Aurelia Butler

This week in Newly Reviewed, Martha Schwendener covers Dennis Kardon’s wonderfully strange paintings, Klara Liden’s green vistas and Sheryl Sutton’s mesmerizing movements.Two BridgesDennis KardonThrough Oct. 26. Lubov, 5 East Broadway, Manhattan; 347-496-5833, lubov.nyc.Dennis Kardon, “Slashed Venus/Healed Venus,” 1989-2024, oil on linen.via Dennis Kardon, Lubov, New York, and Massimo de Carlo, Milan/London/Hong Kong/Paris/Beijing; Photo by Justin CraunDennis Kardon has been painting bodies for more than 30 years, but his approach has changed significantly over that time, as you can see in “Transgressions,” a compact survey at Lubov. Some of the earliest canvases, made in 1990, capture fragments of models Kardon hired from advertisements in downtown newspapers.There is also a wonderfully strange “Slashed Venus/Healed Venus” (1989/2024), painted after a photograph of Diego Velázquez’s “Rokeby Venus” (1647) that shows Velázquez’s painting after it was slashed with a meat cleaver by the suffragist Mary Richardson in 1914. (Interestingly, the same painting was targeted by climate-change protesters last year.) Kardon slashed his canvas, too, but “healed” it with thread, and made a few recent adjustments.Other works similarly question the boundaries between bodies and paintings. “Seeing Through Paint” (2010) is an eerie depiction of a mannequin holding a kaleidoscopic orb. There are also paintings that recall the curious compositions of Paula Rego, with human and animal figures crammed into the rectilinear spaces of a canvas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Working out is not a cure-all for your gut, but it can be an important part of managing your symptoms.Exercise is often heralded as a “wonder drug” for just about every part of the body, whether it’s the brain, the heart, the pelvic floor or the lungs. But what about the stomach?While going for a jog with a sensitive stomach is rarely appealing, regular activity is an important part of treating many gut maladies, particularly irritable bowel syndrome. In fact, a lack of movement, perhaps because of an injury, can even be the initial trigger for I.B.S.“Exercise is part of lifestyle management, which is the first-line treatment for any patient with I.B.S. or other bowel-related issues,” said Dr. Anthony Lembo, the research director of the Cleveland Clinic’s Digestive Disease Institute.What does exercise have to do with a healthy stomach?Studies have consistently shown that I.B.S. patients who exercise regularly have fewer symptoms than those who don’t. But, while experts agree that mild to moderate exercise is beneficial, the reasons are a bit of a mystery.I.B.S. is caused by miscommunication between the brain and the gut, which leads to pain and bloating during the normal digestion process. For some people it primarily causes constipation, while others experience mostly diarrhea or a combination of the two.The digestive system has a complex network of neurons — sometimes called the “second brain” — that controls blood flow, secretions and hundreds of gut functions through the vagus nerve, which connects the brain to organs in the body. As such, the brain has an outsize influence on the digestive tract, and vice versa.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Mr. Penny’s subway-car struggle with a homeless man, Jordan Neely, ended in death. On Thursday, his lawyers will also ask a judge to exclude video of Mr. Penny discussing the encounter.Minutes after a subway rider named Daniel Penny choked Jordan Neely in a train car in May 2023, Mr. Penny stood inside the Broadway-Lafayette Street station in Manhattan telling officers, “I just put him out.”Mr. Penny was recorded on body-worn camera explaining to officers that Mr. Neely, a homeless man, had entered an F train and thrown his possessions on the ground, and that he was “was very aggressive, going crazy.”“He’s like: ‘I’m ready to go to prison for life. I’m ready to die, I’m ready to die,’” Mr. Penny told an officer, according to court filings from prosecutors. “And I was standing behind him. I think I might have just put him in a choke, put him down. We just went to the ground. He was trying to roll up. I had him pretty good. I was in the Marine Corps.”Last year, Mr. Penny, who is from Long Island, was charged with second-degree manslaughter and criminally negligent homicide by the Manhattan district attorney’s office, and jury selection for his trial is scheduled to begin on Oct. 21. In a hearing on Thursday, lawyers for Mr. Penny asked a judge to suppress the comments he made to officers at the subway station and later at a precinct house, and to dismiss the indictment against him.When the video of the encounter spread online last year, it reverberated through the nation. The chokehold was captured in a four-minute video that showed Mr. Penny with his arms around Mr. Neely’s neck and his legs wrapped around his body. Mr. Neely struggled against Mr. Penny’s restraint as two other men stepped in to hold him down.Mr. Penny cooperated with officers who came to the scene and arrested him after Mr. Neely died, even going back to the Fifth Precinct to speak with them, his lawyers said in court filings. However, his statements followed what they argued was an illegal arrest.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

