by William Flesch | 11.15.2010
How can you use the market place to predict future classics?  How could you even bet on the literary future?  EBay has found a way -- a really interesting one.  The futures markets tell us that Darren Shan (author of the young adult series Cirque du Freak) is more than twice as valuable as of today than New Yorker darling David Mitchell.  But Ken Follett is a cut above that. How do I know?
by Alec Hanley Bemis | 11.11.2010
I won't pretend like I trust or respect political art. I think it's inherently suspect. Which is not to say that art cannot have a powerful galvanizing effect on politics, or that it cannot be great art.
by William Flesch | 11.09.2010
Sometimes you notice an aesthetic effect or technique and assume that there must be a name for it. But how can you look it up? Maybe you can just ask.
by Jonathan Mayhew | 11.09.2010
Read the first part of this series here.
by Timothy Morton | 11.09.2010
In a previous post I argued that hyperobjects are viscous—they adhere to you no matter how hard to try to pull away, rendering ironic distance obsolete. Now I'll argue that they are also nonlocal.
by Allison Carruth | 11.08.2010
In May of 2010, a Parisian art auction sold an Alexander Calder mobile entitled "Pour Vilar" (circa early 1950s) for 2.3 million euros, a record sale for a piece by the now famous American sculptor. I begin with this anecdote because it was the first news item to appear in my Google Chrome search today when I entered "minimalism" and "Calder."
by Irakli Zurab Kakabadze | 11.08.2010
It was the year 1999.  It was in hot Phoenix, Arizona, when I wrote this poem.  It was a time when everybody was excited about the new age, where you could have gotten in touch with your friends on different continents through the Internet and low cost phone calls. 
by Lee Konstantinou | 11.08.2010
In the New York Review of Books, Zadie Smith has written an interesting review of Aaron Sorkin's The Social Network that doubles as a critique of Facebook.