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      Should Gay People Seek to Be Seen as ‘Normal’?

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      More from our inbox:Domingo Germán, Simply PerfectTrump and EvangelicalsArt in Private Hands, Lost to Public ViewMissing: Younger Women’s Voices Amir Hamja/The New York TimesTo the Editor:Re “As a Gay Man, I’ll Never Be Normal,” by Richard Morgan (Opinion guest essay, nytimes.com, June 25):Mr. Morgan just reinforces the concept of normalcy. Better that we just be ourselves, and ignore the labeling altogether.I live in a college town, and what I see every day is gender fluidity and sexual orientation boundaries continuing to be dissolved at a pace that middle-aged queers like me should find both inspirational and enviable. Young people today don’t care so much about the “who is normal/abnormal” space that the author writes about.We should not retreat from the many hues in our “rainbow” of people, including all those who dwell in the borders. We should neither spend too much time separating out the colors (as the author does), nor dig our heels into concepts of “true” or “pure” queerness.Young people aren’t normalizing queer; they are finding newer and braver ways of being themselves. Whether that means walking in a parade, or never doing it; whether obviously or imperceptibly gender fluid; whether in, out or through the back closet into Narnia; whether normal, abnormal, homogenized or wildly unique. Everyone belongs, and we should have a wide open door.James SeniorMarquette, Mich.To the Editor:Richard Morgan makes the mistake that countless individuals have made in equating heterosexuality with normality and being gay with … something else. Heterosexuality isn’t normal … it’s just common.Yes, Mr. Morgan, as gay folks, you and I are in a distinct minority. But why take on the burden of allowing others to categorize us as abnormal?Yes, homosexuality is less common than heterosexuality, but it’s entirely natural and entirely normal. Raise your consciousness, brother.Jim SkofieldWalpole, N.H.To the Editor:“As a Gay Man, I’ll Never Be Normal” was such a touching reflection of emotions I’ve long held myself. As a teenager I cried and prayed for the “normalcy” he described, but only now have realized that it was ease I hoped for. As a proud gay man I’m happy to have survived such a difficult and uneasy journey to adulthood.The Human Rights Campaign’s messaging for marriage equality, grounded in the claim that gay relationships are deserving of equal protection because they are just like straight relationships, did unmeasurable good for the community. But it was flawed in the sense that it set a requirement of likeness for legitimacy.We aren’t like heterosexuals; we often live and love very differently and across a wide spectrum. I’ve seen a shift in the queer community away from “we’re just like you” messaging recently, and applaud those who demand acceptance despite their differences.While this might not be the easiest path to tolerance, it’s the only path to acceptance.Austin RichardsChicagoTo the Editor:I do not agree with Richard Morgan that “L.G.B.T.Q. folks have a peculiar interest in normalization.” Whether or not he, or I, or any gay man feels either “normal” or “normalized” matters only to the individual.What seems much more important is that our legal, religious and educational institutions come to understand that a society composed of people of varying sexual and gender identities is, in the end, what is truly “normal.”David CastronuovoRomeTo the Editor:Richard Morgan is right. As a gay man, I will never be “normal,” even if I always wanted to be accepted like everyone else. I have accepted that truth now and have offered that up as my cross to bear.But I am grateful for the empathy and caring it taught me and for the kindness of strangers, and, of course, for my kind and strong husband.It’s OK to be different. Just learn to let go of the stress and anger it can sometimes bring.Patrick Sampson-BabineauEdmonds, Wash.Domingo Germán, Simply PerfectDomingo Germán of the Yankees needed only 99 pitches to complete a perfect game against the Oakland Athletics.Godofredo A. Vásquez/Associated PressTo the Editor:Re “Yankees Pitcher Throws M.L.B.’s First Perfect Game Since 2012” (Sports, nytimes.com, June 29):He had been so imperfect his last two starts. His statistics were ghastly. And before that, there was the 10-game suspension for being the poster child for this year’s worst sin: a pitcher with too much sticky stuff on his hands.He was a mere afterthought in the starting rotation, an asterisk caused by injury to others. Domingo Germán, hanging on by a thread.So Wednesday night seemed more likely a final chance, a last gasp at redemption rather than a ticket to baseball immortality.Maybe his choice of uniform number — zero — was prophetic. Maybe mere serendipity that he had his best stuff against a uniquely inept opponent, the Oakland Athletics. Whatever the cause, there it was, and there it will be in perpetuity.My most prized piece of sports memorabilia is a ball signed by the pitchers and catchers of the three previous perfect games thrown by the Yankees. Suddenly, that ball needs two more signatures. But I forgive Mr. Germán his transgression.Not good. Not great. Perfect.Robert S. NussbaumFort Lee, N.J.Trump and EvangelicalsIn an effort to consolidate evangelical support, former President Donald J. Trump emphasized his role in appointing three Supreme Court justices who helped overturn Roe v. Wade.Pete Marovich for The New York TimesTo the Editor:Re “Trump Burnishes Judicial Record at Evangelical Conference: ‘This Guy Ended Roe’” (news article, June 26):Evangelicals’ support for such a morally compromised and ethically challenged individual as Donald Trump never ceases to amaze me. Their dubious rationalization for this — that he brought an end to Roe v. Wade — borders on the absurd, given that every Republican candidate running in 2016 and today would have nominated three “pro-life” nominees for the Supreme Court if afforded the same opportunity that Mr. Trump had as president.So why continue to support someone who has made a mockery of almost every fundamental Christian value and endorse such a deplorable example of leadership for our youth when so many others are available who represent those values so much better?Ira BelskyFranklin Lakes, N.J.Art in Private Hands, Lost to Public ViewTo the Editor:Re “$108.4 Million Sale Sets Auction Record for Klimt” (news article, June 28), about the sale of “Lady With a Fan”:Art sold to private collectors is often lost to public view. As someone who spent many years researching Gustav Klimt and his work, I found that your story raised critical issues about ownership and access to important paintings.When the philanthropist and World War II restitution activist Ronald S. Lauder purchased “Portrait of Adele Bloch-Bauer I” for a record $135 million in 2006, he put the portrait in the Neue Galerie in Manhattan, where it has remained on continuous display.By contrast, “Portrait of Adele Bloch-Bauer II” is now in private, unnamed ownership in China, and “Lady With a Fan” is now in the possession of a private collector in Hong Kong.Klimt’s paintings show us the lost world of his Jewish patrons in turn-of-the-century Vienna. Some may applaud Sotheby’s record European sale, but art is more than a commodity; it is part of our shared history.When a painting is sold to private collectors for record millions, it becomes unaffordable to museums and too often inaccessible to the people who would appreciate its beauty and significance.Laurie Lico AlbaneseMontclair, N.J.The writer is the author of “Stolen Beauty,” a novel about the creation and restitution of “Portrait of Adele Bloch-Bauer I.”Missing: Younger Women’s VoicesTo the Editor:Re “Nine Kansas Women on Abortion” (“America in Focus” series, Opinion, June 25):Come on! Of the nine women who discussed their thoughts and votes on abortion, the youngest was 37 years old. The other women interviewed were in their 40s, 50s and 60s!Why be so removed from the women who are the hardest hit subjects of the bans? You should have given readers a chance to hear from the many fertile women in their teens and 20s whose bodily autonomy is being challenged now.Lisa LumpkinOsprey, Fla. More

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      How Erdogan Reoriented Turkish Culture to Maintain His Power

