EXCLUSIVE: Roger Vivier Enlists Susan Sarandon, AnnaSophia Robb for Short Film

TAKE TWO: Gherardo Felloni is addressing the generation gap — and incidentally sending out the message that style has no age barrier — with a short film to present his fall 2019 collection for Roger Vivier.
He tapped a Hollywood heavyweight, Susan Sarandon, as well as rising star AnnaSophia Robb, to star in a short film set to go live on the brand’s social channels today. It also stars Instagram sensation Tuna the Dog, who has 2 million followers — almost as many as Sarandon and Robb combined.
Inspired by Italian director Antonio Pietrangeli’s cult 1965 movie “Io la conoscevo bene” (“I Knew Her Well” in English), the film tells the story of an aspiring actress — played by Robb — who moves to the city to learn her trade and take lessons in style under shoe-obsessed drama teacher Sarandon.
“The relationship between different generations [is] something I’ve always been interested in,” Felloni said. “I wanted to address the theme in this short film for Roger Vivier.”
He continued, “I think it’s important to show who is the Roger Vivier woman. Susan Sarandon and AnnaSophia Robb perfectly exemplify my vision of Vivier women.…I chose them because I wanted to show a playful exchange between

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Susan Lucci to Kick Off Signature Activewear Collection With QVC

BEND AND STRETCH: While some might argue that being a leading soap opera star for 41 years requires a certain stamina, Susan Lucci will soon be showing off her flexibility with a new activewear collection with QVC.
Set to debut April 13 with an hourlong show, the Susan Lucci collection will not be the former “All My Children” star’s first go-round with QVC. A big fan of the Life’s a Beach Inc. Pilates Pro Chair, she has been an on-air guest for a number of years selling the exercise equipment and shows her strength in the 28-minute “Susan Lucci’s Favorite Moves” video. Her QVC fans and ones from her Erica Kane days can soon dress the part, so to speak, buying the eight-piece activewear. Cropped printed leggings, a racer-back tank, a cap-sleeve rushed top and a colorblock hoodie are among the offerings. QVC reaches more than 360 million homes.
“It’s appropriate for lunching with your friends, going to the shops, picking your children up from school and not missing a beat and traveling on a plane. And I travel a lot,” Lucci said. “QVC has put me together with a wonderful team, and boy do they get it because the fit is

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This Is Us’ Susan Kelechi Watson, Chris Sullivan on Wedding Finale Spoilers, That Group Text Chain and Season 3

This Is UsWant to know what’s going to happen in the This Is Us season two finale? Don’t bother asking Susan Kelechi Watson or Chris Sullivan for any spoilers.
“I think it’s wedding…

E! Online (US) – TV News

SPECIAL TIP UPDATE!

Gucci’s Susan Chokachi to be Honored at Make Equality Reality Gala

This year’s Make Equality Reality Gala will celebrate Gucci America president and chief executive officer Susan Chokachi along with A Breeze of Hope Foundation founder Brisa De Angulo, coinciding with the 25th anniversary of Equality Now.
The annual gala, to be held October 30 at Gotham Hall in New York, will be co-chaired by Gloria Steinem, Tara Lynda Guber, Susan Hassan, Chandra Jessee, Karen Lehner and Sue Smalley.
“I am proud to be part of a company that is fully committed to protecting human rights and fighting for gender equality,” Chokachi said of the recognition. “In 2013, Gucci founded Chime for Change to campaign for education, health and justice for girls and women all over the world, supporting the work of organizations like Equality Now, which are proving — often against extreme odds — that change is possible. It is an honor to partner with Equality Now, whose legal victories and landmark legislation wins have helped to change the course of history for so many girls and women.”
Equality Now was founded in 1992 as an international human rights organization working with the help of lawyers, activists and supporters to enable women and girls to live a life free from gender discrimination and things like sex trafficking,

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Susan Sarandon Stars in new Mercedes-Benz Fashion Campaign

