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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh sxTal"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh sxTal rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Toor his stud. He fds drawg as natural and sential as talkg." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Toor his stud. He fds drawg as natural and sential as talkg.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Daniel Shea for The New Yorker</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP imbgVA"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG lmuXQm"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Three weeks before Salman Toor’s “No Ordary Love” opened at the Baltimore Mm of Art, on May 22nd, the twenty-six patgs the exhibn were still his Brooklyn stud, and the largt work, “Fag Puddle wh Candle, Shoe and Flag,” rted agast a pillar near the center of the room. Nety-three ch high by nety ch wi, is the same size, Toor told me, as Anthony van Dyck’s “Raldo and Armida,” a Baroque patg that is the mm’s permanent llectn. Toor had been obssed wh this picture when he was an art stunt. He had pated “Fag Puddle” wh the ia that would be “ nversatn” wh “Raldo and Armida,” and, while his show is on view elsewhere at the mm, the two patgs will be facg each other on oppose walls of the same Old Master gallery.</p><p class="paywall">“ ‘Raldo and Armida’ is based on a poem by Tasso, about the adventur of Christian soldiers the Csas,” Toor explaed. It was typil of the Baroque, he add, full of bodi and tumult and weather ndns—“a storm g, the sunset, a mermaid, and the spellbound kiss that’s about to happen between the sleepg soldier and Armida, an enchantrs scendg to sce this guy and take him to an island of love where he’ll fet his duti as a csar.” Toor’s patg, as he scrib , is “a pile of lndry filled wh thgs om different parts of my imagatn, thgs that, to me, sum up an exhstive heap of greed and lt. I also wanted to have a slightly dark humor.” “Fag Puddle” is predomantly green, wh vivid tails yellow and red. Figurative but not realistic, shows, addn to the ems the tle, a feather boa, an open book, a dildo, a disembodied foot, a head wh a clown nose, a striped necktie, a hangg light bulb, a pearl necklace, a light-emtg iPhone on a tripod, and a man’s head face down the gro of a nu, upsi-down male figure. The unrelated imag are pated wh such panache and fluency that they seem to belong together. My immediate reactn was that this artist uld pat anythg and make me believe .</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Toor is a newer to art-world stardom. Slim, dark-haired, and thirty-ne years old, he has a quiet self-nfince that puts him at ease wh most people. He was born Lahore, Pakistan, but he has lived maly New York sce he graduated om the Pratt Instute, 2009. In the early years of his reer, he had ltle tert morn art. He pated technilly dazzlg, ntemporary versns of Old Master portras, landsp, and genre scen, om the Renaissance to the eighteenth century, and his pictur found ready buyers Pakistan and the Uned Stat. “I thought a lot of morn art was jt crap—borg and liberately prsg,” Toor told me. “In school, I had been fascated by Renaissance art bee of the basic thg had mastered—the realism. I wanted to be as good as those paters.” He had also, penntly, studied classil Indian patg—he loved the exquise miatur of the Mughal school, wh their stylized renrgs of prc and mains lh garns—but European realism was the tradn that ught and held his tert. In 2012, for reasons that were not clear to him at the time, he began to experiment wh simple, almost rtoon-like imag of his iends ntemporary settgs. He didn’t show the for several years, but he kept dog them now and then, and 2015, when he put a group of them an exhibn New York, at Ain Gallery, he realized that he was onto somethg. Toor’s breakthrough me 2020, when the Whney Mm showed fifteen of the works. The return of figurative art and storytellg, which was pickg up momentum the neteen-neti, took a new directn wh Toor’s unabashed, queer subjectivy and s basis the history of Wtern art.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Toor is one of those gifted souls who fd drawg as natural and sential as talkg. From the age of five, he drew nstantly. His favore subjects, borrowed om his mother’s fashn magaz, were pretty young women wh flowg hair. “My nt enuraged me to draw sports rs stead, so I drew a boxy, badly imaged vehicle wh a girl’s head stickg out the wdow,” he rells. “I was very, very femme growg up, and I often felt timidated and ostracized.” He was the firstborn of three children a well-to-do fay Lahore. His father, who owns a Honda alership there, is tall, handsome, nservative, and emphatilly mascule. His mother is a hoewife, “very dotg and cuddlg,” Toor said. When Toor was fifteen, he tried to tell his parents that he was gay. “They didn’t accept that,” he told me. “They said, ‘You’re not veloped yet, you jt don’t know.’ ” Although both of them eventually me to terms wh his sexualy, they did so, Toor said, more wh tolerance than wh unrstandg. Homosexual activy is a punishable offense Pakistan. Although the law is not strictly observed, gay behavr public n be dangero, as Toor mak clear his patg “Car Boys,” which a uniformed policeman sh his flashlight to a stopped r wh two young men . What gave him the urage to e out to his parents when he was fifteen? “I jt felt like, yeah, I n do ,” he rells. “I n do anythg.”