#Christina Harris Net Worth | Explore Tumblr Posts and Blogs

tabloidtoc · 4 years

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Globe, April 20

Cover: Kenny Rogers’ body is still on ice -- why his widow won’t bury him

Page 2: Up Front & Personal -- Sloppy Tyra Banks, Gary Busey grocery shopping in Beverly Hills, Brian Austin Green grabs meals to go

Page 3: Lisa Marie Presley is living large, puffy-faced Goldie Hawn hikes to her California home, Chris Pratt spring cleaning

Page 4: Bindi Irwin has another surprise in store after pulling off her secret Australia Zoo wedding to Chandler Powell -- she’s pregnant

Page 5: A bank has asked the LA Sheriff’s Office to force Tori Spelling to pay a $89,000 credit card debt and her money-bags mom Candy Spelling has once again refused to help, Patrick Stewart secretly married his third wife singer-songwriter Sunny Ozell in a Mexican restaurant in California with Ian McKellen officiating

Page 6: Catherine Zeta-Jones admits she’s a bitch and being polite to fans pushes her over the edge

Page 7: Spoiler Alert for Grey’s Anatomy -- Ellen Pompeo who has starred as Dr. Meredith Grey for 15 seasons will be killed off next season in a blockbuster story line

Page 8: Now that he’s moving to California rogue royal Prince Harry plans to turn his years as a stoner into a king’s ransom by launching a huge marijuana business empire -- Harry and wife Meghan Markle are slapping down $9 million for a 286- acre pot farm near Clear Lake in north central California to fuel their flashy new Hollywood lifestyle

Page 10: Jon Voight tells his daughter Angelina Jolie to back off of Brad Pitt and Jennifer Aniston

Page 11: Law & Order vet Elisabeth Rohm has called off her year-long engagement to California judge Jonathan Colby on good terms but the two have different priorities at this time, the handwritten lyrics to Hey Jude by Paul McCartney are set to sell for nearly $200,000 at a massive online Beatles auction

Page 12: Celebrity Buzz -- Conan O’Brien rides a bike through Brentwood, Ellen DeGeneres has been recently blasted as one of the meanest people alive, Amy Poehler is co-founder of the Upright Citizens Brigade in Hollywood and NYC and the comedy clubs and improv schools laid off most staff without notice or severance or health coverage and only after embarrassing press and online comments trashed the millionaire she finally will provide funds for a one-month extension to healthcare for the full-time benefit eligible staff, Little Big Town singer Kimberly Schlapman says she’s 100% sure her 12-year-old daughter Daisy was a heaven-sent miracle thanks to her deceased first husband Steven Roads, Woody Allen outcreeps himself by spilling in his memoir the details of bedding both sisters of his former muse and live-in girlfriend Diane Keaton, Ramona Singer of RHONYC did away with the housecleaners due to coronavirus and posted a picture of herself mopping in a sexy nightie

Page 13: Frumpy Kate Hudson, Sean Penn’s silver roots start to show, Maud Adams walks her dog, Kristen Stewart relies on the company of ghosts

Page 14: Seth Rogen has a new pastime: watching flick flops like Cats while flying high, Demi Lovato’s got something to sing about -- a brand new ripped boyfriend named Max Ehrich who loves showing off his astonishing pecs, Fashion Verdict -- Emily Blunt 5/10, Noomi Rapace 3/10, Christina Aguilera 2/10, Cardi B 4/10

Page 16: Rihanna vows to have up to four children in ten years with or without a man, Superman never carried an ounce of flab but his alter ego Dean Cain has piled on an unhealthy 50 pounds and is gobbling supersize portions of pizza and fast food to find comfort because of his nose-diving career

Page 17: Inked-up train wreck Aaron Carter declared himself single in a nude photo after his girlfriend Melanie Martin whose name was just tattooed on his face was collared for felony domestic violence

Page 19: 10 Things You Don’t Know About Scarlett Johansson, Luann de Lesseps confesses she’s still tippling even after her shameful drunken bust, stuck in lockdown Courteney Cox is binge-watching her sitcom Friends and was shocked to realize she can’t remember most of the series that made her rich and famous

Page 20: True Crime

Page 23: Former boxing champ Mike Tyson is dropping shocking confessions including having sex with fans, drug binges, psychedelic trips and being pen pals with England’s most vicious gangster

Page 24: Cover Story -- a furious family feud is exploding over late country great Kenny Rogers whose body is being kept on ice because his widow Wanda Rogers wants to hold a massive send-off that’s now banned by the coronavirus lockdown

Page 26: Health Report

Page 29: Eminem gushes that being able to raise kids is one of his greatest accomplishments, former steroids user and New York Mets catcher Paul Lo Duca is raging over how fellow cheater Alex Rodriguez has revived his image as an A-list celeb and is slamming the retired New York Yankees slugger as one of the fakest people out there, Alicia Keys felt manipulated and objectified by a sleazy photographer who made her open her shirt and yank down the top of her jeans when she was only 19

Page 30: Former teen sex slave Virginia Roberts Giuffre who claims she was pimped out to Britain’s Prince Andrew by pedophile Jeffrey Epstein is now charging the kinky billionaire and his mistress Ghislaine Maxwell pressured her to carry his child through surrogacy

Page 31: Steve Carell shockingly quit his hit show The Office at the peak of its popularity because he wasn’t feeling the love from showrunners

Page 32: Single mom-of-three Kourtney Kardashian is so lonely and desperate for love she’s stopped being set up by Hollywood pals and is casting her fishing net for a man online, a London collector of James Bond guns was robbed of five pistols used in 007 flicks worth a staggering $125,000, a sweaty towel that late NBA star Kobe Bryant tossed over his shoulders as he bid goodbye to basketball has shockingly sold for more than $33,000

Page 38: Real Life

Page 40: Daniel Craig is worth about $180 million thanks to playing James Bond but he’s got bad news for his kids -- he’s cutting them off without a cent because he finds inheritance distasteful -- he has a 28-year-old daughter from his first marriage to Fiona Loudon and a two-year-old daughter with current wife Rachel Weisz, busted in the college admissions cheating scandal Lori Loughlin and husband Mossimo Giannulli are accusing the prosecution of strong-arming its key witness to lie that they knew their payments were bribes and not donations to the university

Page 44: Straight Talk -- newly leaked video is yet more proof that desperate loser Kanye West is a filthy parasite who’s been trying to save his fizzling career by leeching onto superstar songbird Taylor Swift

Page 45: George Clooney is in hot water now that Nespresso the coffee giant he shills for on TV has admitted buying beans from farms that pay kids pennies for laboring in the fields, dumpy Drew Barrymore is hitting rock bottom again with her weight and is tired of blubbering in her closet over clothes that don’t fit and has vowed to give the extra weight the heave-ho before her new daytime talk show gets going

Page 47: Hollywood Flashback -- Psycho, Bizarre But True

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discogs · 7 years

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a trip through murder rates: crash course in nick cave

here is the playlist, beneath lies the story.

i hope you enjoy.

1. i have an evident bias to rowland and rowland’s friends, it’s a slight one that is emphasized by an deep spiritual attachment, therefore we must start with rowland s. howard and not our dear nicholas. there were two main melbourne acts, one of which was nick’s just now forming ‘boys next door’ (which he decided to create with friends tracy pew and mick harvey after he was kicked outtuv art school), the other is rowland and ollie olsen’s ‘young charlatans.’ rowland was responsible for the creation of the boys next doors’ biggest song “shivers,” here is a clip of rowland and ollie speaking while with the young charlatans. ( x )

2. rowland wrote what i believe to be the perfect song, adaptable to all outlooks, at the age of sixteen as a comment on the over the top nature of teenage love. the song is initially a sarcastic one, yet has been redone so many times over that generally speaking it looses it’s cynical nature. this recording is the one done by the young charlatans, it’s original form with rowland on vocals.

