Entertainment The T list: what to wear, see and know...

The T list: what to wear, see and know about this week

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Welcome back to T List, a newsletter from the editors of T Magazine. Every week, we are sharing things we are eating, dressing, listening or coveting now. We hope you join us for the trip. (sign up here, if you have not already done so, and you can contact us at [email protected].)

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Thatcher Hotel, an 18-room Victorian building in Hopland, California, was, at the end of the 19th century, perhaps best known as the establishment where men brought their lovers. But these days, you are more likely to find visitors of the week who download their Subarus to register one or two nights on the way to the Mendocino coast. Making the trip to Hopland is worth staying at Thatcher, which recently emerged from extensive renovation. The rooms range from studios with bunk beds to spacious suites with living rooms, and the decoration is a pastiche of designs inspired by pioneers: at the entrance, Urban Electric accessories hang over the original oak bar; the library shelves, partly curated by Berkeley’s beloved store, Moe’s Books, are full of volumes related to Northern California; Bay Area furniture designer Alexis Moran equipped the lobby with corners to meet oat milk lattes (in Heath Ceramics cups). When summer arrives, the backyard will be equally attractive with a new bocce court and three cabins available by reservation. thatcherhotel.com.


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The artist Erró, 87, a resident of Paris, born Guomundur Guomundsson in Iceland, is not as popular in the United States as in other places, but the Perrotin gallery in New York has been constantly building his reputation here. The majority associated with the Pop Art movement of the 1960s, Erró is known for its intricate collages of found images, coming from commercial advertising and comics, which become wild bursts of consumerist criticism. His work has been compared to the paintings of James Rosenquist, another pop artist who was attracted to the iconography of advertising, as well as the disturbing landscapes of Hieronymus Bosch’s hell. Over the next month, Perrotin will present a retrospective of Erró’s pieces from the 1950s to the present, including a frankly grotesque collage drawn from the generally mundane world of medical diagrams. On the whole (and like much of Erró’s best work), it seems like a kind of mental short circuit, an overload of hollow images that, in isolation, has little value. “Erró” will be on display until February 15, 2020, in Perrotin, 130 Orchard Street, New York, perrotin.com.


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