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      At the final sundown before the first round of voting in the toughest election of his two-decade rule, President Recep Tayyip Erdogan of Turkey visited Hagia Sophia for evening prayers — and to remind his voters of just what he had delivered.For nearly a millennium the domed cathedral had been the epicenter of Orthodox Christianity. After the Ottoman conquest of Constantinople in 1453, it became one of the Islamic world’s finest mosques. In the 1930s, the new Turkish republic proclaimed it a museum, and for nearly a century its overlapping Christian and Muslim histories made it Turkey’s most visited cultural site.President Erdogan was not so ecumenical: In 2020 he converted it back into a mosque. When Turks return to the ballot box this Sunday for the presidential runoff, they will be voting in part on the political ideology behind that cultural metamorphosis.Join the crowds at the Hagia Sophia Grand Mosque now, leaving your shoes at the new long racks in the inner narthex, and you can just about glimpse the mosaics of Christ and the Virgin, today discreetly sheathed with white curtains. The famous marble floor has been upholstered with thick turquoise carpet. The sound is more muffled. The light’s brighter, thanks to golden chandeliers. Right at the entrance, in a simple frame, is a presidential proclamation: a monumental swipe at the nation’s secular century, and an affirmation of a new Turkey worthy of its Ottoman heyday.“Hagia Sophia is the crowning of that neo-Ottomanist dream,” said Edhem Eldem, professor of history at Bogazici University in Istanbul. “It’s basically a transposition of political and ideological fights, debates, polemical views, into the realm of a very, very primitive understanding of history and the past.”In the 1930s, the new Turkish republic made Hagia Sophia, which, over the centuries, had been a cathedral and a mosque, into a museum. In 2020 President Erdogan made it a mosque again. Bradley Secker for The New York TimesBradley Secker for The New York TimesBradley Secker for The New York TimesIf the mark of 21st-century politics is the ascendancy of culture and identity over economics and class, it could be said to have been born here in Turkey, home to one of the longest-running culture wars of them all. And for the past 20 years, in grand monuments and on schlocky soap operas, at restored archaeological sites and retro new mosques, Mr. Erdogan has reoriented Turkey’s national culture, promoting a nostalgic revival of the Ottoman past — sometimes in grand style, sometimes as pure kitsch.After surviving a tight first round of voting earlier this month, he is now favored to win a runoff election on Sunday against Kemal Kilicdaroglu, the candidate of the joint opposition. His resiliency, when poll after poll predicted his defeat, certainly expresses his party’s systematic control of Turkey’s media and courts. (Freedom House, a democracy watchdog organization, downgraded Turkey from “partly free” to “not free” in 2018.) But authoritarianism is about so much more than ballots and bullets. Television and music, monuments and memorials have all been prime levers of a political project, a campaign of cultural ressentiment and national rebirth, that culminated this May on the blue-green carpets beneath Hagia Sophia’s dome.Some mosaics with Christian imagery are now discreetly covered by white curtains.Bradley Secker for The New York TimesOn the eve of the first round of voting President Erdogan visited Hagia Sophia for Maghrib prayers. Murat Cetinmuhurdar/PPO, via ReutersOutside Turkey, this cultural turn is often described as “Islamist,” and Mr. Erdogan and his Justice and Development Party, known as the A.K.P., have indeed permitted religious observances that were once banned, such as the wearing of head scarves by women in public institutions. A Museum of Islamic Civilizations, complete with a “digital dome” and light projections à la the immersive Van Gogh Experience, opened in 2022 in Istanbul’s new largest mosque.Yet this election suggests that nationalism, rather than religion, may be the true driver of Mr. Erdogan’s cultural revolution. His celebrations of the Ottoman past — and the resentment of its supposed haters, whether in the West or at home — have gone hand in hand with nationalist efforts unrelated to Islam. The country has mounted aggressive campaigns for the return of Greco-Roman antiquities from Western museums. Foreign archaeological teams have had their permits withdrawn. Turkey stands at the bleak vanguard of a tendency seen all over now, not least in the United States: a cultural politics of perpetual grievance, where even in victory you are indignant.For this country’s writers, artists, scholars and singers, facing censorship or worse, the prospect of a change in government was less a matter of political preference than of practical survival. Since 2013, when an Occupy-style protest movement at Istanbul’s Gezi Park took direct aim at his government, Mr. Erdogan has taken a hard turn to authoritarian rule. Numerous cultural figures remain imprisoned, including the architect Mucella Yapici, the filmmakers Mine Ozerden and Cigdem Mater, and the arts philanthropist Osman Kavala. Writers like Can Dundar and Asli Erdogan (no relation), who were jailed during the purges that followed a failed military coup against Mr. Erdogan in 2016, live in exile in Germany.This election suggests that nationalism, rather than religion, may be the true driver of Mr. Erdogan’s cultural revolution. Bradley Secker for The New York TimesMore than a dozen musical concerts were canceled last year, among them a recital by the violinist Ara Malikian, who is of Armenian descent, and a gig by the pop-folk singer Aynur Dogan, who is Kurdish. The tensions reached a grim crescendo this month, shortly before the first round of voting, when a Kurdish singer was stabbed to death at a ferry terminal after declining to sing a Turkish nationalist song.In the days after the first round of voting, I met with Banu Cennetoglu, one of the country’s most acclaimed artists, whose commemoration of a Kurdish journalist at the 2017 edition of the contemporary art exhibition Documenta won acclaim abroad but brought aggravation at home. “What is scary right now compared to the 90s, which was also a very difficult time, especially for the Kurdish community, is that then we could guess where the evil was coming from,” she told me. “And now it could be anyone. It is much more random.”For the Turkish artist Banu Cennetoglu, Istanbul has become a city of self-censorship. “But even if you don’t speak,” she says, “you can be the next one.”Caroline Tompkins for The New York TimesThe strategy has worked. Independent media has shrunk. Self-censorship is rife. “All the institutions within art and culture have been extremely silent for five years,” Ms. Cennetoglu said. “And for me this is unacceptable, as an artist. This is my question: when do we activate the red line? When do we say no, and why?”Nationalism is nothing new in Turkey. “Everybody and his uncle is a nationalist in this country,” Mr. Eldem observed. And the Kemalists — the secular elite who dominated politics here for decades until Mr. Erdogan’s triumph in 2003 — also used nationalist themes to spin culture to their political ends. Turkey’s early cinema glorified the achievements of Mustafa Kemal Ataturk. Archaeological digs for Hittite antiquities aimed to provide the new republic with a past rooted even more deeply than Greece and Italy.Edhem Eldem at his home in Istanbul. “When it comes to heritage, the uses of the past, he’s not very different from his predecessors,” the historian says. “He’s just more efficient.”Bradley Secker for The New York TimesIn the 2000s, Mr. Erdogan’s blend of Islamism and reformism had Turkey knocking at the door of the European Union. A new Istanbul was being feted in the foreign press. But the new Turkish nationalism has a different cultural cast: proudly Islamic, often antagonistic, and sometimes a little paranoid.One of the signal cultural institutions of the Erdogan years is the Panorama 1453 History Museum, in a working-class district west of Hagia Sophia, where schoolchildren discover the Ottoman conquest of Constantinople in a painted cyclorama. At one point, a painting in the round might have been immersion enough. Now it’s been souped up with blaring video projections, a wildly nationalist pageant styled like the video game “Civilization.” Kids can watch Sultan Mehmed II charge toward Hagia Sophia, while his horse rears up in front of a celestial fireball.Visitors to Panorama 1453, a history museum founded in 2009, whose 360-degree mural celebrates the Ottoman conquest of Istanbul.Bradley Secker for The New York TimesAn immersive video animation depicts the Ottoman victory over the Byzantine Empire.Bradley Secker for The New York TimesSultan Mehmed II rears for battle.Bradley Secker for The New York TimesThere’s a similar backward projection in Turkey’s television dramas, which are hugely popular not just here but internationally, with hundreds of millions of viewers throughout the Muslim world, in Germany, in Mexico, all over. On shows such as “Resurrection: Ertugrul,” an international hit about a 13th-century Turkic chieftain, or “Kurulus: Osman,” a “Game of Thrones”-esque Ottoman saga airing every Wednesday here, past and present start to merge.“They are casting the discourse of Tayyip Erdogan in the antique ages,” said Ayse Cavdar, a cultural anthropologist who’s studied these shows. “If Erdogan faces a struggle right now, it is recast in an Ottoman context, a fictional context. In this way, not the knowledge about today’s struggle, but the feeling of it, is spread through society.”A still from “Kurulus: Osman,” starring Burak Ozcivit as Osman I, the first sultan of the Ottoman Empire. Turkish historical dramas are popular not just at home but abroad.ATVIn these half-historical soap operas, the heroes are decisive, brave, glorious, but the polities they lead are fragile, teetering, menaced by outsiders. Ms. Cavdar noted how frequently the TV shows feature leaders of an emerging, endangered state. “As if this guy has not been governing the state for 20 years!” she said.Culture came on the agenda during the runoff, too, as Mr. Erdogan showed up to inaugurate the new home of Istanbul Modern. The president had praise for the new Bosporus-side museum, designed by the Italian architect Renzo Piano — but he couldn’t help bashing the creations of the previous century, with what he described as a misguided abandonment of the Ottoman tradition.Now, the president promised, an authentic “Turkish century” was about to dawn.Assuming he wins on Sunday, his neo-Ottomanism will have survived its strongest test in two decades. The cultural figures with the most to regret are of course those in prison, but it will also be a bitter outcome for the academics, authors and others who left the country in the wake of Mr. Erdogan’s purges. “A.K.P.’s social engineering can be compared to monoculture in industrial agriculture,” said Asli Cavusoglu, a young artist who recently had a solo show at New York’s New Museum. “There is one type of vegetable they invest in. Other plants — intellectuals, artists — are unable to grow, and that’s why they leave.”Back issues of Agos, the bilingual Turkish-Armenian newspaper edited by Hrant Dink, a journalist assassinated in Istanbul in 2007. His home has been converted into a memorial museum.Bradley Secker for The New York TimesNayat Karakose, coordinator of the museum, in Hrant Dink’s office. “In the past we were able to cooperate more with universities, but now it’s almost impossible,” she said.Bradley Secker for The New York TimesTurkey’s minorities may face the greatest hazards. At the memorial museum for Hrant Dink, the Turkish-Armenian journalist assassinated in 2007, I looked through copies of his independent newspaper and watched footage of his television chat shows, each an admonishment of contemporary Turkey’s constricted freedom of expression. “Civil society actors are becoming more prudent,” said Nayat Karakose, who oversees the museum and is of Armenian descent. “They do events in a more cautious way.”For Mr. Eldem, who has spent his career studying Ottoman history, the reconversion of Hagia Sophia and the “Tudors”-style TV dramas are all of a piece, and are less confident than they seem. “Nationalism is not just glorification,” he said. “It’s also victimization. You can’t have proper nationalism if you’ve never suffered. Because suffering gives you also absolution from potential misconduct.”“So what the naïve Turkish nationalist, and especially neo-Ottomanist nationalist, wants,” he added, “is to bring together the idea of a glorious empire that would have been benign. That’s not a thing. An empire is an empire.”But whether or not Mr. Erdogan wins the election on Sunday, there are headwinds that no amount of cultural nationalism can stand against: above all, inflation and a currency crisis that has bankers and financial analysts flashing a red alert. “In that future, there’s no place for heritage,” Mr. Eldem said. “The Ottomans are not going to save you.”Hagia Sophia has been the epicenter of Orthodox Christianity, one of the Islamic world’s finest mosques and, for decades, a museum that was Turkey’s most visited cultural site. Now it is called the Hagia Sophia Grand Mosque.Bradley Secker for The New York Times More

