![]() ![]() It harks back to the overland journey Didion’s ancestors made across the U.S. One of the canvases opening the show, for example, is a landscape by turn-of-the-20th century California painter Elmer Wachtel depicting Mt. “I’m borrowing from the collage effects of her work, particularly her late work, where she pulled in a lot of different kinds of information to make an essay or a portrait of a place or a person.” “I don’t want you to think of this as a definitive portrait of Joan,” says Als in the digital guide to the show. Instead, the exhibition takes Didion as a point of departure, interpreting her writing life principally through art. First editions of her books are not displayed on plinths like fragments of the True Cross. Nor are there old ashtrays or a favored typewriter. It is not composed of vitrines bursting with manuscripts. ![]() “ Joan Didion: What She Means,” organized by New Yorker critic Hilton Als in collaboration with Hammer chief curator Connie Butler and curatorial assistant Ikechukwu Onyewuenyi, is not the sort of show you may have come to expect on a writer.
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