The miniseriesThis Is a Robberyis at its best when working through the stranger details of the infamous, still-unsolved crime.
Screening at New Directors/New Films, Jessica Beshir’s film floats in the space between documentary and poetry.
WithLiving In Data, Jer Thorp demonstrates the importance of enabling people to participate in the process of creating and telling the stories behind data.
WithRATS, Ellis explores the twisted realities of American life.
A fiercely odd, even unfashionably allegorical book,Second Placewould be disappointing if it weren’t so bafflingly good.
In Vaughn’s hands, “success” takes shape as a parade of etiquette, competition, and power.
A memoir-in-essays,Pop Songis at its most satisfying when the author assembles an arsenal of visual artists to express the ineffable.
Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.
In her “Mother Paintings,” Bradford’s observations of life in a pandemic have merged with her interior world.
By repeatedly returning to the same motif, Lees attempts the impossible, which is to freeze a particular object, individual, or moment in time.
The four artists in the exhibition “Silent Thunder” display varying degrees of engagement with Buddhism — as a faith, an aesthetic choice, a school of philosophy, or a social phenomenon.
There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.