All posts tagged: Lauren

Switching On | Lola Seaton, Lauren Kane

Switching On | Lola Seaton, Lauren Kane

In our October 22 issue, Lola Seaton reviews Jonathan Buckley’s latest novel, One Boat. “Buckley’s best fiction,” she writes, “is refreshingly free of self-regard: lovingly crafted but out of devotion to his characters rather than to exhibit his technical gifts.” This commitment to the lives of the people in his stories makes his books “alive right up to their edges,” and while that virtue “may be traditional, what the novel was built to do,” Seaton continues, “it can feel radical.” There is something about this ethic that a critic should inhabit, as well—a craft of devotion rather than exhibition. Seaton is a prolific young critic in the UK who pays as sharp and close attention to the shifting politics of the left as she does to contemporary novels. In venues ranging from Harper’s to the London Review of Books to the Financial Times, she has written about new fiction, Joni Mitchell, and soccer. For the Review, she has also reviewed Sheila Heti, Megan Nolan, and the 2022 London heat wave. She is a contributing writer …

Braving the Labyrinth | Geoffrey O’Brien, Lauren Kane

Braving the Labyrinth | Geoffrey O’Brien, Lauren Kane

Geoffrey O’Brien is one of those writers who can write about anything: opera, British postwar film, crime fiction, the Third Reich, Grant Wood, Patti Smith, Duke Ellington, Seinfeld. Yet these subjects are often united by a kind of nostalgia—or more precisely, the kind of nostalgia induced by pop culture artifacts. His essay from our August 20, 2026, issue, “A Gust from Another World,” is about the Bridey Murphy craze of the 1950s, which was sparked by the account of a young Colorado woman who discovered, under hypnosis, that she was possessed by the spirit of a long-dead Irishwoman. The dubious story (first documented in a book by her hypnotist, then adapted into a movie) helped give rise to a fascination with the unconscious, hypnotists, the afterlife, and mind control. For O’Brien, who remembers the craze from his childhood, it was “a blast from the country of the dead” that cut through a midcentury world “grounded in practicalities, reassured by material things that functioned: fuse boxes, automobile engines, lawn mowers, power drills, reel-to-reel tape recorders.” O’Brien has …

Lauren Oyler on Florentina Holzinger, Watermill’s New Councils, and More

Lauren Oyler on Florentina Holzinger, Watermill’s New Councils, and More

Happy Thursday! Here’s who’s moving and shaking in the art world this week. Jessica Morgan Appointed Director of Tate:The British curator, currently director of the Dia Art Foundation in New York, will succeed Maria Balshaw at the helm of the Tate network, which oversees Tate Modern, Tate Britain, Tate Liverpool, and Tate St Ives. Watermill Center Announces New Creative and Advisory Councils: The Long Island institution established the bodies to guide its next chapter following founder Robert Wilson’s 2025 passing. Members include Marina Abramović, Laurie Anderson, Isabelle Huppert, Shirin Neshat, and Carrie Mae Weems. Philadelphia Museum of Art Appoints New Head of Costume and Textiles: Ann Marguerite Tartsinis has been named the Jack M. and Annette Y. Friedland Curator and Head of Costume and Textiles, succeeding Dilys E. Blum, who led the department for four decades before her death in December 2025. FEMME Art Fair to Debut in Washington, D.C.: Produced by USAN USAN and Our Daughters’ Futures Fund, the inaugural fair runs Aug. 26–30 at International Square, spotlighting more than 100 women artists, including the Guerrilla Girls, across 35,000 …

The Romance Revival by Christina Lauren

The Romance Revival by Christina Lauren

Emery Finch never planned to get married. Then she heard a laugh from across a wedding reception in Vegas, and a landscaper named Luca upended everything she thought she knew about herself. Three years into that marriage, the shine has dulled. Emery buries herself in a secret research job, forgets anniversaries, and keeps promising that Luca will understand once her work finally comes to light. When a sudden accident takes him, she breaks every rule she has sworn to protect and uses her own technology to bring him back. He returns healthy. He also returns with no memory of her, their wedding, or the life they built. That is the engine of The Romance Revival by Christina Lauren, and it runs on a wonderfully uncomfortable question: if you got the person back but lost the shared history, would they choose you all over again? A Love Story That Gets to Happen Twice The smartest move “The Romance Revival” makes is refusing to treat amnesia as a cheap reset button. Luca is not a blank slate …

Against Slop | Meghan O’Gieblyn, Lauren Kane

Against Slop | Meghan O’Gieblyn, Lauren Kane

“The whole field of AI alignment—ensuring that machine intelligence can peacefully coexist with humanity—grew out of the pervasive anxiety that we might create monsters.” This is, Meghan O’Gieblyn argues in our June 25, 2026, issue, a distinctly parental anxiety, a primordial kind of maternal metaphor that appears over and over again in writing and interviews about AI development. The metaphor asks not only what kind of child we are raising, but what kind of mothers we might be to what is an increasingly mysterious entity. For example, O’Gieblyn notes that in an interview with a New York Times podcast, Anthropic’s so-called “Claude mother,” Amanda Askell, “worried about the relationship between AI and humanity—not because AI might destroy the world, or take all our jobs, but because its feelings were getting hurt.” According to Sam Altman, the basic etiquette people employ when typing to their chatbots has cost OpenAI millions in computational costs, and he believes that “this was money well spent. (‘You never know,’ he wrote.)” O’Gieblyn’s primary subject is not artificial intelligence—she is one of the most prolific working thinkers on …