3. this is actually about nick cave, i swear it, and here is where we get into that more so. here is a cover of nancy sinatra’s “these boots are made for walking” done by the boys next door some time in ‘78. i don’t know why nick sings like that, i’m assuming he had no sense of his vocal range at this time, and i wish the young charlatans had gotten a video but unfortunately the band split up fairly quick due to disputes between rowland and ollie.

+ there’s this house party, or maybe it’s a show, there’s mixed stories on this. but the general consensus is that nick, unruly and screwed all up on speed had been eyeing rowland for some time at this event. it was after a testosterone gun show in the bathrooms where nick ripped out a sink, that he found his fist in rowland’s face demanding to know if he was a punk or not. naturally, s a thin boy raised by women rowland was a bit disgusted by nick’s display, however took him up on his offer to meet again the following day when nick apologised. this eventually led to the creation of the birthday party, but before that rowland had managed to get a word in with his bandmates about that one song, y’know the one ..

4. here we see nick, all marionette gestures and heavy eyeliner belting his heart out over lyrics written by the tiny post ‘66 fender wielding raven shown briefly in the video. it’s undeniable that nick seemed to take this a lot more genuinely than rowland did, or at least that’s what he intended to display. this is the more popular version of the song, much glossier and easier to imagine being played at a high school dance than the previous version. this was all fine and dandy, now, but songs that sound like roxy music aren’t cool, man ! besides, every member of this band displays a talent that is remarkably astounding. the song is beautiful, yet tight, and though this is spectacular there’s much more beneath.

5. this is track is one of the birthday party’s first singles, released along with several other birthday party songs on a compilation called hee-haw which mainly consisted of the band’s earlier work. the cover art here is done by nick.

6. this track is off of the birthday party’s second record entitled ‘junkyard,’ released in 1981 and expressing more fluidity within their musical style with a certain wounded animal characteristic to the music jolted by the viciousness of nick’s voice. it is around this time, or perhaps some time before, that the band had found themselves penniless in london and retreated to berlin.

+ tensions have been steadily arising from day one due to rowland and nick’s individual stubbornness over artistic expression, nick is searching for an escape from the birthday party as he despises the route their presentation has taken. as most even vaguely punk sounding bands often realise that their audience doesn’’t so much care for the music but instead the thrill of seeing someone hurtling themselves into the ground repeatedly. no one wanted their name to be engraved in a violent history, and lucky for nick he sound his way out in berlin.

7. for some years now, the west berlin music scene has been a bustling hub of creation and innovation. with acts like abwarts and malaria surrounding, a young and reverse individual finds himself forming what would the band pioneering not only unconventional instruments but the proto-industrial movement. the band was based off a fairly simple concept; destruction as a means of creation, a notion adopted from this (x) marxist era essay as well as the factory-line like gentrification of the surrounding brick paradise. thus einstuzende neubauten was formed, and by the first glance nick felt as though he’d net his match. this rubber clad being of fire and metal was blixa bargeld, who you will see in this particular clip. (x) is a performance that shows off the impulsive and chaotic nature of the band as well as their use of out of the ordinary instruments.

8. this meeting of kindred spirits leads to nick definitively deciding to part ways with the birtday party. in an admittedly dick move, nick decided to call he record ‘the bad seeds ep,” presumably hoping to get a better feel for where he was going with his career. rowland and him are hardly speaking and they both have one foot out the door. his song is off of this bad seeds section, where nick begins to show his talent for world building and story telling.

9. this track’s off the opposite end, the part which belongs more so to the birthday party than it does to the bad seeds. i love this track for all it’s inconsistency, it attacks you from all sides musically and leaves you feeling dazed lyrically for a lack of being able to keep up. to me, this is the best way to bookend the band’s career. it displays maturity in style like no other while also perfecting the sound now heavily associated with not only the birthday party but no wave music in general.

+ below are bonus videos and music x ( mutiny sessions ) x ( live version of shivers sung by rowland with the boys next door ) x ( another song off of einsturzende’s halber mensch, my favourite )

10. admittedly i have neglected nick’s first two records ‘from her to eternity’ and ‘the first born is dead,’ i have a storage complex with my favourite musicians where i won’t listen to their entire discography because if i get stir crazy for new material then i can get familiar with one of the records i haven’t really heard. this track is off of his third record called ‘your funeral, my trial.’ like the previous two this was recorded with the first of the bad seeds lineup comprising of nick cave, mick harvey (of the birthday party), barry adamson (of magazine), blixa bargeld (of einsturzende neubauten), and for a short time hugo race. this track is one of the bad seed’s finest in my opinion, strong on atmosphere and tone with a plot line following a distinct character who’s in a strange bind - a hallmark of nick’s songwriting. this album sound tracked wim wenders film ‘wings of desire,’ with a cameo from nick and rowland in the final act.

11. let’s catch up to rowland for a moment, who is working somewhat parallel to nick as the guitarist for a band called the crime & city solution. rowland only worked with the band for one record, ‘room of lights,’ while in berlin where he was met with his brother, harry, playing bass, mick harvey once more on guitar, and a boy from a band called swell maps on drums named epic soundtracks. this clip is from the aforementioned ‘wings of desire,’ after this rowland and the mentioned members (minus harvey, replaced by rowland’s long-time girlfriend genevive mcguckin) broke off and formed these immortal souls.

12. a lot of musicians have released cover albums, and from what i can tell almost all of kicking against the pricks is except for this track. i wanted to display this song as it shows the broadness of nick’s vocal expression, in that this song makes me want to hang myself.

+ this is a little linear note about rowland’s work after crime, epic soundtrack’s origins, and who the fuck is nikki sudden again ? x ( these immortal souls: marry me (lie ! lie !) ), the project rowland worked on immediately after crime & city x ( swell maps: cake shop girl ), the band that epic soundtracks and brother nikki ‘little johnny thunders’ sudden came from initially, pioneers of what would become noise rock and grunge. x ( the jacobites: for the roses), nikki’s band with friend dave kusworth x ( nikki sudden & rowland s. howard: a quick thing ), a track from an album rowland did with nikki called ‘kiss you kidnapped charabanc’ x ( lydia lunch & rowland s. howard: burning skulls ), a song from the brilliant record cut on a whim based on a sense of familiarity between the two

13. this music video was recorded in the studio the song was recorded in, which is in berlin. this song was inspired by a girlfriend of nick’s and how she made him feel, a very momentous affair it seems to have been,

14. nick continues to make music as the end of the 1980s draws near, the first record of this time period is 'the good son,’ who’s most popular song is undoubtedly 'the weeping song.’ that track is definitely worth a listen as well, it is one of nick’s more popular tracks but it’s a rare full display of blixa’s vocals and a great duet. this song, however, is the title song and has a beautiful choir-sound to it which is present all throughout this album.

15. my favorite nick cave record is tied between this one and one that comes over twenty years after this one, but i’ll be damned if i don’t give this record the utmost appraisal. the album is more definitive in narrative than nick’s previous records, it all seems to be written to fit a particular story line and the sense of momentum in the record is impeccable. this track tells the story of the catholic saint, christina the astonishing, a story that nick was very attached to. as we further our way through his career his interest in catholicism becomes more and more apparent.

