Showing posts with label Annie Leibovitz. Show all posts

Sunday, December 11, 2022

The Beautiful Power of Ta-Nehisi Coates

The Beautiful Power of Ta-Nehisi Coates

With his groundbreaking nonfiction works, Ta-Nehisi Coates emerged as our most vital public intellectual. Now, his debut novel, The Water Dancer, takes him to uncharted depths.

BY Yesmyn Ward

PHOTOGRAPHY BY Annie leibovitz

AUGUST 6, 2019

When I meet Ta-Nehisi Coates, I am surprised. All of the photos I’ve seen of him are somber and inscrutable, but when I walk into the café where he’s suggested we meet, he’s not like that at all. He’s one of those people who looks young at any age: There’s a kind of weightlessness and buoyancy in the way he holds himself, with a serious, clear eye that looks knowing and hesitant all at once. He also has a baby face. But even though he looks at me with kindness, I’m nervous.

Annie Leibovitz: latest show explores women as 'whole human beings'

Annie Leibovitz

Annie Leibovitz: latest show explores women as 'whole human beings'

Revered photographer’s new exhibition focuses on women of note, from Lupita Nyong’o to Aung San Suu Kyi

Mark Brown
Wednesday 13 January 2016 18.03 GMT

She has captured thousands of faces as perhaps the world’s pre-eminent portrait photographer, but Annie Leibovitz thinks most subjects would rather be at the dentist than in front of a camera. “If they like having their picture taken something is wrong with them!”

Rooney Mara on Her Challenging New Role / And Why She Doesn’t Care What Other People Think

Rooney Mara
Photo by Annie Leibovitz

Rooney Mara on Her Challenging New Role—And Why She Doesn’t Care What Other People Think

BY NATHAN HELLER

PHOTOGRAPHY BY ANNIE LEIBOVITZ

September 14, 2017

“I have a backpack and a small carry-on for two weeks,” Rooney Mara tells me one afternoon, after collapsing into a stiff chair at a café on the eastern flank of Manhattan’s Chinatown. She has recently arrived in New York on a red-eye out of California. In a few hours she will leave again, to travel on to Europe. During the precious time in between, there is a restless version of a New York life to live. Mara has just emerged from a dusty storage unit where her whole apartment is being held on ice. (She vacated one place in February and hasn’t yet found a new home to her taste.) This afternoon she’ll visit friends, run errands, traverse Manhattan by foot; later in the year, she plans to leave the country once again, to see the gorillas in Rwanda. (“Who knows how much longer they’ll be there?”) All of this follows an astonishing two-year period during which Mara left behind the Hollywood movies that made her name—The Girl with the Dragon Tattoo, Carol—to focus on a run of daring, demanding indie roles, each different from the last. After years building her reputation, Rooney Mara is on the move.

Annie Leibovitz / Pirelli 2016

From the forward of the calendar, Yao Chen

Pirelli 2016

Annie Leibovitz

by Maria Sofou

Since 1964, the Italy-based tire company Pirelli & C. SpA has photographed some of the world’s most beautiful and popular models for its annual limited edition pin-up calendar, widely known as ‘The Cal’, becoming a trademark for western culture, inacessible luxury and female stereotypes.

Annie Leibovitz / Women

Serena Williams

Annie Leibovitz

WOMEN
PIRELLI

Yao Chen

Tavi Gevinson

Patti Smith

Amy Shumer

Agnes Gund junto a una de sus dos nietas, Sadie Hope-Gund

Yoko Ono

Natalia Vodianova

Thursday, February 5, 2015

The Nude In Vogue / Part II

Photo by Annie Leibovitz

The Nude In Vogue

Complete Special Edition Winter 2012

Part II

Deborah Turbeville

Daniel Craig / Bond Ambition

Daniel Craig

Bond Ambition

As he makes his third appearance as 007, in the 23rd James Bond film, Daniel Craig is coming to terms with the extraordinary pressures of portraying a half-century-old icon. He even agrees that Bond needs to lighten up. Hearing how the reluctant actor was drawn into the franchise, Juli Weiner reveals the influence Craig has had on next month’s Skyfall—from character development and dazzling stuntwork to the choice of director Sam Mendes. But don’t ask to see his blooper reel.