At 200 years young, the Brooklyn Museum, the second largest art museum in New York City, has begun celebrating the bicentennial of its founding. And it’s doing so in characteristic fashion — meaning in ways that make traditionalists crazy. It is emphatically re-emphasizing what it has, basically, long been: an institution with the heart and soul of an alternative space enclosed in the body of a traditional museum.And it does so with two large-scale season-opening projects. One is a complete rehang and rethink of its American art galleries, filtering centuries of art from two hemispheres through a post-Black Lives Matter lens. The other, less radical, is a community-based roundup of new work by more than 200 contemporary artists living and working in the borough.Let me wedge in some history here. The museum was founded in 1823 as a circulating public library in what was then the Village of Brooklyn, across the river and independent from a rivalrous Manhattan. In the mid-19th century, the library, called the Brooklyn Institute, began collecting, along with books, natural history specimens and art. (Among the first pieces acquired was a painting, “The First Harvest in the Wilderness” (1855), by the Hudson River School artist Asher B. Durand. It’s in the American galleries rehang.)Asher B. Durand, “The First Harvest in the Wilderness,” 1855.George Etheredge for The New York TimesIn 1898, what is now the museum moved into a version of its present McKim, Mead & White home where, over time, it scored some cultural coups. It was among the first United States museum to present African art as art rather than as ethnology. It organized a nervy survey of avant-garde European modernist art in 1926, three years before MoMA existed. The museum was also one of the first in the country to have an art school, and to create a conservation lab.As time went on it also courted controversy by giving space to art unwelcome elsewhere. In 1980, while two other museums backed out of a traveling tour of Judy Chicago’s “The Dinner Party,” Brooklyn not only took it in but acquired the installation for its collection. (It’s on permanent view in the museum’s Elizabeth A. Sackler Center for Feminist Art, another Brooklyn first.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

New collections from Alexandra Teague, Daniel Borzutzky and August Kleinzahler tap into a strain of cultural anxiety.Are you overwhelmed? I know I am. Even with recent sparks of hope, there have been a hell of a lot of slings and arrows lately. We have not been fine. But when things get tough, we can turn to poetry. Of course, poetry’s as overwhelmed as we are, anxious company, as these three new books amply illustrate.Alexandra Teague meets this moment with megaphones blaring in her fourth collection, OMINOUS MUSIC INTENSIFYING (Persea, paperback, $18) — the volume knob on most of these poems starts at seven and goes way past 11. They portray an oversaturated America where “the man in the size-twelve heels calling Girl, how do these look?/would never tell you walking in this country is free.” This multiscreen, surround-sound blitz is often thrilling — Teague seems to have an everlasting supply of ideas, and she is frighteningly clever. Her best lines are like stand-up tragedy.Everywhere Teague looks she sees the rapid degradation of human civilization and the planet along with it. “Because something has to be to blame,” she recruits Yeats’s rough beast, that famous harbinger of doom, as her avatar in a series of poems that journey into the bowels of a fallen nation plagued by guns and “foreclosed windows. Meth.” The beast is, of course, an embodiment of the horrors humanity has wrought, “made of the past like a junk shop/with split-frame washboards/and dolls with crazed, crazy eyes.” Teague’s beast reminds me of They Might Be Giants’ “person man,” the one who was “hit on the head with a frying pan”: sad, sympathetic and a bit blank.In Teague’s more personal poems, all that churning associative machinery sharpens her metaphors to startling points, as in the gorgeous “The Horse That Threw Me,” a visionary lyric, one of the finest I’ve read in years. Figures braid and cascade until horseback riding becomes synonymous with the will to live: “Didn’t you want to canter beyond yourself? Of course you/did.” It’s a glorious poem, and there are more. But be warned: Teague dramatizes a seriously overwhelming world by seriously overwhelming her readers. This book may induce authentic anxiety. But so does your phone, every time you pick it up.