CHAPTER TWO: The  Mercedes-Benz #mbcollective campaign is going into its second chapter, with Susan Sarandon moving into the Generation Now driver’s seat occupied by M.I.A. last season. On Wednesday the actress was in Berlin to officially launch the car maker’s new emotionally and electrically charged fashion campaign during Mercedes-Benz Fashion Week Berlin, joined by her chosen Generation Next protégé, documentary film maker and RYOT co-founder Bryn Mooser, and the campaign’s photographer and film maker, Luke Gilford.  As for the automotive link, it’s Concept EQ, which stands for electric intelligence and is the new electrically powered car brand being developed by Mercedes-Benz. Also on hand were four of the five young designers of Mercedes’ International Designer Exchange who are another creative part of the #mbcollective : William Fan, Ran Fan, Anna October, Steven Tai and Xiao Li.
At an exclusive but extremely congenial dinner at Soho House, Sarandon quipped, “I’m thrilled they considered me Generation Now not Past.” She added that in talking to Mercedes, “it was clear they are forward thinking, which seduced me.” But basically, Sarandon talked to the guests about the issues which engage and move her: her experiences in Lesbos last year talking to and filming refugees to

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Susan and the Boxer

Susan and the Boxer


READ AN EXCERPT:”Aren’t you going to take my temperature first?”And just how did I forget that?” Susan asked out loud, smiling. Susan forgot she was holding a thermometer for just that reason. As she walked across the room her smile changed as she caught his gaze. Suddenly she felt like a little girl in her nurse uniform. Why was she suddenly so self conscious? On top of the old fashioned uniform, Kay had convinced her to wear bright pink underwear underneath her skirt, just to make things interesting around the clinic. She had agreed because, hell, there was no one ever around except old men. But now, as she approached her patient, she sensed he was looking right through her clothing. She felt like she was wearing nothing but her panties. When she reached the bed he lay down and began to roll over on his side, revealing a muscular buttock with a small shamrock tattoo sitting within the most perfect dimple.”Oh God John,” she laughed. “That’s not how I’m going to take your temperature”.John rolled over on his back, embarrassed. “I thought given everything seemed good and old fashioned around here, I’d just follow suit. I’m sorry.”Susan bent over him and pulled his bottom lip out gently. Being careful of the scar that marked his lip, she slid the thermometer under in his mouth. “Keep it under your tongue for at least a minute. You have to give it time to absorb your body heat.” Oh God, everything that she said now had a sexual connotation, and he knew it.”I can see down your top,” he said, his eyes were smiling devilishly. His speech was obscured by the thermometer under his tongue, so it sounded more like I can shee down your taaa.”Well that makes you just like all the other old fogies in here, getting a thrill the best, and only, way you can.”Oush” he said in place of Ouch. As a joke, she continued to force a conversation as he held the thermometer awkwardly. “So, when did you get that shamrock tattoo?” This also let him know she checked out his tight rear end.”Las

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Kentucky Derby Women’s Susan Tote – Black

Kentucky Derby Women’s Susan Tote – Black


Looking for a new way to show some Kentucky Derby spirit? Put your Kentucky Derby fandom on full display with this one-of-a-kind Susan tote! Not only is it attractive with quality Kentucky Derby graphics, but it’s also easy to carry with two comfortable handles and an interior pocket for added convenience.
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Artist Susan Sweet Talks About Painting And Living In Rural Nova Scotia

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Bright and Lion, (c) 2009 Susan N. Sweet. Acrylic, 30″ by 40″ diptych.

Perhaps it was inevitable that I would eventually end up interviewing family – as I am not the lone artist in our bloodline. So, as a photography and arts blogger, it made sense to corner my aunt, painter Susan Sweet, and try to squeeze a little more than an artist statement out of her. Here is my attempt.

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Hearts and Flowers, (c) 2008 Susan N. Sweet. Acrylic, 24″ by 24″.

Michael Ernest Sweet: Why paint? I always ask this of painters and they usually don’t like the question, but too bad, I want to know?

Susan N. Sweet: I paint because I can’t stop. I will often do almost anything to avoid getting started, but then once the paint hits my brush, it is what I want to do and where I want to be. It is the form of art making I am most interested in. I look at everything and imagine how I might paint what I see. The more immersed I am in a painting, the more the world around me breaks down into colours and planes of light, and how I might describe them.

