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      As Protests Continue at Columbia, Some Jewish Students Feel Targeted

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      After reports of harassment by demonstrators, some Jewish students said they felt unsafe. Others rejected that view, while condemning antisemitism.Days after Columbia University’s president testified before Congress, the atmosphere on campus remained fraught on Sunday, shaken by pro-Palestinian protests that have drawn the attention of the police and the concern of some Jewish students.Over the weekend, the student-led demonstrations on campus also attracted separate, more agitated protests by demonstrators who seemed to be unaffiliated with the university just outside Columbia’s gated campus in Upper Manhattan, which was closed to the public because of the protests.Some of those protests took a dark turn on Saturday evening, leading to the harassment of some Jewish students who were targeted with antisemitic vitriol. The verbal attacks left some of the 5,000 Jewish students at Columbia fearful for their safety on the campus and its vicinity, and even drew condemnation from the White House and Mayor Eric Adams of New York City.“While every American has the right to peaceful protest, calls for violence and physical intimidation targeting Jewish students and the Jewish community are blatantly antisemitic, unconscionable and dangerous,” Andrew Bates, a spokesman for the White House, said in a statement.But Jewish students who are supporting the pro-Palestinian demonstrations on campus said they felt solidarity, not a sense of danger, even as they denounced the acts of antisemitism.Grant Miner, a Jewish graduate student at Columbia University, says he doesn’t feel unsafe on campus.Bing Guan 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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      Trump’s Trial Challenge: Being Stripped of Control

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      The mundanity of the courtroom has all but swallowed Donald Trump, who for decades has sought to project an image of bigness and a sense of power.“Sir, can you please have a seat.”Donald J. Trump had stood up to leave the Manhattan criminal courtroom as Justice Juan M. Merchan was wrapping up a scheduling discussion on Tuesday.But the judge had not yet adjourned the court or left the bench. Mr. Trump, the 45th president of the United States and the owner of his own company, is used to setting his own pace. Still, when Justice Merchan admonished him to sit back down, the former president did so without saying a word.The moment underscored a central reality for the presumptive Republican presidential nominee. For the next six weeks, a man who values control and tries to shape environments and outcomes to his will is in control of very little.Everything about the circumstances in which the former president comes to court every day to sit as the defendant in the People v. Donald J. Trump at 100 Centre Street is repellent to him. The trapped-in-amber surroundings that evoke New York City’s more crime-ridden past. The lack of control. The details of a case in which he is accused of falsifying business records to conceal a payoff to a porn star to keep her claims of an affair with him from emerging in the 2016 election.Mr. Trump in court on Friday.Maansi Srivastava/The New York TimesOf the four criminal cases Mr. Trump is facing, this is the one that is the most acutely personal. And people close to him are blunt when privately discussing his reaction: He looks around each day and cannot believe he has to be there.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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      Takeaways From Day 3 of Trump’s Hush Money Criminal Trial

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      The third day of Donald J. Trump’s trial started with drama and ended with a jury.After two jurors were dismissed on Thursday morning, a flurry of afternoon activity produced a full panel of 12 jurors who will decide the former president’s fate. Several alternates remain to be seated on Friday, with opening statements expected on Monday.Their work will be a unique challenge: the first prosecution of a former American president. Mr. Trump, 77, is charged with falsifying 34 business records in an attempt to cover up a payment to a porn star, Stormy Daniels, who has said she had a brief sexual encounter with him in 2006. He has denied the charges; he could face probation or prison time if convicted.Here are five takeaways from Mr. Trump’s third day on trial:Things slowed down fast.Court officials had earlier thought jury selection might take as long as two weeks. But hopes were high on Thursday that the 12 members might be seated by close of business after seven members were picked Tuesday. Justice Juan M. Merchan had suggested that, if the fast pace continued, the prosecution and defense would offer introductory remarks on Monday morning.Then Thursday began as a slog, with both sides angling to gain any advantage, or — conversely — to get rid of any problems. For the prosecutors, that meant challenging a previously seated juror who they had discovered had credibility issues. Justice Merchan spent a long sidebar discussing the issue with lawyers from both sides and the juror. In the end, the juror was excused.By lunchtime, the jury was shrinking, not growing.Who Are Key Players in the Trump Manhattan Criminal Trial?The first criminal trial of former President Donald J. Trump is underway. Take a closer look at central figures related to the case.They sped up fast, too.Justice Merchan was quick to get back on track. After 18 potential jurors were seated in the jury box, he kept them moving as they navigated a lengthy questionnaire with Mr. Trump looking on.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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      Dianne Brill, a 1980s ‘It Girl,’ Makes a Splashy Return

