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      A Designer Makes Fashion Brands Pop

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      For about a decade, people in the New York art and fashion scene have relied on Eric Wrenn, an unassuming designer known for his minimalist touch, to help shape the images of their brands.Mr. Wrenn, 38, has worked on ad campaigns, logos, books, websites, stationery, business cards and invitations to runway shows. Through it all he has kept a low profile, but his client list reads like a who’s who of downtown bluechips.“Eric feels like an industry secret,” said Emily Bode Aujla, the designer and founder of the brand Bode.“He has an art-world sensibility, and talking with him about a project can feel more like a therapy session,” she continued. “I lean on Eric to help me conceptualize Bode’s entire brand identity. When I hear a brand is working with him, it’s like: ‘Oh, they know.’”Images from Mr. Wrenn’s recent campaign for the fashion brand Eckhaus Latta.Michael HauptmanMr. Wrenn’s chicly simple logo for Bode.BodeWe 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

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      Museum of Chinese in America Names New Leader

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      The museum, which has been the site of protests in recent years, has chosen Michael Lee as its director as it focuses on rebuilding trust.The Museum of Chinese in America in the Chinatown neighborhood of Manhattan has experienced protests and resignations, a fire and legal problems. Now, the board has chosen a new leader who wants to move the institution forward and reconnect with the local community.Michael Lee, a nonprofit executive, will be the next director, the board announced on Tuesday. In an interview, he said, “At the end of the day, I want people to know that the museum is here for four things: to preserve history, promote culture, tell our stories and celebrate our accomplishments.”In 2020, shortly before the pandemic shutdown, a fire ripped through a building housing some of the museum’s permanent collection. Staff members were sifting through the ashes — about 5 percent of the collection was destroyed — as trustees were raising money to buy the main building, at 215 Centre Street, at the same time as the landlord was planning to sell it to developers.In 2019, the city awarded the museum $35 million through a program for community projects as part of a deal for a local jail — money that allowed the museum to buy the main building. Museum officials said they have opposed the jail’s construction. But some residents have remained skeptical of the museum’s position, and maintain that in taking the money, officials betrayed the neighborhood. Artists withdrew their work from a major exhibition, leading to its cancellation, and to demonstrations by another wave of activists.The frequent protests by several groups have continued. In February, nearly a dozen picketers from Youth Against Displacement, chanting, “Chinatown is not for sale” and “Boycott MOCA,” appeared outside of the museum’s Lunar New Year celebration.Eric Lee, a museum chairman, said the new director needed to be someone who could rebuild trust with the community. So he turned to Michael Lee.Jeenah Moon for The New York TimesWe 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

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      How to Grow Old Like Isabella Rossellini

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      If you go to Isabella Rossellini’s Instagram page — and I recommend you do — you will see the 71-year-old actress/director/model/farmer wearing a giant woolly hat and vest, beaming with joy in the sunshine at her farm on Long Island. Another photo shows her staring off into the distance, her face proudly unretouched. Scrolling through, I often wonder how Rossellini is so comfortable in her own skin at an age when many women struggle in theirs.Rossellini’s early life was, in some ways, defined by other people’s fame. She looks strikingly like her mother, the Swedish Hollywood star Ingrid Bergman. Her father, the director Roberto Rossellini, was a giant of Italian cinema. She was married to Martin Scorsese, and another partner, David Lynch, famously directed her in the 1986 film “Blue Velvet.” But she also built her own interesting and varied career, becoming one of the most recognizable models in the world as the face of Lancôme until, in her 40s, the beauty brand dumped her for being too old. Rossellini was suddenly faced with a question, she told me, that she’s still working through today: “Who am I, and how do I fulfill the rest of my life?”The short answer is that she wrote books, went back to school, bought a farm, learned to be single, got rehired by Lancôme and kept acting. In the film “La Chimera,” directed by the Italian filmmaker Alice Rohrwacher and opening in theaters on March 29, Rossellini plays a Tuscan matriarch who’s aging with a lot less equanimity than Isabella herself. (She also has a small part in the new film “Spaceman,” starring Adam Sandler.) Rossellini just started “a little experiment with sheep” at her farm, partnering with design schools to help students better understand wool, and describes herself as diligently following whatever amuses her. “I just play,” she says. “I’m playful. And I became increasingly more playful with age.”I will confess that I have been slightly obsessing over your farm, where you are right now. It’s clearly both a refuge and also hard work. Did you always think this is what you’d be doing in your 70s? Because when I dream of my 70s, I’m not working quite as hard as you are. Well, you know, I say you need two ingredients to open a farm: optimism and ignorance. Optimism is like: Oh, it’s a piece of a dream, wouldn’t it be great to have it? Sure, I can do a farm! And ignorance is how hard it is — how hard it is workwise, but also to make it financially viable. All these little farms in the Hudson Valley or in Long Island, we are all struggling. How do you make it? Yet it’s such a contribution to the community, and it opened up so many possibilities and fills my mind with wonder, and I have to study hard to understand how to run it well.What is it about the hard work that you find so compelling? There are little farms that don’t exist anymore, because there’s no money and it’s a lot of work. So why do it? It started with my love for animals. I always had dogs and cats, and then my father, when I was 14 years old, gave me Konrad Lorenz’s book “King Solomon’s Ring.” Lorenz is a founder of the science of ethology — the science of animal behavior — and I read that book. It was like an illumination. This is what I want to do. And when I became older and there was less work as a model and as an actress and my children were grown up, I thought, Well, maybe I’ll go back to school and study ethology. And so in my 60s, I signed up.Ingrid Bergman and Roberto Rossellini in 1954 with their children, Isabella, Ingrid and Roberto.Keystone-France/Gamma-Rapho, via Getty ImagesWe 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