16. this song is the slowest on the album 'let love in,’ which is one of his most popular records. the most known track by nick - 'red right hand’ - is also off this album, but in my opinion it’s not the best track off the record. this song is inspired by a story nick read in robert smythe hichens’ “the green carnation,” and the unsettling nature of the story lingers in this song. it’s the counterpart to a song earlier in the album entitled simply 'do you love me?’

17. the huge thing about nick cave is his fascination for murder, something that, the more i learn about and listen to him doesn’t seem to be that huge of a fixation of his. at least not anymore than the bible is. this album, however, murder ballads, is obviously homicide centric. this track features kyle minogue on vocals as eliza day, but she isn’t the only guest vocalist on the album. on another track, henry lee (which is a must hear as well), there is another guest vocalist. pj harvey comes into the maelstrom of nick’s life, and as is displayed in the video, they become seamlessly intertwined in a romance that nick describes as one of the best events of his life. however, in nick’s own words, 'all things move towards their end, i knew before i met her that i would loose her …’

18. after the short lived romance between nick and pj, she leaves him feeling devastated. no one knows for sure why it is they split, but nick sure as hell took it like a landslide. this song is one off of his last album of the 90s, the boatman’s call, which is essentially the pj harvey breakup album. this song has stark similarities to tom waits’ first record, which rings nothing but lovely to my mind.

19. i really. really love rowland s. howard. he means everything to me, this is a song off his first solo album. i don’t know why i chose this one, maybe it’s because the proceeding two songs off it are too difficult for me to hear. he is so talented, he is so beautiful, i don’t know where these impressions of horrendousness come from. rowland is the kindest soul to every walk this earth, but um, here we are with another beautiful display of the sharpness of his guitar playing, and that aching voice of his. he’s my favorite guitarist, and the reason why is that he does not need to sing to tell you how much he is hurting - his guitar does that all on it’s own. we’re about to get heavy. 1999.

+ nick’s doing this shit called grinderman. i’ll be honest with you, i’ve never heard a line of it. and why ? because that mustache is an atrocity to not only to this earth, but to the heavens, hell, and purgatory as well. so there’s a pretty big gap in his discography after boatman’s call.

20. 2009. alright. so. i’m going to tell you this one thing first; rowland s. howard did not deserve to die. he did not deserve death, he did not deserve any of the numerous heartaches and horrendous experiences that he went through. he went his life a genius, and was scarcely ever recognized for his immense talent and uniqueness. rowland died in 2009 due to a liver disease. he wasn’t able to get a transfer in time. and look, rowland was not ready to die. he wanted so much more, he wanted everything of the world that he hadn’t the chance to reach before. he knew he was going to die, but he did not want to. i will tell you this with my heart bared open and bleedin to you - i would give up my life to have rowland back on this earth in a heartbeat. this song is from the last album he ever released, an album which i still find very difficult to listen to. he did not deserve to die. i don’t know where it is he acquired this seemingly immense hatred of himself, and the contempt for whatever actions he committed. he was the kindest, most loving soul to ever walk this earth, and i refuse to accept his passing as anything other than a true strike of hate by god to humanity. he means wonders to me.

21. so um. sorry. but nick comes back, with that record that i told you competes with henry’s dream to me. it’s called “and no more shall we part” and it is a really difficult record to speak of due to the cohesive story line there seems to be within it. this is the final track of the album, and i believe it sums it up pretty well. i think the line in here; “i think of my friends who died of exposure, and i remember other ones who died from the lack of it.” is in relation to rowland in the latter half. this song is sorrowful, without a doubt. this is the last record blixa did with him, stuck through for years. god bless him.

+ nocturama did not do well, neither did abattoir blues. i know nothing about dig lazarus dig, these three records remind me of rickety stairs on the way up to self discovery. in his 2016 movie, 'one more time with feeling,’ he mentions how you have to grow accustomed to being a new person. you have to suss out your new self, if this new you smokes or if this new you gave up smoking years ago, things like that. trying to find his place again. he did, of course, adjust to this new nick. and the product is brilliant.

22. nick outdoes himself time after time, throughout his entire career he has bested himself. please, do not take the initial crudeness of some of the first lyrics as a reason to discard this song, it’s off of his 2013 album push the sky away is without a doubt one of the most beautiful things i have ever heard. this record is one that is vicarious to me, these days i hear it every day to sleep and sometimes constantly throughout the day.

23. nick’s last record, 'skeleton tree’ was already in development before the death of his son, arthur. many of the lyrics in the record echo his last book, 'the sick bag song,’ especially in this track where the girl who dances on the rings of saturn is a reoccurring anomaly in the book. this record took everyone by storm, if that storm is freezing and you’re trapped inside a cold black marble home. this is the end of the nick cave train ride, thank you if listened and read the whole way through. this is essentially my bare bones.

- LM

#introductions #currently under construction

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secretlymysti · 6 years

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Anna Friel Biography, Age, Weight, Height, Movies, Net Worth, Scandal, Boyfriend, Family, Body Measurement & Harry Potter

Anna Friel Biography, Age, Weight, Height, Movies, Net Worth, Scandal, Boyfriend, Family, Body Measurement & Harry Potter and much more. Anna Louise Friel was born 12 July 1976. She is an English actress. Born in Rochdale, Greater Manchester, England, she has been acting since the age of 13, appearing in a number of English television programmes. She played Beth Jordache in the Channel 4 soap Brookside and portrayed the first lesbian kiss in a British soap opera in January 1994. She made her West End theatre debut in London in 2001 and has subsequently appeared in several productions, including in an adaptation of Breakfast at Tiffany's and as Yelena in a 2012 production of Chekhov's Uncle Vanya.

Anna Friel Biography, Age, Weight, Height, Movies, Net Worth, Scandal, Boyfriend, Family, Body Measurement & Harry Potter

Anna Friel Biography:

Birth Name Anna Louise Friel Nick Name Anna Thewlis, Anna Louise Friel Age 41 years Profession Actress Birth Date 12 July 1976 Birth Place Rochdale, Lancashire, England UK Home Town Rochdale Birth Sign Cancer Nationality British Ethnicity White Religion Christian

Anna Friel Body Measurement:

Body Build Slim Orientation Straight Measurements 32C-25-33 Shoe Size 39 Dress Size 4 Eye Color Hazel Hair Color Brown - Dark

Anna Friel Education:

School Crompton House Church of England H.S. College Oldham Theatre Workshop, Oldham, England, Holy Cross College, Bury, England.

Anna Friel Net Worth:

Net Worth: $10 million dollars.

Anna Friel Movies:

Year Title Role Other notes 1998 The Stringer Helen The Land Girls Prue (Prudence) The Tribe Lizzie St. Ives Flora Gilchrist 1999 A Midsummer Night's Dream Hermia Rogue Trader Lisa Leeson Mad Cows Maddy 2000 Sunset Strip Tammy Franklin An Everlasting Piece Bronagh 2001 The War Bride Lily Me Without You Marina 2003 Last Rumba in Rochdale Bodney Voice actor Timeline Lady Claire 2005 Goal! Roz Harmison 2006 Irish Jam Maureen Niagara Motel Denise 2007 Goal! 2: Living the Dream... Roz Harmison Rubbish Isobel 2008 Bathory Countess Erzsébet Báthory 2009 Land of the Lost Holly Cantrell 2010 London Boulevard Briony Angel Makers Lizzie You Will Meet a Tall Dark Stranger Iris 2011 Limitless Melissa 2013 The Look of Love Jean Raymond Having You Anna 2014 Good People Sarah 2015 Urban & the Shed Crew Greta 2016 The Cleanse Maggie I.T. Rose Regan 2017 Tomato Red Bev Merridew

Anna Friel TV Shows:

Year Title Role Other notes 1991 G.B.H. Susan Nelson Miniseries; 6 episodes 1992 Emmerdale Poppy Bruce TV series 1993 Medics Holly Jarrett Episode #3.3 1993–1995 Brookside Beth Jordache TV series 1995 The Imaginatively Titled Punt & Dennis Show Episode #2.1 1996 Tales from the Crypt Angelica Episode: "About Face" Cadfael Sioned Episode: "A Morbid Taste for Bones" 1998 Our Mutual Friend Bella Wilfer 4 episodes 2001 The Fear Storyteller Episode: "Horror: A True Tale" 2002 Fields of Gold Lucia Merritt TV film 2003 Watermelon Claire Ryan TV film 2004 The Jury Megan Delaney Main cast Perfect Strangers Susie Wilding TV film 2007–2009 Pushing Daisies Charlotte "Chuck" Charles Main cast; 22 episodes 2009 The Street Dee Purnell 2 episodes 2011 Neverland Elizabeth Bonny TV film Treasure Guards Victoria Eckhart TV film Come Fly with Me Herself Episode #1.5 Without You Ellie 3 episodes 2012 Public Enemies Paula Radnor 3 episodes 2013 The Vatican Kayla Duffy TV pilot 2015 American Odyssey Sgt. Odelle Ballard Lead role; 13 episodes The Heavy Water War Julie Smith 6 episodes (titled The Saboteurs in the UK) 2016–present Marcella Det Sgt Marcella Backland Lead role; 16 episodes 2017 Broken Christina Fitzsimmons 3 episodes The Girlfriend Experience Erica Myles 7 episodes 2018 Butterfly Vicky Miniseries

Anna Friel Pictures:

What happens when I decide to paint the shed and fence.... nice day spent in the garden. Also pruned all the roses and trimmed all the bushes. �� A post shared by Anna Friel💋 (@annafriel) on Jun 10, 2018 at 1:46pm PDT #tbt 4weeks ago. Taken by @sarahlee47 thanks for capturing a moment. #baftas @laurengriffinmua A post shared by Anna Friel💋 (@annafriel) on Jun 7, 2018 at 11:19am PDT Maggie may doing her bit for the wedding. 💋 A post shared by Anna Friel💋 (@annafriel) on May 21, 2018 at 12:17pm PDT Another from #baftatv awards. Thank you @laurengriffinmua and @nickirwinhair . Dress belonged to #ladylucan soon to be auctioned off to a green charity. 💚💚💚💚 And @corinthialondon one of my favourite places to stay A post shared by Anna Friel💋 (@annafriel) on May 15, 2018 at 11:57am PDT

Anna Friel Instgram:

Instgarm: https://www.instagram.com/annafriel/ Read the full article

#annafriel2018 #annafrielage #annafrielimdb #annafrielinstagram #annafrielmoviesandtvshows #annafrielnetworth #graciafriel

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joel-furniss-blog · 6 years

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Contemporary Art and it’s Histories: Complete Essay

The following text will discuss the relationship between the current contemporary art sphere and its predecessor in the form of the modernist era. Chapter one will introduce the contemporary work of artist Damien Hirst, specifically his sculpture For the Love of God. The second chapter will identify the modernist examples of memento mori and still life that Hirst took influence from. The final chapter will understand the visual and thematic relationship between Hirst’s works, and the modernist influences that inspired them.

Chapter One.

The sphere of contemporary art suffers from a problem. As a whole it is ultimately limited by its own nature, the same problem that many media of the current age face, it is almost impossible to define the monument pieces, those which lead a lasting impression not just within the art world but on the wider mainstream audience as well. In other words the ‘Old Masters’, the revered ‘Great Artists’ of our time, spanning from the initial measured beauty of the classical Renaissance artisans into the self-reflective and contextually radical free-thinkers of the Modern Art period, whose work is seen multiple times as staples of the present history and culture. The examples are numerous, Michelangelo’s Sistine Chapel, Jacques-Louis David’s Oath of the Horatii, Caspar David Friedrich’s Wanderer above the Sea of Fog, Vincent van Gogh’s The Starry Night, the list is near endless in its examples of the classics, the revered pieces that become landmarks in time.

Time is the most important factor in creating the classics, it allows for introspection, where the critics, artists, patrons, and the public herald it and build it as benchmark for the period and accept it into the art canon, the conventional timeline of fundamental examples. For this reason, defining ‘classic’ works in the contemporary age is difficult, as ‘classics’ are born through age and scrutiny by the people. However, sometimes there are modern classics, or those artist that create and push in such bold directions, who stir the artworld in such ways that they cannot be ignored.

One of the most famous (and sometimes infamous) contemporary artists to be considered for this league is Damien Hirst, a British artist and entrepreneur famous for his involvement with the Young British Artist (YBA) generation and creating grand statement and spectacle pieces. His catalogue is considered to be incredibly influential to the contemporary canon, with works such as A Thousand Years and The Physical Impossibility of Death in the Mind of Someone Living becoming infamous in the present-day artistic sphere, hotly debated pieces blown into monumental proportions by both the patrician and the public. However there is a relatively newer and equally controversial work by Hirst that is deserving of as much deliberation and consideration.

For the Love of God [fig. 1] is a 2007 sculpture by Hirst. Much like the previously mentioned The Physical Impossibility of Death in the Mind of Someone Living, the piece caused much contention when first announced to the public, instantly inspiring news articles and bold, emblazoned headlines pondering ‘Is this art?’ The media stir around the piece was born from the same stir that caused Hirst’s The Physical Impossibility of Death in the Mind of Someone Living to be commented on in the media, the spectacle. The spectacle of Hirst’s previously mentioned work was the use of a 14-foot tiger shark, but while For the Love of God is comparatively much smaller, its physical construction demands even more hysteria.

The piece’s foundation come in the form of a human skull measuring 171 x 127 x 190 mm (6.7 x 5 x 7.5 in). The skull was purchased from a taxidermist shop Get Stuffed in Islington, London and with bioarchaeological analysis and radiocarbon dating was found to have previously belonged to a 35-year-old man of European/Mediterranean ancestry living between the years 1720 – 1810. Although the skull itself is not the most interesting feature of the work, as it simply acts as a cast for the 32 individual platinum plates which have been moulded around it, forming a metallic cast of the shape. Attached over the entire expanse of the platinum cast are 8,601 small diamonds ranging from VVS (meaning ‘very very slightly’ imperfect) to flawless in quality, pavé-laid (set into the surface of the metal) over the entire surface of the skull. The piece is completed by a collection of pear-shaped pink diamonds arranged ornately in the centre of the skull’s forehead as well as the inclusion of the skull’s original teeth being placed back into their platinum-cast sockets. The production of the skull was handled by sculptor and jeweller Jack du Rose working with Piccadilly based jewellers Bentley & Skinner Ltd. who ethically sourced all the gemstones used during the manufacturing. When completed the piece weighed 1,106.18 carats (221.236 grams) and was budgeted at approximately fourteen million pounds total. When first announced, Hirst set the work with an asking price of £50 million.

