Articles

O’Keeffe’s New Yorks did not exist in an artistic vacuum; they live within an entire tradition of experimental art about modern architecture.

Everything was grossly comfortable, each piece suffering from bloat and distention.

NYRA’s new column, which continues our tradition of shamelessly purloining the mastheads and editorial savior faire of long-out-of-print design publications (Architectural Forum, 1917–74.), aims to convene consequential voices in architecture, culture, technology, and politics on the issues of the day.

Around the world with Pritzker’s favorite paparazzo

Jonathan Lethem’s historical autofiction from below

And into New York’s underground

Yes, Chef. Hail Caesar. Eat me. Incubate me.

It’s August 1965; Eileen Gray is eighty-seven and blind in one eye, and she’s spending a week on the French Riviera to design an extension for a house she’d built decades ago.

The world is rapidly urbanizing, and the theater of battle is urbanizing with it.

Ersatz pastoralism at Freedom Plaza

Phillips’s musical sequel to his haggardly wrought early Scorsese pastiche more aptly encompasses the existential malaise of NYFF62 than the proudest members of its main slate.

Peristeronic ostranenie in New York’s art world