The exhibit contains paintings, photographs, sculpture, and videos curated by New Yorker writer Hilton Als
“We’re so lucky that there was this opportunity for love to come her way while she was alive,” says Als. “That’s always a consolation for the living –– that you did your best and you gave this person your best.”“I was so afraid to ask because who wants to be rejected by Joan Didion, you know?” quips Als, who most recently curated a group exhibition honoring James Baldwin in 2019.“What I love about Joan is that she was always giving me permission to try,” says Als.
Onyewunyi recounts an early conversation with Als about the underlying themes of violence in California in many of Didion’s texts, which the collaborators point to in the show. This violence is seen in both the latent and blatant ways that original inhabitants of the Central Valley area have been pushed out by real estate developers and profiteers, a few of whom Didion acknowledges are a part of her lineage in older essays.
Other private supporters include Didion’s own family and estate, who granted permission for the museum to reprint three of Didion’s less-circulated essays in the exhibition catalog:The Year of Hoping for Stage MagicThese texts show the gradual evolution of her politics and blunt observations — the facets of her authorship with which Didion lovers are already familiar — through new works that casual readers may see for the first time.
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