For the Love of God was first displayed for private viewing on 1st June 2007, housed in an illuminated glass casing on the top floor of art dealer Jay Jopling’s White Cube gallery, London. The skull was part of an exhibition entitled Beyond Belief which displayed other works by Hirst, but For the Love of God remained the standout piece in the exhibition for the one year it was housed there, eventually gaining enough traction to become a solo installation abroad at Amsterdam’s Rijksmuseum and Florence’s Palazzo Vecchio in 2008 and 2010 respectively. The piece was later moved back to London’s Tate Modern as part of a Damien Hirst solo exhibit between 4th April – 25th June 2015, and in 2013 it accompanied Hirst in his first solo exhibit to the Middle East, being housed at Al Riwaq Exhibition Center in Doha, Qatar between 10th October – 22nd June 2014. The piece’s most recent exhibition was between 16th September – 15th November 2015 as part of another Hirst solo exhibit in Astrup Fearnley Museum of Modern Art in Oslo, Norway. The piece was rumoured to be sold on 30th August 2007 for its £50 million asking price to an anonymous consortium, the deal was reportedly made in cash, leaving no paper trail. Due to the anonymous nature of the purchase and lack of purchase records due to its cash transaction, claims that Hirst never actually sold the piece were made, with Christina Ruiz, editor of The Art Newspaper stating that Hirst had failed to find a purchaser and had lowered the price to £38 million. Also due to the work’s lapidary relevance, Harry Levy, the vice chairman of the London Diamond Bourse and Club estimated the piece’s pure carat value to be “… between £7 million and £10 million.” (Owen and Dunbar, 2007) Finally, David Lee, editor of visual arts magazine The Jackdaw claimed that: “… Hirst hasn't sold the skull. It's clearly just an elaborate ruse to drum up publicity and rewrite the book value of all his other work.” (Owen and Dunbar, 2007) It was later revealed that the consortium that purchased the work included Hirst himself, and in a 2012 interview with Time Magazine Hirst is quoted saying "In the end I covered my fabrication and a few other costs by selling a third of it to an investment group, who are anonymous." (Hirst, 2012)

Elaborating on the inspiration of the work, Hirst drew from multiple classical, modern, and contemporary ideas and sources as an amalgamation into one piece, but the work holds a theme that Hirst has almost adopted as his signature, the motif of death. Hirst’s ideas of death provide a near prefect sum of the piece, with him saying: “You don’t like it, so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.” (Hirst and Burn, 2001) Hirst set to describe the human relationship with the concept of death, something he had explored before in works such as the previously mentioned A Thousand Years and The Physical Impossibility of Death in the Mind of Someone Living. Where For the Love of God differs from the latter works is its cultural relevance, signified by his use of rare and precious gemstones as a method to draw publicity. A normal skull would have gone unnoticed by the public and the art world, but encrust it with stones costing millions of pounds and there becomes a draw where people are suddenly intrigued and stunned by its dazzling beauty or gaudy exaggeration. In that they discover the theme that Hirst supposedly placed there. Hirst also had held a relationship with precious stones before For the Love of God, often collecting jewellery and musing its inherent worth or whether it was: “just a bit of glass, with accumulated metaphorical significance? Or [whether they] are genuine objects of supreme beauty connected with life.” (Hirst and Burn, 2001) Hirst also relates the ruthless and often fatal nature of the diamond industry in third-world countries they originate from and the capitalist first-world countries that continuously ignore and support it as central to the work’s concept, specifically a comment on the bawdy decoration and the grim demise that are present in the lifespan of a diamond. However, there might be another explanation and idea behind the works creation. In the art world it is almost a running gag that Damien Hirst is businessman first, artist second, meaning he holds the money and the trade of art over the work and the creation. As of 2010, Hirst is valued as the richest living artist ever with a total net worth estimated at around £215 – £235 million and as a result, has often come under fire from the art community at large for his inflated independent economic ventures as well as detached work method, mainly using assistants and workers in a production line setting rather than himself actually producing the work. Art critic Robert Hughes labelled the artist as "functioning like a commercial brand" (Thorpe, 2008). For the Love of God may have been a self-referential comment on Hirst’s own reputation within the art community, a collection of the first two things that come to mind when Hirst is mentioned, his relationship with money, and his emphasis on death.

Hirst’s public figure is a complicated one, possibly being one of the most controversial artists of the contemporary age, he is a man that everyone in the art sphere has an opinion on, some more vehement than others. But despite his poor artworks, questionable production methods, and overall handling of his disputed ‘legendary status’, there is no debate to say he and his works are not influential to the canon of contemporary art, and as a result, art history as a whole. For the Love of God represents Hirst’s artistic summation, loading up possibly as controversial a piece as he could, a head-turning article that follows his methods and themes to a monetary and artistic conclusion.

Chapter Two

Despite Hirst’s impassive and disinvolved artistic demeanour and public image, he has a habit of wearing his influences on his sleeve quite boldly, even to a point of possible plagiarism. The same wholly goes for his thematic motifs, a limited range of concepts that almost exclusively involve elements of faith, science, value, and most famously, mortality. His conceptual scope is best described by art critic Sarah Kent who said: “Hirst alludes to heavy topics – health, meaningful living/living death, art as a live entity, the extinction of the individual and the species – with a brilliant, angst-free clarity.” (Kent, 2012).

With the previously discussed For the Love of God, the thematic inspiration is apparent, the enigma of death (in the form of the skull) juxtaposed with the concept of value and preciosity in our society (represented by the diamonds). This quite plainly stated juxtaposition of themes is not an invention of Hirst’s, but is him using a well know theory and practice in the art canon, memento mori. Memento mori (meaning “remember that you have to die” or simply “remember death”) is a Latin Christian theory which revolves around reflecting and being aware of one’s own mortality and, as a result, the transient nature of all physical goods and earthly life which. As an idea it can be traced to the Plato’s dialogue Phædo which recounted the trial and execution of Socrates during his last days, specifically his philosophical lamentations on death and the afterlife. He culminated his thoughts in his discussion on philosophical practice as a whole and described it as: “about nothing else but dying and being dead” (Plato, 360 B.C.E).This philosophical approach to understanding one’s own transient life was manifested in a number of artworks from the classical and early Christian eras all the way up to the modern period, in which the reoccurring objects associated with the still life based theme are adapted to burgeoning and well-established modern methods of artistic representation and style. Now wilting flowers, rotting fruit, near-finished hourglasses, and almost always a signature inclusion of a skull were updated by the new masters and given (ironically) a new sense of life.

Famous modernist works that utilize the thematic imagery of memento mori include Francis Picabia’s oil-on canvas Dada work Portrait of a Doctor and Pablo Picasso’s proto-cubist lithograph Black Jug and Skull (1946) which follow the more traditional artistic sensibilities of previous vanitas works, to much more avant-garde and disconnected works that still hold a common thematic resonance such as Jana Sterbak’s Vanitas: Flesh Dress for an Albino Anorectic (1987) and Robert Rauschenberg’s Animal Magic (1955-59), all of which involve some element of death juxtaposed with the fleeting physical frivolousness of earthly possessions and the dissonance between them.

An artist whose work captures the element of still life and memento mori well is post-impressionist Paul Cézanne, whose oil paintings during his final period and up to his death in 1906 encapsulated the sense of reflection on his ephemerality and inevitable demise that was seen in Plato’s account with Socrates, but where Socrates created dialogue, Cézanne painted. Between the years 1890-1906, Cézanne became withdrawn from portraiture as a result from multiple afflicting events that briefly caused him to leave his usual dwelling of Paris for his hometown, Aix-en-Provenance. Described by Nathanial Harris, his life was “…outwardly uneventful. He seemed to have been forgotten by the art world, and ceased even to submit his works to the Salon [Salon des Refusés]” (Harris, 1983). During the final years of his life Cézanne’s isolation was only interrupted by various letters he would send to multiple of his subjects, reading these letters reveals an increased consideration to the artist’s own mortality: "For me, life has begun to be deathly monotonous"; "As for me, I'm old. I won't have time to express myself"; "I might as well be dead." (Cézanne, 1897, 1900, 1905) During the same timeframe his mother passed away and his own heath began deteriorating, both factors being thought as to accelerate his lamentations on death. His climatic resignation of his own life inspired a number of still life watercolours and oils which visually approach the theology and imagery of memento mori. This small series of skull paintings have become some of Cézanne’s best known works, not only for their assaulting yet near-domestic arrangement and deeply personal visuals that almost seem like the skulls were painted as portraits rather than still lifes, but the intriguing and tragic context behind the paintings enhances their visual aspects thoroughly.

