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Olivia Laing Finds Renewal in a Precision Haircut and Sichuan Takeaway


For Laing, who sees that early time in herbal medicine, steeped in listening and investigation, as a springboard into writing, the way forward isn’t necessarily “this narcissistic self-care route.” That much is clear in this three-day diary, where restoration arrives via an art show, takeaway curry, a bath. “Where I kind of part ways with the wellness community is that I think a huge amount of what happens with people’s physical health is political. A huge amount of what happens with people’s emotional health is political.” Laing, who identifies as trans/non-binary, takes that long view in her book, revisiting the blossoming of gender identity in Weimar-era Germany or the civil-rights movement of 1960s America. In a way, she sees ....

New York , United States , City Of , United Kingdom , Susan Sontag , William Blake , Olivia Laing , Agnes Martin , New York Times , Weimar Era Germany , Bunhill Fields , புதியது யார்க் , ஒன்றுபட்டது மாநிலங்களில் , நகரம் ஆஃப் , ஒன்றுபட்டது கிஂக்டம் , சூசன் சொந்தக் , வில்லியம் பிளேக் , ஒலிவியா முட்டையிடும் , புதியது யார்க் முறை , வீமர் சகாப்தம் ஜெர்மனி , பன்ஹில் புலங்கள் ,

At the Jewish Museum, the midcentury feels very, very modern


I arrived at “Modern Look,” the Jewish Museum’s newest exhibit, ready for what it promised: a bird’s-eye view of midcentury magazine photography. But I was preoccupied, as I have been for weeks, with a very different media moment.
The recent documentary “Framing Britney Spears,” which showed how exploitative coverage eroded the singer’s mental health, has prompted a collective double-take at the media culture of the 2000s, when body-shaming, hypersexualization, and pointlessly cruel takedowns ruled the day. We may associate those tactics with tabloids, but they were also on display at prestige magazines: One particularly leering piece that resurfaced in the film’s wake was a 2004 Rolling Stone profile of Lindsay Lohan, which started out by assuring the reader that the 18-year-old’s “breasts are real.” ....

United States , Francis Mclaughlin , Lindsay Lohan , Saul Leiter Dick , Alexey Brodovitch , Gordon Parks , Will Burtin , Britney Spears , Cipe Pineles , Ralph Ellison , Lisette Model , Jewish Museum Lisette Model Coney Island Bather , Civil Rights Movement , Hunter College , Jewish Museum , Saul Leiter , Weimar Era Germany , Coney Island , Island Bather , Gordon Park , Jim Crow , ஒன்றுபட்டது மாநிலங்களில் , பிரான்சிஸ் ம்கிலௌஊகிலின் , லிண்ட்சே லோகன் , கோர்டந் பூங்காக்கள் , பிரிட்னி ஈட்டிகள் ,

Current and coming: Changing lenses at the Jewish Museum


Current and coming: Changing lenses at the Jewish Museum
Mason Klein
Private collection, ©
The story of the exhibition
Modern Look: Photography and the American Magazine starts in Weimar-era Germany, where the emerging field of graphic design was developing throughout the 1920s at the Bauhaus school. Numerous artists and designers of the German avant-garde were Jewish. When the Nazis came to power in 1933, their opposition to modernist art and persecution of its practitioners drove a generation of photographers and artists to immigrate to the United States. There they found a robust mass media exemplified, in an era before television, by large-circulation magazines, such as ....

New York , United States , Rochester Institute Of Technology , Jewish Museum , Nan Martin , Ellen Auerbach , Lillian Bassman , Mason Klein , Alexey Brodovitch , Paul Rand , Saul Leiter , Frances Mclaughlin Gill , Gordon Parks , Will Burtin , Lizzie Himmel , Helen Frankenthaler , Suzy Parker , Alexander Liberman , Joseph Breitenbach , Yaye Breitebach Charitable Foundation , Saul Leiter Foundation , Gordon Parks Foundation , Goldsmith Foundation , Horacew Goldsmith Foundation , Street Scene , First Avenue ,