</p><p class="paywall">At Achison College, a boys-only stutn, built by the Brish when Pakistan was part of India and Bra led the subntent, Toor’s femy ma him the butt of teasg and bullyg. Every day, stunts followed him down the halls, talkg high voic and imatg his swgg ga—“sashayg,” as he lls . There were a few ocsns when he was phed around and roughed up, but nobody ever hated him, and thgs improved the middle school at Achison, when his abily to draw brought him rpect and admiratn. “A lot of kids pletely changed their md about who I was,” he said. Olr stunts asked him to make nu portras of their imaged girliends. The whole school beme aware of Toor when he turned sixteen and took the O-level exams—an imperial tradn (they’re now officially known as I.G.C.S.E.s)—and earned world distctn, srg the one-hundredth percentile art. “Salman was prodigly talented,” Komail Aijazudd, one of his schoolmat, told me. “He knew light and shape a way that was almost irratgly tuive.”</p><p class="paywall">Art class at Achison were optnal for high schoolers, and few stunts took them. Toor signed up for every one that was available, and he spent most of his ee time the art room, drawg and patg. This was where he met the three boys who are still his clost iends—Aijazudd, Ali Sethi, and Leo Kalyan. “I thk we were all tryg to protect Salman,” Sethi said. “He was the most vulnerable one, bee he didn’t have any fense mechanisms. I was the tallt person the class, I was a teacher-pleaser, but Salman was guilels. When boys ma fun of him, he uldn’t fight back.”</p><p class="paywall">Kalyan, who was born London and lived there until he was eleven, when his fay moved back to Lahore, rells the art room as the one place the school where the iends felt safe. “I ed to ll Salman Demi Moore, and he lled me Kate Wslet,” he told me. “We were all ma fun of for beg girlie.” Kalyan was startled, though, when Toor told him and Sethi that he was gay. “My reactn was <em>I’m</em> not gay,” Kalyan said. “It was a uple of years before I uld say out loud that I was. I was sred every sgle day at school. People would wre stuff about on the blackboard. The only refuge we had was the art room and each other. It’s a miracle that we were there together. Whout Ali and Salman, there would be no me, and whout me there would be no Ali and Salman. He was unaaid to be himself at a very young age.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Two people stg on a livg room uch" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“It’s nice to s down after a long day of stg down.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Liana Fck</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT 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19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Sethi’s father was an outspoken journalist and a publisher, whose cricism of the thorarian ernment Pakistan led to several jailgs. He and his wife also llected art and had many art books their hoe. This was where the four boys found Norman Mailer’s 1995 “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Portra of Pisso as a Young Man</a>,” which me as a revelatn to them. “We read together, and we pied thgs om the art room,” Toor rells. (They were all bilgual English and Urdu.) “That book brought a sense of licns, a simplified ia of what an artist’s life was like.” More than a later, when Toor was startg to move beyond Old Master mols, the monochrome twilight of <a href=">Pisso</a>’s Blue Perd beme a recurrent mood his patgs.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">All three of Toor’s iends were gog to llege Europe or North Ameri. Toor, who was expectg to go om Achison to the Natnal College of Arts, Lahore, persuad his parents to let him apply to several Amerin schools. Yale, Amherst, and Columbia turned him down (his hundredth percentile O-level art wasn’t enough to offset ls imprsive rults, two years later, the A-level exams for physics and enomics), but Oh Wleyan accepted him and offered a scholarship, and he arrived there the fall of 2002. “The llege is a very small town, and there wasn’t anythg like gay life there,” Toor rells. “And I was totally fe wh that. I had never been to the U.S., and for the first year I was jt takg everythg .” Once, his junr year, he was beaten up at a at party, but over all he was happy, livg an on-mp, mixed-genr hoe he scrib as the “hippie base.” He kept touch wh Sethi, who was at Harvard, and Aijazudd, at New York Universy, and when he uld afford he ma weekend trips to see them. Toor beme more and more certa that New York, wh s polyglot mix of cultur, was where he wanted to live.