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      A Battle Over Murals Depicting Slavery

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      More from our inbox:Corporal Punishment in SchoolsWhat We Don’t Know About Ron DeSantisHelp for CaregiversCalifornia and the Colorado RiverGuns and CrimeThe murals in the Chase Community Center have been covered at Vermont Law and Graduate School in South Royalton, Vt.Richard Beaven for The New York TimesTo the Editor:Re “Artist and School Spar Over Murals of Slavery” (front page, Feb. 22):The decision to cover these murals is totally outrageous. One doesn’t learn from the past by covering it over. You learn by studying, and that is what an educational institution should provide. You don’t erase, or cover over, the past because it is unpleasant or disturbing.Of course it is, and continues to be, disturbing, but when you literally come face to face with it as these murals make possible, you then must consider what that discomfort means in terms of both our history as a nation and our laws and actions today.The school should take down the panels, expose the murals and their history once again and provide context and the opportunity for discussion.Elaine Hirschl EllisNew YorkThe writer is the president of Arts and Crafts Tours, which hosts trips about 19th- and 20th-century art and architecture.To the Editor:The quote from a law student who was distressed by a visual depiction of slavery by a white artist — “The artist was depicting history, but it’s not his history to depict” — is most disturbing. The argument is not whether the artistic merits of the mural should be considered? Or that the mood of the piece may be too harsh for a student center?Those who think censoring painters or other artists by limiting their creative themes according to their race or ethnic identity are closed-minded, and will erode free artistic expression.Steve CohenNew YorkTo the Editor:The diverse reactions to the murals in the article can be attributed to a debate over the periods that influenced the artist’s painting style.The intent of the school and the artist to represent the state’s role in helping slaves escape via the Underground Railroad was admirable. Yet the figurative style still harkens back to the comedically formulaic and stereotypical blackened ones of minstrels’ stage entertainment prevalent in the U.S. in the 19th and early 20th centuries.The spirit of mockery seen in the most famous minstrel, Jim Crow, persists today in the form of white supremacy, voter restriction and inequity. That style’s history would not be lost on many viewers.A discussion hosted by the school’s National Center for Restorative Justice about this issue could be a powerful learning tool for us all.Theresa McNicholCranbury, N.J.The writer is an art historian.Corporal Punishment in SchoolsCharles Lavine, the chairman of the New York State Assembly Judiciary Committee, is among the lawmakers who have filed bills to bar corporal punishment in private schools.Mark Lennihan/Associated PressTo the Editor:Re “Bills Push Corporal Punishment Ban in New York Private Schools” (news article, March 3):I was shocked to read that physical violence against children is still tolerated in some New York schools. I suffered the occasional whack from the nuns in parochial school, usually for “having a fresh mouth,” but that was many years ago. I thought that anachronistic practice had long since ended.I support the effort of Assemblyman Charles Lavine and his colleagues to protect students and bring all of our schools into line with the progressive values of a modern society.John E. StaffordRye, N.Y.What We Don’t Know About Ron DeSantis Scott McIntyre for The New York TimesTo the Editor:Re “My Fellow Liberals Are Exaggerating the Dangers of Ron DeSantis,” by Damon Linker (Opinion guest essay, nytimes.com, Feb. 27):Mr. Linker misses the point of voters’ anxiety about Florida’s governor. The fear stems not from what we know about Ron DeSantis, but what we do not. We know that he shares Donald Trump’s penchant for bullying, bigotry, trolling and media manipulation.What we do not know is whether Mr. DeSantis shares Mr. Trump’s contempt for the presidential oath of office. Will Mr. DeSantis use the bully pulpit to undermine faith in our elections, as Mr. Trump did? Will he try to overturn the results of a free and fair election, as Mr. Trump did? We cannot know, because Mr. DeSantis refuses to enlighten us.Until he speaks forthrightly to these questions, voters (not just “liberals”) have a right to view Mr. DeSantis as more dangerous than Donald Trump.Indeed, all Republican candidates should be expected to repudiate Mr. Trump’s malfeasance. Trust has been violated, and must be restored if we are to move forward together again as one nation.Andrew MeyerMiddletown, N.J.Help for CaregiversPresident Biden at an Intel facility under construction in New Albany, Ohio, in September. Pete Marovich for The New York TimesTo the Editor:Re “Funds to Bolster U.S. Chip-Making Come With Catch” (front page, Feb. 28):The Biden administration’s efforts to leverage its investments in semiconductor infrastructure to expand child care are laudable and much needed, but the policy falls short of supporting millions of Americans caring for aging or disabled loved ones who also need support to stay and succeed in the work force.The 32 million working caregivers at this end of the spectrum continue to be left out of administrative and federal action to support working families. For example, working caregivers of older adults, people with disabilities and people living with serious medical conditions were excluded from the expansion of paid leave for federal workers and from the emergency paid leave provisions of Covid response legislation. As a result, these caregivers are more likely to report negative impacts at work because of caregiving responsibilities.Using administrative authority to help caregivers balance care and work is urgently needed given stalled efforts in Congress to pass policies like paid family and medical leave, affordable child care, and strengthened aging and disability care. But without a comprehensive approach, millions of family caregivers will continue to be left behind.Jason ResendezWashingtonThe writer is the president and C.E.O. of the National Alliance for Caregiving.California and the Colorado RiverA broken boat, which used to be underwater in Lake Mead now sits above the lake’s water line because of a decades-long megadrought, outside Boulder City, Nev., Feb. 2.Erin Schaff/The New York TimesTo the Editor:Re “California Wants to Keep (Most of) the Colorado River for Itself,” by John Fleck (Opinion guest essay, nytimes.com, Feb. 23):The essay does not acknowledge that only California has voluntarily offered to significantly cut its use of Colorado River water in the near term under a proposal that also ensures that cities in Arizona, Nevada and across the Southwest have the water they need for their residents.California’s proposal strikes a balance between respecting longstanding law and recognizing that every city and farm that relies on the river must reduce its water use — precisely the sense of fairness and shared sacrifice that Mr. Fleck lauds.The six-state proposal took the presumptuous approach of assigning the vast majority of cuts to water users that didn’t sign on: California, Native American tribes and Mexico. Ignoring existing laws will likely land us in court, costing time we don’t have.We have to work together to keep the Colorado River system from crashing and protect all those who rely on it. We can do this through developing true consensus through collaboration — not by bashing one state or community.J.B. HambyEl Centro, Calif.The writer is chairman of the Colorado River Board of California and the state’s Colorado River commissioner.Guns and CrimeTo the Editor:Re “Chicago Reflects Democratic Split on Public Safety” (front page, March 2):As Republicans look to exploit crime — gun violence in particular — as a campaign issue, Democrats would do well to point out the G.O.P.’s unwillingness to prevent illegal guns from spilling across state borders early and often.Bruce EllersteinNew York More

