Reading Heather Dixon's Illusionarium feels like riding a particularly rough roller coaster, and the first few hills are doozies. Dixon barely establishes the book's fantasy world — a hastily sketched British-derived steampunk setting, with the requisite airships and an alternate version of London called Arthurise — before she upends it.
This week, the Brooklyn Museum is wrapping up its mid-career retrospective of artist Kehinde Wiley — which means 14 years of work and something like 60 paintings.
It's been drawing a diverse and large crowd, partly because Wiley's work has been featured on the TV show Empire, and partly because he is a well-known and, in some ways, controversial figure in the art world. Wiley takes contemporary figures — oftentimes young black men and women — and places them in old European art traditions: Oil paintings, portraits, stained glass and even bronze sculpture.
Much of Brad Bird's Disney sci-fi adventure Tomorrowland is terrific fun, but it's one of the strangest family movies I've seen: Bird's not just making a case for hope, he's making a furious, near-hysterical case against anti-hope.
This week's taping presented us with a few conundrums: Host Linda Holmes had already begun her vacation, while I know jack-all about the seven accumulated seasons of Mad Men, whose finale we were duty-bound to discuss. Our solution involved a pair of our most beloved guest panelists — Gene Demby and, from a studio in L.A., Barrie Hardymon — and a brief interregnum in poor Linda's vacation. (I stayed home and ate snacks.)