</p><p class="paywall">Leo Kalyan earned his unrgraduate gree England, at Kg’s College London. Toor stayed wh him when he went to London the summer of 2004. He spent his days at the Natnal Gallery and other mms, but his nights, he said, were “like a crash urse mastream gay culture.” Kalyan, Sethi, Aijazudd, and Toor were all datg, but they weren’t datg one another. This changed six years ago, when Sethi and Toor realized that they belonged together. Although they live different New York apartments, the bond between them is very ep. “I knew I had found the person I wanted to be wh for good,” Toor told me. They have all done well the world. Aijazudd, who beme an artist and a wrer, now liv chiefly New York; Sethi and Kalyan are both sgers and songwrers, well known for their novatns tradnal South Asian mic. (Sethi’s most recent sgle, “<a href=">Pasoori</a>,” has drawn more than two hundred and nety ln viewers on YouTube.) The four iends ntue to keep touch, talkg on the phone or the Inter nearly every day.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">As Mark Twa might have said, the wispread reports on the ath of patg the neteen-seventi were greatly exaggerated. Vio art, procs art, performance art, land art, social-practice art, and other nceptual mos took up a lot of artistic oxygen those years, but patg on nvas survived, and the eighti and neti paters found new forms and revived old on, cludg portraure and storytellg. <a href=">John Curr</a>, an Amerin artist the generatn before Toor’s, med classil art for techniqu and subject matter that he then applied to his often startlg exploratns of ntemporary life, and his fluence on Toor and other young paters was prodig. Toor had spoken to me of his admiratn for Curr. “I looked at his patg very closely after I graduated om the Pratt Instute,” he said. “I saw that he had an amazg technique, and I jt wanted to look at the surfac of his patgs and see how he ma this material ntemporary. I felt like there was so much I uld learn om him.” Curr and Toor had never met, so my wife, Dodie, lled <a href=">Rachel Feste</a>, Curr’s artist wife, whom she knows well, and Feste ved the three of to have dner at their town hoe Manhattan.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">It was a warmish night early May. The hoe has five floors, and there are Curr patgs on almost every wall. A larger-than-life sculpture by Feste, of the Italian clown Punchello and his fay, fills the entrance hall. When Toor arrived, wearg a loose, safon-lored len shirt over matchg pants, Feste showed him around. “The are portras of the kids that John’s been dog over the years,” she said. “This is one of me when I was thirty—before the kids. Now my portras look like I’m angry.” Toor regnized almost every patg by name, om reproductns he’d seen. Curr joed the stg room, and shook hands wh Toor. They sat down near a blazg fire. “John wants the drama of fir even when ’s a thoand gre outsi,” Feste explaed. “He turns up the air-ndng beforehand.”</p><p class="paywall">“That’s such a pater’s drawg,” Toor said, of an exquise portra of Feste above the fireplace. “I feel that the hair and the ey.” Curr lghed, and said, “It’s really old, like 1996.” Always a robt prence, Curr has started to look a b grizzled, wh thng hair on top and a full, grayish beard and mtache. “I didn’t see your work until the show at the Whney, which was very good,” he told Toor.</p><p class="paywall">Toor said that when he was an art stunt “there were only four or five people dog what you do”—meang figurative patgs of real people. “There was you, and—”</p><p class="paywall">“Kerry Jam Marshall,” Curr said.</p><p class="paywall">“Y, and Nile Eisenman.”</p><p class="paywall">“Right. Lisa Ykavage.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">“Hernan Bas was there,” Toor add. “So few people. I jt thought, Why is important? What mak bodi important? And now figuratn is everywhere.”</p><p class="paywall">Feste had also ved the rock sger Patty Smyth and her hband, <a href=">John McEnroe</a>, to dner. Smyth arrived whout McEnroe, who had to be at a tennis event North Carola.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Two people walkg fort pass “Compla to a Bear” booth" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by P. 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Vey</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Curr jumped up to greet her, and then he said, “I’m gog to move away om the fire. I like the athetics of a fire but not the heat.”</p><p class="paywall">There was talk about the art market and how you uld avoid payg astronomic pric for Old Master patgs. “You n get thgs if there’s a penis, or a naked man’s butt,” Feste said. “And, if there’s a lot of the lor green, they’re affordable.”</p><p class="paywall">Curr looked at Toor. “I have bad news,” he said. “You e a lot of green, and there are guys’ ass. Learn now to hang drywalls is all I’ve got to say.”</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="73ue5a"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">“John is dog his pot-unterpot,” Smyth said. “As Johnnie Mac would say, ‘I challenge.’ ”</p><p class="paywall">“Salman’s patgs are my view a weird mixture of very retrogra, post-Imprsnist handlg,” Curr said. “What I like about them is that there’s a kd of easy glamour. This is me and my iends, and we have a ol life.”</p><p class="paywall">“It’s a glam-rock thg,” Toor said, ironilly. He add, “I have a qutn for you. Wh all the flh your patgs, is always whe unrneath? And then you put the smetic layer on top?”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Curr, lghg: “Cosmetic layer. That’s the bt way to put .”