Matthew Pillsbury’s long-exposure photographs capture the return of crowds after COVID lockdown. As communal city life comes back, can we find one another?
Classics of immigrant storytelling can feel sparse and solemn. The stories in So’s “Afterparties” fill the silence, spilling over with transgressive humor and exuberant language.
“The New Woman Behind the Camera,” at the Met, is dizzying in its scope, acting as an index of female photographers between the nineteen-twenties and the fifties.
Seeking shelter from the mega-fires and superstorms inside the psychedelic, Teletubby-evoking plastic-lemon-grove installation in midtown, contrived to disguise a giant construction shed.
The New York Public Library’s Picture Collection, an archive of more than a million printed images that Andy Warhol used as a proto-Pinterest, is celebrated in a new book and Gagosian exhibition by the artist Taryn Simon.
The French actress, known for “Call My Agent!,” “Killing Eve,” and “Connasse,” co-habits with “fucking Matt Damon” in the Trump-inflected Cannes hit “Stillwater.”
The author of “Crazy Rich Asians” stayed home during lockdown, as unmasked jet-set friends checked out Tulum and Hawaii. Can he bust loose to celebrate the publication of his latest, “Sex and Vanity”?
Among the experimental drugs tried out on the President in the COVID ward: MyPill (placebo available in twin, full, and California king), Faucialis (weekends only), Lympho-incyte (causes white blood cells to storm the capillaries), and Diet Saline.
The band’s multi-instrumentalists bring their diaristic folk and pop music to Forest Hills Stadium, in a show that includes Lucy Dacus and Waxahatchee.
The summer’s flavors include Kraft Macaroni & Cheese, Sea Salt Saba, and Roasted Banana with Coffee Caramel, made by the intrepid purveyors Van Leeuwen, Caffè Panna, and Bad Habit.
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