After the Mystics | Lauren Kane, Daniel Drake

After the Mystics | Lauren Kane, Daniel Drake

Earlier this spring, Lauren Kane journeyed up to the Cloisters—the Metropolitan Museum of Art’s outpost on the northern tip of Manhattan, which houses European art inside a complex of buildings cobbled together from the ruins of several medieval cloisters brought over from France and Catalonia in the early twentieth century—to visit “Spectrum of Desire: Love, Sex, and Gender in the Middle Ages.” As Kane writes in the NYR Online, the exhibition was rife with “transgressive delight”: “saddles rowdy with double entendre, demure coin purses,” “a painting of the Madonna nestled within a yonic wound-shaped frame,” “a large plate embossed with a scene of a wife paddling her husband’s ass,” “a copper aquamanile…in the shape of a woman riding a man,” and many more objets d’art, both secular and devotional, that would raise eyebrows even today, never mind six hundred years ago. But, she notes, it is precisely that projection of prudishness onto the past that can prevent us from understanding it, “a time when something as physiologically routine as arousal could be—and often was—understood as an experience …

In a new monument for South-Central, Lauren Halsey cements her loved ones as landmarks

In a new monument for South-Central, Lauren Halsey cements her loved ones as landmarks

This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced. Someone said heaven is on the corner of 76th and Western. It’s nearly 90 degrees on a Saturday in South-Central and “sister dreamer lauren halsey’s architectural ode to tha surge n splurge of south central los angeles” is gleaming and activated. Thousands of people fill the streets that surround it in lit, ecstatic union. Parliament-Funkadelic is playing a live show onstage while we stomp the pavement in faithful entrancement. The line forming for fittingly swaggy merch becomes a site for sweet reunions unfolding one after another — some version of “this is crazy, this is amazing, this is L.A.” being thrown back and forth on a loop. On the sidewalk, generations play spades in the shade and the joyful screams of children emanate from a custom bouncy house adorned with an Egyptian pharaoh bust. Across the way, skateboarders do their thing on the Neighbors Skate Shop ramp, flipping and flexing, making sculptures out of their bodies in …

En Pointe  | Marina Harss, Lauren Kane

En Pointe  | Marina Harss, Lauren Kane

Alexei Ratmansky’s new ballet, which premiered in Copenhagen this past fall, is an interpretation of Bach’s Art of the Fugue, a piece the composer left unfinished at the time of his death in 1750. As Marina Harss writes in our March 12, 2026, issue, the ballet shares the composition’s disrupted quality: “In Copenhagen Ratmansky was returning to a project that had been painfully interrupted when Russia invaded Ukraine.” So Harss traveled to Denmark, not only for the performance but also to spend time with Ratmansky and the dancers as they rehearsed before opening night. Harss has a particular affinity for Ratmansky’s work and for Ratmansky—she is his biographer. The Boy from Kyiv: Alexei Ratmansky’s Life in Ballet was published in 2023. As a critic, she writes on dance regularly and opera occasionally for The New Yorker, The New York Times, and The Hudson Review, among other publications. She has also translated books from the Italian and French, including The Mirador, Élisabeth Gille’s memoir of her mother, Irène Némirovsky; and Poem Strip, a graphic novel by …

Lauren Sánchez Bezos Loves Suits, Be They Crimson, Fur-Collared, or Fringed

Lauren Sánchez Bezos Loves Suits, Be They Crimson, Fur-Collared, or Fringed

The bond between Lauren Sánchez Bezos and the fashion world is growing stronger, and during couture week in Paris, the journalist, entrepreneur, and wife of Amazon founder Jeff Bezos certainly did not leave her front row seat vacant. From Schiaparelli, which opened the Spring-Summer 2026 schedule, to Christian Dior, which marked Jonathan Anderson’s debut in the world of haute couture, Sánchez Bezos was present at some of the most anticipated shows. She smiled for the photographers, wearing different looks with one common thread: all three were suits. In fitted jacket and pencil skirt, Mrs. Bezos focused on a great wardrobe classic. The first was a fiery red skirt suit by Schiaparelli, with an artistic, sculptural touch, perfectly in line with the style of the house’s creative director Daniel Roseberry. She paired the suit with a handbag with details forming a trompe-l’oeil face and a pair of red five-inch pumps to create the total look. Lauren Sánchez and Jeff Bezos arrive at the Schiaparelli Haute Couture Spring-Summer 2026 fashion show. Pierre Suu/Getty Images The second version …

In the Despot Archives | Helen Epstein, Lauren Kane

In the Despot Archives | Helen Epstein, Lauren Kane

After Ugandan tyrant Idi Amin was ousted from power in 1979, his regime left behind mountains of paperwork generated by the state bureaucracy. Years later, the historian Derek Peterson painstakingly assembled it into an archive. As Helen Epstein writes in our January 15, 2026, issue, “crucial documents were buried under layers of old bicycles, junked photocopiers, and ancient dot matrix printouts. An intern found an unexploded bomb amid files stored at a police station, and valuable court records in another storeroom were being used as toilet paper by prisoners awaiting trial.” From this material, Peterson composed A Popular History of Idi Amin’s Uganda, which, Epstein writes, tries to address the questions “What must it have been like to live under such a regime? And how do societies in general behave under such pressure?” Epstein has been writing about Uganda for nearly thirty years, after working there in the early 1990s on a project to develop an AIDS vaccine. That involvement broadened into an abiding interest in Africa: for the Review, since 1998 she has written about …