</p><p class="paywall">The nversatn moved on to paters they liked and didn’t like. “John n’t stand Sargent,” Feste observed. “Me, neher,” Toor said. He admted that he had e to thk Jan van Eyck was “betiful but a ltle ted.”</p><p class="paywall">“Not van Eyck, sorry,” Curr said. “I thk van Eyck is the greatt artist the world. Care to step outsi?” Toor, unffled, went on to say that he was well out of his Vermeer phase. He had been obssed wh Vermeer llege, he said, and hugely honored that the Frick Collectn, as part of an ongog project, had hung one of his own patgs a room wh two Vermeers. “But if you pat figuratively most people go through a Vermeer phase.”</p><p class="paywall">Feste mentned that her mother had recently met Toor on a flight to Miami. “The plane had land,” Toor explaed. “We were wag to move out, and a lady across the aisle was talkg to her seatmate about her dghter, Rachel, an artist who was married to an artist, and I had to say somethg.”</p><p class="paywall">“Rachel’s mom is the Zelig of our day,” Curr said.</p><p class="paywall">When dner was announced, Toor and Curr were havg an tense nversatn, obliv of Feste’s repeated lls. After they fally stood up, I heard Curr’s boomg voice ask Toor, “Who are you rippg off right now?”</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Art Work Called “Fag Puddle wh Candle Shoe and Flag” by Salman Toor om 2022." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Fag Puddle wh Candle, Shoe and Flag,” by Salman Toor, om 2022.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work © Salman Toor / Courty the artist / Luhrg Augte</span></div></figure></le-embed><p class="has-dropp has-dropp__lead-standard-headg paywall">When Toor graduated om Oh Wleyan, 2006, he went to New York. Komail Aijazudd was still at N.Y.U., livg a two-bedroom apartment Greenwich Village, and Toor and Ali Sethi, who had jt graduated om Harvard, moved wh him. Toor got a job the marketg partment of a now funct art magaze. It was the only job he ever had. “Wh a uple of months, I felt like I was wastg my time,” he told me. “I didn’t have any time to pat, so I jt stopped. I applied to a bunch of grad schools, and got to Pratt. Incredibly, my father cid to pay for . I did tell him that this level of tn would make easier for me to make a livg. But I’m still surprised.</p><p class="paywall">“At Pratt, I wanted to ntue lookg at Old Master patgs, and that was fe wh my profsors,” he said. Toor scrib his stunt work as “non-risky and non-threateng,” but he was velopg a virtuoso personal style, wh layered surfac and subtle unrpatg that me om his immersn art history. He would study a scene by <a href=">Ttoretto</a> or another of his idols, and reimage , g people he knew or vented. Watte’s technique ptivated him. He went back to London and saw the Wattes the Wallace Collectn and at the Natnal Gallery. “I liked the sweetns the first stag of the ro, before got super-sacchare,” he told me. “All those éle people garns, flirtg and makg love.” For his this show, which was all portras, he pated himself the style of a <a href=">Velázquez</a> self-portra. “The lors were so Spanish Reformatn,” he said. “I thought, I n do this. I n ntrol pat to make do some of the thgs those Spanish paters did.”</p><p class="paywall">New York was where he belonged, he felt certa, but his stunt visa was about to expire. He went to an immigratn lawyer and filed a petn for a green rd. He was asked to supply more rmatn, which he did. A year went by, and Toor was losg hope. He packed up all his patgs and everythg else he owned, and moved back to his fay’s hoe Lahore.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">Almost immediately, he participated a two-person show at the Canvas Gallery, Karachi, which is bigger than Lahore, and more mercial. Toor’s ntributn was keyed to Pakistan’s pennce. “I did a portra of Muhammad Ali Jnah, the untry’s foundg father, a large-sle nu bt of him lookg raggedy and old, like a homels person on the L tra,” Toor rells. This might seem que risky a untry as nservative as Pakistan, but nobody objected, and after that Toor showed at Canvas regularly. The prev summer, Ain Gallery New York, which specializ ntemporary art om South Asia, the Middle East, and Ai, put Toor’s work a group exhibn at s London branch. Toor had been Lahore for ls than a year when he got a ll om the immigratn lawyer, sayg that his green rd had e through. Overjoyed, Toor returned to New York 2011. While he looked for a place to live, he stayed wh a former classmate of Sethi’s at Harvard, Alexandra Atiya, a small apartment on Horat Street. She and Toor got on so well that they cid he should stay on fely. “I thk was kd of fortg for him to live wh a iend,” Atiya told me. “We both value our trospective time. He lik talkg to people, but he also lik time alone. Sometim we would have people e and stay. It was prepostero but a lot of fun.”