Kriston Capps
Kriston Capps
Kriston Capps is a staff writer for CityLab covering housing, architecture, and politics. He previously worked as a senior editor for Architect magazine. More +
  • Andrew Harnik / AP

    The Obamas' Official Portraits, Revealed

    Kehinde Wiley and Amy Sherald rose to the occasion with their paintings of the former president and first lady, while—importantly—continuing their radical projects in black portraiture.

  • Lynne Sladky / AP

    The Number of Renters Just Went Down for the First Time in 12 Years

    What does this reversal mean for the American housing market?

  • Bjarke Ingels Group

    Soccer Stadiums Are the New Football Stadiums

    In hopes of securing an MLS expansion team, cities are proposing to spend lots of public money on building arenas.

  • Haley Adair / Symphony for a Broken Orchestra ...

    How To Build an Orchestra From Broken Instruments

    The collection of misfit horns and damaged violins being played to draw attention to shortages in public funding for arts education

  • EJI (Rendering)

    Hanged, Burned, Shot, Drowned, Beaten

    In a region where symbols of the Confederacy are ubiquitous, an unprecedented memorial takes shape.

  • Memphis Fire Department

    A City's Solution to Too Many 911 Calls

    To cut down on the burdensome costs of non-emergency medical calls, Memphis is taking an experimental approach to health care.

  • Pablo Martinez Monsivais/AP

    Why Didn’t Jared and Ivanka Report Their Art Collection?

    Is it that they take art so seriously, they don’t think of it as money?

  • DJ Spooky / The John F. Kennedy Center ...

    Why Remix The Birth of a Nation?

    A live multimedia performance by the musician DJ Spooky considers the 1915 silent film’s legacy as a pioneering document in alternative facts.

  • Acconci Studio / MoMA PS1 / Gus Powell

    Vito Acconci and the Shelf Life of Sensational Art

    Artworks that were transgressive in the 1960s might not be acceptable to museum audiences today, thanks to shifting standards about whose voice should be included.

  • Courtesy of the artist and Jack Shainman Gallery

    Remembering Barkley L. Hendricks, Master of Black Postmodern Portraiture

    The prescient painter—who died at the age of 72—documented the African American figure as a cultural, and commodified, phenomenon.

  • Mark Lennihan/AP

    Why Wall Street’s Charging Bull Sculptor Has No Real Case Against Fearless Girl

    An argument based on the Visual Artists Rights Act is unlikely to hold up in the courts.

  • Brennan Linsley/AP

    Why Christo Cancelled an Epic Public Artwork

    The artist’s decision to abandon his expansive Arkansas River project is the latest, biggest creative protest against Trump.

  • Douglas Remley / Smithsonian

    How a Museum Captures African American History

    A floor-by-floor preview of the Smithsonian’s National African American Museum of History and Culture

  • Meir Kaplan

    Rebuilding a Former Slave’s House in the Smithsonian

    Few Reconstruction-era residences from communities of former slaves are still standing today. The Smithsonian’s new National Museum of African American History and Culture will feature the reassembled structure of one.

  • Carlo Allegri / Reuters

    To Buy a House, Go to College

    A bachelor’s degree is not a requirement for homeownership, but it is starting to look like one.

  • Track of the Day: 'Anyhow, I Love You'

    Guy Clark, one of the finest songwriters in Texas country history and a Nashville legend, has died. A Grammy Award–winning artist, Clark wrote songs that were recorded by Johnny Cash, Vince Gill, Kris Kristofferson, Willie Nelson, and many other country-western stars. Among his 13 studio albums were scores of outlaw hits, including “L.A. Freeway” and “Desperados Waiting for a Train.”

    My very favorite Guy Clark song is a ballad that he recorded in 1976 with Emmylou Harris and Waylon Jennings. (By pedigree alone, it’s got to be good.) “Anyhow, I Love You” is that rare love song that’s salty, not sweet. It captures such urgent emotion without a hint of cliche, pretense, or even much romance—“anyhow, I love you,” as in “anyhow, that’s all I’ve got to say.”

