The pop star’s arrest on suspicion of driving under the influence this week was a breaking point, years after she regained control of her life and finances.
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Friars Club memorabilia, including photos of Billy Crystal and Jack Benny’s violin, sold well at an auction that upset former members of the defunct showbiz fraternity.
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Chris Fleming’s wild way with language is both dazzling and hilarious in “Live at the Palace,” an hour that veers in surprising directions.
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After a prizewinning “Fiddler on the Roof” and a lauded take on Sondheim, Jordan Fein is tackling Arthur Miller’s enigmatic “Broken Glass.”
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Klaus Janson, known for his work on Daredevil and Batman, said he hoped his new solo show could give people “a growing appreciation of what comics can do.”
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“Immutable” is about young debaters in a league in Washington, D.C., as well as about the skill itself in a world where yelling can seem the norm.
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Le Corbusier famously told her, “We don’t embroider cushions here,” when she sought a job at his studio. Then he recognized her talent for design.
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She was seen as a hip-hop temptress when she was still a teenager, and her albums “Age Ain’t Nothing but a Number” and “One in a Million” sold millions of copies.
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Her landmark book “I Know Why the Caged Bird Sings” was among the first 20th-century autobiographies of a Black woman to reach a wide readership.
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The Carpenters sold more than 30 million records with the irresistible combination of her soft-rock contralto and her brother’s lush arrangements.
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She dazzled audiences in “The Wizard of Oz” and “A Star Is Born,” but her successes were later overshadowed by addiction and other struggles.
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Considered the most exciting opera singer of her time, she thrilled audiences with her penchant for spectacle onstage and in her personal life.
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A British singer who found worldwide fame with her sassy, hip-hop-inflected take on retro soul, she became a tabloid fixture because of addiction problems.
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Although her books, written in the dialect of the Deep South, established her as one of the foremost writers of Black folklore, she died in obscurity.
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With hits like “Respect” and “Chain of Fools,” she defined a female archetype: sensual and strong, long-suffering but ultimately indomitable.
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She performed with a string of bananas tied around her waist, an electrifying act that led her to become first a local sensation in Paris, and then an international star.
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With a film career spanning three decades, Miss Wong, who rose to stardom with “The Thief of Baghdad,” was acclaimed as a versatile and talented performer.
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She caused controversy with books like “Eichmann in Jerusalem,” published in 1963, which grew out of her coverage of Adolf Eichmann’s trial for The New Yorker.
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The playwright and his collaborator André Gregory are together again, delivering a sumptuous set of interlinked monologues about life, death and betrayal.
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This week in Newly Reviewed, Seph Rodney covers Deborah Roberts’s collages, Ursula von Rydingsvard’s wood outcroppings and Noel W Anderson’s superstars.
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In a career studded with literary awards, he was the author of dozens of books that grappled with his nation’s legacy of dictatorship and colonialism.
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“No permission was granted for the use of our intellectual property,” the company said. The Trump administration frequently promotes policies with content from video games.
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Many of the galleries showing at TEFAF Maastricht are from France, a sign of the country’s growing presence in fairs and overall rising influence in art and collecting.
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Manneken Pis, the famed bronze statue of a little boy who always has to go, has an official dresser in charge of his more than 1,190 outfits.
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A Dutch florist has crafted the fair’s massive, colorful arrangements since 1988. Their secrets? Early mornings, intense planning and thousands of flowers.
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Evident is the vast influence that France has had upon the Netherlands city, the result of its geography, history and the population’s affinity for its culture.
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Margrethe Odgaard, whose new textiles will be featured at TEFAF Maastricht, aims to define the distinctive hues preferred in various places, by different cultures.
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In the ’70s, Patrick Saytour and his fellow avant-gardists took their work outside the frame, exploding the notion of what painting might be.
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