Books of The Times: Tina Brown’s ‘Vanity Fair Diaries’ Recall a Glossier Time

Brown’s new book is an edited version of the diaries she kept while presiding over the high-powered magazine at a time when editors still had time and money to burn.
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Melania Trump’s Supporters Flip Out Over Vanity Fair ‘Best-Dressed List’ Snub

Barack and Michelle Obama did make the cut, however.
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Meghan Markle Bares Her Feelings For Prince Harry In Vanity Fair

“I hope what people will understand is that this is our time. This is for us.”
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Vanity Fair Releases Angelina Jolie’s Interview Transcripts Amid Casting Controversy

Jolie’s lawyers contacted the magazine after a profile described an audition game involving children.
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Angelina Jolie Refutes Vanity Fair’s Portrayal Of Controversial Auditions

The actress faced critics after the magazine said her directors gave Cambodian children money, then took it away.
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Viola Davis, Emma Stone and More Oscar Winners Make a Stylish Splash at Vanity Fair’s 2017 Oscars After-Party

Viola Davis, 2017 Oscars, Vanity Fair After PartyThis year’s Oscar winners had the best accessory at Vanity Fair’s annual after-party–their golden statue.
After award festivities (and a touch of confusion) wrapped up at the…

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Husband Turns Spare Closet Into A Beautiful Vanity For His Nurse Wife

Christmas came early this year for wife and mom of three Kari Koelsch.

After casually mentioning to her husband Todd that she wished she had her own space to get ready in, he decided to convert a spare closet in their Tiffin, Ohio home into a vanity where she could do her makeup. And it’s all kinds of gorgeous: 

“I was talking about how we are always rushed when we are getting ready to go somewhere,” Kari told The Huffington Post. “We are very busy and I mentioned it would be nice if I had my own place to get ready. That way none of my things would be in his way.”

The couple, who tied the knot in July 2015, have number of other home improvements they are hoping to tackle. But Todd prioritized the vanity project so it would be complete in time for the holidays and Kari’s birthday, which is also in December. 

“My husband always puts me first, which is nice,” she said. “As a nurse, I don’t often get the luxury of putting myself first. So it’s so sweet that my husband does.”

Todd told his wife not to look in the closet until he was finished, but ultimately Kari couldn’t stop herself from sneaking a peek at his progress. 

“I was completely shocked when I saw it,” she told HuffPost. “I could not have asked for anything more beautiful and perfect for me.”

On Sunday, Kari’s sister Molly Maksemetz tweeted a before-and-after photo of the vanity closet. The sweet gesture clearly captured the Internet’s heart: the photos were retweeted more than 66,000 times. 

According to Kari, Todd is planning to complete the project this weekend. He still needs to add additional lights around the mirror, install another drawer and finish the seat.  

“I took those pictures when it wasn’t even done yet,” she said, referring to the images above. “I couldn’t wait! I was so excited.”

Kari told HuffPost that she is a fan of the color pink, sparkles and “anything girly.” So the decor, from the pink and white walls to the gold accents to the crystal light fixture, perfectly suits her taste.

“I’m almost shocked that Todd came up with such a feminine design,” she said. “He is a utility worker that’s usually covered in mud. He’s a big tough guy that wears work boots every day. I’m definitely surprised he thought of pink stripes.”

And while some couples may choose to buy pricey gifts for one another, Kari said it means so much more that her husband makes her presents instead. 

“When I look at my vanity I think of all the time he spent designing it and how much love he put into it,” she said. “He told me he didn’t spend very much money on it and most of the things he put in it were on sale. But when I look at it, all I can think of is how priceless it is to me. Money can’t buy the things I have.” 

H/T BuzzFeed 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Jennifer Lawrence Gets Real About Her Friendship With Amy Schumer In Vanity Fair

Despite already winning an Oscar, appearing in 20 movies by 26 and now earning $ 20 million per picture, Jennifer Lawrence shows no signs of stopping or slowing down for a second.

“I don’t like waking up with nothing to do or going to sleep without accomplishing anything,” the actress said in a revealing new interview with Vanity Fair. “That really depresses me.”

As the December cover star for the magazine, Lawrence opens up about what she would be doing if not for acting and the portrait she has of her dog (we’re with you, Jen). She also spoke about where her friendship with Amy Schumer stands and why she’s occasionally mean to fans (and Chris Pratt, but only in the mornings!).

If Lawrence didn’t make it big in Hollywood, she may have been doing something totally different. 

In a short video for the magazine, the “Passengers” star joked that she didn’t have a contingency plan if she didn’t make it in Hollywood, confessing instead she would probably be “laying in a ditch” or “stripping.” 

She has painting of her dog that her mom commissioned from a 14-year-old fan in New Zealand. 