    I wish I had a dime for every bad time
    But the bad times always seem to keep the change
    You been all alone so you know what I'm sayin'
    So when all you can recall is the pain

    Just you wait until tomorrow when you wake up with me
    At your side and find I haven't lied about nothin'
    I wouldn't trade a tree for the way I feel about you
    In the mornin', anyhow I love you

    Everyday it gets just a little bit better
    And half the gettin' there is knowin' where I been before
    I'm sure you understand 'cause I ain't your first man
    So when you feel like runnin' for the back door, don't

    Just you wait until tomorrow when you wake up with me
    At your side and find I haven't lied about nothin'
    I wouldn't trade a tree for the way I feel about you
    In the mornin', anyhow I love you

    Clark was 74.

    (Track of the Day archive here. Submit via hello@)

  • You Aren't Crazy: The New Mother Jones Logo Is Changing Colors

    This morning, Mother Jones unveiled new designs for both the magazine and website to celebrate the publication’s 40th anniversary. In a note introducing the changes, editor Clara Jeffrey says her coworkers are “obsessed with our new favorite color, orange.”

    My first response to the new look was an unbroken string of applause emoji.

    My second take was self doubt. Is that ... is that what orange looks like?

    Toward the top of the graphic, sure. As a University of Texas alum, I’d recognize burnt orange anywhere. I’m comfortable declaring part of the new logo to be burnt orange or Longhorn-adjacent. Hook ‘em, Mother Jones!

    But the bottom of this logo treatment is far from the comforting colors of campus, instead awash in grapefruit hues. Adrienne shared the same reaction—at least, the part about seeing a gradient that changes from orange to pink. And we weren’t alone.

    “If you hadn’t told me some people see a wash, it probably would have looked all one color—orange—to me,” texted a friend, a painting professor I consulted, fearing that others might see a white-and-gold logo.

    But nope. No need to consult color theory. No need to dredge up traumatic memories. This Mother Jones sample is no illusion. Using highly sophisticated forensic analysis tools going well beyond the droplet function in Paintbrush, I deduced two distinct tones, with totally different hashtags and coordinates:

    Now, orange you glad I asked?
    *closes tab*
    *deletes account*

  • Track of the Day: 'Daydreaming'

    When Radiohead set out to disappear completely last weekend, deleting every post from their Twitter and Facebook accounts, they left their YouTube page untouched. Probably smart: “Lotus Flower,” a single from the band’s last album, 2011’s The King of Limbs, has wracked up 36 million views.

    The video for “Burn the Witch,” the single that Radiohead dropped on Monday, is already doing numbers. “Daydreaming” may do even better. The video, directed by Paul Thomas Anderson and posted today, captures the bleak unease of the song exactly:

    The video follows pale king Thom Yorke as he walks through a series of inter-connected hallways, corridors, and tunnels. He appears to be lost but not aimless, the world around him oblivious to his existence—an anxiety particular to Radiohead’s catalog. He passes through one door after another: from kitchen to hospital to prison to library and other magically linked spaces. “Dreamers, they never learn/ They never learn,” Yorke sings.

    The psychic distress mounts as the song builds, until in the end Yorke passes through a utility stairwell door to a snowy landscape. He trudges through the drift until he finds what he was looking for (maybe?): a cave carved out of the ice, a fire burning inside the cave. The sounds that finish the song are too strange to describe, but Genius says that it’s York chanting “Evol ym dnouf ev’I”—I’ve found my love, backwards and all chopped and screwed.

    This isn’t PTA’s first collaboration with Radiohead: Jonny Greenwood, the group’s mop-headed multi-instrumentalist, has composed the soundtracks for several of the director’s films, including There Will Be Blood and Inherent Vice. Last year, Anderson released Junun, a rockumentary that followed Greenwood to India, where he recorded an album of the same name with Israeli composer Shy Ben Tzur, producer Nigel Godrich, and an ensemble called Rajasthan Express.

    More videos may be on the way: Radiohead’s latest and as-yet-untitled album comes out on Sunday.

    (Track of the Day archive here. Submit via hello@)

  • Andrew Innerarity / Reuters

    Remembering Zaha Hadid

    For better and for worse, she was the world’s first female starchitect.

  • Why Is the Smithsonian Still Standing Behind Bill Cosby? Cont'd

    Over the weekend, The New York Times ran an extensive preview of the National Museum of African American History and Culture, which is taking shape on the National Mall in Washington, D.C. Although the museum won’t open its doors to the public for another six months, its curators’ decisions are already raising eyebrows. Another Times story examines the new museum’s plans to recognize Bill Cosby, entertainer and alleged serial rapist, for his contributions to the culture, without mentioning the accusations against him.

    When it comes to Cosby, the Smithsonian Institution suffers from a serious blindspot.