Michael: My grandmother (your mother) was a creative person in many ways, having operated a business, Lady Martock Fashions in Sleepwear, for a couple of decades after retiring from teaching. She both designed and made these often elaborate, almost Victorian, nightgowns. It wasn’t painting or photography, but she certainly was designing. Do you think she had any influence on your life as an artist?

Susan: My mother, Muriel, was the only art teacher I ever had in my first thirteen years of school. She taught art in the basement of Windsor Elementary, and was my teacher in Grade five. I think she was a bit hard on me as I was her child and she never wanted to appear biased. She was supportive of everything her children pursued and not that concerned with how much financial success we achieved, as long as we were happy and doing okay. I think that was her influence on my career in art making – just do what you want and try to be happy. Her true impact on my life, all our lives, as you know, is very hard to articulate.

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Young Mabel, (c) 2014 Susan N. Sweet. Acrylic, 20″ by 16″.

Michael: Your maternal grandfather was also an artist. In fact, he was a wood carver of some note that depicted domesticated animals. Could some of your animal art be genetic, or is it simply a product of growing up in the Nova Scotia countryside?

Susan: Probably a bit of both. I did not know either of my grandfathers, both died long before any of us were born, but I was very familiar with his wood carvings, a very primitive style of Nova Scotia folk art. I like the idea of continuing the subject matter that was such a part of all of our lives.

Michael: Familiar indeed! One advantage to interviewing a relative is that I know some of the stories. For example, many of those wood carvings of your grandfather’s encountered some damage. Could you tell us about that and the ensuing irony?

Susan: That story featured prominently in my 2008 solo show “Broken Horses, Spotted Cattle”. When I was five and my brother, your dad, was four, our mother had gone back to teaching and left us with the housekeeper. I was not happy about that. So, I enlisted the help of my brother and we quietly went upstairs to the flat my grandmother lived in and got into her cabinet full of the wooden carvings and broke the legs and tails off of as many as we could. My mother was furious and, of course, wanted to punish us, but my grandmother, also a teacher, said no, they are just little children and they don’t know what they’ve done. Of course, I did know what I intended to do, and that was hurt my mother for leaving us to return to work, but what I didn’t know was the hurt I had caused my grandmother and how she understood my feelings. I still have many of the broken carvings. A few years after the incident we did attempt to repair them, but of course it was too late.

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Cow Horse, (c) 2012 Susan N. Sweet.
Acrylic, 30″ by 20″.

Michael: All of your animal paintings are exquisite. Many people tell me that you are able to capture the personality of their pets. When you paint horses I, personally, find something really magical about them. Do you think your relationship with real horses growing up helps you in your artistic work? Are you able to talk, or whisper, to horses?

Susan: No, I am not a horse “whisperer”. I do talk to horses, all of us horse people do that. For many years I breathed and lived horses. I do think my personal relationships with horses have helped me when drawing and painting them. Having grown up with horses and been around them daily for a very long time, one understands how they are built and how they move. There is a long history of equine art throughout the centuries, humankind has had an important relationship with horses that enabled our ancestors to travel, hunt, work the land, etc.

Michael: Indeed, we see beautiful examples of equine art from prehistoric times in the caves at Chauvet, for example. So, yes, we do seem to have been drawing them from the very beginning. You were recently commissioned to paint the official 250th anniversary commemorative painting for the Hants County Exhibition. My grandfather (your father, Ernest Sweet) was President of the exhibition for many years, including the 200th anniversary, how do you think he would feel about this if he were alive?

Susan: Oh, I think he would be delighted and quite pleased that I was approached to paint such a special commission. He loved Exhibition week. This fair is the oldest fair in North America and moved to its present location in 1951. My dad would have participated in livestock competitions beginning in the late 1930s, when the fair was held at the Fort Edward Hill in Windsor, Nova Scotia.

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Exhibition Painting, (c) 2015 Susan N. Sweet. Acrylic, 36″ by 32″.

Michael: Grandad was an avid supporter of rural life and agriculture – having held other positions at The Atlantic Winter Fair and the NS Agriculture Association, for example. He also farmed (in some way) most every day for likely close to 70 years. What impact does this heritage have on your work?

