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T: The NYTimes Style Magazine

Where style meets culture. T’s inaugural Art issue is online now! Follow #TArtIssue Similar users

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#RoomOfTheDay: In the Garden District of New Orleans, the photographer Paul Costello (@pthepaul) and his wife, @SaraRuffinCostello, live in a storied pink house that was built in 1868. In the bedroom, pictured here, a #Fornasetti table sits in front of a dramatic 14-foot canopy bed. Click the link in our bio to see more.


"I first saw the Statue of Liberty in October 1950 while perched high on my father’s shoulders. My parents, survivors of Hitler’s death camps, had been granted immigration visas to the United States, and all the passengers were crowded on the foredeck of the Gripsholm as we approached the harbor. I was less than 3 years old when my father excitedly pointed at the giant lady standing in the water to welcome us to New York. I was suitably awed until we got closer and was disappointed to see that she was “just” a statue. I remember my mother reciting the Emma Lazarus sonnet inscribed on the statue’s base to me in my childhood as if it were liturgy: “Give me your tired, your poor, your huddled masses yearning to breathe free/The wretched refuse of your teeming shore/Send these, the homeless, tempest-tost to me.” In the decades since, I had to learn how often Emma Lazarus’s sentiments have been betrayed by harsh immigration policies. ICE has scorched the dreams of many of the tempest-tost and these days actively betrays that inscription with a cruelty my parents had hoped they had left behind." — Art Spiegelman (@spiegcomix), born in Stockholm, Sweden, on his piece "A Warm Welcome," 2015. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ 13 artists share their work and written statements at the link in our bio. #TArtIssue


For #TArtIssue, we asked 13 contemporary artists to submit works, many of them new and being published for the first time, in response to the subject of #immigration. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Patrick Martinez (@patrick_martinez_studio) created the work "Notice No Soliciting," 2018. Martinez writes: "This neon sign is meant to function as a visual deterrent to Immigration and Customs Enforcement, the federal agency that is unlawfully entering peoples’ homes and unjustly arresting some of the occupants. Dozens of videos demonstrating the aggressive tactics deployed by ICE have surfaced online. In many cases, it has been reported that ICE agents have unconstitutionally harassed and arrested innocent people based on false information. Empathy is necessary when dealing with issues surrounding immigration and the unfortunate types of circumstances that can force family members to leave their homeland. Immigration controversies often prevent us, as a nation, from examining uncomfortable social and cultural truths. Rather than using immigrants as scapegoats for issues related to crime or unemployment, we must call for social reform." ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ More artists share their work and written statements at the link in our bio.


Some 10 million to 15 million undocumented immigrants currently live in the United States, and their presence is the subject of fierce debate. So for the second installment of our series T Agitprop, we asked 13 contemporary artists — Alfredo Jaar, Raúl de Nieves and Hayv Kahraman among them — to submit works, many of them new and being published for the first time, in response to the subject of #immigration. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ @EdelRodriguez, born in Havana Cuba, created the work “Strangers,” 2018, pictured above. Rodriguez writes: "Boat people, that’s what many immigrants are considered. I was one of them, a refugee. I understand that welcoming strangers can be dangerous. Throughout history, many countries have sent their best, as well as their worst, to the United States. Irish gangs and the Italian Mafia, among many other criminal groups, flourished here soon after their arrival. We have always lived with the dangers of accepting foreigners, and we have always dealt with them, knowing that those are the risks a country must assume if it is to be a beacon to the entire world. This country now seems scared to take risks on foreigners, to bet on the possibility that the next boat full of strangers might be full of greatness." ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ 13 artists share their work and written statements at the link in our bio. #TArtIssue


What kind of art does an artist like? As part of a new video series for T, the painter and sculptor @GlennLigon talks about an artwork that has been particularly important to him: “Self Portrait Exaggerating my Negroid Features” (1981) by #AdrianPiper. The portrait is as important as the language in its title, also written across the bottom of the piece, Ligon explains. “It makes us think about how what we think of as a self portrait is actually a portrait of the society that we live in,” he says. Video by @scottrossfilm. #TArtIssue


The director #JamesIvory bought this 19-room Federalist-style mansion in New York’s #HudsonValley with his partner, the late Ismail Merchant, in 1975 — and has been restoring ever since. Architecturally, the 6,000-square-foot brick house with its central pediment and English basement embodies a revolution: the moment when designers broke free of the traditional Colonial layout. ‘‘They were tired of the entrance hall with center staircase and the two rectangular rooms on either side,’’ says Jeremiah Rusconi, the Hudson Valley historical expert who has guided the home's restoration and is so often present that he has a bedroom upstairs. ‘‘They believed they were reinventing geometry.’’ Thus, the original part of the structure comprises four huge octagonal chambers stacked two on each side. During the Gilded Age, the house, with its 12-foot ceilings, was ‘‘Greek Revivaled,’’ as Ivory calls it, with the addition of the ‘‘white party-hat of a balustrade,’’ a vast staircase up to the front door and a grand porch with pillars. Click the link in our bio to go inside Ivory's 19th-century home, filled with memories and ephemera from over 50 years of filmmaking. Photo by @simonpwatson.


