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Legendary Photographer Burk Uzzle Sees All

Sandra Bertrand

But his true pleasure is in showing us the old masters, his face lighting up with a child’s excitement. We peer closely along with Uzzle as he shows us how to look at a painting as if it were a photograph, finding new meaning in the color black or the chiaroscuro effect of dark and light on a subject’s face. As for faces, he sees each one as a new frontier, “as deep a frontier as you’re capable of exploring.”

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Winslow Homer at the Met: A Study in Conflict

by Sandra Bertrand

Dressing for Carnival,(1877) features a Black man being sewn into his Harlequin costume by family members for a traditional African celebration. Is this a promise of better times for these former slaves, which the wall notes suggest? Perhaps. A helpful hint to visitors would be to let the magnitude of the art speak for itself first, then use the history lesson as needed. A good example is The Cotton Pickers (1876). A pair of hardy muscle-bound women fills the canvas. Their dark forms cut into the foreground, contrasted by the clusters of snowy cotton in their shoulder bags. The image needs no explanation.

Fascinating Characters, Plots Make ‘The Boys’ a Must-Watch Show, Despite Gratuitous Gore

by Forrest Hartman

If The Boys has a flaw, it’s the franchise’s much-celebrated violence and gore. Because the show prides itself on the sort of hyperrealism that is generally avoided in superhero flicks (how, after all, can Flash punch someone at super speed without dismembering them) a few characters meet a tremendously bloody end in every show. Obviously, some fans relish this. I find the gore self-indulgent and believe it distracts from the generally fantastic plotting that punctuates each season.