On the aspects of still life, it remains another example of an inspiration towards the previously mentioned contemporary artwork that deserves its own discussion. The quite visually sparse and ultimately singular For the Love of God isn’t comparable to the impressionist work of the latter discussed Cézanne, nor the later cubist arrangements of Picasso, both of which are visibly loud and dramatic. Hirst’s work, despite the inclusion of radiant collection of diamonds, is quite tonally subdued and constructed of only a few colours on the brighter side of the monochromatic scale, paired with the sparse use of space, a tightly bunched visual point presented with a lot of surrounding area that creates a certain inflated level of draw towards the main appeal of the piece. This class of visually thinly populated still life became a visible trend in the modernist period, particularly by one artist: Giorgio Morandi. Painter and printmaker Morandi specialized near exclusively in painting still lifes of mundane, decorative objects such as jugs, bottles, vases, bowls, cans, and boxes, all of which were distinguished for their tonal subtlety as well as their unusual, bunched composition of objects tightly gravitated to the direct centre of the painting. Morandi’s mid-1900’s still life works straddle a border between the relatable imagery of modern realism, and the unrecognizable surrealism of the Metaphysical art style, in essence the painting resonate with the viewer due to their understanding of how such objects can exist and be juxtaposed together, but the visual elements of Morandi’s rough near-impressionist style brushwork paired with the filtered and dulled pigments he used to construct the painting adds a certain level of disconnect within the observer. His particular technique and composition is described well by sculptor and contemporary follower of Morandi Tony Cragg (2006): “Artists’ show through their strange ways of life, their physiologies, the processes they go through, they show us something about our rough generalised pictures of realities, they show us something specific, and a new way of seeing. And one can imagine that the world would be a much poorer place without his [Morandi’s] work…” (Cragg, 2006)

When creating art a singular inspiration is difficult to pin, and with For the Love of God, there is ultimately too much both visually and thematically to associate with one singular artist or work, but there is undoubtedly a connection with the famous instances of still life artwork in the modern period, both in the thematic standing of Hirst’s works as well as the visual elements he used.

Chapter Three

Hirst’s relationship with the modernist employment of the memento mori theme as well as the visually transgressive still life artworks of the mid-20th-century are, as previously mentioned, apparent. This is especially seen in his discussed work, For the Love of God, in which Hirst bypasses his usual work-arounds in dealing with the themes directly, meaning his methods of alluding people away from his inspirations are stripped away for a less subtle work.

This method of dressing his works as thematically and visually fresh is best seen with his most infamous ‘preserved animal’ works. When taken to its most basic concepts and compositions For the Love of God is, in essence, a wholly exposed version of these collections, a simplified redux of past works with added flair. Hirst’s works, including For the Love of God, typically include the main focal point as an embodiment of death, that of a preserved carcass, or a skull in the current case. The skull is small and relatively discernible to the viewer, on the other hand, the animals are colossal and shocking but both ultimately represent the same thematic objective. This physical representation of death is taken from the vanitas art of fifteenth to seventeenth centuries, a subgenre of the popular still life composition that employed elements of memento mori to highlight the futility of earthly pursuits. The oft-Netherlandish artists had a myriad of resort objects that they used as physical representations of mortality, these included fruits, flowers, timepieces, candles, lanterns, weapons, smoking pipes, bubbles, etc, but the main symbol of any vanitas composition, regarded as the crown of sorts, is an inclusion of a skull. This is even discussed in relation to For the Love of God by Richard Fuchs in the Beyond Belief exhibition catalogue: “As the single most important object in a vanitas still life, the skull has to dominate the scene like a mountain looms over a landscape.” (Fuchs, 2007). Famous vanitas works that capitalize on this motif are Edward Collier’s Still Life with a Volume of Wither’s ‘Emblemes’ (1696) which is subtle with its imagery, especially the signature skull which sits against the border of the top left corner, relatively subdued in contrast to the shinning trinkets dressed in bold silver and lacquered wood. On the other hands there are works such as Philippe de Champaigne’s Vanité (1671) which present their symbolism head on, making the skull the entire middle section of a composition, and therefore unavoidable. On to the modern sphere, Cézanne practically loads the entire canvas with the symbolic entities in Pyramid of Skulls (1901), taking de Champaigne’s structured set composition to its logical conclusion, or the earlier mentioned work Portrait of a Doctor by Francis Picabia, who’s visually bizarre Dada portrait is injected with a skull in the bottom right corner, taking the more subtle approach of Collier. Hirst’s For the Love of God takes the visually audacious approach, but it also plucks another symbolic resonance from the vanitas artworks of the 16th century, one that his other death-focused works sorely lacks.

The entire symbolic concepts of vanitas all fall back to mortality, but they also explore the concept of futility, specifically the futility of earthly goods and pursuits in the face of an all-encompassing death, described by art historian Sybille Ebert-Schifferer it is: “despite the Bible, which is opened to the beginning of Ecclesiastes and the familiar phrase ‘vanity of vanities’, it's chief interest is the creation of an ideal collection of rarities”. (Ebert-Schifferer, 1998) These are seen through the symbols of wealth or knowledge, jewellery, currency, globes, portraits, fine fabrics, books, instruments, compasses, quills, and other such decorative goods only seen by the wealthy and elite. The way Hirst portrays this is through the platinum cast of the skull’s visage, relating the piece to the looming fear of mortality, as well as the 8,601 diamonds set into the cast which represent the disregard for fiscal excess that vanitas works hold as a theme, although Hirst utilizes a sense of admitted irony in his use of actually diamonds, whose perceived value is much more literal than the painted examples seen previously.

Hirst’s take on the visual composition of For the Love of God also suffers slightly from a uniform standard he has created. This can be seen too with his ‘preserved animals’, where a larger than life object is posted minimally in the gallery and presented with a certain muted tone, usually a cool blue colour palette as a result of the formaldehyde bath. As a result, the piece is supplied with an inherent contrast and juxtaposition between the subject and its presentation, but with For the Love of God, because it is on such a relatively small scale compared to previous works, is left a little more bare compositionally, much like the bone it shows. This harkens back to the more avant-garde understanding of the still life format that was birthed in the modernist period, particularly the work of the previously discussed Giorgio Morandi, whose blend of realist and metaphysical art produced some of the most visually simplistic yet compositionally strong still lifes of the modernist period. Morandi’s command of shape and structure in a painting, utilizing familiar forms, a strong control over colour, and quality of light all helped set him as a significant member of abstract painters. His pictorial signature is his tightly organized arrangement of objects, with many of his still life studies showing multiple objects all tightly bunched toward the centre of the canvas, often lined-up, stacked, or otherwise organised in groups with little to no space between objects in a visually pacified arrangement. Compare this to the classical still life, or even the modernist still lifes such as Leslie Hunter’s Post-Impressionist A Still Life of Fruit and Flowers with Persian Curtain (date unknown) or Moradi’s contemporary Henri Matisse, whose works such as Still Life with Pineapples and Lemons (1925) and Still Life with Sleeper (1940) are visually bombastic in their naturalistic arrangement and structure. This makes Morandi’s work all the more powerful, its construction is expertly controlled and planned, a trait that makes it impossible to ignore amongst its contemporaries. It’s as much a study of the metaphysical construction of an artwork itself as it is paintings of jugs and bowls.