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      Cole Brauer Takes Followers on Solo Sailing Race Around the World

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      Video dinner parties, spa days, stuffed animals, favorite hoodies and cozy, colorful fleece blankets. Cole Brauer’s Instagram feed hardly feels like the work of someone racing a 40-foot sailboat around the world in the Global Solo Challenge. But Ms. Brauer, 29, is not an average ocean racer.In 2022, Ms. Brauer had tried out for another competition, the Ocean Race, which is considered the pinnacle of professional ocean racing. Sailors in that race are highly trained, wear matching foul weather gear and have corporate sponsors. And most of them are men. Ms. Brauer, who had sailed thousands of miles on high performance ocean racing boats, felt she was ready to join their ranks.But after competing in trials in France, Ms. Brauer was told she was “too short for the Southern Ocean” and was sent on her way.Ms. Brauer built up a wealth of professional experience on various types of boats before taking on the Global Solo Challenge.Richard MardensIn spite of her small stature — she stands 5 feet 1 inch — Ms. Brauer rounded Cape Horn, Chile, on Jan. 26, the last of the three great capes of her journey to finish the Global Solo Challenge. It is a feat most of the Ocean Race sailors picked instead of her have never even attempted. And despite being the youngest competitor in the race, she is ranked second overall, just days away from reaching the finish line in A Coruña, Spain.Along the way, her tearful reports of breakages and failures, awe-struck moments during fiery sunrises, dance parties and “shakas” signs at the end of each video have garnered her a following that has eclipsed any sailor’s or sailing event’s online, even the Ocean Race and the America’s Cup, a prestigious race that is more well known by mainstream audiences.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

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      A K-Pop Star’s Lonely Downward Spiral

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      Goo Hara’s life was a struggle from the start. She ended it at 28, isolated and harassed online.The K-pop star looked utterly drained. Her face scrubbed of makeup, Goo Hara, one of South Korea’s most popular musical artists, gazed into the camera during an Instagram livestream from a hotel room in Japan. In a fading voice, she read questions from fans watching from around the world.“You going to work, fighting?” one asked.In halting English, she gave a plaintive answer: “My life is always so fighting.”By the time she climbed into bed at the end of the livestream in November 2019, she had reached a low point after a lifetime of struggle. As a child, she was abandoned by her parents. Her father at one point attempted suicide. After grueling training, she debuted in a K-pop group at 17, early even by the standards of the Korean hit-making machine.With the group, Kara, she found international fame, and Ms. Goo became a regular on Korean television, eventually anchoring her own reality series. But with celebrity came ravenous attacks on social media from a Korean public that is as quick to criticize stars as it is to fawn over them. Following a sordid legal fight with an ex-boyfriend, the harassment only intensified, as commenters criticized her looks, her personality and her sex life.Ms. Goo in 2018, the year before she died by suicide.Choi Soo-Young/Imazins, via Getty ImagesOn Nov. 23, 2019, less than a week after her Instagram appearance, she posted a photo of herself tucked in bed, with the caption “Good night.”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

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      Jeffrey Wright on ‘American Fiction’