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Seventy-five years after the artist’s death, the grotesque masquerades he painted aren’t so far from the manipulated faces of the present day.In our age of cheek fillers, makeup contouring and Snapchat filters, the face we show the world is often not our own. When it is this simple to manipulate how we look through cosmetics and digital media, have our masks become our selves?As unlikely as it may seem, James Ensor, a Belgian painter born in 1860, may have understood our lust for masking long before these face manipulation tools came along. Ensor painted figures whose real faces are grotesquely covered, and their new guises reveal their ugliest traits. His works offer us a society full of clowns, who know little about themselves.The case for Ensor’s prescience is being made this month in Antwerp, Belgium, where several simultaneous exhibitions are exploring the artist’s fascination with masks and masquerade as part of the 75th anniversary commemorations of Ensor’s death. Although he isn’t an international household name like his contemporaries Claude Monet, Edward Munch or Vincent van Gogh, at home in Belgium, Ensor is revered as a national treasure.Antwerp’s Royal Museum of Fine Arts, or K.S.M.K.A., which owns the largest collection of Ensor’s paintings, is presenting the lead exhibition of the commemorations, “In Your Wildest Dreams: Ensor Beyond Impressionism,” which runs through Jan. 19, 2025.Herwig Todts, a modern art curator at K.M.S.K.A., said he wanted to show that Ensor was a “game changer,” who used Impressionist brushwork techniques and colors, but then pushed them into new realms of avant-garde expressionism.One of Ensor’s most famous works, his 1890 picture “The Intrigue,” on display at K.S.M.K.A., hovers somewhere between the realistic and the Expressionist: It might be a group-portrait of carnival merrymakers, or a congregation of ghouls.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Rena Cohen makes her New York Times Crossword debut, and that’s the truth.Jump to: Today’s Theme | Tricky CluesTHURSDAY PUZZLE — One of the benefits of writing Wordplay columns is the opportunity to get to know how certain constructors’ and editors’ brains work. Once I have worked a few crosswords by a particular constructor, I can solve fairly quickly, because it’s easy to predict where the puzzle is going: Even though the grids and themes are all different, every constructor has a recognizable voice and style. Being able to race through a puzzle with this familiarity is a great ego booster.Then a new constructor comes along and I feel like a beginner again. Not that there’s anything wrong with that. I hope I maintain the ability to look at the world through a beginner’s eyes, because that state of mind is how I learn the most.Rena Cohen is a freshman at Washington University in St. Louis, and she was a member of the third Diverse Crossword Constructor Fellowship. ”She picked things up really quickly,” Christina Iverson, one of the puzzle editors who mentored Ms. Cohen, said. “She has a lot of ideas, and is clearly very passionate about puzzles.”Today’s puzzle is her debut, and I offer her kudos, because she stumped me until I entered my last answer. I thought I understood the theme until I realized that I didn’t.Therefore, I am proud to bestow upon Ms. Cohen’s puzzle the 2024 “Ohh, That’s What She Meant!” Wordplay award.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The country’s defense ministry said the military officers who opened fire might have mistaken the migrants for cartel members.At least six migrants were killed in southern Mexico on Tuesday night after military officers shot at the vehicle they were traveling in. The episode called attention to a growing concern in Mexico — ever more powerful armed forces that operate with little oversight — and a continuing one, the dangers faced by migrants in the country.Mexico’s defense ministry said in a statement on Wednesday that the officers were doing “ground reconnaissance” in the state of Chiapas when they spotted a pickup truck traveling fast, and that the truck’s driver tried to evade the soldiers. Behind the pickup truck were two vehicles that the military said were similar to those organized crime groups in the region use: stakebed trucks, small flatbeds with fencing in the cargo area.The officers may have mistaken the migrants for cartel members, according to the ministry defense ministry.The military said the officers “heard explosions,” so two of them opened fire, bringing one of the trucks to a stop. It was carrying a group of 33 migrants from around the world. Four people died at the scene and two at a hospital, officials said. Ten others were injured. The rest were handed over to Mexican immigration officials.The military did not say whether the migrants were armed.The authorities did not immediately release the identities of the victims. A collective of migrant rights groups said in a statement that among the dead were four men, a woman and a girl. The targeted migrants, the statement added, came from Nepal, India, Egypt, Saudi Arabia, Pakistan and Cuba.“These facts are neither accidental nor isolated,” the collective said. “They are a direct consequence of ordering military deployment to contain migratory flows under a logic of persecution and not of protection.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More