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      “I’m back,” she says at her 66th birthday party. “Maybe not everyone knows it yet, but I am.”When Dianne Brill arrived at the Soho Grand Hotel for her 66th birthday party on Saturday night, she did so with the same sense of spectacle that made her an icon of Manhattan nightlife in the 1980s.People stopped and stared as she stepped out of a black S.U.V. Standing 6-foot-3 in white platform boots, Ms. Brill was wearing a silver satin wraparound dress and holding a glittering wand in one hand. Her hair was big and blonde, and she wore a big necklace that read “B-R-I-L-L.”“I’m back,” she said. “Maybe not everyone knows it yet, but I am, and that’s why I’m having this birthday party. To show everyone I’m back.”The party was billed as “One in a Brillion.” The dress code on the invitation was “Strictly Brill,” meaning the kind of thing Ms. Brill might have worn at nightclubs like Area and Danceteria four decades ago.She came to New York at age 22 from the suburbs of Tampa, Fla. Soon she seized the mantle once occupied by Edie Sedgwick and Bianca Jagger as downtown’s reigning “It” Girl. She also became a muse to Andy Warhol, who once stated, “If you were at a party and Dianne Brill was there, you knew you were at the right party.”Ms. Brill poses for Andy Warhol in 1984.Roxanne LowitWe 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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      Whitney Museum Names Chief Curator

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      Kim Conaty will steer exhibitions and the permanent collection, saying she will pay close attention to work by Latino and Indigenous artists.When Scott Rothkopf, the former deputy director and chief curator of the Whitney Museum of American Art, stepped up as director of the New York institution last fall, he knew he would have to hire his replacement in the curatorial area. That role — one of the most influential in the contemporary art world — will be filled, effective next week, by Kim Conaty, the museum’s curator of drawings and prints since 2017. In her new position she will steer the institution’s permanent collection and acquisitions, as well as its exhibitions and conservation activities.Conaty has a reputation for creating shows that please critics and crowds alike. Her celebrated 2022-2023 exhibition “Edward Hopper’s New York” was among the best-attended in the museum’s history, while the 2023-2024 exhibition of drawings by Ruth Asawa that she organized with another curator was lauded as “revelatory” by The New York Times. As the chief curator, Conaty said she plans to focus on Latino and Indigenous artists, who remain underrepresented in the Whitney’s collection, and invest in emerging talent. But she also intends to slow down the pace of collecting. “Gifts are not free,” she said, referring to the cost of storing and preserving artworks. “We’re being extremely intentional about how we’re building the collection.”The Whitney has seen significant turnover in recent years. In addition to the departure of its longtime director, Adam D. Weinberg, two high-profile curators — David Breslin and Jane Panetta — decamped for roles at the Metropolitan Museum of Art, while its chief advancement officer, Pamela Besnard, retired last year. Rothkopf has made several new appointments, including promoting the curator Adrienne Edwards to a newly created leadership role as senior curator and associate director of curatorial programs. The chief financial officer I.D. Aruede was promoted to deputy director.A few weeks ago, Rothkopf had his first taste of controversy as director when the museum was seemingly caught unaware that the artist Demian DinéYazhi’ had slipped a “Free Palestine” message into a flickering neon sign in the Whitney Biennial, which opened on March 20.Asked about how he and Conaty plan to navigate such bumps in the future, he said, “In appointing Kim, it was important to think about someone who had the sensitivity interpersonally and the intellectual sophistication to help navigate the times that we’re in — I’m not going to be coy about that. These are key attributes for someone at a museum like the Whitney, which is so committed to the art and the ideas of our moment.” More

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      When Richard Serra’s Steel Curves Became a Memorial

