Julie Hamilton, a Baylor bear and Duke Div grad, is originally from central Texas and has worked in North Carolina and New York as a humanities instructor and fashion stylist. A writer and art critic, she collects records, adores baseball and appreciates good bourbon.
Woody Allen as “God’s Loyal Opposition”
Terroir and the Phenomenology of Place
Julie Hamilton’s recollections from the Glen Workshop in Santa Fe, NM
Tom Waits, a preacher of the “dysangelion” (bad news), rhapsodizes the depravity of the world as normative, showing us not to take for granted the surprise of something not going wrong.
Representing Women in Contemporary Religious Painting
Bruce Herman’s QU4RTETS as Marian Typologies
Urban Theater: New York in the 1980s
“All the world’s a stage, and all the men and women are merely players; they have their exits and their entrances, and one man in his time plays many parts.” As You Like It
Interstellar, Science Fiction and the Odyssey of Love
Interstellar extends the tradition of science fiction films that underscore the moral condition of the human within a technologically savvy narrative, and it is the antithesis of Alfonso Cuarón’s Gravity.
This is the Way the World Ends
Julie Hamilton on John Wells’ adaptation of the Tracy Letts play “August: Osage County”
Midnight in Paris as A Moveable Feast
Woody Allen’s take on Ernest Hemingway’s beloved memoir.
NYC's High Line Park: an Innovative Model of the Built Environment
The High Line Park in New York City (with its new sections opening just a week ago) is a prime example of constructing a built environment that creatively combines both aesthetic and functional purposes. By converting a pre-existing railroad line into a much needed green-space, the High Line also has exhibition space for public art […]
Milliner from First Things on "When Art Plays Church"
When Art Plays Church from Matthew Milliner at First Things… “What are we to make of the growing ubiquity of church references in the world of art? Does this confirm Dan Siedell’s charitable suggestion that contemporary art can serve as an altar to an unknown God? Or does it buttress Sarah Thorton’s thesis that art […]
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