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“It’s not a bad life,” says Nottage of her current one. It seemed clear she wasn’t so much taking her own life for granted as she was mourning a path denied her for the wrong reasons.
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It’s safe to say that the creative path she ultimately followed instead of bass, instead of piano, has yielded an unusually rich life, one of powerful art and great professional recognition: Nottage is the only woman to have won the Pulitzer Prize for drama twice, first for “ Ruined” in 2009, a play about women survivors of the then-recent Civil War in the Democratic Republic of Congo, and again eight years later, in 2017, for “ Sweat,” a play about factory workers in Reading, Penn., facing unemployment. “It’s, like, the biggest regret of my life.” “It was all these guys who just snickered at me, and I thought, OK, just give me the flute,” says Nottage. Required to study an orchestral instrument in addition to piano, she chose bass - but gave up on the first day of class. She was, at the time of that fateful decision, a freshman piano student at the High School of Music & Art in New York, en route to becoming a different kind of artist from the one she is now. The playwright Lynn Nottage has few regrets in life, but passing up the opportunity to learn upright bass is chief among them.
cuffs, $28,000 each, and Prada shoes, price on request,. Alexander McQueen dress, $3,190, and belt, $920, Khiry earrings, $595, Tiffany & Co. Lynn Nottage, photographed in Brooklyn on July 28, 2021. No matter how they ask the question, they are always asking it and in doing so, they invite us to ask it, as well. Their conversation with the culture is what changes it - and changes all of us who encounter it, as well. What all these people have in common, though, is the belief, explicit or otherwise, that a fundamental part of making art is an engagement with the greater world.
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Her work, then, is writing plays - but it is also writing operas and musicals and TV shows and it is trying to ensure that the American theater scene makes room for Black artists and for women artists. And there is the playwright Lynn Nottage, whose very practice, Susan Dominus notes, involves “break open her role as an artist.” To that end, Nottage, who stepped away from theater early in her career to take care of her daughter and mother, has spent the past two years trying to explode things: Not just her own art but the very industry she calls home. The pursuit remains the same, but the work itself finds different forms of expression each time. On the other hand, there is the visual artist and writer Glenn Ligon, whose oeuvre, Megan O’Grady writes, is “both an indictment and a kind of reframing of American history.” Ligon is catholic in his mediums - he uses paint, screen prints, sculpture, neon and text - but his work is united by its inquiry into what it means to be American: a Black American, a gay American, a Black gay American.
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To accompany this issue, the Los Angeles-based artist David Leggett created a series of playing cards featuring our Greats subjects using acrylic, artist’s crayon, pen, collaged bits of paper and background paper he hand-stained with coffee. Her ability to project tenderness is a bestowal, an act of generosity in, Weiss writes, “a moment when tenderness is in retreat.”
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“To join the party, to be one of those girls, careless of time and most alive in a crowd, in the crush and heave of friends and strangers who by the end of the night will also be friends.” Then there’s the actress Juliette Binoche, who, as Sasha Weiss tells us, has spent her decades-long career examining vulnerability - how to convey it, how to feel it, how to let us, her viewers, feel it, too.
Her peasant blouses and flouncy skirts and inimitable palette have defined American fashion for decades: “The clothes she makes aren’t totems of some inaccessibly glamorous life but an invitation,” Ligaya Mishan observes. On one hand, there is the fashion designer Anna Sui, who, from the start of her namesake line 40 years ago, has rendered in clothes the spirit - the silliness, the seriousness, the optimism, the energy, the defiance, the imagination - of the archetypal teenage girl.
The four people we honor in this month’s issue represent both paths. The second requires the artist to become an explorer, forever hacking her way through various terrae incognitae. The first path demands continual honing, shaping, burrowing: a never-ending pursuit of the elemental. Once an artist becomes known for an individual work or series, she has a choice: Does she keep perfecting what has become her signature creation, or does she, with each subsequent project, reinvent herself anew, leaving her audience on edge with each new project?