Barlow believed that “Science and republican progress, coupled with religion and the growing humanity of man, portended the millennium, which he believed would take place on earth before the second coming of God.” Ed Simon · Issue 8 ·

Riding the Wave: Contemplative Studies Goes Mainstream

We see contemplative study and practice as offering students and teachers alike a set of tools to critically reflect upon and, even, to resist instrumentalism and commodification, while helping enhance the classroom environment. Andrew O. Fort and Mark Dennis · Issue 4 ·

Kazuya Sakai in Texas

How did an Argentine artist, critic, translator, jazz expert, radio host, graphic designer, professor, and pioneer of geometric abstraction in Mexico come to retire in Richardson, Texas?Lillian Michel · Issue 4 ·

Concerning Confederate Monuments

In the context of Oldenburg’s third place, these statues should not exist in the public realm specifically because of their lack of neutrality and inclusiveness. Darryl Lauster · Issue 4 ·

Sentience as An Outing to the Zoo

Nomi Stone · Issue 5 ·

Classicism by Decree

Greenberg dwells on the current function of “kitsch,” which he defines as “academicized simulacra of genuine culture,” and “vicarious experience and faked sensations.” Julia Friedman · Issue 5 ·

Nowhere at Home: Albert Einstein, the ‘Gypsy’ Who Became a Citizen of the World

Towards each and every one of these countries in which he lived or travelled, he felt an ambivalence. With the possible exception of Switzerland, Einstein felt nowhere at home throughout his life.Andrew Robinson · Issue 2 ·

The Man Who Insulted Shakespeare

The old system of aristocratic literary patronage was on the wane; Greene and his friends still sought patronage by attaching fulsome dedications to their works, but with slender or no results.Paul Strohm · Issue 2 ·

My Detroit, My Afghanistan

Despite enforced school segregation, my father became a diligent and helpful high school teacher at all-black Miller High, where he taught kids like jazz great Kenny Burrell.Mark Slobin · Issue 2 ·

Dispatches From the Emotional Rollercoaster

Two decades of concentrated empirical research into the history of emotions has armed historians with broad knowledge claims about what emotions are, how they work, and upon what they are contingent.Rob Boddice · Issue 2 ·

From the Outside In: A Foreigner’s Education in American History

As I’ve grown more familiar with the colonists’ habits and beliefs, however, I’ve become increasingly skeptical of the Americanization thesis.Guy Chet · Issue 2 ·

#MeToo Books: Entry Points for Men’s Understanding a Women’s Movement

More than any of the other books above, Speak enables a reader (female or male) to immerse in the experience of having been assaulted—and the traumatic aftermath.Sarah Ruffing Robbins · Issue 2 ·

The Incursion of Administrative Language into the Education of Artists

In effect we teach strategies of disunity in the place of the Aristotelian unities, and our students practice making disunified works as soon as they become aware of the possibility.James Elkins · Issue 2 ·

Geology of the Dallas-Fort Worth Metroplex: A Primer

One reason that population and economic activity in north central Texas focused on the Metroplex is because the Trinity River is short and does not flow over the salt deposits to the west. Robert J. Stern · Issue 2 ·

What Does Charlie Hebdo Have To Do With U.S. Campuses?

Charlie’s total emancipation from civilized society’s hang-ups, our complexes, the sheer and wanton self-expression of its cartoonists, had stood—briefly—as a universal banner uniting all “free” people, countered by cold and calculated murder with military-style weapons perpetrated in the name of a religion that the attackers claimed to be defending.Meaghan Emery · Issue 4 ·

Photography as Representation and Presentation

In Adams’s work the spectator enjoys the crystalline and fresh water of the river and she has the freedom of moving her gaze far away, toward the rocks, in the direction of an infinite and boundless space. Francesca Brunetti ·

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