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      A couple of years ago, Jeffrey Wright got an email from the screenwriter Cord Jefferson, who was preparing to direct his first film. Jefferson wanted Wright — a cerebral actor known for his commanding, indelible presence even in supporting roles — to star in “American Fiction,” his adaptation of Percival Everett’s mordant 2001 novel, “Erasure.”“In the letter, Cord described how immediate and personal he found ‘Erasure’ to be,” Wright recalled recently. “And he said that he had begun to hear my voice in his head as he read the book. And then he said, ‘I have no Plan B.’”Wright, who is 58, took the job. His exquisitely calibrated performance as the irascible novelist Thelonious Ellison, known as Monk, recently earned him his first Oscar nomination. It is a recognition, among other things, of his ability to elevate any movie or TV show simply by appearing in it. He has a way of burrowing so deeply into his characters that he seems almost to be hiding in plain sight.From the bracing opening scene of “American Fiction,” in which a slur appears on a blackboard as part of the title of a Flannery O’Connor short story Monk is teaching to a class of college students, the film wades into thorny issues of race, authenticity and what white audiences demand from Black artists — and has great satirical fun doing it.“It’s a conversation that’s at the center of the national dialogue right now, but we lack a fluency in how we discuss race — gasp! — and history and language and context and identity,” Wright said. He was being interviewed at the Four Seasons in Manhattan before flying to Britain to receive the London Film Critics’ Circle’s top award.While (obviously) the film doesn’t solve the problems it identifies, he said, at least it’s willing to engage with them.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

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      Da’Vine Joy Randolph: Major Prizes, Major Attention, Major Unease

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      The “Holdovers” star Da’Vine Joy Randolph has had a charmed run through awards season so far: Considered the favorite for the supporting actress Oscar, she has already taken the Golden Globe, Critics Choice Award and prestigious trophies from both the New York Film Critics Circle and Los Angeles Film Critics Association.The 37-year-old actress is well-aware of the power of those prizes, and knows that even being in the Oscar conversation can change the course of a career. But does that mean her awards season has been easy to navigate?“It’s overwhelming, if I’m being really honest,” Randolph told me in a candid conversation last week. “You really do earn your stripes going through this awards-season thing.”A monthslong Oscar campaign can be more arduous than people realize: a pileup of Q. and A.s, wardrobe fittings, round tables, photo shoots, interviews, red carpets, ceremonies, movie premieres, cocktail parties and festival appearances that demand always-on levels of poise and adrenaline. Everyone you meet at these events wants something from you — a conversation, a selfie, an autograph, an acceptance speech — and at the end of these glitzy and exhausting nights, there’s not much left over for yourself.Randolph is no novice: Tony-nominated for her role in “Ghost the Musical” (2012), she earned Oscar chatter for her breakout film performance in “Dolemite Is His Name” (2019) and has worked steadily in films like “The United States vs. Billie Holiday” (2021) and TV shows including “Only Murders in the Building,” “The Idol” and “High Fidelity.” Still, nothing she has experienced so far compares to the white-hot awards spotlight shone on her in the wake of “The Holdovers,” and Randolph is still figuring out how to adjust to its glare.Clockwise from top left, Randolph in “Ghost the Musical”; “The United States vs. Billie Holiday,” with Andra Day; “The Holdovers,” opposite Paul Giamatti and Dominic Sessa; and “Dolemite Is His Name,” starring Eddie Murphy.Clockwise from top left: Sara Krulwich/The New York Times; Takashi Seida/Paramount Pictures and Hulu; Seacia Pavao/Focus Features; François Duhamel/NetflixWe 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

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      These Keyboard Musicians Are Thinking Beyond the Piano

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      Phyllis Chen began studying the piano at age 5, learning from a strict, traditional teacher who taught her the standard repertoire. She was a passionate musician, but sometimes wondered how much of her playing was artistic, rather than purely athletic.“I never found it to be entirely fulfilling,” Chen said in a video interview. “I always thought there was something missing.”Chen, 45, was pursuing graduate studies at Indiana University when she first encountered the toy piano, an instrument with a brittle, xylophone-like sound usually around 20 inches long, with a range of three octaves. Her teacher, the virtuoso pianist André Watts, was a Liszt specialist but encouraged her to pursue her own interests.Once, Watts tried Chen’s toy piano; the keys were so small and his hands so big that he struggled to play a single note at a time. But for her, playing the unusual instrument was liberating. “I was very excited to be able to explore without all of the traditional boundaries being tied to it,” she said. “No one was going to tell me: ‘This is the canon of works. This is how it needs to be played.’”She is among the growing number of keyboardists expanding their practice beyond the modern piano — that instrument so central to classical music, with its large and historically important repertoire, orchestral heft and essential role in teaching. But for these pianists, learning to play other keyboards has been invigorating. On these less prominent instruments, they have explored unfamiliar timbral terrain, re-examined their approaches to canonical works and created new repertoire. They return to the modern piano with greater aural and tactile sensitivity, feeling a renewed sense of freedom and purpose at the instrument.Chen was a founding member of the International Contemporary Ensemble in 2001. A few years later, she was extremely busy, traveling between New York and Chicago to perform and attending university in Bloomington, Ind., when she got tendinitis in both arms.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