May-June 2018
DAVID HOCKNEY: An Exhibitionis a global event, and it is the most comprehensive retrospective ever devoted to the eighty-year-old artist’s career. The exhibition is mounted on a grand scale, with more than 250 pieces, ranging from his early sketches made in the 1960s through video installations constructed in 2015.
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ONE OF THE BEST-KNOWN images of Marsden Hartley (1877–1943) comes to us through the lens of the great gay photographer George Platt Lynes in a photograph from 1943, shortly before Hartley’s death. Hartley slumps in a chair, his body casting massive shadows under the influence of Lynes’ harsh lighting.
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The influence of Bonnard can also be seen in Steers’ color palette, in the intermixing and soft suffusion of pale yellow, green, and violet tones on the windowsill, tub, and tiled floor. Yet there is a key difference. Bonnard’s female figures blend in with the walls and the other objects in the picture, as seen in Large Nude, while in Steers’ Bath Curtain, the harsh, hot, orange-red and brown flesh tones of the bent figure’s back are in opposition to the low-key colors of the surroundings.
MoreSEN. MIKE LEE (R-Utah) has reintroduced legislation in the U.S. Senate seen to enable anti-LGBT discrimination in the name of “religious freedom”—and Donald Trump made signing such legislation a campaign promise.
MoreReaders’ thoughts.
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THIS BOOK packs a punch—or rather, multiple punches—reflecting the power and energy of women’s struggles for political and social equality in the 1960s, ’70s, and ’80s.
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JANN WENNER is one of those people who seems to have emerged from the womb knowing exactly what he wanted to do. He had journalism in his blood early on. He not only created a neighborhood newspaper as a child but also sold subscriptions to it. As the founder, editor, and driving force behind Rolling Stone magazine, Wenner made a unique imprint on American culture and managed—through moxie, good timing, and sheer luck—to create what has become a media legend.
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NEW YORK’S Metropolitan Museum of Art recently mounted an unusually large and comprehensive exhibition of drawings and writings by the Renaissance Italian master Michelangelo Buonarroti (1475–1564). Among the scores of drawings in the exhibition, titled Michelangelo: Divine Draftsman and Designer (which closed in February), one group forms an exceptionally coherent and unprecedented ensemble of drawings that is only rarely gathered together.
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