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Yet the literature on Internet addiction fails to establish the agent of this presumptive malady, Friedman points out, as well as what it is that users are actually doing or desiring that constitutes an addiction. In her new book, I Internet Addiction: A Critical Psychology of Users i (Routledge, 2021), Emaline Friedman takes on an enormous and weighty task. [Extracted from the article]

Interactivity as performance allows Nash to draw attention to affect and emotion, considering the different forms that interactive documentary engages with embodied performances such as augmented and virtual reality documentary and gaming. Nash acknowledges the fragility of the interactive documentary because of its experimental approach adopting software platforms that are still in development limiting the audience reach, but she remains hopeful throughout the book that the future for the interactive documentary lies ahead, and we have perhaps only scratched the surface. This book shows how interactive documentary appropriates digital technologies in order to find new methods of engaging with realities that often confront contemporary social concerns and the intricacies of truth. [Extracted from the article]

The article reviews the exhibition featuring the paintings of Tseng Yu-ho at Manhattan's Downtown Gallery in New York City.

This article reviews a production of the play "Animals Out of Paper," written by Rajiv Joseph, starring Jeremy Shamos, performed at the McGinn/Cazale Theater in New York City.

The article reviews the exhibition "Dream Sculptures in Ink and Paper" which features the drawings of American sculptor David Smith held at the Eli Whitney Museum in New York in December 1979.

The article provides information on the Brooklyn Zine Fest music festival to be held at Public Assembly in New York City on April 17, 2013.

Reviews the exhibition "Greater New York" featuring works by painter Steve Mumford, held at P.S. 1 in New York City.

Reviews the dance "Aga-Boom," at the New Victory Theater in New York City.

The article reviews the exhibition "Works on Paper" at Danese in New York City, New York.

Is paper passe? Your answer will most likely depend on whether you're reading this sentence on newsprint or on a screen. But it's safe to say that artists and designers aren't ready to quit the stuff, at least by the measure of the latest show at the Museum of Arts and Design. They are, however, willing to pierce, shred, carve and slice it. ''Slash: Paper Under the Knife,'' the third show in the museum's Materials and Process series, explores the sometimes violent, always intricate art of paper cutting. (It follows ''Radical Lace and Subversive Knitting'' and ''Pricked: Extreme Embroidery'' in 2007 and 2008.) [ABSTRACT FROM PUBLISHER]

The article reviews the paper cutting exhibition of Swoon at Deitch Projects museum in New York City.

Reviews exhibitions by artist Cory Arcangel at the Team Gallery and at Deitch Projects in New York City.

The article reviews the exhibition "Slash: Paper Under the Knife," at the Museum of Arts and Design in New York City through April 4, 2010.

The article reviews a sculpture exhibition by the artist Winifred Lutz at the Zabriskie Gallery in New York City.

Folded paper transcends mere craft in the Parrish Art Museum's exhibition ''Paper Transformed -- Origami.'' Here is an astonishing array of lifelike animals made of nothing but folded paper. Some of them are life-size, like a heron, its neck crooked, greeting visitors at the entrance to the show. The nearly 100 sculptures on display here, by the world's leading contemporary origami artists, were made without cutting or gluing. According to the book that accompanies the exhibition, many of the pieces were made with a single sheet of paper. [ABSTRACT FROM PUBLISHER]

The article reviews the art exhibition "Cri du Coeur," by Nancy Spero at the Galerie Lelong in New York City.

The article reviews several exhibitions including "Zarina: Paper Like Skin" at the Guggenheim Museum in Manhattan, New York City through April 21, 2013, "Matisse: In Search of True Painting" at the Metropolitan Museum of Art in Manhattan, New York City through March 17, 2013 and "Blues for Smoke" at the Whitney Museum of American Art in Manhattan, New York City through April 28, 2013.

The article reviews the comedy play "Paper Dolls," directed by Gaye Talyor Upchurch and starring Jen Jamula, performed at the Players Theatre in New York City from August 13-23, 2008.

The article reviews the exhibition of Ursula von Rydingsvard at Dieu Donné in New York City.

The article reviews the art exhibition "Poem (Music Drawings)," by Ga Hae Park at Bronx River Art Center gallery in New York City.