It is also impossible to ignore Morandi’s peculiar use of colour, an aspect of his artwork that works hand-in-hand with his irregular composition. Morandi’s colour palette is limited to the very basic lighter end of the monochromatic scale, his paintings built with shades of stony light-grey to dusty off-whites with colour often being sparse or entirely absent. A fine example of this is his painting Still Life 1946, presented with a green-grey painterly background, a softer eggshell-esque complexion for the object’s plinth, but in the centre reaching upwards is a long-necked bottle dressed in radiant white, with a similarly shaded cup to its left. But stationed in front of the two white monoliths are three coloured pieces of dinnerware, a small decorated bowl on the right, a straight-sided pot in the middle, and a circular container on the left. These three objects are all stand-outs in the piece through their limited display of colour, the left container using a pale lemon yellow on its top half, the middle pot features a dark orange band near the rim, and the ribbed bowl is decorated intermediately in a gradient lilac moving towards the lip. The colours are all sparse and muted, blending expertly with the otherwise grayscale paints of the other objects into a very mellow overall visual that achieves a “… spiritual harmony, and a serene balance between all of the factors affecting it.” and presenting his works as a “meditation on form and colour, ignoring the substance of the depicted object, and they in turn become objects of meditation.” (Ebert-Schifferer, 1998). Hirst utilizes Morandi’s metaphysical composition and subdued monochromatic colour quality for his work, the skull is presented against a completely black negative space, seen head on in the direct centre of its housing/print and featuring an exclusively near-white colour set as result of the combination between platinum, diamond and bone.

Overall Hirst’s work is constructed through the lens of other, he takes inspiration from the public, but also a myriad of his predecessors. Described by critic and historian Richard Shone, Hirst “has always been hyper-receptive to the work of his contemporaries and forebears - in film, music, television and books as much as in art.” (Shone, 2001) Direct influences are difficult to pin, especially with Hirst’s reserved manner for discussing his work, but he suffers from wearing his influences a little too loudly in most cases, and with For the Love of God, influences are apparent to the point of easy analysis.

In conclusion, Damien Hirst’s For the Love of God found its thematic and visual construction between the memento mori/vanitas work of modernist impressionist Paul Cézanne, specifically his focus on mortality in his later works, and metaphysical artist Giorgio Morandi, whose use of composition and colour are apparent in Hirst’s work. Overall Hirst’s work, while interesting, bears striking resemblance to the past masters, as well as his own past examples.

fig. 1. Damien Hirst, For the Love of God, (2007)

Bibliography

Books

Hirst, D and Burn, G. (2001) On the Way to Work. London: Faber and Faber Limited

Cicelyn, E, Codognato, M, Mitra, D’Argenzio. (2006) Damien Hirst: Napoli, Museo Archeologico Nazionale. Milan: Electa

Hirst, D, Gallagher, A. (2012) Damien Hirst. London: Tate

Bostock, D. (1986) Palto’s Phaedo. Oxford: Clarendon Press.

Harris, N. (1983) The Art of Cézanne. London: The Hamlyn Publishing Group Limited.

Cézanne, P. (1897). Letter to Joachim Gasquet. [letter] Translated by Danchev, A. The Letters of Paul Cézanne. London: Thames and Hudson Limited.

Cézanne, P. (1900) Letter to Paul Cézanne Junior. [letter] Translated by Danchev, A. The Letters of Paul Cézanne. London: Thames and Hudson Limited.

Cézanne, P. (1905) Letter to Émile Bernard. [letter] Translated by Danchev, A. The Letters of Paul Cézanne. London: Thames and Hudson Limited.

Coldwell, P. (2006) Morandi’s Legacy: Influences on British Art. London: Philip Wilson Publishers Limited.

Hirst, D., Self, W., Fuchs, R., Obrist, H-U. (2007) Beyond Belief (Essay by Will Self). London: Other Criteria Limited.

Ebert-Schifferer, S. (1998) Still Life: A History. Translated from German by Stockman, R. New York: Harry N. Abrams, Incorporated.

Shone, R. (2001) Damien Hirst: Pictures from the Saatchi Gallery. London: Booth-Clibborn Editions.

Hirst, D. (2007) For the Love of God. London: Other Criteria Limited.

Internet Sources

n/a. (2018) Canon of Art History | Glossary. National Gallery. [online] Available at: https://www.nationalgallery.org.uk/paintings/glossary/canon-of-art-history [Accessed 5th March 2018]

n/a. (2014) A Thousand Years. Damien Hirst. [online] Available at: http://damienhirst.com/a-thousand-years [Accessed 13th March 2018]

n/a. (2014) The Physical Impossibility of Death in the Mind of Someone Living. Damien Hirst. [online] Available at: http://damienhirst.com/the-physical-impossibility-of [Accessed 13th March 2018]

n/a. (2014) For the Love of God. Damien Hirst. [online] Available at: http://www.damienhirst.com/for-the-love-of-god [Accessed 13th March 2018]

n/a. (2007) For the Love of God. Wikipedia. [online] Available at: https://en.wikipedia.org/wiki/For_the_Love_of_God [Accessed 13th March 2018]

Owen, G and Dunbar, P. (2007) Did Damien Hirst really sell diamond skull for £50m? Daily Mail. London: DMG Media. [online]. Available at: http://www.dailymail.co.uk/news/article-480729/Did-Damien-Hirst-really-sell-diamond-skull-50m.html [Accessed 14th March 2018]

n/a. (2009) Jeremy Deller: The avant gardener. London Evening Standard. London. [online]. Available at: https://www.standard.co.uk/lifestyle/jeremy-deller-the-avant-gardener-6789104.html [Accessed 15th March 2018]

Hirst, D. (2012) 10 Questions For Damien Hirst. Time Magazine. New York: Time Inc. [online]. Available at: http://content.time.com/time/magazine/article/0,9171,2105436,00.html [Accessed 16th March 2018]

n/a. (2003) Damien Hirst. Wikipedia. [online] Available at: https://en.wikipedia.org/wiki/Damien_Hirst [Accessed 15th March 2018]

Thorpe, V. (2008) Top critic lashes out at Hirst's 'tacky' art. Guardian. London: Guardian Media Group. [online] Available at: https://www.theguardian.com/artanddesign/2008/sep/07/damienhirst.art [Accessed 15th March 2018]

Savvine, I. (2018) Paul Cézanne Biography, Art, and Analysis of Works. The Art Story. [online] Available at: http://www.theartstory.org/artist-cezanne-paul.htm [Accessed 17th April 2018]

n/a. (2001) Paul Cézanne. Wikipedia [online] Available at: https://en.wikipedia.org/wiki/Paul_C%C3%A9zanne [Accessed 17th-18th April 2018]

Archino, S. (2018) Giorgio Morandi Biography, Art, and Analysis of Works. The Art Story. [online] Available at: http://www.theartstory.org/artist-morandi-giorgio.htm [Accessed 18th April 2018]

n/a. (2004) Giorgio Morandi. Wikipedia [online] Available at: https://en.wikipedia.org/wiki/Giorgio_Morandi [Accessed 19th April 2018]