</p><p class="paywall">Toor was fascated by Atiya’s exotic bety. “Her father is Egyptian, her mother is Argentean,” he told me. “She remd me of an Orientalist patg. She’s also queer. I ma many portras of her. She would e to my stud to read—she read everythg, and she was always brgg me books. We ma good roommat. I got a monastery-size bed for the livg room, and she had the bedroom. While we were livg together, I read Marjane Satrapi’s ‘<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Persepolis</a>,’ which was a graphic novel, and we started jokg and thkg about wrg a graphic novel together.” Atiya remembers that this happened 2013, after Toor’s first solo show at Ain’s New York gallery. “There were patgs of people rs and all sorts of settgs, and there seemed to be a story behd all the characters,” she said. Toor and Atiya have been -wrg (and rewrg) the graphic novel ever sce, although they slowed down after Atiya moved to Canada, 2014, for postgraduate studi medieval lerature at the Universy of Toronto.</p><p class="paywall">Not long after Toor’s return to New York 2011, he ma a large patg that was unlike anythg he had done before. The tle, “9PM, the News,” suggts current events, but the patg is eply personal. “I wanted to re-create a sense of prsn through a fay dner table,” he told me. “It was my first pletely imagary patg. I had ed art-historil sourc for a very long time, a very enjoyable time. For a , I didn’t want to do anythg else, but was jt gettg ls excg over the years. I thought this one would be jt for me—I wouldn’t show .”</p><p class="paywall">In the patg, a beard man wearg a dark sweater-vt over an orange shirt ss at a table, smokg a cigarette and lookg troubled. To his left is a skny, naked, equally prsed-lookg chap who has both hands on the table, rtg a pool of shy black oil. Three other figur s around the table, two of them women, but nobody is talkg. The background is a jumble of mostly explible objects and shap: a large patg of a dark-haired young woman, a distant procsn of men whe, an explosn of some sort, gatherg clouds, far-off buildgs cludg a maret and several dom. The lors are muted. “I was thkg about my fay, about my dad,” Toor said. “That really got my juic flowg. I felt that this was somethg very real that I had done.” He kept the patg his Brooklyn stud for three years. “An Old Master expert om London saw and said, ‘No—please no, you’re gog morn,’ but the artists I knew were, like, ‘Now you’re talkg.’ ”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Toor ntued to pat (and sell) art-history-sourced pictur for several years after that, but every so often he would do another work that me pletely om his imagatn. In 2015, cidg that the new patgs should be seen, he put twenty-three of them a show lled “Rint Alien,” at Ain Gallery. The Tate, London, bought “9PM, the News,” and most of the other patgs found buyers, but acrdg to Toor the “Rint Alien” pictur were too much for some of his regular clients. I unted fifty-three men and women and five ghosts “Rooftop Party wh Ghosts,” a seventeen-and-a-half-foot-long triptych which the figur mgle amiably, sip drks, flirt, argue, smoke, work cell phon, tell jok, or jt enjoy the night air, unr a dark sky that is populated wh letters om the Persian alphabet. Many of the subjects have long, poted nos—a tail that was beg a Toor tramark—but otherwise the fac are highly dividualized, wh exprsns that were keenly observed and te to life. “For Allen Gsberg,” a diptych, is almost as nsely populated as “Rooftop Party.” In my view, the patgs mark a bold parture that don’t que go anywhere. “I don’t really know how to make a big picture,” Toor told me. “I make small pictur wh the big picture.” He was gog to keep tryg, he said, and if didn’t work he would be happy to be an artist of small patgs, like <a href=">Elizabeth Peyton</a>.</p><p class="paywall">Toor explaed that a few years ago he had started lookg for new solutns to the way he was thkg. “I wanted to have parts of the patg that rpond to my need for realism, and other parts that were liberately sketchlike and a b irreverent,” he said. The solutn me unexpectedly 2016. Toor was livg an East Village apartment that he had rented when Atiya left for Canada. He had never wanted his own work plac where he lived, but for a while he hung some of the new, “straightforward” patgs on the walls of his apartment. The were the imag that me out of his head, whout fe-art sourc. “I’ll jt pat whatever I feel like,” he told me he had cid. “I’m not gog to ban anythg. And what I end up dog were very simple, illtrative, graphic-novel-like imag.” He pated himself and his iends at dner tabl and bars, on ont stoops and street rners. The figur are realistic but not entirely so. He pated them directly on the nvas, wh no prelimary drawgs or sketch. “I draw wh the bsh,” he said. “I didn’t want to plan.” (He jots down visual ias for patgs small notebooks, g a ballpot pen, but when he starts a new patg he works om memory or om ventn.) His new patgs were small, and they didn’t take very long to do. “I was thkg ls about how to play wh form and more about what I urgently need to pat,” he said. “When I put a group of the pictur together on a wall, they did create a cloud of meang, so I started gog more and more that directn.”