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Review: Judy Chicago Takes Aim at the Sexism of Art Critics in Her Memoir and New Retrospective
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Was Kamala Harris pushed over a glass cliff?
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Lisa Alvarado.
Charlie Gross
When visual artist Lisa Alvarado seeks inspiration, she’s inevitably drawn back to her grandmother’s house on the South Side of San Antonio, where she spent much of her childhood. Painted in glowing pastels and smelling of botanica candles, the home had an outsized impact on her life and work. “My
welita created colorful laces and stitched fabrics that were wrapped upon all of her surfaces: tables, pillows, couches, and all changed out frequently,” Alvarado says via Zoom from her home studio this past winter. Not that it’s easy to tell it’s her painting studio, as there’s nothing but bare walls behind her. You’d think she was in the process of moving, empty as it is. But after she spent a feverish few weeks finishing preparations for her first U.K. solo exhibition, which ran from February to April at Glasgow’s Modern Institute, her latest works have all been packed up by movers and shipped across the Atlantic. The sun-bright colors a
Le notti bianche (1957)
We began this short week with a look at the enthusiastic response to Mark Harris’s
Mike Nichols: A Life, and opening this month’s round on new and noteworthy books, we turn to a few more biographies. For a
New York Times profile of literary biographer Hermione Lee, widely admired for her books on Virginia Woolf, Edith Wharton, and Penelope Fitzgerald, Charles McGrath spoke recently with novelist Julian Barnes who recalled the day that playwright and screenwriter Tom Stoppard approached Lee and asked her if she might consider making him her next subject. When she asked why he’d set his sights on her, he replied, “Because I want it to be read.” When
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