Jerry Saltz at New York Magazine:
His huge Technicolor paintings, draped without frames, crossed over into sculpture — tabernacles to fearlessness and radicality. Hung from the ceilings or tacked to the walls, they looked like canvas mountain ranges or gigantic tents and huts, marching cities on the plain.
The epic scale of these paintings intensified the minds of viewers. They felt fun, thrilling, revolutionary — an advanced vocabulary of familiar things acting strangely. Here were paintings that were storm-blown into swooping, cresting shapes, great oceanic structures that were metaphors for the sublime. You could not turn away. By his 30s, Gilliam had already cracked the code of the canon. He took color-field and stain painting, Ab Ex all-over-ness, and cross-wired it with the shaped paintings of the early 1960s, which bent and broke through the traditional rectangular frame.
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By the end of the twentieth century, a small number of international institutions had come to wield great influence over the domestic economic policies of many states around the world. The International Monetary Fund (IMF) and World Bank, in particular, made assistance to member states conditional on a broad suite of reforms, often with far-reaching political and social consequences. From Africa to Latin America to Asia, loans were tied to the balancing of government budgets, the privatization of state-owned industries, the removal of regulations, and the lowering of tariffs.
Despite thousands of years of research and an unending fascination with marine creatures, humans have explored only
The series includes works that are part of Anthology Film Archives’ Essential Cinema collection; many of these show at Anthology about once a year. But many do not. This is a rare opportunity to see, for example, Jack Smith’s unfinished Normal Love—although it won’t be the adventure it was when Smith himself projected it, narrated it, and once forgot the take-up reel so the film (camera original) unspooled all over the floor. At 120 minutes, it occupies the entirety of Program Six, and on Saturday plays back-to-back with Smith’s masterpiece, Flaming Creatures, and Ken Jacobs’s Blonde Cobra, a film for which the term “underground” could have been invented. Among other rarities: Nathaniel Dorsky’s lyrical Ingreen, sharing a bill with Andrew Meyer’s Shades and Drumbeats and one of the most influential films in the history of gay cinema, Gregory Markopoulos’s Twice a Man. If you are unaware of the degree to which the history of avant-garde cinema is inextricable from the history of LGBTQ+ cinema, the films just mentioned—along with Kenneth Anger’s Scorpio Rising, Andy Warhol’s Blow Job and Screen Tests (Reel 16), and Barbara Rubin’s Christmas on Earth—make the case.
INCLUDED AMONG THE great literary felines would be the ninth-century Pangur Bán, written about by an Irish monk of Reichenau Abbey who enthused that his pet was “the master of the work which he does every day”; the witch-queen Grimalkin in William Baldwin’s 1561 novel, Beware the Cat, where “birds and beasts” have “the power of reason”; Montaigne’s kitten of which he asked, “When I play with my cat, how do I know she is not playing with me?”; Dr. Johnson’s beloved Hodge, of whom Boswell wrote that the great lexicographer “used to go out and buy oysters [for him], lest the servants having that trouble should take a dislike to the poor creature”; and of course T. S. Eliot’s splendiferous Mr. Mistoffelees.
Researchers have used AlphaFold — the revolutionary artificial-intelligence (AI) network — to predict the structures of more than 200 million proteins from some 1 million species, covering almost every known protein on the planet.
Some analysts now fear that the long decline of interstate war may be about to reverse. In an article for The Economist published shortly before the Russian invasion, the Israeli writer Yuval Noah Harari declared the decline in international war to be “the greatest political and moral achievement of modern civilization.” But he also worried that a war in Ukraine could bring about “a return to the law of the jungle.” In an
The doom-laden headlines of our times would seem to indicate there are two futures on offer.
Researchers have restored

INTELLECTUAL HISTORIES OF recent American public life typically foreground disintegration in order to capture the mood of a country on the brink. These moments are not only about the United States’s ongoing culture wars or its “