</p><p class="paywall">There had been hts of queer relatnships some of Toor’s patgs. The pools of dark liquid “9PM, the News” and several other pictur reprented, for Toor, “somethg about guilt spreadg like slime a culture of shame.” In a 2018 show at Ain Gallery, the queer theme beme overt, and guilt-ee. “Time After Time” (which is also the show’s tle) picts two young men stg close together, facg each other, their arms touchg, ep an emotnal nversatn. In “Rnn” and “The Green Bar,” men embrace openly and publicly. “This was the first time I did liberately and articulately,” Toor told me. He was reful about how and where the new pictur were seen. Inved to be the first Lahore Biennale, 2018, he said, he “cid to show some of the gay pictur that didn’t have a dick them.” A year later, a solo exhibn at the Nature Morte gallery, New Delhi, the boy “Lavenr Boy” lay naked on whe sheets, and the show clud another versn of Toor’s patg of a policeman shg a flashlight to a r wh two young men the ont seat. Relatns between India and Pakistan were dangeroly straed 2019. Toor did not attend his New Delhi openg for that reason, but there were no cints, and the show did well, wh several patgs gog to an Indian mm.</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="qun7u"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Toor returns to Lahore at least once a year, to stay for a few weeks. “Sometim I feel that there is more of his father him than he would like to adm,” Sethi nfid. “Salman has a sense of honor, and so do his father.” The summer after Toor’s hman year of llege, Sethi helped Toor hang a show of his patgs the basement of his father’s Honda alership. “It sold out,” Sethi remembers. “Salman’s father was very proud, and, the nict way, rather humble. This was the first time he saw that Salman had a future as an artist.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">I asked Toor about his fondns for green, which is the domant lor many of his patgs. “It was an emotnal thg that happened the stud 2018,” he explaed. “I had been g green to make shadows, and occurred to me, Why not do the whole patg green?” He ma a patg of three young men dancg an apartment, g olive green for the figur and viridian for the background, and he knew immediately that he would be dog more like this one. He said, “One of the thgs I like about green is that n be very hot and very ld. Blue is ld, and belongs to Pisso. Wh green, there’s a flickerg light that’s nocturnal, and poisono (thk of absthe), and also jewel-like—emeralds and ja.”</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="“Rnn” om 2018 by Salman Toor" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Rnn,” om 2018.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work © Salman Toor / Courty the artist / Luhrg Augte</span></div></figure></le-embed><p class="paywall">Toor’s green patgs are often melancholy. In “Thunrstorm,” four women s on the ont porch of a hoe sippg tea, while a man stands apart om them and looks at a younger man a few yards away, dancg alone the ra, nnected but distant. “It’s the hoe I grew up ,” Toor said. “I’d been thkg about dog this patg for a long time. It helped me believe I uld pat forever.” Sometim he feels that his work is too heavy and dark, and he tri to remedy that by troducg humor and satire, such as the long nos, the rtoonish look of his skny, bonels characters, and his llg several patgs “Fag Puddl.” Ali Sethi relat this impulse to the problems of queer inty. “People like don’t really belong anywhere,” he said to me. “You create your own safe space, and you need the relief of edy.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p class="paywall">Ambika Trasi, a young curatorial assistant at the Whney Mm, first saw Toor’s work at Ain Gallery 2015. She kept up wh his appearanc group shows, and 2018, after seeg “Time After Time” at Ain, Trasi and Christopher Y. Lew, a Whney curator she worked wh, vised Toor’s Brooklyn stud. “His patgs were so evotive about life New York Cy, those moments of isolatn and muny that were clearly the experience of brown men,” she told me. “There was an timacy about them that I hadn’t seen before.” When Trasi and Lew returned to Toor’s stud for a send vis, they asked him if he uld be ready for a show the Whney’s lobby gallery six months. Toor was thrilled. He had gone many tim to the old Whney, on Madison Avenue, but he hadn’t yet seen the new buildg, which overlooks the Hudson River at Gansevoort Street. At first, he thought Trasi and Lew were askg him to put a few pictur the lobby, but when he vised the mm and saw the size of the lobby gallery dawned on him that his life was about to change. The Whney wanted to show fifteen patgs, five that already existed and ten new on. Toor took a ep breath and said he would do .</p><p class="paywall">In the months before the show’s schled openg, the sprg of 2020, Toor’s anxieti mounted. He was still virtually unknown the New York art world. Toor left Ain that January (amibly, he says) bee he wanted his work to reach a larger dience; several other New York galleri were terted showg him, but nothg was certa, and a failure at the Whney uld be disastro. “I was very relieved when the openg was postponed bee of the panmic,” he said. He needn’t have worried. The layed openg, November, drew rapturo reviews. The <em>Tim</em> cric Roberta Smh lled a “brilliant New York stutnal but,” and went on to ld his narrative skills and his “lite, rsg bsh strok and trigug textur.” <em>The New York Review of Books</em> put Toor’s “Four Friends” on s ver, and ran an say by Sanford Schwartz. “What mak the pictur distctive and absorbg is that while homosexualy is hardly new to art, Toor brgs a sense of soft-spoken, genuo, everyday timacy to this material that feels new,” Schwartz wrote. The fifteen patgs took viewers to the world of the South Asian diaspora, where dark-skned young men stand forlornly immigratn offic, dance and cuddle small apartments, and meet one another bars.