Artist Laurie Simmons explores the freedom that comes with dressing up like someone entirely different—a doll—in a new exhibit based on the Japanese practice of Kigurumi.Laurie Simmons
Three years after a tsunami devastated the Tohoku region of Japan, one chef is risking the reputation of a major hotel brand to convince patrons that the area's food is safe again.Boening/Zenit/Laif/Redux
Brushing aside mounting criticism, Sir Richard insists his space program is going ahead, and even claims he will build hotels in space
Richard Branson is fighting a rearguard action to defend his troubled space program, Virgin Galactic, which has come in for much criticism in recent weeks, with increasing numbers of commentators questioning whether it will ever get off the ground.
He insisted that the first flight will be ready to go in August, and that he will be on it, with his children.
But he admitted there were risks involved.
The pastry chef extraordinaire behind the cronut unveiled his latest—a chocolate chip cookie shooter filled with milk—in Austin, Texas. Verdict? Delicious.
If Dominique Ansel builds it, they will come.
A line stretching almost two city blocks has formed outside the InterContinental Stephen F. Austin Hotel in Downtown Austin, Texas. It’s almost midnight, but some of these dedicated fanboys and fangirls have been mulling about since as early as 9 p.m. Amid a plethora of options at South By Southwest (SXSW), from movie premieres to music showcases to tech parties, they’ve chosen to wait in line for hours to get the first stab at a pastry that may be all the rage in the weeks to come.
They’re here for the official unveiling of the “Milk & Cookie Shot”—the latest divine creation from innovative French pastry chef Ansel, he of Cronut fame. It is, quite literally, an eatable chocolate chip cookie shot glass filled with milk.
Why does Andy Warhol and his art captivate us to this day? In an excerpt from the new edition of his superb account of the artist Holy Terror, Bob Colacello considers his legacy and fame.
Since Andy Warhol’s death in 1987, I have been asked the same question at least a thousand times: Did you have any idea, when you were working for Andy in the 1970s, how important and expensive he would become? I sort of did, as did most of us who helped turn out his art, his films, his magazine, his books, his TV shows at his studio known as the Factory. But he definitely knew. Or knew that was what he wanted. Beneath Andy’s bewigged feyness and maddening nonchalance lay an iron will and limitless ambition, which he revealed only to a select few and then more as a slip of the mask than a shared confidence.
This has all become more obvious to me as time has passed, and I am able to look back on the thrilling, crazy, exhausting years documented in this book with greater clarity and detachment. As Billy Name, the photographer- in- residence at the first of Andy’s four successive
Factories (the one with the silver walls and nonstop parties), said in a 2006 PBS documentary, “He wanted it so much, to be successful. He didn’t want to be second- rate or an underling in any way. And he didn’t want to be first- class or top rank either. He wanted to be a superstar. He wanted to be a big nova that would eclipse everything. . . . That was the only thing that would satisfy Andy. And it happened.”
Now, a quarter century after his death, it has become almost a cliché to say that Andy Warhol was the most important artist of the second half of the twentieth century, just as Picasso was of the first half.
An American tourist in contemporary Vietnam discovers that the trip is a lot bumpier and certainly more surreal than anticipated. Exit through the gift shop.
Just after dawn on a brisk December morning, my wife and I stepped out of the Metropole Hotel in Hanoi for our first look at the capital of Vietnam. We didn’t know what to expect; perhaps clusters of folks in the midst of Tai Chi exercises, as loudspeakers blared official Party news about higher rice production. What we did not expect was the sight of dozens of older women, gathered in a small park just east of Hoan Kiem Lake, dancing the Lindy Hop to American tunes from the early ’60s, while dozens more close by the lake were Texas line-dancing.
As my wife and I joined in the dancing—an effective remedy, we discovered, for jet lag—an elderly woman walked up to us, and asked: “American?” When we nodded, she broke into a wide grin, gestured with two thumbs up, and finished off with a high-five.