“Fuck it. I am the person who has an acrylic painting of her dog,” Lawrence told VF.  “I am a psychotic dog mom in a way that I am genuinely embarrassed about. If I could put her inside me and give birth to her I would.” She only worries about having kids because they “would be incredibly jealous because I would still be way more attentive to Pippi than I would to them.” 

Yes, she’s still friends with Amy Schumer, despite the rumors

Lawrence ― who said she only lies when asked about “liking someone’s work”― got honest about her friendship with Schumer. Yes, she’s still shooting the movie she wrote with Schumer and yes, the two are still friends. 

“My brother asked me the other day, ‘Everybody online thinks you and Amy [Schumer] aren’t friends anymore,’” the actress said. “And I said, ‘Oh, really, because everything online is always true.’” 

JLaw has no tolerance for fans that invade her privacy. 

“You might think you know me, but when you approach me you’re a total stranger to me and I’m scared.” Lawrence said, adding that she gets “very protective of my space. It took me a long time to be able to do that.”

And word to the wise ― if you happen to be at a restaurant sitting next to the actress, don’t take a photo without asking unless you’re ready to be called out (and rightfully so!) 

“If I’m eating dinner and somebody comes up and a flash goes off from someone’s iPhone camera, I am really rude to that person. Then other people at the restaurant will see and be like, ‘Oh, damn, I don’t want to do that.’ Privacy is a full-time job and I work very hard at it,” she added. 

She loves Chris Pratt, but not during early call times. 

“He is a ray of sunshine,” Lawrence said. “We had to have a talk about his good moods at four in the morning, when he was encouraging the crew and I’m like the Grinch. I came on set like, ‘No more smiling. No more dancing.’” 

Pratt, for the record, doesn’t disagree with Lawrence’s assessment and told Vanity Fair, “Jen is really in to her emotions,” adding “If she’s mad, she’ll let you know.” 

To read more of Lawrence’s interview, head here. 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Style – The Huffington Post
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Is The Broad a Great Public Collection or “The Largest Vanity Project of Our Lifetime”?

The Broad museum on Grand Avenue in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.


Eli and Edye’s Gift to Los Angeles: The Broad Museum

“I have always worked on a public collection,” said Joanne Heyler, Chief Curator of The Broad Art Foundation and Founding Director of The Broad, to an assembly of international, national, and local media gathered in front of the much-anticipated new contemporary art museum and permanent home of the art collection of Eli and Edythe Broad a few days before its opening. Heyler has been with the Broads since almost the beginning, working with them for over 20 years to develop the collection and their philanthropic projects, culminating with the establishment of the impressive Broad museum. Heyler’s emphasis of the word “public,” however, might seem curious, considering that the collection belongs to just two people. But, as Heyler explained, the idea of “the public” is crucial to the museum’s mission of reaching the widest possible audience for its collection of contemporary art, and to that end, The Broad, situated in the heart of Downtown Los Angeles, offers free admission. “This is Eli and Edye’s gift to Los Angeles,” Heyler stated proudly.

The Broad’s “cool storage” room showing a work by Paul Pfeiffer. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The practical matters of opening the collection to the widest possible audience, however, extend beyond the borders of Los Angeles. The Broad Art Foundation, which was founded in 1984, was established as a lending program, making the collection’s works available to museums and galleries worldwide. Over 8,000 loans have gone out to more than 500 museums and galleries over that period of 30 years. Now that the Broads’ collection has coalesced under the roof of the new museum, this dedication to lending will continue as a primary function of the museum, and has even been built into the building’s design.

The Broad museum’s lobby with interior veil. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The building, designed by Diller Scofidio + Renfro, is predicated on the concept of “the veil and the vault”: the vault being The Broad’s large storage area for the collection, taking up most of the museum’s second floor; the veil, a porous exterior structure forming a diaphanous cover over the interior vault, allows a diffuse natural light to penetrate the 50,000 square feet of exhibition spaces, located on the first and third floors. Approaching the museum from the street, the visitor is essentially invited under the veil, into a cavernous space with the grey mass of the vault hovering overhead. A pod-like elevator, stairway, and long ascending escalator pierce the vault’s interior, allowing the visitor to pass through it, and, from windows in the stairwell, offering an unprecedented glimpse into the inner workings of the museum. As lead architect Elizabeth Diller pointed out, the design “turned a liability into an asset,” transforming the usually hidden storage area into a main attraction.