</p><p class="paywall">“Parts and Thgs,” a green patg of sundry ems of clothg and body parts piled on the floor of a closet, previewed Toor’s semi-abstract “Fag Puddle” seri. In “Sleepg Boy,” a young man who rembl Toor li on whe sheets so lcly pated that they look edible, his face and his naked body illumated by light om an open laptop. Toor’s virtuoso handlg of pat brgs the imag to life, and the stori they tell, whether simple or plex, tch and engage viewers’ attentn. The Whney show lnched Toor as an ternatnal art star, a role that he has no tentn of playg. He joed the Luhrg Augte gallery 2020, but stead of doublg or triplg his pric on the primary market Toor and the gallery agreed to keep them relatively low and crease them gradually. “I don’t want a big, timidatg number to enter my head while I’m the stud,” he said to me. “That would really stroy the procs.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Toor beme an Amerin cizen 2019. He loved the drama of the ceremony, hands over hearts as the group reced the pledge. He nsirs himself an Amerin artist and longs to see more of his adopted untry. The panmic put a damper on travel, but Toor had vised San Francis 2018, and was astonished by the blown-up imag of civil-rights monstratns on the walls of the Harvey Milk Termal. “There was this huge poster that said ‘Straights for Gays.’ I want to create a lk somehow to the gay-rights movement, and make a patg that relat to ,” he told me. “In my fascatn wh European stuff, I missed out on a chunk of Amerin artists, whom I’m openg up to now.” He mentned <a href=">Wslow Homer</a>, Albert Pkham Ryr, and John Sloan. I suggted that the new work I had seen his stud looked que different om the patgs his Whney show—ls direct and clear-cut. “Right,” he said. “I want some parts of to be a ltle more abstract, a ltle more open to terpretatn. I don’t want anyone’s face to be very pronounced, bee I feel that fac, for me, bee very powerful, and then I go overboard tryg to scribe them every way. I n’t rist .” This summer, he tried another large patg, a landspe, ten feet wi by five and a half feet high. “I’m very happy to report that worked,” he told me. “I fely haven’t given up on big patgs.” The new landspe will début later this year, a solo show he is havg at the <em class="small">M WOODS</em> 798 ntemporary-art mm Beijg.</p><p class="paywall">For our last nversatn, Toor had prepared a sli show (on his puter) of patgs, drawgs, photographs, and other imag that he thought I should see. The first was a patg of his lled “Three Friends a Cab,” which is the show at the Baltimore Mm. “The guys are at the end of a night out, and they’re beg rowdy and maybe that’s a Mlim bdriver who don’t like them,” he said. “I want to do more of the. I’m fely terted bdrivers.” Movg on, he brought up a work by the seventeenth-century Dutch artist Gerard ter Borch. “This is ‘A Glass of Lemona,’ one of my favore patgs,” Toor said. “I jt uldn’t believe was Baltimore. The young man is stirrg a glass of lemona for the young lady, and their fgers are jt touchg—’s an amazgly sensual scene.” The sli show was gog to be unstctured, I uld see. Toor n seem d-mannered and ferential, but he has iron-clad nfince his own impuls.</p><p class="paywall">Flippg to “Thunrstorm,” his patg of the hoe he grew up , he said, “It’s about the divisn between an artist’s life and a kd of zy fay life. When I started this patg, the whole ia was that would be about lightng, like Grgne’s ‘The Tempt.’ ” Next up, a photograph he had taken a gallery at the Uffizi, of a seventeenth-century patg by Gerr van Honthorst. This and the other Honthorst patgs, he said, “were so much bigger than I thought, and to be hont I was a ltle disappoted by how tightly pated they were.” Then me a lighthearted scene by Nilas Lancret, a follower of Watte, lled “The Servant Jtified.” Toor went on, “I like how the young man is reachg to the fallen maid. She’s fallen so prettily, and he’s reachg out what’s almost an embrace. I’ve ed that kd of thg a lot my patgs, and I’ll ntue to look at this image.” Velázquez’s “The Supper at Emms” evoked a brief dissertatn on the greenish tone of the Spanish Master’s unrpatg, and how had fluenced his own e of green. “And this is a photo of me tryg to do a sissy walk.”</p><p class="paywall">The disntui a Toor sli show n be epic. I saw photographs of a burly, “really handsome” nstctn worker dog manly thgs Lahore, and of Toor’s uncle’s weddg the neteen-sixti, also Lahore. “This is a miature om the neteenth century, after the East India Company was tablished and the English were the lords and masters of India,” Toor explaed. “A style of patg veloped at that pot, lled Company Patg; was done by lol artists, and showed the overlords wh their servants and posssns. There’s a power relatnship here that I’m very terted .” We looked at patgs of his iend Alexandra Atiya, and exampl of ancient Gandhara sculptur, which, he said, have “a particular hair style I love—a bun the center of the head, and the hair that ss down—you also see that Buddhist art.” On and on went: an early patg by <a href=">Philip Gton</a>, and one by <a href=">Alice Neel</a> (“I jt love the speed of ”); <a href=">Nile Eisenman</a>’s renrg of a dner party; Toor’s 2017 portra of Ali Sethi, sgg.