By Juli WeinerPhotographs by Annie LeibovitzStyled by Jessica Diehl

**GEORGE LAZENBY CALLS SHOTGUN** Daniel Craig, photographed in a vintage Aston Martin, in New York City.

Among the great lost works of modern cinema is The Day the Clown Cried, Jerry Lewis’s 1972 film about a clown who entertains children at a Nazi concentration camp. Screened in an incomplete version by only a few movie-business insiders over the past several decades, it is perhaps the most famous unreleased film in history.

Cinema historians haven’t yet crowned a most famous unseen DVD extra in history, and so we humbly submit for future consideration: the blooper reel for Skyfall, the 23rd official film in the James Bond series and the third starring Daniel Craig as 007. This is not a movie from whose blooper reel one would expect great things—indeed, it is not a movie one would assume would even have a blooper reel. (What would it contain? Co-star Dame Judi Dench screaming obscenities? Craig tripping and splitting his Tom Ford pants?) But according to Craig himself, an honest-to-God blooper reel was shown to the cast and crew at Skyfall’s wrap party.

“I mean, Judi is always hilarious,” said Craig one muggy summer morning over a cappuccino at New York’s Crosby Street Hotel. “There’s a lot of very, very funny moments. But no one’s going to see them. It’s what happens on a film set. You want to be in film? Get a job.” Despite his somewhat dour reputation, Craig finished this statement with a rapturously conspiratorial giggle—the kind of laugh two friends might emit upon sharing a bitchy secret about a mutual friend who just walked into the room.

Annie Leibovitz / Splendor in the Park

Veterans of the Public Theater’s Shakespeare in the Park: Mandy Patinkin, Jesse L. Martin, Blythe Danner, Lily Rabe, Jonathan Groff, Jerry Stiller, Anne Meara, Donna Murphy, Audra McDonald, James Earl Jones, Jesse Tyler Ferguson, Meryl Streep, Kevin Kline, and Oliver Platt, photographed at the Delacorte Theater, in Central Park.

Splendor in the Park

By Tony Kushner

Photograph by Annie Leibovitz

Vanity Fair, July 2012

hen Joe Papp created the Delacorte Theater, he staked out a borderland between the natural world and the world of dreams. For 50 summers, we patrons of the Public Theater’s free Shakespeare in the Park have waited long hours sitting in the grass, inhaling dust from nearby softball or soccer games, fending off importuning hey-nonny-nonny singers, anticipating an evening of marauding raccoons and illusion-shattering helicopters, praying that treacherous New York summer weather doesn’t wash the evening out. We always come back, because the good nights at the Delacorte have a rare, peculiar magic. Wind stirs the trees, the skies darken, the stage fills with a blending of real and artificial moonlight; then one of our country’s greatest actors, working for sub-minimum, steps forward to speak the best and most beautiful words ever written, revealing aspects of ourselves we never expected to encounter in Central Park. Boundaries dissolve, between actor and audience, self and park, art and nature. We discover anew how porous boundaries always are.

This summer, for the price of a little urban strategy, Sitzfleisch, and faith, we’ll walk into the woods of Central Park to enter ... the woods, either Shakespeare’s or Sondheim and Lapine’s, their ersatz forests onstage not a twig more unnatural than the park the stage is nestled in. Gloriously self-invented and self-deceiving, Lily Rabe’s Rosalind will speak, and Donna Murphy’s witch will sing, and our knowledge of what it is to be human will deepen. In this theatrical heart of this communal dream of paradise that’s the heart of the ceaselessly inventing, deluding, magical city surrounding us, our hearts will skip a beat, or momentarily stop, or swell to bursting—and then begin beating anew, pumping through our veins and arteries revivified and richer blood.

http://www.vanityfair.com/culture/2012/07/shakespeare-in-the-park-jonathan-groff