Adamou, N. (2016) ‘Still Life’, Giorgio Morandi, 1946. Tate [online] Available at: http://www.tate.org.uk/art/artworks/morandi-still-life-n05782 [Accessed 3rd May 2018]

n/a. (2011) Pyramid of Skulls. Wikipedia [online] Available at: https://en.wikipedia.org/wiki/Pyramid_of_Skulls [Accessed 2nd May 2018]

fig. 1. Damien Hirst, For the Love of God. (2007) Platinum, diamonds and human teeth. 171 x 127 x 190 mm. [online] Available at: http://www.damienhirst.com/for-the-love-of-god#_ftn2 [Accessed 16th March 2018]

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Us, April 5

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: All Eyes on Duchess Kate

Page 2: Red Carpet -- Hollywood is in full bloom with the perfect inspo to put a little spring in your step -- Elle Fanning, Kate Middleton, Cate Blanchett, Jennifer Lopez, Lupita Nyong'o

Page 3: Mindy Kaling, Kathryn Newton, Gabrielle Union, Caitriona Balfe, Penelope Cruz

Page 4: Who Wore It Best? Scarlett Johansson vs. Delilah Belle Hamlin vs. Ingrid Andress in Tom Ford

Page 6: Loose Talk -- Jennifer Garner on finally getting her ears pierced at age 48, Cardi B's thoughts on Selena Gomez possibly stepping away from music, Michelle Obama on living with messy daughters Malia and Sasha, Soleil Moon Frye recalling her first consensual sexual experience with Charlie Sheen, Kim Kardashian West on how much her voice has changed over 20 seasons of Keeping Up With the Kardashians

Page 8: Contents

Page 10: Hot Pics -- ahead of the Miami Open Venus Williams took a break from practice to play with her dog Harold

Page 11: Adam Levine and Behati Prinsloo were attached at the hip during an outing in Montecito, Paul McCartney enjoyed a beach day while on vacation in St. Barts, sporting a massive diamond ring Bethenny Frankel was at the beach in Miami

Page 12: Paris Hilton's Lanvin dress paired perfectly with her bubblegum-hued Bentley, Jared Leto looked unrecognizable while filming House of Gucci in Italy and meanwhile Lady Gaga and Adam Driver continued shooting scenes the following day

Page 13: Britney Spears looked to be in good spirits while out with boyfriend Sam Asghari in L.A., Robin Roberts hammed it up for the camera on the set of Good Morning America, Kourtney Kardashian couldn't keep her hands off new beau Travis Barker after enjoying a dinner date in L.A.

Page 14: Baby on Board -- Selling Sunset's Christine Quinn, Gal Gadot, Lauren Burnham with husband Arie Luyendyk Jr., Christina Milian showed off her growing belly in a floral lingerie set by Savage x Fenty

Page 16: Flex Zone -- with warmer days ahead, stars push their bodies harder -- Nicole Scherzinger and Thom Evans, Kate Hudson added three pound dumbbells to her fitness routine, Eva Longoria works out with a trampoline, Cara Delevingne does yoga, Kevin Hart was joined by son Hendrix for a sweat sesh, Gabrielle Union working out

Page 18: Stars They're Just Like Us -- Jax Taylor took out the trash and recycling bins in L.A., Ally Brooke put on sunscreen she bought at CVS in L.A., after food shopping Ariel Winter packed her car with goodies in L.A.

Page 20: Love Lives -- Katy Perry and Orlando Bloom sparked marriage rumors after she was seen wearing a gold band on that finger while in Hawaii

Page 21: They've quietly been together for over three years but Keanu Reeves and Alexandra Grant who were spotted together during a rare date night in Beverly Hills are in no rush to wed and they've both been in serious relationships before so they're content just being with each other but that doesn't mean marriage is off the table

* For Brooklyn Decker, the silver lining of the pandemic has spending more time with Andy Roddick -- she said it has strengthened their relationship

* The secret to Nick and Vanessa Lachey's successful marriage of nearly 10 years? Spontaneous intimacy, according to Vanessa

Page 22: Hot Hollywood -- Blake Shelton and Gwen Stefani won't be sending save the date cards anytime soon because the duo is struggling to agree on a wedding day -- Gwen is pushing hard for their first ceremony on Blake's Oklahoma ranch to take place in early fall (the two are planning a second affair in L.A.), but Blake, who has been vocal about his impatience, wants to wed this summer but there's a problem: tornado season and the chapel he had constructed on his property for Gwen, a devout Catholic, isn't built to withstand even a minor wind event -- no matter what though, the pair (who are also trying for a baby via surrogate) still plan to exchange their vows before the end of the year and won't let these hiccups affect their big day

Page 23: Jennifer Lopez and Alex Rodriguez denied reports that they ended their engagement and were spotted packing on the PDA in the Dominican Republic -- J.Lo started to question A-Rod after rumors began to swirl that he had an affair with Southern Charm star Madison LeCroy but Alex has been on his best behavior of late

* A Britney Spears comeback could be on the horizon as she is dropping hints about singing again even though her attorney previously said she will not perform as long as her father in charge, but if the judge rules in her favor to make her care manager, Jodi Montgomery, her conservator, Britney will follow through and promise to perform again

* Keeping Up With Us -- Kobe Bryant's widow Vanessa Bryant has named the four deputies who allegedly shared graphic photos from the helicopter crash that killed her husband and daughter Gianna and seven others, despite sharing a selfie of herself wearing a half-heart necklace that she rocked while dating Ben Affleck his ex Ana de Armas denied that the two were back together, Armie Hammer is being investigated by L.A. police after a woman came forth and accused the actor of raping her in 2017 but Armie's attorney maintains their relations were completely consensual, CBS has extended The Talk's hiatus after claims of racism and toxicity were made against cohost Sharon Osbourne, just days after Tiger Woods returned home from the hospital following his near-fatal car crash new details from the investigation revealed that the golf pro didn't take his foot off the accelerator leading up to the accident

Page 24: A Day in My Life -- Maria Sharapova

Page 25: Kanye West's personal life might be in shambles, but his finances were thriving -- according to a new report, the rapper's net worth has climbed to $6.6 billion amid his ongoing divorce from Kim Kardashian -- he has really thrown himself into his work -- Kanye was first declared a billionaire last April largely in part to his fashion line, Yeezy, which is valued between $3.2 and $4.7 billion -- Kanye actually learned a lot from Kim's family about business decisions and he used to throw so much of his own money into his projects, but he's learned that doesn't have to be the case and it's clearly paying off big

* These hip-hop stars also made a large sum of their money away from the mic -- 50 Cent, Diddy, Jay-Z, Dr. Dre

Page 26: Cover Story -- Duchess Kate carries on -- the resilient royal is stepping in to save the crown

Page 28: Angelina Jolie vs. Brad Pitt: a new low -- as Brad and Angelina's nasty custody battle rages on, their kids are put in the middle

Page 30: Makeovers of the Year -- behold the style evolution of Hollywood's latest luminaries -- Andra Day, Halsey

Page 31: Tiffany Haddish, Lily Collins, Awkwafina

Page 32: Major Transformations -- Adrienne Bailon, Rebel Wilson

Page 34: Ayesha Curry, Kelly Osbourne, Adele

Page 36: Spring Makeup Bag Update -- whisper-light formulas in soft, pretty hues that will freshen up your look fast

Page 38: Laura Harrier tells how she makes her peepers pop

Page 40: Let It Grow! Kristen Stewart's mane man Adir Abergel shares hacks to help a haircut in flux look luxe

Page 42: Entertainment -- Mark Long on The Challenge: All Stars

Page 43: Take Five with Sway Bhatia

Page 46: Fashion Police -- when bad clothes happen to good people -- Noah Cyrus, Machine Gun Kelly, Amber Rose

Page 47: Bella Hadid, Harry Styles

Page 48: 25 Things You Don't Know About Me -- Kevin O'Leary

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