Large-scale abstract paintings that recall networks, maps, and schematic diagrams—and with each subsequent viewing can become anything at all.
The present-day lust for ruins is nothing new. In fact, it’s nearly as old as any ruins themselves. From a flattened Louvre to Percy Bysshe Shelley, a journey to the dawn of ruin porn.
Twice a year, a group of friends gathered in a coal-mining pocket of Pennsylvania—friends in their twenties with fragile identities, who didn’t know yet what would happen.
Photographs of life inside a mining boom, from Montana to Texas, that’s producing a new, modern version of the Wild West.
Her neighbors remember her as “the bag lady,” but Vivian Maier was secretly a street photographer who would leave behind an artistic trove that captured the public’s imagination.
Photographs from a new book of American public libraries—some famous, some neglected, some both—plus an essay by former Poet Laureate Charles Simic.
In Mumbai, paltry regulation means hundreds of new skyscrapers bring more lows than highs. Photographs of new construction, with titles named after the buildings’ advertising slogans.
Haunting portraits of ancient old-growth forests in Northern California and the people who live in the former boom town next door.
Evidence of diversity emerging in Northeast Tennessee, historically one of the United States’ most conservative, homogeneous regions.
Sumptuous, extremely close-up paintings of hair gel, body wash, and other beauty products, using 5-hour Energy powder, Viagra, and MDMA to create pigments along the way.
When Roger Ebert died in 2013, America was deprived of one of its finest film critics. But reviewing his body of work shows we also lost one of our best writers on addiction.
The power of architecture, the architecture of power—it’s all one and the same (and occasionally beautiful) in the business of high-tech.