Susan: I do find most of my subject matter comes from rural life. Horses, cattle, and the land, all figure prominently in what I paint. I am always interested in how we treat our domesticated animals, both the ones we eat and our companion animals. I feel very fortunate to live in a rural area where I am close to where our food is grown and where we are concerned with what happens on the land. Urban areas are so exotic to me! My father was an avid horseman. He worked the woods and the fields as a young man with horses, and his love of these things influenced me greatly. I also saw what happened to so many people as the family farms slowly disappeared. As my father slowly sold his own farming assets over the years, I became involved with horses and competing at the same fairs where he had shown his own cattle years before.

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Phyllis, Millicent and Jody, (c) 2012 Susan N. Sweet. Acrylic, 32″ by 37″.

Michael: During your BFA, at the Nova Scotia College of Art and Design, you worked in painting and photography as well as printmaking. The photography stuck with you for some time afterward, and of course you still paint, but what about the printmaking?

Susan: Printmaking became just too hard after I left the open studio environment of university. I found both intaglio and lithography a fascinating form of art making, but technically overwhelming, and I don’t feel my work was all that memorable from my university years. I do still find myself drawn to prints, especially intaglio. Nova Scotia has some fabulous print makers thanks to the department run by Ed Porter and Bob Rogers at NSCAD University for many years.

Michael: I often marvel about the lifespans of so many artists (and photographers too) it seems (from my casual survey) that so many live such long lives. I think about Alex Colville, whom I knew, and how he worked into his nineties. Do you think there is something therapeutic or particularly healthy about a life as an artist?

Susan: Oh my goodness no! I do know of many older artists, in fact the gallery where I work summers represents a 92 year old who is still painting, but I am sure many other professions can offer up such individuals too. I often think there are so many toxic materials artists use in their work and that we are putting ourselves in danger! I don’t have a sense of calm when I paint. Painting for me is always a struggle and a challenge when it is being pulled from my heart. I find no relaxation in painting. I am focused though, and I can paint in public with no problem. It doesn’t bring me contentment though, not really. I am happy when I am painting, but it is the hardest thing in the world.

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Vivian, (c) 2015 Susan N. Sweet. Acrylic, 24″ by 24″.

Michael: For a while you went in a direction that was a bit more commercial with your Animal Art business (earrings, brooches, ornaments, even small drawings of pets) but more recently you seem to have returned to fine art. What inspired this shift away from business woman, if you will, back to les beaux-arts?

Susan: I needed to say something in my work that could not be achieved through a commercial practice and taking a risk to paint what matters to me seems to be working. I also worked very small for many years and my body was rebelling against the ten hours of sitting every day. I still produce commercial portraits of animals for clients, but I follow my heart and luckily people do respond to my current body of work.

Michael: Often many artists reach a point in their career where teaching becomes an option – that is, schools seek you out. This can also be an important income supplement to support personal projects. Have you ever thought about teaching part-time, perhaps a class at your old alma mater?

Susan: I would be the worst teacher ever. I have conducted an occasional workshop, and those are fun. Many people in our family are teachers, and really good ones – I am not one of them.

Michael: Not only living in a more remote rural area, but also working in a home studio can become quite isolating, I would imagine. How have you dealt with this, perhaps more negative, aspect of the creative life?

Susan: It does mean that one must work very hard to be noticed. We’ve become reliant on the internet to communicate so much. I like living and working in a rural area, and even my rare excursions into civilization only involve small towns and cities. I think we sometimes miss the positive aspects of peer criticism working so isolated, but the area where I live has many other artists working in various media. I can also have my studio right in my home.

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The Percheron King, (c) 2012 Susan N. Sweet.
Acrylic, 36″ by 24″.

Michael: In the years when you and I both lived at the family home in Martock, we often fought like brother and sister, or cats and dogs. I think this has a lot to do with my obsessive compulsive tendencies and your “artistic” messiness, If I can express it this way. Oddly enough, we both ended up as artists, and would likely live under the same roof more easily now. Or would we?