</p><p class="paywall">The last group of imag were scen om the graphic novel that Toor and Atiya are wrg. Toor has ma a great many drawgs for —black-and-whe at first, and then lor—of school buildgs and playg fields and stunts short pants, jackets, and neckti. “The more we refed , the closer me to our liv,” Toor said. He draws rapidly and spontaneoly, tchg emotns closps of fac. “Salman n get a lot of plexy to a sgle image,” Atiya told me. They got an agent for the book 2018. “And then my life started movg really fast,” Toor said. “The novel’s premise is not pletely tobgraphil. It’s a semter high school, explorg the story of two nth-gra boys tryg to figure out who they are. And together, by makg art and beg themselv, they overe the tolerance and vlence around them. It was origally lled ‘Paradise Villas,’ an ironic name for a neighborhood that ed to be wealthy and isn’t anymore, but now I thk should be lled ‘The Art Room.’ ” ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 PaywallInleBarrierWhWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__le-barrier article__body article__body--grid-margs"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ContentWrapperGrid-fvkmBv jfHKjr"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG bGJnrW ArticlePageContentFooterGrid-ccsXYy fzwwkW article-body__footer"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0"><div class="GridItem-buujkM kHPPIF grid--em"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2022/08/08" data-reactroot="">Augt 8, 2022</a>, issue, wh the headle “Beg Morn.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0"><div class="GridItem-buujkM kHPPIF grid--em"><div class="LkStackWrapper-NFLYw kgtXXB lkstack" data-ttid="LkStack"><div class="SectnTleRoot-dBGvdq hpRFVl LkStackHear-lKjbE hejl lk-stack--headg" data-ttid="SectnTle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet bVCFRm jfOfxc QVDXy">New Yorker Favor</h2></div><div class="LkStackContent-jyKicS gPhyME"><ul class="LkStackList-gGcjdZ dnMwpz"><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The <a href="/books/unr-review/the-rebrandg-of-mdma" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">rebrandg of MDMA</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>What <em class="small">COVID</em> <a href="/culture/say/what-vid-revealed-about-amerin-psychiatry" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">revealed about Amerin psychiatry</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>How to <a href="/news/annals-of-a-warmg-pla/what-to-do-wh-climate-emotns" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">handle climate emotns</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The changg role of <a href="/culture/the-new-yorker-terview/we-have-reached-peak-therapy-tv" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">the therapist on televisn</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Reventg the E.R. for <a href="/science/annals-of-medice/reventg-the-er-for-ameris-mental-health-crisis" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">Ameri’s mental-health crisis</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Givg away <a href="/culture/personal-history/givg-away-my-tw" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">my tw at her weddg</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Nearly a century of <a href="/rtoons/rtoon-sk/rtoons-about-therapy-om-the-past-century-well-almost" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">New Yorker rtoons about therapy</a>.</p></div></li></ul><div class="LkStackFooter-KfRyO ebnmps lk-stack--footer"><div><p><a href=">Sign up</a> for our daily newsletter to receive the bt stori om <em>The New Yorker</em>.</p></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0"><div class="GridItem-buujkM kHPPIF grid--em"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/lv-tomks">Calv Tomks</a> is a staff wrer at The New Yorker. 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History</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">How to Practice</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">I wanted to get rid of my posssns, bee posssns stood between me and ath.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ann Patchett</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div 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target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The End of the English Major</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Enrollment the humani is ee fall at lleg around the untry. What happened?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Nathan Heller</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard 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src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Profil</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Agn Callard’s Marriage of the Mds</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">The philosopher, who liv wh her hband and her ex-hband, search for what one human n be to another human.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div 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