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[Letter from Shasta County]
Notes on the State of Jefferson
A weekly email taking aim at the relentless absurdity of the 24-hour news cycle.
“Falcon (wings),” 2022, duratrans on lightbox (60 13/16 x 49 5/16 inches), by Awol Erizku, whose work is on view through April 16 at Gagosian, in New York City.
© The artist. Photo: Rob McKeever. Courtesy Gagosian
Spring Summer 2019, a mixed-media artwork by Sarah McEneaney, whose work is on view through April 23 at Tibor de Nagy, in New York City.
© The artist. Courtesy Tibor de Nagy, New York City
Circus II, a painting by Afifa Aleiby, whose work was on view last weekend at Art Dubai with Kristin Hjellegjerde Gallery.
Courtesy the artist and Kristin Hjellegjerde Gallery.
Photograph found in abandoned settlements in Chernobyl, from the Untitled Project, by Maxim Dondyuk, who is currently documenting the war in Ukraine. Dondyuk's work will be on view from March 12 through May 8 at the Gallery at Dobbin Mews, in Brooklyn, New York.
© The artist.
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That year, the year of the Ghost Ship fire, I lived in a shack. I’d found the place just as September’s Indian summer was giving way to a wet October. There was no plumbing or running water to wash my hands or brush my teeth before sleep. Electricity came from an extension cord that snaked through a yard of coyote mint and monkey flower and up into a hole I’d drilled in my floorboards. The structure was smaller than a cell at San Quentin—a tiny house or a huge coffin, depending on how you looked at it—four by eight and ten feet tall, so cramped it fit little but a mattress, my suit jackets and ties, a space heater, some novels, and the mason jar I peed in.
Read MoreTimeless stories from our 171-year archive handpicked to speak to the news of the day.