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      Your Monday Briefing: China Reopens

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      Also, Brazilians storm government offices and the Times investigates a 2021 Kabul airstrike.People embraced at Beijing’s international arrivals gate yesterday.Noel Celis/Agence France-Presse — Getty ImagesChina reopensFamilies across the world are preparing for reunions after China fully opened its borders yesterday and began welcoming visitors without strict quarantine requirements.The reopening comes at an auspicious time for global tourism. China is also allowing its citizens to once again go overseas, just as the travel period for Lunar New Year begins.But unease has tempered the celebratory mood. Some countries fear that China’s outbreak could lead to new mutations of the virus and added additional restrictions for incoming travelers. And within China, there are fears that rural villages, which have a disproportionate number of older adults and scant access to medical care, are particularly at risk as domestic travel increases.Here are more specific restrictions:The E.U. “strongly encouraged” its 27 members to put in place testing and masking requirements as Chinese return to popular cities there.Hong Kong capped the daily number of visitors at 60,000 people. It will require visitors to show a negative P.C.R. test.South Korea halted all direct flights to Jeju Island, once favored by Chinese tourists. Travelers have to take a P.C.R. test when they arrive in Seoul and quarantine if they are found to be sick.Japan is requiring visitors to provide proof of a negative P.C.R. test before arriving and to take another test when they arrive.Thailand is anticipating around 300,000 Chinese visitors in the first three months of 2023. But it will still require visitors to have two vaccine shots. They will also need to have medical insurance to cover Covid treatment if they get sick.Supporters of Jair Bolsonaro stormed Brazil’s Congress building yesterday.Eraldo Peres/Associated PressProtesters storm Brazil’s governmentAngry supporters of Jair Bolsonaro charged into Brazil’s Congress and presidential offices yesterday afternoon. This is a developing story. Here are live updates.Dozens of protesters streamed into the presidential offices. Some held a barricade to hold back police and allow more protesters to enter. Inside the building, the protesters could be seen attempting to build more barricades with chairs. Outside, a crowd using sticks or poles struck a police officer on horseback, pulling him off his horse, according to video posted to social media.The action was the violent culmination of incessant rhetorical attacks by Bolsonaro and his supporters against the nation’s electoral systems. The protesters believe the election was stolen from Bolsonaro. In reality, two months ago, he lost his re-election bid for the presidency.Details: President Luiz Inácio Lula da Silva, who defeated Bolsonaro in October and took office on Jan. 1, was in São Paulo. Congress was not in session. Both Congress and the presidential offices were largely empty.Bolsonaro: He has been staying in Florida, where he traveled late last month as his presidency was coming to a close.A week after a Times visual investigation, the U.S. military admitted to a tragic mistake in the strike.By The New York Times. Video frame: Nutrition & Education International.A flawed Kabul drone strikeMy colleague Azmat Khan obtained new information about a botched U.S. drone strike in Kabul, Afghanistan, in August 2021 that killed 10 civilians, including an aid worker and seven children, in the courtyard of their family home.Analysts saw possible civilian casualties minutes after the drone fired a missile, according to an official U.S. military investigation — 66 partially redacted pages that The Times obtained through a lawsuit. The analysts also assessed that children had been killed.The information was then shared with top commanders, according to the investigation. But military officials at the time issued misleading statements about their assessments, saying that there were “no indications” of civilian casualties.Pentagon officials also maintained that an ISIS target had been killed in the strike, even as evidence mounted to the contrary. Only after The Times published an investigation did military officials acknowledge that the aid worker had posed no threat and had no connection to ISIS.Analysis: The investigation provides detailed examples of how assumptions and biases led to the deadly blunder. Military analysts wrongly concluded that a package contained explosives and that a car’s “erratic route” was evidence that the driver was trying to evade surveillance.THE LATEST NEWSAsia PacificJack Ma’s retreat comes as the ruling Communist Party wages an unprecedented crackdown on Big Tech.Agence France-Presse — Getty ImagesAnt Group, one of China’s most influential tech titans, said Jack Ma, its founder, planned to relinquish control.An executive for the Indian subsidiary of Wells Fargo was arrested after being accused of urinating on another passenger on an Air India flight.Naomi Osaka withdrew from the Australian Open.Around the WorldKevin McCarthy’s fight to become House speaker was the longest since just before the Civil War.Haiyun Jiang/The New York TimesAfter 15 rounds of voting, Kevin McCarthy is now the U.S. House speaker.Iran hanged two men who had participated in anti-government protests. At least nine more people remain at risk of execution.At least 40 people were killed when two buses collided in Senegal.Damar Hamlin, who went into cardiac arrest during a football game, is breathing on his own and has spoken to teammates.The War in UkraineA volunteer Chechen battalion trained last month outside of Kyiv.David Guttenfelder for The New York TimesEthnic-based battalions and regiments with historical grievances against Russia have been fighting for Ukraine.Despite its pledge of a truce, Russia shelled Bakhmut on Friday.Germany, France and the U.S. have offered Ukraine new armored vehicles, a move that analysts say signals their support for future offensives.A Morning ReadSeniors lined up for food-aid vouchers in Hong Kong.Lam Yik Fei for The New York TimesAcross East Asia, populations are graying faster than anywhere else in the world. As a result, governments are struggling to pay out pensions, and people in their 70s need jobs.“As long as my body lets me, I need to keep working,” said a 73-year-old who wakes at 1:30 a.m. to deliver produce to restaurants across Tokyo.Lives lived: Two months after the armistice that ended the Korean War, a North Korean Air Force officer flew his Soviet-made MIG to an airfield in South Korea manned by U.S. forces. A year later, he had a new name — Kenneth Rowe — and was living in the U.S. Rowe died last month at 90.ARTS AND IDEASSeoul’s art explosionThe first Frieze Seoul featured 120 exhibitors.Lets Studio, via FriezeWhen it comes to the global art market, South Korea remains a minor player. Its art sales in 2021 totaled about $726 million, according to a report. For comparison, China’s sales came in around $13 billion, and auction turnover in Hong Kong was $1.7 billion.But while South Korea may still be on the rise in the contemporary art world, a sense of possibility permeates the air. About 80 percent of the country’s art museums — more than 200 — were established after 2000. Art dealers and foreign galleries have descended. Last fall, South Korea’s capital even hosted Frieze Seoul, the fair’s first installment in Asia, which has editions in London, New York and Los Angeles.And the government is invested. It has been providing grants to artists and dealers in an effort to generate a hallyu, or “Korean wave,” which has propelled K-pop and Korean cinema to worldwide prominence.“Twenty years from now, if the country is as rich as it is right now,” a dealer said, “I think it can be like London or New York.”PLAY, WATCH, EATWhat to CookChristopher Simpson for The New York Times. Food Stylist: Simon Andrews.For a no-fuss, one-pot weeknight dinner, make cheesy chicken Parmesan meatballs.What to ReadJanet Malcolm’s final book, the brief “Still Pictures,” may well be the journalist’s most personal.What to Watch“M3gan” is “a ludicrous, derivative and irresistible killer-doll movie,” our critic writes.WeddingsFor dayslong South Asian nuptials, some guests are turning to rented clothing.Now Time to PlayPlay the Mini Crossword, and a clue: Up to this point (three letters).Here are the Wordle and the Spelling Bee.You can find all our puzzles here.That’s it for today’s briefing. See you next time. — AmeliaP.S. David French is joining Times Opinion as a columnist.Start your week with this narrated long read about a teenager who survived an airplane crash in the Amazon. And here’s Friday’s edition of “The Daily,” on an agreement to protect biodiversity.You can reach Amelia and the team at briefing@nytimes.com. More

