EditorialMaren Hassinger’s “River,” 1972/2011, mixed-media with steel chains and rope, on display as part of the exhibit “Joan Didion: What She Means,” at the Hammer Museum in Los Angeles on Oct. 4, 2022. (Bethany Mollenkof/The New York Times)
EditorialCassandra Bromfield in the plum-colored silk dress that she designed to evoke the wedding gown of Anna Murray, in New York, Sept. 15, 2022. (Michelle V. Agins/The New York Times)
EditorialThe photographer Justin J Wee in a series of self-portraits, seeking to evoke “a sad clown,” caught under the lights at closing time, in Brooklyn, Aug. 17, 2022. (Justin J Wee/The New York Times)
EditorialThe Dead Rabbit, a cocktail emporium meant to evoke the drinking life of 19th-century New York, at its original location on Water Street, Jan. 23, 2013. (Marilynn K. Yee/The New York Times)
EditorialMax Parrot of Canada competes in the men's snowboard slopestyle final at the 2022 Beijing Olympics in Zhangjiakou, China, on Monday, Feb. 7, 2022. Parrot won the gold medal. (James Hill/The New York Times)
EditorialBachour, whose French-style pastries often feature tropical fruits that evoke chef Antonio Bachour’s native Puerto Rico, in Miami, Dec. 29, 2021. (James Jackman/The New York Times)
EditorialBachour, whose French-style pastries often feature tropical fruits that evoke chef Antonio Bachour’s native Puerto Rico, in Miami, Dec. 29, 2021. (James Jackman/The New York Times)
EditorialA pile of rubber shoes meant to evoke the thousands of Kurds killed or imprisoned during decades of conflict, in the exhibition ?Memory Chamber,? in the Kurdish city of Diyarbakir, Turkey, Nov. 20, 2021. (Ivor Prickett/The New York Times)
EditorialThe Inside Out festival continues this October with a series of outdoor art, sculpture and illuminated installations to surprise and delight visitors on the streets of Westminster this autumn.
EditorialFrom left, Ebony Marshall-Oliver, Michael Urie and Aigner Mizzelle in Douglas Lyons’s “Chicken & Biscuits,” at Circle in the Square Theater in New York, Sept. 22, 2021. (Sara Krulwich/The New York Times)
EditorialPaul Huntley tried a wig on Sutton Foster in New York on March 19, 2002, for her role in “Thoroughly Modern Millie,” for which he sought to evoke New York City in 1922 with bangs, spit curls and finger waves. Paul Huntley, the hair stylist and wig designer who gave Carol Channing her expansive bouffant in “Hello, Dolly!,” Alan Cumming his plastered curl in “Cabaret” and Sutton Foster her golden bob in “Anything Goes,” died on Friday, July 13, 2021 in London. He was 88. His death was confirmed by a friend, Liz Carboni, who said he had been hospitalized for a lung infection. (Sara Krulwich/The New York Times)
EditorialFord’s electric vehicle, the Mustang Mach-E, an SUV meant to evoke the company’s storied sports car, in Los Angeles, Nov. 17, 2019. (Ryan Young for The New York Times) (Ryan Young for The New York Times)
EditorialA dining room at Ever restaurant, which incorporates wooden slats, layered plaster walls that evoke an eroded canyon and tables distanced from one another, in Chicago on July 10, 2020. (Joshua Lott/The New York Times)
EditorialMulberry Street in Manhattan, was dotted with sidewalk seating before the pandemic now features in-street dining, on July 5, 2020. (Karsten Moran/The New York Times)
EditorialNicole Taylor's Memphis dry-rub mushrooms, who adapted the barbecue rub from the chef Greg Collier, in New York, June 3, 2020. Food styled by Simon Andrews. (Ryan Liebe/The New York Times)
EditorialFormer Vice President Joe Biden speaks at Chelsea Piers in response to President Donald Trump's handling of the Iran crisis in New York, Jan. 7, 2020. (Hilary Swift/The New York Times)
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