Unseen images from a photography legend — and more.
Welcome to the T List, a newsletter from the editors of T Magazine. Each week, we’re sharing things we’re eating, wearing, listening to or coveting now. Sign up here to find us in your inbox every Wednesday. You can always reach us at tlist@nytimes.com. |
Colorful Sausages Made by Women |
 | | Courtesy of Seemore |
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By Emma Orlow T Contributor |
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For the past decade, the fourth-generation butcher Cara Nicoletti (known for her Vice food series “Open Fire” and “The Hangover Show”) has been experimenting with sneakily adding ingredients like beets, eggplant or kale to cased sausages. Last month, Nicoletti — alongside the marketing specialist Ariel Hauptman and the Ovenly bakery co-founder Erin Patinkin — brought this idea to the masses with Seemore, a line of colorful sausages that are up to 35 percent vegetables. Flavors include Broccoli Melt, a take on the Philly roast pork sandwich, and Bubbe’s Chicken Soup, packed with chicken, carrots, dill and parsley. At under $10 for a package of four, the sausages are cheaper than the high-end pork shoulders Nicoletti used to sell while working at various butcher shops. “I felt that the ‘good meat’ movement was prohibitively expensive and leaving people behind,” she told me. The labels’ wobbly font and bright purple, orange and yellow palette has a radical kind of whimsy, especially when situated in a grocery aisle populated with more macho visuals — as Nicoletti points out, “Moms are often the ones with buying power for their families.” From $9.99, eatseemore.com. |
A Show Full of Abstract, Spiritual Artworks |
 | | Left: Agnes Pelton’s “The Blest” (1941). Right: Pelton’s “Orbits” (1934).Martin Seck |
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When I saw the Hilma af Klint retrospective at New York’s Guggenheim Museum last year, I realized that the Swedish artist’s once-overlooked paintings felt surprisingly current, thanks to her use of vibrant, graphic shapes. Working around the same time as af Klint, in the early 1900s, was Agnes Pelton, a pioneer of American abstraction whose first solo exhibition in 25 years opens on Friday at the Whitney Museum of American Art. Pelton — like af Klint — didn’t achieve notoriety in her lifetime; she lived in isolation, away from the influence of the mainstream art world, first in Water Mill, N.Y., then in Cathedral City near Palm Springs, Calif. And like af Klint, Pelton rooted her work in her practice of theosophy — the belief in a deeper spiritual reality that can be accessed through heightened awareness — and used color, abstract forms and symbols to convey the sublime. Each of the show’s 45 pieces encapsulates Pelton’s belief that painting can express transcendence; some, like “The Blest” (1941), in which a group of spirit-like forms seem to emerge from a burst of light, evoke hope in these chaotic times. “Agnes Pelton: Desert Transcendentalist,” is on view from March 13 through June 28 at the Whitney Museum of American Art, 99 Gansevoort Street, New York, whitney.org. |
A Swimsuit Brand Inspired by the Mediterranean in the 1990s |
 | | Olgac Bozalp |
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Last spring, the Turkish-British designer Melisa Denizeri launched an eponymous swimsuit line inspired by the sailing trips she took as a child with her family near the cities of Bodrum and Marmaris in Southern Turkey. “I have distinct memories of the pieces my mom wore,” Denizeri, 31, told me. “They were extremely feminine but timeless, sport-inspired and comfort driven.” Denizeri’s new collection of bold, vaguely retro suits, on sale now, features everything from lilac-colored racer-backs with thick, diagonal stripes to lemon-colored high-waisted bikinis. For the accompanying lookbook, Denizeri and the Turkish photographer Olgac Bozalp shot street-cast models she found on the northern Turkish island of Bozcaada. “My primary goal is to offer pieces that would last a lifetime, designed around the pillars of comfort, color and versatility,” she said. “I hope this will be a family brand for women, with pieces exchanged between generations.” From $158, denizeriswim.com. |
Unseen Images From a Photography Legend |
 | | Stephen Shore. Images from “Transparencies: Small Camera Works 1971-1979” (MACK, 2020). Courtesy of the artist and MACK |
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A little more than three years ago, when the photographer Stephen Shore was preparing for a retrospective at New York’s Museum of Modern Art, he unearthed a forgotten trove of color slide images, shot with a Leica on Kodachrome transparency film throughout the ’70s. Now, a selection of those photos, which he had never exhibited before, makes up a new book, “Transparencies: Small Camera Works 1971-1979.” The collection overlaps in time and substance with “Uncommon Places,” Shore’s landmark 1982 collection of 4-by-5 and 8-by-10 photographs largely taken during his cross-country road trips. However, the dexterity afforded by the Leica, compared to the large-format camera, creates something quite different: “It would be analogous to a change in a musical key,” he told me recently. Some of the images feel familiar — sleepy downtown intersections and suburban ephemera — but the collection deviates by capturing more fleeting scenes: a dust storm barreling down an empty country road; children in their tennis whites traversing a parking lot; even patrons passing by corner stores and delis you can’t help but think must be obsolete by now. $65, mackbooks.co.uk. |
An Animal Kingdom Rendered in Gold, Enamel and Jewels |
 | | Photo by Noah Kalina, courtesy of David Webb |
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For the decade after he founded his eponymous house in 1948, the American jeweler David Webb mostly made the sort of tasteful gold and diamond-focused daytime pieces favored, says the brand’s archivist, Levi Higgs, by “ladies who lunched.” But in 1957, the designer gave those women something they didn’t know they wanted — a gold bangle featuring a carved double-headed makara, a mythical sea creature that appears in Hindu epics. Webb went on to make many more animalistic designs, including a coral monkey brooch with gems for eyes and a desktop object in the form of a gold leopard. These are two of some 50 pieces that, along with original sketches and two short films, will be featured in the brand’s first in-house exhibition, opening at its New York flagship next month. “It’s a way of telling our own story and showcasing the archival collection we’ve been working to expand,” says Higgs, who, of all the creatures on view, from snakes to giraffes, is particularly drawn to a pair of owls on a beaded torsade bracelet. “In their beaks they hold a sapphire whose deep hue reflects the midnight sky.” “A Walk in the Woods: David Webb’s Artful Animals” will be on view by appointment at 942 Madison Avenue from April 16 to April 27, davidwebb.com. |
The Designer Changing How We Think About Fashion and Race in America |
 | | Kerby Jean-Raymond, photographed in New York City on Jan. 8.Photo by Michelle Sank. Styled by Jason Rider |
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Kerby Jean-Raymond’s political, narratively rich designs for Pyer Moss presaged today’s gestures at activism on the runway. “Talk about an industry that never advertised for us, that never hired us at the top, that never acknowledged the fact that we were always their biggest influencers and ambassadors,” Jean-Raymond said. In the early years of his company, he attempted to follow the rules, but at a certain point, he realized they would never work for him. Read M.H. Miller’s full story on the designer and follow us on Instagram. |
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