The article reviews the art exhibition "Anthem," by Dylan Graham at the RARE gallery in New York City.

Philip Cushman's collection of papers showcased in his recent book, "Travels with the Self: Interpreting Psychology as Cultural History" coalesce to form a strong critique of psychotherapist/psychoanalytic practitioners, and their compliance with socio-political norms and expectations. As Cushman sees it, psychotherapists and psychoanalysts have gone from being critics of the system to being agents of the system, pushing patients to adjust to social norms. Since Cushman is a hermeneutic philosopher, Heidegger - the founder of ontological hermeneutics - is important to Cushman. [Extracted from the article]

The article reviews a concert by The Paper Raincoat at Mercury Lounge in New York City, New York.

Reviews the dance concert "Celtic Tiger," by Michael Flatley held at the Madison Square Garden in New York City in September 2005.

The article reviews several Manhattan, New York art exhibitions, including "The Terminal Beach" at the Yossi Milo Gallery until August 22, 2008, "Paper City" at Mixed Greens until August 15, 2008, and "History Keeps Me Awake at Night" at PPOW until August 22, 2008.

The article reviews the concert of the Paper or Plastic band at Muchaba Lounge in New York City.

Reviews the exhibition "No Limits, Just Edges: Jackson Pollock's Paintings on Paper," at the Guggenheim Museum in New York City from May 26- September 29, 2006.

Reviews the exhibition `The Waking Dream: Photography's First Century,' 253 photographs collected by the Gilman Paper Company, at New York's Metropolitan Museum of Art, curated by Pierre Apraxine and Maria Morris Hambourg. Until July 4.

The article reviews the photography exhibition "Impressed by Light: British Photographs from Paper Negatives, 1840-1860" at the Metropolitan Museum of Art in New York City from September 25-December 31, 2007.

Reviews the drawing exhibit of Antonin Artaud entitled `Antonin Artaud: Works on Paper' at the Museum of Modern Art in New York City, New York.

The article reviews the exhibition "A Century at American Art on Paper" at Debra Force Fine Art in New York City.

The article reviews the exhibition "John Mitchell: Works on Paper 1956-1992" at the Cheim & Reid Gallery in New York City during June 15-16, 2007.

Reviews the art exhibition 'Works on Paper,' at the Seventh Regiment Armory in New York City.

This article reviews the exhibition of paper art pieces by Andreas Kocks at the Jeannie Freilich Fine Art Museum in New York City, in 2007.

Reviews the dance-theater piece `The Pink: A Paper Ritual of Eros,' directed by Muna Tseng.

The article reviews the 2011 art exhibition "The Essential Line: Drawings From the Dahesh Museum of Art,” featuring drawn works by various artists including Paul Delaroche, Thomas Couture and Gustave Doré, at Syracuse University’s Lubin House in New York City.

The article reviews the art exhibition by Miriam Schapiro held in New York City from May 20 through March 20, 2006.

The article reviews the dance performance "Beasts and Plots," by Gwen Welliver and other dancers, performed at the New York Live Arts in New York.

The article reviews the exhibition "Richard Serra Drawing: A Retrospective" at the Metropolitan Museum of Art in New York City beginning April 2011.

By now it's no surprise to find a museum-worthy show of a major artist at a Chelsea gallery. The spoils of this season are such that a large trove of 1970s and '80s Lichtensteins arrived last month without much fanfare at the Gagosian Gallery on West 24th Street, overshadowed by another Gagosian coup -- Monet's late paintings -- a few blocks away. At the Lichtenstein exhibition it's harder to forget that you're in a place of business. The bulk of the more than 50 works in ''Roy Lichtenstein: Still Lifes'' comes from unnamed private collections, not museums, and some are for sale. The very idea of Lichtenstein, who died in 1997, as a studious genre painter may seem like a market-generated fiction; certainly the show is less inviting than the gallery's ''Roy Lichtenstein: Girls'' in 2008. [ABSTRACT FROM PUBLISHER]

The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major ''isms.'' She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard. Then in 1977 -- just shy of her 41st birthday -- Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980. [ABSTRACT FROM PUBLISHER]