Elections

Alex Katz admired a Mark di Suvero sculpture and gave it to the Brooklyn Museum. It now has pride of place in the museum’s 200th anniversary celebration.Consider two artists, now both in their 90s and both still working, who do not know each other personally despite coming up in the New York art scene around the same time.One of them, Alex Katz, became the painter of some of the most recognizable portraits of our age, the other, Mark di Suvero, a welder of huge steel sculptures that are ubiquitous wherever outdoor art is found.This is not a buddy comedy setup, but rather the philanthropic back story behind the recent permanent installation of a nearly 15-foot-tall abstract sculpture by di Suvero, “Sooner or Later” (2022), on the plaza in front of the Brooklyn Museum.The work is a gift to the museum from the Alex Katz Foundation, picked out by the painter himself, to honor the museum’s 200th anniversary.Katz, 97 and still making new paintings, went back to Paula Cooper Gallery three times to see it, before making the purchase; the gallery said that similar works are priced in a range from $3 million and $5 million.“I saw it in the window and thought it was fantastic,” said Katz, known for his striking, flattened and highly stylized portraits, frequently taking his wife, Ada, as a subject. (He had a large retrospective at the Guggenheim that began in 2022.)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

Donald J. Trump said on Wednesday that, if elected again, he would revoke the legal status of tens of thousands of Haitian immigrants who have been the target of false accusations by the former president and his running mate, Senator JD Vance of Ohio, over the past month.Mr. Trump’s administration tried to do that during his first term, too, but courts temporarily blocked it, and President Biden’s administration renewed the immigrants’ status after he took office in 2021.The immigrants in question are living and working in the United States legally through the Temporary Protected Status program, which Congress created in 1990 for people from countries experiencing war, natural disasters or other crises. The Department of Homeland Security designates countries for up to 18 months at a time based on the current conditions, and the designation can be renewed indefinitely. Haiti was initially added in 2010, under President Barack Obama, after a 7.0-magnitude earthquake devastated the country. It has since experienced a major hurricane and a cholera epidemic.“Absolutely I’d revoke it, and I’d bring them back to their country,” Mr. Trump said in an interview with NewsNation on Wednesday.He spoke at length about Haitian immigrants living in Springfield, Ohio, claiming that the city had been a utopia — “you had a beautiful, safe community, everyone’s in love with everybody, everything was nice, it was like a picture community” — and that the Haitians had destroyed it.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

Algunos de los donantes dijeron que buscaban reparar el daño que la campaña de Trump, y el propio Vance, habían causado al difundir rumores falsos.Decenas de antiguos compañeros del senador por Ohio JD Vance pasaron el debate vicepresidencial del martes por la noche donando dinero a un fondo para inmigrantes haitianos en Springfield, Ohio, y recaudaron más de 10.000 dólares.En las entrevistas, algunos donantes describieron las contribuciones como un esfuerzo para reparar parte del daño que la campaña Trump-Vance —y el propio Vance— causaron al difundir rumores falsos de que los migrantes estaban robando y comiendo mascotas. Los haitianos que viven en Springfield y la comunidad en general se han enfrentado a una serie de amenazas sobre las afirmaciones desacreditadas.Peter Chen —quien fue miembro de la promoción de Derecho de Yale de 2013 junto con Vance y su esposa, Usha Vance— organizó la campaña en un grupo de debate de clase el martes.Chen, quien creció cerca de Chicago y es hijo de inmigrantes, dijo en una entrevista que se sintió gratificado al ver que más de 50 compañeros de clase, o alrededor de una cuarta parte de la clase, habían donado, publicando notas de solidaridad con la comunidad haitiana de Springfield.“Fue emotivo para mí, personalmente, ver todos los diferentes mensajes y ver todas las formas en que las personas siguen reflejando esos valores”, dijo Chen el miércoles, citando los comentarios de su compañero de clase en el sitio de donación, el Fondo de Unidad de Springfield, que fue establecido por United Way.La mayoría de los comentarios publicados por los compañeros de Vance en la Escuela de Derecho de Yale eran simples declaraciones de bienvenida, pero algunos llamaban específicamente la atención sobre Vance y su esposa.Robert Cobbs, abogado de Washington, donó 100 dólares. Junto con su donación, Cobbs escribió: “En honor de JD Vance y Usha Vance. La Clase de 2013 de YLS está en contra de chivos expiatorios y demagogia sacados directamente de los manuales del fascismo. Con amor y una oración para que JD Vance y Usha Chilukuri Vance encuentren la fuerza moral para revertir el curso de sus vidas”.Entre los donantes también se encontraba Sofia Nelson, una defensora pública en Detroit cuya estrecha amistad con Vance terminó después de que se separaran por sus puntos de vista sobre cuestiones LGBTQ.Las donaciones al fondo por parte de antiguos alumnos de la Escuela de Derecho de Yale comenzaron durante el debate y continuaron el miércoles, con más de 60 donantes que se identificaron como miembros de la promoción de Vance.Lorie Hale, directora de operaciones de United Way de los condados de Clark, Champaign y Madison, dijo en un correo electrónico que su organización se sentía “bendecida” por recibir tal apoyo de personas de todo el país en un momento de “atención sin precedentes”.Stephanie Saul es una reportera que cubre la educación superior, centrándose recientemente en los drásticos cambios en las admisiones a las universidades y el debate en torno a la diversidad, la equidad y la inclusión en la enseñanza superior. Más de Stephanie Saul More

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