"John Waters Is Ready for His Hollywood Closeup", The New Yorker
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Photographed by Martin Schoeller for The New Yorker in 2002:
"I was hired by the New Yorker in 2002 to photograph Robin Williams, and after doing my research what stood out most for me was that he was a very physical comedian. I came up with this idea to photograph him swinging from a chandelier in a grand hotel room. Most publicists shoot down these kinds of wild ideas, so I didn't tell anyone what I was up to, but rigged up a chandelier at the Waldorf Astoria hotel for him to swing from. When Robin got there and saw what was happening, he lifted up his shirt and showed me this enormous scar on his shoulder. He'd just had surgery and couldn't so much as lift his arm. He was so disappointed! He really felt bad about not being able to do it, because he loved the idea and really wanted to help me accomplish my vision.
Unlike most Hollywood stars, he was unfazed by his success and position. He talked to everyone from stylists to the crew, to the hotel staff. We ended up asking a maid at the hotel to swing from the chandelier instead, and I asked him to just sit there and read a newspaper, which I think in the end was an even funnier, more unexpected picture.
[Follies Of God]
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Nina Simone and James Baldwin, early 1960s [«The New Yorker». Photo: New York Public Library, New York, NY]
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Tom Toro for The New Yorker (2012), featured in Caps Lock by Ruben Pater
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“Bodega Cat,” by R. Kikuo Johnson.
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Buying an early edition of the Sunday paper was a common activity after leaving the theater on a Saturday night.
Illustration for the cover of the November 22, 1958 issue of The New Yorker is by Arthur Getz.
Source: Fine Art America
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“Deadline” by Bianca Bagnarelli
l The New Yorker l 2024 l Jan. 1 & 8
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Roger Duvoisin (1900-1980) couverture de The New Yorker 12 Juin 1954. - source Obépine Desvilles.
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Richard Avedon (1923-2004), 'Edward Gorey', 1992
"Gorey acknowledged his debt to the Surrealists:
"I sit reading André Breton and think, “Yes, yes, you’re so right.” What appeals to me most is an idea expressed by [Paul] Éluard. He has a line about there being another world, but it’s in this one. And Raymond Queneau said the world is not what it seems—but it isn’t anything else, either. These two ideas are the bedrock of my approach. If a book is only what it seems to be about, then somehow the author has failed."
But, however much Gorey owes to the Surrealists, I see in him, equally, their less fun-loving predecessors, the Symbolist poets and painters of the late nineteenth century: Baudelaire, Mallarmé, Khnopff, Munch, Puvis de Chavannes, Redon. That strange world of theirs, caught in a kind of syncope, or dead halt, of feeling—open a Gorey volume on a winter afternoon, and that’s what you get. (Source)
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Kamasi Washington by Jamie Hawkesworth for The New Yorker
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michael johnston your camera roll contains a masterpiece
kofi
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Devon Aoki for The New Yorker (2001)
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