AMONG DOWNTOWN New York art aficionados, 57 Great Jones Street is something of a sacred site. Andy Warhol bought the two-story building in 1970, famously renting the second floor to his friend Jean-Michel Basquiat a decade later, shortly after they met. And now, with the façade almost completely covered in graffiti, it seems as if every street artist within a 30-mile radius has paid homage. “Perhaps we can do something with all the art,” says Angelina Jolie, peering out from under her enormous umbrella. It’s a drizzly Sunday morning in midJuly, and she’s fresh off the plane from Italy. Six months ago, she and her eldest daughter, Zahara, 18, a student at Spelman College in Atlanta, stumbled upon this place while hunting for downtown retail spaces. The moment they walked through the door, they knew the search was over. “I can be very impulsive, but Zahara is so grounded, decisive, and thoughtful,” Jolie says. “When she agreed, I felt we were both decided.”
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Canvas the City - Martha Diamond captured the brisk energy of Manhattan.
How do you capture a city as frenetic as New York? For the late artist Martha Diamond, it meant looking up. In her soulful paintings of New York Cityâs skyscrapers, Diamond used loose ropes of color that land somewhere between abstraction and figuration. Though sparse in detail, her buildings teem, as the city does, with life. Diamond made most of her paintings in her loft on the Bowery, where she lived from 1969 until her death last December, at age 79. Throughout her five-decade career, she didnât so much re-create what she saw as channel its slippery essence. âI know the city has straight lines or edges,â she said in 1989, âbut as I walk around, the ending or beginning of substance becomes less absolute.â Her buildings sway in the wind and glisten in the light. âI think her work is still startling,â says poet Eileen Myles, who was a longtime friend of Diamondâs. âItâs there to wake people up.â
Off the Beat - Mainly known as a producer, O'Connell Finneas is releasing a new heartfelt LP.
Finneas OâConnell likes to disappear. A tendency toward self-effacement may seem like an unexpected character trait for the youngest person ever to win a Producer of the Year Grammy, a prize that has pride of place in Finneasâs living room, alongside the other nine heâs earned for his work with his sister, Billie Eilish. But seated at the dining table in his LA home, the 27-year-old musician elaborates. âWhen you hear a song and youâre like, âWow, who made this?â Thatâs what Iâm trying to do when I write,â he says. âHe can really tap into the other person,â says frequent collaborator Ashe, née Ashlyn Rae Willson. âHe is a phenomenal listener.â
Spinning a Web - Not muscle, not bone, but fascia the network of tissue that connects it all is grabbing the therapeutic spotlight.
Are you in pain?â Cadence Dubus, a Brooklyn-based fitness instructor who has developed a program for âfascia release,â asks, sending me spiraling before our session begins. Thereâs that twinge in my shoulder and the carpal tunnel at nightâbut arenât such annoyances simply the conditions of modern life, of getting older? âSome,â I answer, shy to cop to any of it. Dubus then has me walk back and forth, squinting at my gait.
Nothing Like Her - Billie Eilish was adored by millions before she fully understood who she was. Now, as she sets out on tour without her family for the first time, she is finally getting to know herself.
It was late in the summer in Los Angeles, with all the dry heat and burnished sunlight that implies, and Billie Eilish was sitting in a dark room, busy changing her mind. The singer was halfway through editing the music video she had directed for âBirds of a Feather,â her latest astronomically successful hit song (nearly 1 billion streams) off her latest astronomically successful hit album (nearly 4 billion streams at the time), when she encountered a problem: She realized she hated it. Well, not hated. âI was like, this ainât it,â she says.
Coming Up Rosy - The new blush isn't just for the cheek. Coco Mellors feels the flush.
If the eyes are the window to the soul, then our cheeks are the back door. What other part of the body so readily reveals our hidden emotions? Embarrassment, exuberance, delight, desire, all instantly communicated with a rush of blood. It's no wonder that blush has been a mainstay of makeup bags for decades: Ancient Egyptians used ground ochre to heighten their color; Queen Elizabeth I dabbed her cheeks with red dye and mercuric sulfide (which, combined with the vinegar and lead concoction she used to achieve her ivory pallor, is believed to have given her blood poisoning); flappers applied blush in dramatic circles to achieve a doll-like complexion, even adding it to their knees to draw attention to their shorter hemlines
Different Stages
A trio of novels spirits you far away.
The Wizard
Paul Tazewellâs costumes for the film adaptation of Wicked conjure their own kind of magic.
THE SEA, THE SEA
A story of survival on a whaling ship sets sail on Broadway. Robert Sullivan meets the crew behind the rousing folk musical Swept Away.
STAGING A COMEBACK
Harlem's National Black Theatre has been a storied arts institution in need of support. A soaring new home is shaping its future.
Simon Says
Simon Porte Jacquemus, much like his label, resonates with the sunny, breezy French South-but behind the good life, as Nathan Heller discovers, is a laser focus and a shoulder-to-the-wheel work ethic.
