David Hockney’s colorful, light-filled portraits were representational, legible, and filled with beauty. At the same time, his work offered substance and complexity beneath the often beguiling surface.
The New Yorker
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The New Yorker
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- How Andrew Tate built a fortune—and became a political force—by systematically exploiting women.
- Ken Griffith is constantly overhauling his hedge fund, Citadel. On one hand, “the next incarnation of what gets built is better than what was there before,” a former Citadel portfolio manager said. On the other, there’s “a highway wreck of human bodies.”
- The view that the American Revolution was forged by others and began elsewhere has been gaining momentum. Read about one figure recently spotlighted. newyorkermag.visitlink.me/dWMlg9
- The next decade is unlikely to collapse the university system. But it will bring a lot of change to higher education.
- American investors are flocking back to the country’s vast reserves, lured by promises of reform. But the officials who ran the industry into the ground are still the ones in charge.
- “The Vivisectors,” by Missouri Williams, critiques the hollowness of contemporary life. But it’s tricky to gauge the book’s level of self-awareness.
- Olivia Rodrigo is only beginning to metabolize her countercultural influences on a melodic, new-wave-inflected record that features Robert Smith of the Cure and calls to mind the Smashing Pumpkins and the Breeders.
- American foreign policy is now shaped by people whose personal proximity to the President—through family, business, donations, or flattery—is their principal qualification.
- A cartoon by Ken Levine. See more cartoons from this week’s issue: newyorkermag.visitlink.me/5qCGsV
- Beach-reading season is upon us, and there’s a lot to look forward to.
- Steven Spielberg boldly reconfigures outer-space tropes—and not just his own—in “Disclosure Day,” Richard Brody writes.
