-
What makes a work of art "great"? The final installment of a seven-part tale of the Nazi-era Vermeer forgeries of Han van Meegeren.
-
What makes a work of art "great"? The fifth installment of a seven-part tale of the Nazi-era Vermeer forgeries of Han van Meegeren.
-
What makes a work of art "great"? The third installment of a seven-part tale of the Nazi-era Vermeer forgeries of Han van Meegeren.
-
What makes a work of art "great"? The second installment of a seven-part tale of the Nazi-era Vermeer forgeries of Han van Meegeren.
-
What makes a work of art "great"? The first installment of Errol Morris's seven-part tale of the Nazi-era Vermeer forgeries of Han van Meegeren.
-
A last, lingering look back at George W. Bush's presidency with three people who helped create a photographic record of it -- and who here choose their favorite images.
-
Responses to readers' comments on a photography column, with discussions ranging from Edgar Allan Poe to Wile E. Coyote.
-
The filmmaker’s informal survey of political advertising through the years, with a focus on “real-people” commercials.
-
An examination of a fake photograph of Iranian missiles, and of the many means of visual deception in the age of Photoshop.
-
Digitally altered photographs can easily fool the eye, but they often leave telltale footprints that allow them to be unmasked as forgeries.
-
Digitally altered photographs can easily fool the eye, but they often leave telltale footprints that allow them to be unmasked as forgeries.
-
The filmmaker responds to comments from readers on his two essays on the dilemmas of using re-enactments in documentaries.
-
The author examines an iconic photograph from Abu Ghraib and how it aided and abetted a miscarriage of justice.
-
A discussion of continuity in film — “Casablanca,” “That Obscure Object of Desire” — and in life.
-
A discussion of continuity in film — “Casablanca,” “That Obscure Object of Desire” — and in life.
-
A discussion of continuity in film — “Casablanca,” “That Obscure Object of Desire” — and in life.
-
A discussion of continuity in film — “Casablanca,” “That Obscure Object of Desire” — and in life.
-
Is the use of re-enactments in documentaries directorial fraud, or a tool for cinematic truth?
-
Is the use of re-enactments in documentaries directorial fraud, or a tool for cinematic truth?