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      Your Thursday Briefing: China’s Snarled Covid Data

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      Plus France just beat Morocco to advance to the World Cup finals.“The statistics are meaningless,” an expert said.Aly Song/ReutersChina’s ‘meaningless’ Covid dataDespite repeated assurances that the country’s rollback of restrictions is under control, China has no clear picture of its Covid-19 infections.Even the most basic question of how many people are infected is hard to answer: China has relaxed mass testing requirements and made reporting at-home test results voluntary. Yesterday, the government said it would stop reporting asymptomatic infections, which made up most of the positive test results in the past.The country’s official data around Covid may be hazy, but there’s strong anecdotal evidence of a surging number of cases. Hospitals, too, are crowded.The lack of reliable information could have major economic implications. Foreign businesses and investors don’t know how long it will take for China’s economy to recover. And shoppers are still hesitant to re-enter stores and restaurants after years of enforced lockdowns.From Opinion: Abandoning “zero Covid” is a chance for President Xi Jinping to pivot from the perils of one-man rule, Minxin Pei argues.Other China news: Beijing will withdraw six diplomats from the U.K. following a British police inquiry into a violent clash at a demonstration at the Chinese Consulate in Manchester.Morocco supporters celebrated in Paris when the team beat Portugal to reach the semifinals.Christophe Petit Tesson/EPA, via ShutterstockFrance beats Morocco, 2-0France beat Morocco just minutes before we sent out this newsletter. The team will play Argentina on Sunday in the World Cup final.The first half of the game ended with France in the lead, 1-0. Morocco held firm, avoiding a complete disaster. Its magical run has elated fans: It was the first Arab or African team to reach the semifinals. France surged in the second half, when it scored another goal.Understand the Situation in ChinaBeijing’s restrictive “zero Covid” policy pummeled China’s economy and set off mass protests that were a rare challenge to the Communist leadership.A Messy Pivot: The Communist Party cast aside many Covid rules after the protests, while playing down the threat of the virus. The move could prove dangerous.In Beijing: As a wave of Covid sweeps across the Chinese capital, Beijing looks like a city in the throes of a lockdown — this time, self-imposed by residents.Importance of Vaccines: As the government drops its restrictions, it not only needs to convince people that the virus is nothing to fear, but also that inoculations are essential.Fearing a Grim Future: Even as China eases its Covid rules, the outlook for many young people remains gloomy, with few job prospects and high unemployment rates.The match was always about more than sports. France ran a protectorate in Morocco from 1912 to 1956, when Morocco gained independence. Many Moroccans in France still face racism and other forms of discrimination, and diplomatic ties remain complex.Now, despite its loss, Morocco has become the champion of the world’s colonized against the world’s colonizers­. Details: Morocco’s team had the most nonnative-born players in the World Cup. Fourteen grew up in Europe yet chose to play for Morocco. Some said they made the choice because of the bigotry they had faced in Europe.From Opinion:Before Morocco’s loss, Issandr El Amrani said he hadn’t seen such optimism in the Arab world since the 2011 uprisings.France’s team, full of players with roots in the former colonies, offers hope for the country’s future, Laurent Dubois writes.Fiji’s vote count is expected to take two days.Saeed Khan/Agence France-Presse — Getty ImagesFiji’s closely watched electionFijians voted in a general election yesterday. The outcome could have major regional implications: The island nation has recently taken on outsize importance in the battle for Pacific influence between the U.S. and China.Under Josaia Voreqe Bainimarama, the prime minister, Fiji has grown closer to China. His challenger, Sitiveni Rabuka, recently indicated that he would prefer closer ties to Australia, a longtime ally of Fiji that is also trying to strengthen its influence in the Pacific.The contest could become volatile. Both men have been involved in coups: Bainimarama led Fiji’s last one, in 2006; Rabuka its first, in 1987. It remains unclear if Bainimarama would honor the results, were he to lose. Experts said that he could seek the help of Fiji’s military, which is constitutionally permitted to intervene if it sees fit.Analysis: Turnout was low. “With the two likely contenders for prime minister being former coup leaders, it may be that people think, ‘Is it really democracy?’” an expert said.In other Pacific news: Australia signed a new security deal with Vanuatu, The Associated Press reports.THE LATEST NEWSAsia PacificNew Zealand enacted a lifetime prohibition on cigarette sales to everyone born after 2008.Jason Oxenham/Getty ImagesNew Zealand’s new laws are aimed at eliminating most smoking by 2025, following more than a decade of public health campaigns.The Australian police are investigating the potential influence of far-right extremism in a Queensland shooting, The Sydney Morning Herald reports.The U.S. created a space force unit in South Korea, The Associated Press reports. It is likely to be used to monitor the North.The Group of 7 countries will give Vietnam $15.5 billion to help it shift toward renewable energy, Asia Financial reports.The War in UkraineMarco Hernandez and Josh Holder/The New York Times; Planet LabsRussia is building a vast network of trenches and traps in an effort to slow Ukraine’s advance.The U.S. is poised to send Ukraine the Patriot, its most advanced ground-based air defense system.Paul Whelan, an American detained in Russia, has no clear path to release.Around the WorldPeru said it would declare a state of emergency. Violent protests are raging days after its president was ousted.Iran was ousted from the U.N. Women’s Rights Agency as protests continue.President Biden vowed to expand the U.S.’s involvement in Africa yesterday in a speech to nearly 50 heads of state.Floods killed at least 141 people in the Democratic Republic of Congo.Other Big StoriesElon Musk stopped paying rent on Twitter’s offices and disbanded a trust and safety council to cut costs.Biden signed a bipartisan bill protecting same-sex marriages in the U.S.A U.S. prosecutor described Sam Bankman-Fried’s dealings at FTX as “one of the biggest financial frauds in American history.” DealBook explains.Brain implants have begun to restore bodily functions. But significant advances are probably decades away.OpinionsIsrael is about to have an extreme right-wing government. Palestinians will pay the price, Diana Buttu writes.Lev Golinkin asks: Why do Harvard, Stanford and NASA still honor Alfried Krupp, a Nazi war criminal?Conservation campaigns centered around individual species known as “spectacles of extinction” can distract from the larger biodiversity crisis, Michelle Nijhuis argues.A Morning ReadGomi, left, and Songkang are white Pungsans, a breed indigenous to North Korea.Chun Jung-in/Yonhap, via Associated PressIn 2018, Kim Jong-un, North Korea’s leader, gave two dogs to South Korea, then led by Moon Jae-in, as a symbol of peace.Four years later, South Korea is in political gridlock and the period of rapprochement on the Korean Peninsula is over. And the two pups, orphaned after a heated dispute over who would pay for their care, ended up in a zoo.PROFILEA Russian artist dissentsVladimir Ovchinnikov, 84, has long painted pastoral scenes across the walls of Borovsk, his provincial hometown, near Moscow.Now, his political art is attracting attention. At a time when dissent is being crushed across Russia, Ovchinnikov has been painting murals protesting the invasion of Ukraine. His own history drove him to denounce violence and war — he did not meet his father until age 11 because his father had spent 10 years in a gulag, and his grandfather and uncle were killed by the state.His work has earned him a reputation as the “Banksy of Borovsk” — which, he said, he does not appreciate. Unlike Banksy, the mysterious street artist based in Britain, Ovchinnikov works in the open. He thinks that his age and his family history offer him a modicum of protection. Still, he has been fined, questioned and pelted with snowballs.“I draw doves, they paint over them,” he said.Banksy: Last month, the artist painted seven murals in and around Kyiv. An activist incited controversy when he removed one of Banksy’s works, saying he intended to auction it off and donate the proceeds to Ukraine’s army.PLAY, WATCH, EATWhat to CookJoel Goldberg for The New York TimesThis recipe is for a classic, unadorned latke. (Hanukkah starts on Sunday.)What to Read“The Tatami Galaxy” is a flamboyant vision of college life in Kyoto, Japan, full of obsessive subcultures.What to Watch“Blanquita” explores a sex scandal that sent waves throughout Chile in the early 2000s.Ask WellWhy do men sprout hair in weird places as they age?Now Time to PlayPlay the Mini Crossword, and a clue: Gold bar (five letters).Here are the Wordle and the Spelling Bee.You can find all our puzzles here.That’s it for today’s briefing. See you next time. — AmeliaP.S. Jimmy Carter announced that the U.S. and China would establish diplomatic relations 44 years ago today. In doing so, he severed America’s link with Taiwan.“The Daily” is on abortion in the U.S.You can reach Amelia and the team at briefing@nytimes.com. More