It was an appropriate opening experience. Nearly 40 years after the last Americans fled Saigon as North Vietnamese tanks rolled up to the presidential palace, nearly 20 years after the United States and Vietnam opened embassies in each other’s countries, a tourist so inclined could visit Vietnam and never confront any sign of a war that cost the lives of more than 58,000 Americans—and more than two million Vietnamese. The country has become a powerful tourist magnet, last year, more than seven and a half million tourists visited Vietnam, more than 430,000 of them Americans. Most come for the beaches, jungles, hiking paths, luxury resorts, and the temples of neighboring Cambodia. If you wander the streets of Hanoi and Saigon—most locals ignore the “Ho Chi Minh” name the way New Yorkers don’t call Sixth Avenue “The Avenue of the Americas”—if you look at the explosion of hotels and apartments, the Bulgari, Chanel, Dolce e Gabbana offerings along Le Loi Street; if you drive the coastal route South of Da Nang and glimpse the luxury hotels (and a casino) that line the coast; if you cruise down the Mekong on a luxury river boat, with visits by motor launch to pastoral villages, you may find yourself asking, “Is this the place that saw so much death and destruction? Is this the place that tore our nation apart for so long?
Passing the Advanced Sommelier Exam isn’t easy, so many candidates trek to Aspen Mountain to train their palates with the best man in the business.
The man with the best palate in the world lives on Aspen Mountain, in a tucked-away cabin at the top of a walking path that disappears into the slope. His home doubles as a workshop where Master Sommelier candidates aiming to pass their blind tasting exams make pilgrimages in order to learn how to correctly identify flights of six wines.
“Let me tell you something,” he said when I arrived for my first appointment a couple of years ago. I had flown in from New York and driven four hours from Denver to learn from him. He’d agreed to taste with me after we met in Aspen, when I’d failed Blind Tasting on my Advanced Exam. “This is a game of logic. This is not a guessing game. The first thing you need to do, before anything else, is get over your fear.”
He annunciated “fear” with rising inflection, in a way that made it clear that was the point of our tasting—the point of any blind tasting, in an exam or otherwise. Those six wines represent the unknown.
For one night only, a group of female artists are coming together to challenge the exclusion of the Whitney Museum’s Biennale. And the name of their event takes its name from a certain pop diva.
After her death, Whitney Houston was described, rightly for such an over-used word, as an icon. And now she becomes one for female visual artists.
The Whitney Houston Biennial: I’m Every Woman opens for one night only on Sunday in what curator Christine Finley describes as “a feast for the eyes.” “The idea started two months ago,” Finley told The Daily Beast, “and has quickly turned into a fantastic show of both established and emerging artists.”
Whitney Houston performs onstage at the 2009 American Music Awards at Nokia Theatre L.A. Live on November 22, 2009 in Los Angeles, California. (Kevork Djansezian/Getty)
Set in a 3,000 square foot space in Dumbo, Brooklyn, the exhibition will be presented salon-style with works ranging from videos and performances to paintings and sculptures.
Officials suspect arson.
An already decaying Detroit just keeps on taking the punches. This time, it’s the art that’s disappearing. At 3 a.m. on Friday, another art installation by the Heidelberg Project, known for its extravagant exteriors of discarded objects such as stuffed animals, clocks, and records, has suffered an attack—the latest of many over the past year. An act of arson hasn’t been confirmed, but “it certainly is suspicious just linking the number of past incidents,” Fire Lt. Joe Crandall told The Detroit News. The world-renowned project began in 1986 as a social protest in response to urban decay, and there is a $25,000 reward to any information on the attack.
The Noah’s Ark Darren Aronofsky read about wasn’t a ship you can navigate—it was big box. In a new exhibit, the director asks artists to share their vision of the biblical story.
A mix of artists, actors, and film nerds made their way into SoHo Thursday night for the opening of Foundations of the Deep: Noah and the Flood, an art exhibition organized by director Darren Aronofsky in support of his new film, Noah.
