The Creative Circles Defining the Culture
Whether united by outlook or identity, happenstance or choice, these communities have shaped the worlds of art, fashion, film and more.
![Clockwise from top left: Sacred Pact; Tony Floyd; Scott J. Ross; Sean Donnola; Gautier Billotte; Caroline Berler.](https://cdn.statically.io/img/static01.nyt.com/images/2020/04/13/t-magazine/13tmag-interactive-still/13tmag-interactive-still-videoLarge-v2.jpg?auto=webp)
Whether united by outlook or identity, happenstance or choice, these communities have shaped the worlds of art, fashion, film and more.
Without their presence and contributions, queer aesthetics — and the arts at large — would be far less rich.
Though their journey in Hollywood has been hard and steep, a number of women have made it to the top. And they’re not done yet.
Lineisy Montero, Licett Morillo and others have gained an international presence while also subverting assumptions about how women should look in Latin America.
The Fashion Crews Reinventing the Way We Dress
As Balmain’s Olivier Rousteing, Maria Cornejo, Telfar Clemens and Gucci’s Alessandro Michele prove, making clothes is the ultimate act of collaboration.
How ACT UP Remade Political Organizing in America
The coalition that fought against AIDS stigma and worked to slow the plague changed patients’ rights and contemporary protest movements.
Enrique Olvera and His Culinary Heirs Have Changed How and What We Eat
The influential chef has reconceived Mexican cuisine, both in his own country and beyond.
How a Trio of Black-Owned Galleries Changed the Art World
In the 1960s and ’70s, Brockman Gallery, Gallery 32 and JAM led the way in showing the work of artists now among the most influential of our time.
Human culture as we know it is still defined by the power of collective identity, the people we seek out to call our own.
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In this tumultuous period of U.S. politics, there are perhaps more international journalists in Washington, D.C., than ever before.
Long a capital of nightlife, from ’70s discos to ’90s raves, the city is now home to a rich after-hours culture where anyone — of any race, gender or sexuality — is welcome.
A small and highly influential group has chosen to disappear from society in favor of letting their work speak for itself.
With her lyrical work, made in 1991, Julie Dash and her collaborators recentered the black female gaze.
A minimalist staging by John Doyle of the tale of the barber of Fleet Street emphasized the raw talents of its cast.
An appreciation of the 1967 love-rock musical, which, against the odds, won over audiences across the world.
From the start, Omen was a gathering place for artists, writers, actors and designers — 40 years later, in a vastly different city, it still is.
For decades, two blocks in Greenwich Village have been home to a disproportionate number of New York City’s writers, artists, actors and designers.
A city poised on the edge of Europe and the rest of the world became the incubator for talents like Dries Van Noten, Luc Tuymans and Ann Demeulemeester.
Gordon Parks’s career made it possible for the next generation to fight for their rightful place in the mainstream — only to face the same opposition he had.
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