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      The sculptor had a breakthrough in the late 1990s with his torqued metal rings. Then the attack on the World Trade Center, which Serra witnessed, gave them a sudden new significance.After the yelling, the hearings, the lawsuit, the dismantlement, Richard Serra entered the last decade of the last century with his mind cast toward the classics.He was happy to see the end of the ’80s. The American sculptor, who died Tuesday at 85, got caught up in the Reagan-era culture wars with “Tilted Arc,” a 120-foot plate of curved Cor-Ten steel that sliced across Manhattan’s Federal Plaza. It drew outrage almost as soon as it was installed in 1981. His fellow New Yorkers shouted at him on the street. People called his loft on Duane Street with death threats. (This newspaper, too, was not always kind.) The work was finally removed — in Serra’s estimation, destroyed — in March 1989. You could see the appeal of a trip to Italy.In Rome, he visited San Carlo alle Quattro Fontane: a chapel designed by Francesco Borromini that’s one of the prizes of Baroque architecture, topped by an oval dome. “The central space is simply a regular ellipse, and the walls that surround it are vertical,” he would later recall. “I walked in and thought: what if I turn this form on itself?”Serra’s “Tilted Arc” (1981), in Federal Plaza in Lower Manhattan. After a yearslong battle it was dismantled in 1989.Richard Serra/Artists Rights Society (ARS), New York; Photo by Chester Higgins Jr./The New York TimesBack in New York, after consulting with engineers and trying out new computer-aided design software, he created a sculptural form that had not existed before: free-standing plates of weatherproof steel whose top and bottom edges form two identical, misaligned ellipses. The rolled steel weighed some 20 tons, but had a finesse that belied their mass. They had the can-you-top-this confidence of an artist who saw Borromini as his peer, but they were more inviting than Serra’s previous steel works, beckoning you to explore their warmly patinated expanses.The torqued ellipses, quite literally, shifted the axis of Serra’s career: from solid to space, from process to perception, from the artist’s actions to the viewer’s bodily experience. Their enclosing volumes provided this once controversial, always gruff artist an unexpectedly congenial third act; the ellipses at the Dia Art Foundation in Beacon, N.Y., have become a reliable venue for second dates, an ideal backdrop for cultured flirtation. Whereas for me the ellipses have remained these past decades something more like empty tombs, wedded in my mind to another site of deformed steel, and to the life of an artist who experienced Sept. 11, 2001, with horrible immediacy.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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      Overlooked No More: Pierre Toussaint, Philanthropist and Candidate for Sainthood

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      This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.In 1849, Mary Ann Schuyler, a wealthy New Yorker, was reminded fondly of her longtime hairdresser, Pierre Toussaint, while visiting a Roman Catholic chapel in Europe. “Send my love to him,” she wrote to her sister, Hannah Farnham Sawyer Lee. “Tell him I think of him very often and never go to one of the churches of his faith without remembering my own St. Pierre.”By then, Toussaint, 68, had built a reputation as “the Vidal Sassoon of his day,” as Daniel W. Bristol Jr. wrote in “Knights of the Razor: Black Barbers in Slavery and Freedom” (2015): He had mastered the in-vogue hairstyles of the French — powdered hair, or false hair added on — as well as the newly-fashionable chignons and face-framing curls favored by the Americans.A portrait of Mary Ann Schuyler, who was one of Toussaint’s hairdressing clients. She wrote that she enjoyed their conversations as a “daily recreation.”Throughout his life, he was dedicated to the church and to others — donating to charities, helping to finance the original St. Patrick’s Cathedral in Manhattan and risking his life during epidemics to tend to the ill.In 1997, more than a hundred years after his death, Pope John Paul II proclaimed Toussaint “venerable,” the first step on the road to sainthood. Some disagreed with the move, however, because they felt Toussaint did not resist his enslavement either in Haiti or New York and was therefore a poor candidate for sainthood.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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      Providence Officials Approve Overdose Prevention Center

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      The facility, also known as a safe injection center, will be the first in Rhode Island and the only one in the U.S. outside New York City to operate openly.More than two years ago, Rhode Island became the first state in the nation to authorize overdose prevention centers, facilities where people would be allowed to use illicit drugs under professional supervision. On Thursday, the Providence City Council approved the establishment of what will be the state’s first so-called safe injection site.Minnesota is the only other state to approve these sites, also known as supervised injection centers and harm reduction centers, but no facility has yet opened there. While several states and cities across the country have taken steps toward approving these centers, the concept has faced resistance even in more liberal-leaning states, where officials have wrestled with the legal and moral implications. The only two sites operating openly in the country are in New York City, where Bill de Blasio, who was then mayor, announced the opening of the first center in 2021.The centers employ medical and social workers who guard against overdoses by supplying oxygen and naloxone, the overdose-reversing drug, as well as by distributing clean needles, hygiene products and tests for viruses.Supporters say these centers prevent deaths and connect people with resources. Brandon Marshall, a professor and the chair of the Department of Epidemiology at the Brown University School of Public Health, said studies from other countries “show that overdose prevention centers save lives, increase access to treatment, and reduce public drug use and crime in the communities in which they’re located.”Opponents of the centers, including law enforcement groups, say that the sites encourage a culture of permissiveness around illegal drugs, fail to require users to seek treatment and bring drug use into neighborhoods that are already struggling with high overdose rates.Keith Humphreys, a professor of psychiatry and behavioral sciences at Stanford University, said that while supervised drug consumption sites “reduce risks while people use drugs inside them,” they reach only a few people and “don’t alter the severity or character of a neighborhood’s drug problem.”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