The New Yorker Wiki, Bio, Age, Net Worth.


The New Yorker - Wiki, Bio, Age, Net Worth, Height, Family, Trivia and more

Abortions in the second or third trimester are rare—the vast majority of abortions in the United States are performed in the first 13 weeks of pregnancy—and when they occur the circumstances tend to be desperate. For nearly a year, the photographer @maggiehshannon regularly visited a clinic in Maryland that offers later-stage abortions and documented what she observed there. See her full photo portfolio at the link in our bio.
A cartoon by @victoriarobertscartoonist. #NewYorkerCartoons
Thelma Golden, the director of the Studio Museum in Harlem, knew she wanted to work in art from a young age. In college, she double-majored in art history and African American studies; she understood that what she’d been taught was incomplete, because art by Black people was mostly absent from her assigned reading. In the academic world, few people taught Golden anything about Black art, but she had grown up with it, and immersed herself in studying it.

At 26, she became the Whitney’s first Black curator. The shows she worked on were unprecedented—and sometimes controversial. But “what the critics missed was that contemporary art was changing, radically and permanently, from a mostly white, high-culture enterprise to something far more diverse and unpredictable,” Calvin Tomkins writes. “Most of the artists in Golden’s shows at the Whitney have become prominent in a transformed art world where, now that the blinders are off, there is no doubt about the importance and centrality of their work in America’s cultural history.”

“When I was 15, I decided I wanted to be a curator,” Golden told Tomkins. “I understood that my time was never my own, it had to make sense for others. It had to open up space for others. But I feel that I am where I want to be, doing exactly what I am meant to be doing.” At the link in our bio, read a profile of the curator and museum director who has played a critical role in desegregating the art world. Photograph by @lyleashtonharris for The New Yorker.
Robert Cumming, a pioneering wizard of West Coast photo-conceptualism, achieved brief semi-stardom in the 1980s. On the cover of his first self-published book of photographs, “Picture Fictions,” was a work that would become one of his most famous, “Watermelon/Bread.” In it, the titular fruit rests on a patterned plate in a cluttered kitchen. “The scene would be ordinary enough if not for the flank of the watermelon, into which Cumming has nestled a slice of store-bought white bread like some absurdist domestic Excalibur,” Chris Wiley writes. “The picture became something of an aesthetic calling card, encapsulating his work’s goofy rigor and strange cool. His creations seemed to invite the question, ‘What kind of person would bother to make such things?’ ” Tap the link in our bio to read about the thoroughly unpretentious photographer, who is experiencing a much deserved mini-revival. Photographs by Robert Cumming / © 2024 @the_robert_cumming_archive / Artists Rights Society (ARS), New York.
A cartoon by @tysoncole.3000. #NewYorkerCartoons
A cartoon by @auntsarahdraws. #NewYorkerCartoons

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