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      Your Tuesday Briefing: Rishi Sunak to Lead Britain

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      Plus Chinese markets react to a stronger Xi Jinping and young Chinese pursue quiet dissent.“We now need stability and unity, and I will make it my utmost priority to bring my party and country together,” Rishi Sunak said yesterday.Aberto Pezzali/Associated PressRishi Sunak to lead BritainRishi Sunak, who lost to Liz Truss just under seven weeks ago in the contest to lead Britain, will become prime minister today.Sunak, 42, prevailed in a chaotic Conservative Party leadership race yesterday after Penny Mordaunt, his remaining rival, withdrew. Sunak, the former chancellor of the Exchequer and the son of Indian immigrants, will be the first person of color to lead Britain.His immediate challenge: reunite his deeply divided party and rebuild its reputation. Some Tories view Sunak as Boris Johnson’s political assassin — his resignation from Johnson’s cabinet in July led to his boss’s fall and Britain’s political upheaval. And Conservatives lag behind the opposition Labour Party by more than 30 percentage points in polls.Sunak faces profound economic challenges, especially a cost of living crisis. Britain is also reeling from the self-inflicted damage of Brexit and of Truss, whose free-market economic agenda, featuring sweeping tax cuts, upended markets and sunk the pound.What’s next: While Sunak’s warnings about inflation and his fiscal conservatism may have cost him the post in September, his accurate assessments may help undo the damage left by his predecessor. India: Indian news media celebrated his historic ascension, but people were more focused on celebrating Diwali.Reaction: Calls are growing for a broader political reassessment. “I think we should have had a general election because of all the mistakes the previous two prime ministers made,” one woman told The New York Times.A Beijing vegetable market last month. China’s economy has already been dragged down by its commitment to “zero Covid” policies.Gilles Sabrié for The New York TimesMarkets react to Xi’s consolidationInvestors unnerved by Xi Jinping’s power grab — and the state-heavy agenda of China’s top leader — sent Chinese shares tumbling yesterday.In Hong Kong, share prices plummeted more than 6 percent, reaching 13-year lows as traders dumped huge numbers of shares. In mainland China, markets fell nearly 3 percent, even though Beijing puts heavy pressure on institutional investors not to sell during politically fraught moments. And the renminbi dropped to a 14-year low against the dollar.The heavy selling was particularly striking given that the Chinese government said the economy grew 3.9 percent in the three months that ended in September, from the same period a year earlier. The data, released yesterday, was stronger than expected but still fell short of Beijing’s target of 5.5 percent for this year.Analysis: Xi has put a premium on politics and security — and a stringent “zero Covid” policy — even at the cost of slowing economic growth and employment.Details: The nosedive in financial markets was particularly focused on the shares of Chinese internet companies, which have been a key target of Xi’s campaign to strengthen the Communist Party’s economic control.Background: During last week’s Communist Party congress, Xi pushed out longtime economic policymakers like Premier Li Keqiang and Wang Yang, an architect of the free-market economic boom in southeastern China.A protestor hung banners openly bashing Xi Jinping from Sitong Bridge, in central Beijing.Dake Kang/Associated PressYoung Chinese quietly dissentThis month, a demonstrator unfurled two banners on a highway overpass in Beijing, denouncing Xi Jinping as a “despotic traitor.”China’s censors went to great lengths to scrub the internet of any reference to the act of dissent, prohibiting all discussion and shutting down many offending social media accounts.But the slogans didn’t go away, my colleague Li Yuan writes. Instead, young Chinese, frustrated with censorship, repression and Xi’s “zero Covid” policies, have used creative ways to amplify and spread his message. They graffitied the slogans in public toilets and used Apple’s AirDrop feature to send fellow subway passengers photos of the messages, even though they’re forced to remain anonymous — often from one another.In doing so, members of a generation known for toeing the government line are overcoming their fear of the repressive government, their political depression and their loneliness as political heretics in a society that espouses one leader, one party and one ideology.Context: The protester, who is now viewed as a hero, was last seen being detained by the police. He’s being called the “Bridge Man,” a reference to the “Tank Man,” who stood in front of tanks during the bloody crackdown on pro-democracy demonstrators in Beijing in 1989.THE LATEST NEWSAsia PacificAustralia’s government will release its budget today, Reuters reports. Growth is expected to slow as inflation cuts into consumer spending.North Korea and South Korea exchanged warning shots along a disputed sea boundary, The Associated Press reports.Around the World“They are not preparing to exit now,” a top Ukrainian official said yesterday, of Russian troops. “They are preparing to defend.”Nicole Tung for The New York TimesThere are growing signs that Russia’s occupation government in Kherson is preparing the city for fighting ahead of a possible Ukrainian counteroffensive.Math scores fell in nearly every U.S. state, a sign of the pandemic’s toll.Jair Bolsonaro, Brazil’s president, and conservative lawmakers are trying to criminalize incorrect election forecasts after polls underestimated his support. The presidential runoff is on Sunday.Other Big StoriesThe first formal peace talks between Ethiopia’s government and Tigrayan rebels are scheduled to begin today in South Africa.Top U.S. executives are heading to a major business conference in Saudi Arabia, despite the Biden administration’s misgivings.OpinionsIn a short documentary, Maria Fredriksson asks: Should Sweden’s tax agency let an Indigenous Sami woman deduct her reindeer-herding dog?Ellen R. Wald, the author of “Saudi, Inc.: The Arabian Kingdom’s Pursuit of Profit and Power,” explains why OPEC is cutting oil production.Noam Shuster Eliassi, a comedian who lives in Tel Aviv-Jaffa, lived through a terrorist attack. She realized that not everything can be funny.A Morning ReadPolitical scientists say the pattern shows how white fear of losing status shaped the movement to keep Trump in power.Annie Mulligan for The New York TimesIn the U.S., the white majority is shrinking disproportionately fast in districts represented by Republican lawmakers who refused to accept Donald Trump’s defeat.Their constituents also lagged behind in income and education. Rates of so-called deaths of despair, like suicide, drug overdose and alcohol-related liver failure, were notably higher as well.Lives lived: Ngo Vinh Long was the most prominent Vietnamese in the U.S. to campaign against the war in Vietnam. He died at 78.CLIMATE FOCUSWhy attack a painting?On Sunday, climate activists in Germany threw mashed potatoes on a painting by Claude Monet, “Grainstacks.” The action came just days after activists in London threw tomato soup on “Sunflowers,” a painting by Vincent van Gogh.The attacks on art, intended to draw attention to climate change, have drawn widespread reaction online. Neither painting was harmed — an intentional choice by the activists. Still, many worried about the paintings’ safety and described the form of protest as misguided.But the dramatic tactic may have a lasting impact, Andreas Malm, the author of “How to Blow Up a Pipeline: Learning to Fight in a World on Fire,” argues in a guest essay for the Opinion section. The tactic has historical precedent, he says: Even though paintings are hardly responsible for the climate crisis, the point is to “create enough disorder to make it impossible to ignore the ongoing climate breakdown.”PLAY, WATCH, EATWhat to CookLennart Weibull for The New York TimesIf you can boil water, slice an onion and use a strainer, you can make niku udon, a Japanese beef noodle soup. It’s Kenji López-Alt’s go-to weeknight dinner.What to Read“The Pachinko Parlor” is a powerful story of dislocation and self-discovery set in Tokyo.The CosmosA solar eclipse will be visible today across Europe and Asia. Here’s how to watch.Now Time to PlayPlay the Mini Crossword, and a clue: Tall and thin (five letters).Here are the Wordle and the Spelling Bee.You can find all our puzzles here.That’s it for today’s briefing. See you next time. — AmeliaP.S. Vox named Zeynep Tufekci, a Times Opinion columnist, to its inaugural list of 50 people working to make the future better.The latest episode of “The Daily” is on election denial in the U.S.You can reach Amelia and the team at briefing@nytimes.com. More