The artist @MickaleneThomas, best known for her vibrant paintings of women in lushly patterned living spaces, owns some 15 #Polaroid cameras. She has seven or eight of the brand’s bellow-lensed Land Cameras in different colors. Her partner, the art consultant and collector @RacquelChevremont, pictured here, gifted her an SX-70 for a recent birthday. And when Thomas travels, she scours Salvation Army stores for other models to add to her collection. “They introduce a sense of play,” she says. “It becomes D.I.Y. almost. You don’t have to be a professional photographer” — but it helps. (An exhibition of Thomas’s photographic work will go on display at the Henry Art Gallery in Seattle on July 14.) For T’s art issue, we sent Thomas a Polaroid camera of our own and asked her to document a week in her life — click the link in our bio for more. #TArtIssue


The ground-floor space at 94 Prince Street has housed a bar since the mid-19th century, making it one of New York’s oldest continuously operating places to drink. It became #FanelliCafe in 1922, having been purchased by the former boxer Michael Fanelli, who was still running it when artists and galleries began moving into the neighborhood in the early ’70s. As SoHo became more and more populated by galleries and artists, Fanelli’s remained a popular meeting place, and it would outlast other iconic artist hangouts like Max’s Kansas City, which opened in 1965 and closed in 1981. After Fanelli died in the early ’80s, his family sold 94 Prince Street to Hans Noe. “Two kinds of artists came,” he says. “One was local people, you know, they were not successful artists. Between the bar and drinking beer and making paintings and sculptures, they could barely make a living. Then there were people that moved in and bought lofts.” The artists and galleries left the neighborhood long ago, and the bar is one of the last remaining relics of a different time. See more art-world survivors who have managed to stay relevant amid endless change at the link in our bio. Photo by David Chow (@spuhz). #TArtIssue at Fanelli Cafe


It's always nice to have options, especially when it comes to bathing. Here, an outdoor/indoor shower in the #Montauk home of Maria McManus and Mark Gibson. Go inside three weekend cottages of enviable simplicity at the link in our bio. Photo by Blaine Davis (@blaineduh).


In our series  #TMicronovel, we ask writers to submit short fiction inspired by a specific image. For this iteration, the writer Jessie Greengrass — whose new book "Sight: A Novel" is out in August — used the painting "Early July Tunnel" by #DavidHockney as inspiration for her story, written exclusively for T's Instagram account: ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Early evening, summer, and we are waiting for news. All day we have drifted. We have made drinks and not drunk them. We have taken books from the shelves to read, then let them lie along the arms of chairs, and each anticipated moment has proved an empty pledge. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ At last, when the shadow of the house stretched the whole length of the garden, you said⠀⠀ ⠀⠀ ⠀⠀⠀⠀⠀⠀ –Enough,⠀⠀⠀⠀⠀⠀⠀ and slipped the keys into your pocket. I sat on the warm stones of the wall and did up the buckles of my sandals. Together we stepped out through the gate into the lane. Here, where pollen falls between the trees, the clearer air brings relief. Heat lies on the fields. Corn stretches. Swallows dip. A mile away the sea ebbs from the shore and somewhere further still, beyond the harbour smell of salt and tar, beyond the empty water, other lives occur. You take my hand. You let it drop. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Once before we walked this way, late in August, with Margaret and Alice. This was years ago. ⠀⠀⠀ ⠀⠀ ⠀⠀ –Let them go ahead, ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ you said. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ ⠀⠀ –They know the way.⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ We watched them round the corner and you turned to me, your warm hands on my shoulders – but I don’t remember what came next. Only the dress I wore, and the way it felt to be so complete that it was close to loss.  Perhaps this familiar route, here between the foxgloves and the cow parsley, might go on forever, and we will always be walking it, our strides in step. The news will never come, nor rain, nor night. The leaves will always be green. At the end of the path, on the table in the hallway, the telephone will always be silent, and always be ringing. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ David Hockney "Early July Tunnel" 2006 Oil on 2 canvases (48 x 36" each) 48 x 72" overall © David Hockney Photo Credit: Richard Schmidt #TArtIssue


A candle-lit dinner in the villa courtyard of Fiona and Diego Corsini di San Giuliano's sprawling estate — with the Florentine countryside beyond the wall. Corsini di San Giuliano was pregnant with Lucio — referred to on her Instagram (@eyewanderer), a favorite with aesthetes and Italophiles, as “N6” — when her eyes first wandered across the 15-acre property's olive groves and orchards to the remains of a group of Renaissance-era farm buildings. Buried beneath decades of decay and dirt was a series of simple ancient structures just waiting to be salvaged and filled with children. For someone like Corsini di San Giuliano, whose circle of friends includes painters, craftspeople and decorators with tastes that run — even in this most classical of cities — toward the early 20th century Arts and Crafts movement, the undertaking seemed made-to-measure. Tour the ancient #Tuscan farm turned magical, bohemian home at the link in our bio. Photo by @Simonpwatson.


Last night at the @ParkAveArmory, as part of his current exhibition "The Let Go," the artist #NickCave (@nickcaveart) hosted the Freedom Ball, encouraging New Yorkers to let go of inhibitions and lose themselves in music and dance. The Armory's large historic drill hall — adorned with 40-foot-high glittering rainbow streamers — became anyone's stage as guests gathered in colorful costumes, vogueing and celebrating ball culture. Cave told the @nytimes he was inspired by his own disco days: “I would go into the club and I would just work it out on the dance floor. I wouldn’t talk to anyone and I would dance for about three hours.” The exhibition — which also includes a costumed performance, “Up Right,” dealing with police brutality, gun violence, racial inequality and identity — runs through July 1. Photo by @kevintachman. #PAALetGo at Park Avenue Armory

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