The New Yorker (February 5, 2024): The new issue‘s cover featuresNicholas Konrad’s “Online Profile” – The magazine celebrates its ninety-ninth anniversary..
When Golden was a young curator in the nineties, her shows, centering Black artists, were unprecedented. Today, those artists are the stars of the art market.
Baruch Spinoza and the Art of Thinking in Dangerous Times
The philosopher was a champion of political and intellectual freedom, but he had no interest in being a martyr. Instead, he shows us how prudence and boldness can go hand in hand.
The New Yorker (January 29, 2024): The new issue‘s cover featuresSarula Bao’s “Lunar New Year” – The artist depicts the joys of gathering with loved ones, around a table of good food
As the general manager of the Jay Peak ski resort, Bill Stenger rose most days around 6 a.m. and arrived at the slopes before seven. He’d check in with his head snowmaker and the ski-patrol staff, visit the two hotels on the property, and chat with the maintenance workers, the lift operators, the food-and-beverage manager, and the ski-school instructors—a kind of management through constant motion. Stenger is seventy-five, with white hair, wire-rimmed reading glasses, and a sturdy physique that makes him look built for fuzzy sweaters.
The Perverse Policies That Fuel Wildfires
We thought we could master nature, but we were playing with fire.
With elections postponed and no end to the war with Russia in sight, Volodymyr Zelensky and his political allies are becoming like the officials they once promised to root out: entrenched.
The New Yorker (January 22, 2024): The new issue‘s cover featuresRoz Chast’s “Bird Bath” – The artist depicts her favorite antidote for dreary winter weather: a nice, hot bath.
As a young man in the nineteen-eighties, Tucker Swanson McNear Carlson set out to claim his stake in the establishment. His access to money and influence started at home. His stepmother, Patricia, was an heir to the Swanson frozen-food fortune. His father, Dick, was a California TV anchor who became a Washington fixture after a stint in the Reagan Administration. For fortunate clans like the Carlsons, it was “A Wonderful Time,” to borrow the title of a volume of contemporaneous portraits of “the life of America’s elite,” which included “the Cabots sailing off Boston’s North Shore, and Barry Goldwater on the range in Arizona.”
There are few Hollywood families in which one famous director has spawned another. Coppola says, “It’s not easy for anyone in this business, even though it looks easy for me.”
When Eleanor Coppola went into labor with her third child, on May 14, 1971, at a hospital in Manhattan, her husband, the director Francis Ford Coppola, was on location in Harlem, shooting a scene for “The Godfather.” Hearing the news, he grabbed a camcorder from the set and raced over to capture the moment. “When they say, ‘It’s a girl,’ my dad gasps and nearly drops the camera,” Sofia Coppola told me recently, of her birth video. “My mom is there, just trying to focus.” The footage—which has been screened by the family multiple times over the years, and as part of a feminist art installation designed by Eleanor—was the first of many instances in which Sofia would be seen through her father’s lens. When she was just a few months old, Francis cast her in her first official film role, as the infant in the dénouement of “The Godfather,” in which Michael Corleone, the ascendant boss of the Corleone crime family, anoints the head of his newborn nephew as his associates murder rival gangsters one by one.
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