In “Site Lines,” open through May 12 at The Shirley Project Space in Brooklyn, Wren continues to captivate viewers, transporting them to a world of sensory wonder.
Chinatown’s Leila Greiche gallery presented Kate Wallace’s 11 new oil paintings in “the curve that warms.”
Karen Miranda Rivadeneira’s collection “Other Stories/Historias Bravas,” is an exploration of the relationship between photography and memory.
“How trusting my female bosses just because they were women could have led to disaster.” By Jane Madembo
After changing her will shortly before her death, Baroness Agnes von Bruhn’s sanity gets called into question by those she leaves behind. Determined to make her unbelievable life believable, the Baroness leaves behind clues to defend who she was in her lifetime.
Sadako Sasaki is the most widely-known “hibakusha”—which roughly translates to “bomb-affected person”—and has become a symbol of the impact of nuclear war.
Samantha Hunt’s haunting novel “Mr. Splitfoot” tells the story of 17-year-olds Ruth and Nat, orphans raised at the “Love of Christ!
Anna Akhmatova is one of Russia’s most revered poets. Her work often criticized Stalin’s Russia by lending a voice to victims of the regime.
Anxious kids turn into anxious adults. Behavioral neuroscientist Dr. Jee Hyun Kim explains how treating early fear-based anxiety in children can change that.
Exile is the brother of death. —Berber Proverb
Although men make up the vast majority of prison inmates, it is women who largely bear the brunt of the challenges spurred by the mass incarceration crisis.
“Life After Life in Prison” by Sara Bennett examines the lives of four women as they return to society after serving many years in prison.
Pioneering architect Anne Tyng knew well the latent power of triangles. In 1953, she drafted the first design of a high rise, space frame tower, using the triangle as a basic structural unit.
AWT partnered with Desperate Literature to publish stories from their Short Fiction Prize. An excerpt from Georgia Hazelgrove’s shortlisted piece.