Courtesy the artist and Paul Kasmin Gallery, New York
For the last several months, most of the press surrounding the biblical epic has been geared toward its religious content––whether it will appease believers or non-believers, whether it will offend or not offend. In October 2013, word leaked that initial test screenings of the film had been received poorly by churchgoers. And just last month, a report surfaced that Paramount had altered the marketing materials to include a disclaimer that the film was only inspired by the Bible, not a literal interpretation of it (the studio allegedly made the change without Aronofsky’s knowledge).
Nevertheless, appeasing devout Christians and Bible thumpers appeared to be the furthest thing from anyone’s mind at the gallery opening, where a large group turned out to see the diverse collection of work selected by the director, while they dined on fancy appetizers and sipped mixed drinks.
Today, art dealers like Larry Gagosian and Charles Saatchi are as famous as the artists they represent. But Alexander Iolas’s name isn’t so familiar—surprising, as he introduced the greats of Surrealism, Minimalism and Pop Art to the world.
In the art world today, those who produce art aren’t the only ones who gain the world’s attention—dealers are just as praised and recognized as the artists that they foster. Larry Gagosian and Charles Saatchi, two of the biggest contemporary art dealers in the world, will always be remembered for the talent they discovered. It can similarly be said for Alfred Stieglitz at the beginning of the 20th century as well as Leo Castelli from the latter half. But one historic dealer somehow slipped through the cracks.
Alexander Iolas is described as a theatrical man with a fondness for fur coats and an extraordinary eye for talent. He was one of the most important art dealers of the twentieth century. Yet for the amount of historically significant artists that he was responsible for propelling to notoriety, he is almost all but forgotten.
“He was such an extraordinary person as well as a visionary dealer,” Vincent Fremont told The Daily Beast, “[I thought] why not have a show because so many people don’t know who he is anymore.” Fremont is the co-curator of a new exhibition, Alexander the Great: The Iolas Gallery 1955-1987. The show, at the Paul Kasmin Gallery in New York, highlights various works by artists from an array of movements including Surrealism, Minimalism and Pop that Iolas helped introduce to the world.
The list of artists that Iolas represented grew to a staggering amount throughout his three-decade career. “If you look at the list of artists that he showed,” Fremont stated, “they all changed the art of the 20th century.” Man Ray, Yves Klein, Max Ernst and Ed Ruscha—these are just a few of the monumental artists that Iolas cultivated and will be present in the exhibition with over a dozen more.
Calls it the “Cookie Milk Shot.”
If you already are feeling envious of the SXSW attendees in warm Austin, close your eyes because they will also be the first to try the newest creation from the pastry scientist behind the Cronut. This weekend, Dominique Ansel will reveal her new dessert, called the Chocolate Chip Cookie Milk Shot. Essentially it is a cookie shot glass, that is filled with milk. The best part? As Ansel told The Today Show, “You don’t have to be 21 to have one.”
The creator of wildly popular “Sleep No More” is back with a riotous new show featuring Chinese acrobats, wild dancers, mad scientist-like drinks, and a Bacchanalian feast.
Antigua has a mild climate, Mayan ruins, volcanic hiking, a gorgeous lake, and shopping galore…and not many tourists know about it. So why are you still going to Cancun?
How hipster enchiladas could change the way America thinks about food.
Best-known for his black-and-white images of war, Robert Capa also shot pictures in color, as a new exhibition reveals.
The Wanderlust Projects duo are building bars in water towers and romantic getaways in abandoned resorts. They’re shaking up the underground scene…and they want to teach you how, too.
For decades, experts puzzled over hundreds of ancient dead bodies found at a remote lake. Were they victims of disease? Mass suicide? War? The answer is weirder than you think.
Need a vacation off the grid? Spend some time at this stunning Venezuelan compound accessible only by helicopter.
From new surfing records and Mexico’s overlooked getaway to crazy underground adventures in NYC and the best airport restaurants, escape with this year’s entertaining travel reads.