Pinoe, who is like, THE queer icon when it comes to out footballers, is pretty much the only thing that makes me proud to be an American. She also just launched a new company with Meghan Klingenberg, Christen Press and Tobin Heath, so check that out!
Phyllis Galembo’s fascination with masks and ritual dress started when she was just a child trick-or-treating on the streets of her Long Island neighborhood and has taken her all over the world—to Cameron, Zambia, India, Brazil, and beyond—in the last 20 or so years. Her new book, Mexico, Masks | Rituals, brings the New York photographer closer to home, on a magical journey across the border in search of the centuries-old traditions of the indigenous and Mestizo cultures. “When I started going there in the late 1970s and early 1980s, there were no hotels in places like Tulum,” says Galembo who has vivid memories of the first fiesta she was invited to in the Riviera Maya, specifically the distinctive embroidered blouses known as huipiles worn by female revelers. “About 10 years ago around Easter time, I suddenly got this weird inkling that I really needed to go back.”
By the end of She’s Gotta Have It’s first season, back in 2017, the show’s effervescent protagonist chose to abandon the three men she’d been dating. Nola Darling, the fictional Brooklyn-based artist who animated Spike Lee’s 1986 film of the same name, had found a new love worth pursuing: the principle of honesty. “That’s why I painted The Three-Headed Monster,” she said in one of her many fourth-wall breaking monologues, referencing the collagelike painting she’d shown the men during a surprise group dinner. “It’s about the truth, and I understand, often, that is the hardest thing to get to—to land at a place where folks can find openness, candor, and frankness amongst each other.”
The night before the Billboard Music Awards in Las Vegas in May, Madonna was sitting in the arena attached to the MGM Grand hotel, staring at a double of herself. The double, who was standing on the stage many yards away, was younger and looked Asian but wore a similar lace minidress and a wig in Madonna’s current hairstyle, a ’30s movie star’s crimped blond waves. “It’s always the second person with the wig — she wants to see it,” a stage designer said, adding that when she makes a decision, she is definitive. “Madonna wants 10 options, but when she says it’s the one, it’s the one.”
Most recently the author of “Feast: Food of the Islamic World,” Anissa Helou grew up in Beirut with a Syrian father and Lebanese mother, and wrote her first book about Lebanese food in 1994. Now, she lives in Sicily (“It has everything that I was brought up with: seasonality, sunshine, the sea, lovely people, hospitality. But there is no ISIS,” she explains), but she’s still writing about the food of the Islamic world — “Feast” collects recipes from Muslim cultures ranging from Indonesia to Iran and India to Qatar. At Now Serving, Helou talked with Evan Kleiman about her research tactics, her favorite biryani recipe, and a one-time plan to make lardo from a camel’s hump.
The 1960s ignited a generation of activists fueled by inequity, unrest, and uprisings, and the art created during this time was a visual by-product of the nation’s struggle toward equality. But the work of African American artists during this era remained in the shadows of the art world, largely unrecognized by mainstream audiences.
In other words, the sustained inclusion of Black art in the historical canon is a slow, evolutionary process that was catalyzed by revolutionary acts.
Under an overcast February sky at Paramount Pictures’ backlot — which was set up to resemble a New York City street embedded with art installations, including paintings of laundry strung between faux brownstones — Ray Anthony Barrett plated a meticulous and tiny take on hoppin’ John, deconstructed sweet potato pie and diminutive Maldon salt-studded hoe cakes.