Installation of works by Christopher Wool and Jeff Koons in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

In the expansive space of the third floor galleries, the viewer is initially greeted by a large open space, full of diffuse filtered natural light, surrounded by massive works by Jeff Koons, Christopher Wool, Mark Bradford, Marlene Dumas, Julie Mehretu, and El Anatsui. For The Broad’s first hang, Heyler took a “straightforward, wide-lens, chronological approach,” beginning with a room devoted to Warhol, whose Pop-Art presence is felt throughout the collection. Standouts of the inaugural exhibition include an eye-popping enclave of Ellsworth Kelly works; Anselm Kiefer‘s historic epic Deutschlands Geisteshelden (1973), whose evocations of receding woodgrain are echoed in a Mike Kelley piece (Infinite Expansion, 1983) on the opposite end of the museum; and alternately, life-like and imposing human figures by John Ahearn and Charles Ray. Areas of darker subject matter contrast with the Pop influences–animal bones in glass cases and a dead sheep suspended in formaldehyde by Damien Hirst share a room with a photograph of the Hong Kong Stock Exchange by Andreas Gursky, evoking themes of death and despair, interrupted by the obligatory inclusion of one of Hirst’s spot paintings. Works by certain artists, particularly John Baldessari, Cy Twombly, and Jeff Koons, recur to a great extent throughout the museum.

Installation of works by Neo Rauch, Robert Longo and Mark Bradford in The Broad’s first-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

What emerges from the Broad collection is largely a paean to painting and sculpture, a majority, unavoidably it seems, devoted to male artists. This tendency is somewhat disrupted by the inclusion of some major installations on the first floor: a wool tapestry by Polish artist Goshka Macuga, complemented by two performers clad in the artist’s digital-printed Lycra designs; a powerful and elegiac musical video installation by Ragnar Kjartansson (The Visitors, 2012); Takashi Murakami‘s epic mural-sized painting In the Land of the Dead, Stepping on the Tail of a Rainbow (2014); and the experiential and existential Yayoi Kusama Infinity Mirrored Room – The Souls of Millions of Light Years Away (2013), which purports to plunge the viewer to an endless space of reflection among a quiet riot of blinking LED lights.

Yayoi Kusama, Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013. © Yayoi Kusama, Courtesy of David Zwirner, N.Y..

Waiting for my minute alone with the infinity of Kusama’s installation, I overheard an outspoken journalist denouncing The Broad as “the largest vanity project of our lifetime,” a sentiment that, given the rise of private museums and foundations established by prominent art collectors in recent memory, is not an unusual one to hold. While the Broad’s collection is by no means a complete, unbiased view of the developments of contemporary art (and who can rightfully claim that, regardless of their private or public affiliations?), this sanctimonious attitude willfully ignores The Broad’s potential outreach to the widest possible public, and the benefits that can be derived from it. The Broad’s location, as a new jewel in a downtown revitalization project that Eli Broad has helped orchestrate, is not entirely without self-serving attributes, but it also makes the museum accessible to a much larger proportion of Los Angeles residents, particularly those from lower income, inner city areas. The other notable free admission museums in Los Angeles–the Getty and the Hammer Museum–are located a metaphorical stone’s throw from each other in the exclusive neighborhoods of Westwood and Brentwood on the west side of Los Angeles. The Broad, on the other hand, is right in the heart of the city, easily accessed by public transportation coming in from all across the Southern California region.

Installation of works by Jean-Michel Basquiat, John Ahearn and Robert Therrien in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

Los Angeles Mayor Eric Garcetti also addressed the crowd at the press preview that morning, boldly proclaiming “Los Angeles the contemporary art capital of the world.” Nodding to the mayor, Diller acknowledged that The Broad’s construction in Downtown Los Angeles is part of a “larger urban effort,” and heralds the increasing concentration of cultural attractions in the city center. If one were looking for a popular mandate for the new museum and for Downtown’s greater art presence, The Broad has certainly proved it, booking over 85,000 free tickets in advance of its opening. But if it truly wants to fulfill its mission to serve the public, as one of the most accessible free-entry institutions in Los Angeles, it should recognize this as a unique opportunity to introduce the wide lens of contemporary art, in all its facets, to a public that may not have the opportunity to experience it elsewhere. One can hope that through special exhibitions and new acquisitions (it estimates that it averages one new acquisition a week), The Broad will discover, and embrace, its obligation to the public to truly represent the art of our time.

Aerial photo of The Broad museum in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Jeff Duran / Warren Air.

–Natalie Hegert

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.




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Jennifer Lawrence Poses Nude With A Snake For Vanity Fair

It’s Jennifer Lawrence like you’ve never seen her before — posing with a snake.

The 24-year-old Oscar-winner stripped down for photographer Patrick Demarchelier, posing completely nude save for a strategically placed Columbian red-tailed boa constrictor draped across her body.

Shot in July, the racy photo appears in Vanity Fair’s Hollywood issue, and is an homage to Richard Avedon’s 1981 Vogue portrait of Nastassja Kinski.

For more with Jennifer Lawrence and Hollywood’s biggest stars, pick up the March issue of Vanity Fair on sale Feb. 5.
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