Sam Needleman
Contributor at New York Review of Books
‘The premier literary-intellectual magazine in the English language.’
Articles
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3 weeks ago |
nybooks.com | Sam Needleman |David Salle
Sanford Schwartz once wrote in The New York Review that when David Salle puts down his brush and picks up his pen to write art criticism, he does so with the same “seemingly out-of-nowhere assurance” with which he arrived on the painting scene in the late 1970s.
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1 month ago |
nybooks.com | Sam Needleman
Tacita Dean’s mesmerizing, elegiac drawing and filmmaking spring from both broad exploration and acute focus.
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2 months ago |
nybooks.com | Sam Needleman |Nell Irvin Painter
Since the end of the last century, Nell Irvin Painter writes in her essay “‘This Land Is Yours,’” published in our March 27 issue, historians of many different American regions have shown in their work that “places assumed to be only and always White were not.” One of the purposes of these local Black histories has been to challenge “the delusion,” as Painter calls it, that parts of the country other than the South constitute “a land of freedom far removed from the American original sin of...
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Nov 16, 2024 |
nybooks.com | Sam Needleman |Ruth Yeazell
Ruth Bernard Yeazell is a scholar of the novel whose work has focused more on the visual arts than the average literary critic’s. She has written for The New York Review not only about Austen, Dickens, and George Eliot, but also about Frans Hals, Vermeer, female self-portraitists, and, in our November 21, 2024, issue, John Singer Sargent.
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Jul 6, 2024 |
nybooks.com | Sam Needleman |Francine Prose
Among the essays about novels in the Review’s 2024 Fiction Issue—including Anne Enright on John McGahern’s The Pornographer and Michael Gorra on Percival Everett’s James—is a review by Francine Prose of Tommy Orange’s first two books, There There and Wandering Stars. “Deploying the capaciousness and elasticity of the novel form,” Prose writes, “Orange switches back and forth from the intimate to the panoramic, from the present to the past. He can probe deeply into each character’s psyche….
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The filmmaker Kira Muratova’s characters, writes Sophie Pinkham, ”are always tipping toward both laughter and violence, their relationships nourished on hostility.” https://t.co/rkTndTiGng
“I’ll never forget the sensation of seeing a great De Kooning up close.” —an interview with @David_Salle https://t.co/Wha0kNHcIJ
“In small doses—in tiny doses—I could sometimes enjoy Platonov,” writes Michael Hofmann. “But in bulk I found it overpowering, static, unassimilable, both too big and too small.” https://t.co/qadnADA7qE