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      ‘I want a president who has been gaybashed’: America’s underground anthem

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      ‘I want a president who has been gaybashed’: America’s underground anthem Zoe Leonard wanted a leader who had been on welfare, lost a lover to Aids, and much more. Sadly her plea, penned in 1992 and later displayed beneath New York’s High Line, is just as relevant today‘I want a dyke for president,” reads the opening of Zoe Leonard’s I Want a President. “I want a person with aids for president and I want a fag for vice-president and I want someone with no health insurance and I want someone who grew up in a place where the earth is so saturated with toxic waste that they didn’t have a choice about getting leukemia.”Originally intended to be published as “a statement” in an underground LGBT magazine, I Want a President was written in the run-up to the 1992 US presidential race. This took place at the height of the Aids epidemic, a medical issue turned political crisis that was, in the previous decade, catastrophically silenced by Ronald Reagan. President from 1981 to 89, Reagan failed to acknowledge Aids until thousands had died. The queer community was in turmoil, in the grip of a disease that took the lives of so many, and stigmatised even more.TopicsArtThe great women’s art bulletinUS politicsLGBTQ+ rightsfeaturesReuse this content More

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      The Disappearing World of Wolfgang Tillmans

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      It doesn’t seem like a titillating photograph: an orderly queue of Germans, waiting to enter a nondescript industrial site. It is dark. Just a single light illuminates the door. What does it look like? Like a color remake of Depression-era imagery: the factory entrance, the bread line.But the men in single file — they are all men — are at this factory not to work but to play. This old train shed in the former East Berlin has been reborn as Snax, a raunchy gay nightclub, and that light in the darkness is the gateway to pleasure. It’s 2001 now, the wall is a memory. The world is flat, we are young and proud. We got here on a train, there are no more border controls, or maybe we got here on a cheap new airline called easyJet.We are ready to dance, and to do other things in the dark. The party will go on well past sunrise. It feels like it might go on forever.Wolfgang Tillmans, “Outside Snax Club,” 2001.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, London“Outside Snax Club” (2001) is one little star in a constellation of photographs by Wolfgang Tillmans at the Museum of Modern Art: one node in a life’s network of tender portraits, straightforward still lifes and streaky abstractions. The sky from a window seat. A boy’s feet in tube socks. An apple tree in the London morning, a kiss stolen in the London night. The German photographer has been taking these deceptively natural pictures since 1986, and linking them in exhibitions and books that absorb different modes of photography into idiosyncratic associations. These have made Tillmans (especially to gay audiences) not just a renowned artist, but someone we feel we know personally. He is just “Wolfgang,” even to many who have never met him; his photos are intimacy enough.“Wolfgang Tillmans: To Look Without Fear,” which opens to museum members this weekend and to the public Monday, is one of the most anticipated exhibitions of the year; actually, it’s been anticipated longer than that. Roxana Marcoci, a MoMA senior curator, has been working since 2014 on this tremendous, pandemic-detained overview, the largest of Tillmans’s career. It rambles across the museum’s sixth floor, vacant for more than a year and a half. It includes 417 works (mostly photographs, though there are a few minor videos) displayed, as always with Tillmans, in asymmetric arrays of large and small prints. He affixes the majority to the wall with Scotch tape or bulldog clips — although, as with the soft lighting and easy cropping of his photography, the ostensibly “informal” hang is actually calculated to the quarter-inch.Tillmans presents his photographs taped to or clipped to the wall, and prints them anew for each exhibition. Left, “Deer Hirsch” (1995). Right, “Smokin’ Jo” (1995). Emile Askey/The Museum of Modern Art, New York“Omen” (1991), printed at small scale and taped to the side of a free-standing gallery wall of the Museum of Modern Art.Lila Barth for The New York TimesThe show is candid, unaffected, breezily intelligent; moralistic, too, in the later galleries. It is required viewing for both photography scholars and sportswear fetishists, and a worthy retrospective of one of the most significant artists to emerge at the end of the last century. (The show will tour next year to Toronto and San Francisco.)It is also — in a way I was not prepared for — one of the saddest museum exhibitions I have ever attended. It is a show of friends lost, of technologies abandoned, of cities grown insular, of principles forsaken. It maps, over 35 years, the ascent of a photographer to the height of his profession, and then the disintegration of almost everything he loved, the art form of photography not least among them.We follow the fragile peace of the ’90s into a century of war, extremism, post-truth and privation. We follow the artist through the last days of the darkroom and the rise of digital cameras, which he adopted with only moderate success. A sunset in Puerto Rico, a club night in Hackney, the transit of Venus, liquid concrete before it hardens: “To Look Without Fear” confirms that Tillmans has always been a photographer of transience, of things here today and gone tomorrow. Now his two hometowns, Berlin and London, are both facing frigid winters with life-threatening power shortages, and his whole world feels on the cusp of vanishing.Tillmans was born in 1968 in the industrial heartland of West Germany. He had a childhood love of astronomy, acquiring his first telescope at age 12, and of British pop groups like New Order and Culture Club that inspired a lifelong passion for London. (In 1983, on an exchange program in the British capital, the 14-year-old Tillmans somehow got past the bouncer at the gay nightclub Heaven, but left early to get the last Tube home.)The artist considers “Lacanau (self),” from 1986, to be his first self-portrait. Lila Barth for The New York Times“Selbstportrait (Self-portrait),” from 1988, when Tillmans was 20.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, London“Faltenwurf (Keithstrasse),” a 2021 example of Tillmans’s drapery studies.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, London.Photography came more accidentally. On the beach in France one summer, Tillmans aimed a point-and-shoot camera at his flexed knee and silky black Adidas shorts: a first, abstracted self-portrait. That picture is in the first room at MoMA, and one of the funnier leitmotifs of “To Look Without Fear” is the three stripes of the Adidas logo, a queer sportswear fixation that endures even as cities and bodies change. At the show’s entrance we see the 20-year-old Tillmans in a skimpy red Adidas bathing suit. At its exit is a photograph from three decades later of another, crumpled pair of glistening red Adidas shorts: a drapery study, a memento mori.He moved to Britain for art school but got his break in magazines, shooting raves, festivals, and also fashion editorials. The London indie magazine i-D first published this show’s well-traveled photographs of his friends Lutz and Alex, gripping each other’s androgynous bodies. A giant portrait of the British DJ Smokin’ Jo, her silver sequined dress twinkling in the golden hour, was a commission for Interview. There were new gay magazines like Attitude, for which he photographed Tony Blair, and Butt, which printed his images of half-dressed fashion designers on pink paper, like a not-safe-for-work Financial Times.