Susan: Oh, we are much more mature now. Or at least I am! We would easily get along. I am still extremely messy though, be warned, that hasn’t changed. Come here anytime, there is lots of room to work!

Michael: I’d love to, believe me. New York City is wonderful, but it’s a very BIG kind of wonderful and sometimes I long for the quiet of the countryside. To finish up, tell me, who has influenced your work as an artist?

Susan: I admire the work of Rosa Bonheur. She could really paint a horse! Joe Fafard of Saskatchewan is fabulous. Mary Pratt of Newfoundland. Edward Hopper, David Hockney, Tom Thompson (and any of the group of seven) and Emily Carr. There are so many I admire, but in the end, I find I can only paint the way I do.

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Simone, (c) 2015 Susan N. Sweet. Acrylic, 24″ by 24″.

Susan Sweet is a painter who has spent most of her life in rural Hants County, Nova Scotia. She graduated in 1990 from the Nova Scotia College of Art and Design University with a Bachelor of Fine Arts in Fine Art, with a minor in Art History. Her work is held in many public and private collections, including the Nova Scotia Art Bank. Follow or contact via Facebook or her website.

Michael Ernest Sweet is a Canadian writer and photographer. He is also Susan’s nephew. Michael lives in New York City. Follow him on Twitter, Facebook, or through his website.

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Susan Sontag

Susan Sontag


One of my oldest crusades is against the distinction between thought and feeling, which is really the basis of all anti-intellectual views: the heart and the head, thinking and feeling, fantasy and judgment. and I don’t believe it’s true. . I have the impression that thinking is a form of feeling and that feeling is a form of thinking. Susan Sontag, one of the most internationally renowned and controversial intellectuals of the latter half of the twentieth century, still provokes. In 1978 Jonathan Cott, a founding contributing editor ofRolling Stone magazine, interviewed Sontag first in Paris and later in New York. Only a third of their twelve hours of discussion ever made it to print. Now, more than three decades later, Yale University Press is proud to publish the entire transcript of Sontag’s remarkable conversation, accompanied by Cott’s preface and recollections. Sontag’s musings and observations reveal the passionate engagement and breadth of her critical intelligence and curiosities at a moment when she was at the peak of her powers. Nearly a decade after her death, these hours of conversation offer a revelatory and indispensable look at the self-described “besotted aesthete” and “obsessed moralist.” I really believe in history, and that’s something people don’t believe in anymore. I know that what we do and think is a historical creation. .We were given a vocabulary that came into existence at a particular moment. So when I go to a Patti Smith concert, I enjoy, participate, appreciate, and am tuned in better because I’ve read Nietzsche. There’s no incompatibility between observing the world and being tuned into this electronic, multimedia, multi-tracked, McLuhanite world and enjoying what can be enjoyed. I love rock and roll. Rock and roll changed my life. .You know, to tell you the truth, I think rock and roll is the reason I got divorced. I think it was Bill Haley and the Comets and Chuck Berry that made me deci.

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DecalGirl Samsung Galaxy S4 Matte Finish Skin Kit – Faded Floral by Susan Claire

DecalGirl Samsung Galaxy S4 Matte Finish Skin Kit – Faded Floral by Susan Claire


Decalgirl Samsung Galaxy S4 Matte Finish Skin Kit – Faded Floral By. DecalGirl proudly presents licensed artwork for your Samsung Galaxy S4 Model SGH-i337 or GT-I9500 SmartPhone Give your Samsung Galaxy S4 some of your personality with a DecalGirl Skin Kit. What a great way inexpensive way to give your device personality with a DecalGirl Skin Kit and it’s easy to apply. Simply remove it from the backing paper and apply it directly to your phone No Sticky Mess left on your device when you decide to change or remove your skin! Thin enough to still allow you to use most 3rd party cases and accessories but tough enough to absorb minor abuse! Protect your device from scratches and minor damage (but not impact damage) Application is easy, simply remove your DecalGirl skin from the backing paper and apply it directly to your device. Please make sure your device is clean prior to installing your skin. What will the Skin cover on my Device? DecalGirl skin kits for the Samsung Galaxy S4 cover th

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