“Lutz & Alex sitting in the trees” (1992), a double portrait of Tillmans’s childhood friends.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, LondonHe was shooting on 35 mm rather than in large formats; he disdained the tripod, abjured conspicuous lighting. Nan Goldin comes to mind before some of his halcyon ’90s pictures, and she herself appears with two nudes in a 1996 Tillmans idyll: a millennial remake of Manet’s “Le Déjeuner sur l’Herbe.” But he’s far less diaristic than Goldin, and a more relevant influence may be the New Objectivity of 1920s Berlin, where painters and photographers like Christian Schad and Otto Dix made a virtue of hard surfaces and louche life.His partyers are often standing still. His nudes are almost always staged. The same cool, surface-level gaze falls upon the windows of London skyscrapers, the water of pools and oceans, and the great love of his youth, the painter Jochen Klein. Klein appears in two of this show’s largest prints: “Deer Hirsch” (1995), a rare black-and-white photograph of Klein and a young buck, staring wondrously at each other on an empty beach, and “Jochen taking a bath” (1997), shot months before his death from AIDS-related pneumonia. (The memory of that photo haunts a 2015 image of the singer Frank Ocean, another sad young man with closely cropped hair against white tiles.)Wolfgang Tillmans, “Jochen taking a bath,” 1997.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, London“Frank, in the shower” (2015), depicting the singer Frank Ocean.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, LondonWhat mattered more than the photographer’s subjects was the photographer’s regard. It was applied equally, unobtrusively, across genres — portrait, landscape, nude, still life — and united in the taped-up arrangements he first tried out in 1993. All together, on the gallery wall, the modest photographs could express a new, politically and sexually charged way of being in the world. They were promiscuous: not (or not only) in the word’s libertine sense, but freely mixing, ready to be rearranged, most themselves when with others. They were urban, too, and came to typify a newly vibrant and international London, where the mammoth Tate Modern opened in 2000 and, in the same year, Tillmans became the first non-British laureate of the Turner Prize.Later, in the 2005 exhibition “Truth Study Center,” Tillmans introduced a new display module that mixed his photographs with newspaper clippings (about war, fundamentalism, and also scientific breakthroughs) on low wooden tables. With these didactic works he meant to resist the absolutes of Bush-Blair rhetoric, but they ended up as preachy show-and-tell displays: a first act in the 21st-century domestication of Tillmans’s youthful freedom. Anyway, by the time of “Truth Study Center,” different and more disruptive photographic arrangements were coming into view on our (desktop) screens. The tacked-up pictures and the carefully laid-out tables would give way to the image-search grid and the social feed. Tillmans’s unframed printouts were becoming atavistic. The independent magazines where he found his voice were on their last legs.“Freischwimmer 26,” 2003. The abstract work is one of a series of pictures Tillmans has made without a camera, by exposing photo paper to lasers and other light sources.Wolfgang Tillmans, via David Zwirner, New York/Hong Kong; Galerie Buchholz, Berlin/Cologne; Maureen Paley, LondonHis most powerful response to this century’s explosion of images has been the cameraless “Freischwimmer” abstractions, begun in 2003. So beautiful, these pictures: grand, streaky expanses of color, suggesting bodies or currents, made by exposing photosensitive paper to lasers and other hand-held lights. Yet something began to go sour in the Tillmans method around the time of his adoption of a digital camera in 2008. Large, colorful prints of a Shanghai street or an Argentine shantytown are too crisp, artificially alienated. Recent portraits, such as the Frank Ocean photograph, forsake the soft-focus intimacy of the ’90s for hard-candy sheen. The later party pictures are really dreadful: The black tones have lost all their mystery, the sex appeal has drained, and in a time of ubiquitous cameraphones his no-style style feels redundant.Absent at MoMA, though discussed in Marcoci’s catalog, is Tillmans’s most widely seen digital endeavor: his posters for the 2016 referendum on Britain’s membership of the European Union. Made in a season of now justified panic, these balmy images of jet-trail-crossed skies or the cliffs of Dover, overlaid with pleas for apathetic youth to vote Remain, were freely distributed online. “What is lost is lost forever,” read the caption on the most ethereal of these posters, and he wasn’t kidding. With Brexit, the imagery of borders introduced earlier that decade — the concrete walls of Gaza, the customs line at Gatwick — arrived at Tillmans’s doorstep. He thought the lack of artifice, the pictures everyone could read, might inspire people to live together; it turned out he was speaking a language narrower than he’d ever known. A 2021 photo of worn-out maroon passports (the color of all E.U. member states’ travel documents; the Johnson government replaced Britain’s with a blue one) might as well be a grave marker for Tillmans’s London. Some people really did have more freedoms when they were young.Recent works by Wolfgang Tillmans at MoMA, including, at center, “Kae Tempest” (2021).Lila Barth for The New York TimesWe all age. We all lose things. And yet I don’t blame Tillmans at all for considering, as he tells my colleague Matthew Anderson in this Sunday’s New York Times, that he might take a sabbatical and leave art for electoral politics. The democratic impulse in his photography, manifested through simple commercial lenses and unpretentious printouts, has receded into self-righteousness now, and his collisions of self-portraits, celebrity pictures, handsome sunsets and political slogans — well, how can these retain their force when a hundred million social media profiles do the same? He has reached the end of something, summed up with panache and great melancholy in this important show, and his accomplishment, not unlike E.U. membership, is easier to appreciate once it’s lost. Those late, sweaty ’90s nights: then, we were sure we had met the chronicler of a new millennium’s freedoms. What if Tillmans was instead a harbinger of the artist as entrepreneur of the self, and of how we would all go on posting pictures even as our misfortunes piled up offscreen?Wolfgang Tillmans: To Look Without FearOpens to members Sept. 9 and to the public Sept. 12 through Jan. 1, 2023, Museum of Modern Art, 11 West 53 Street, Manhattan, (212) 708-9400, moma.org. More