From an Art Review online article:
I chose to call myself a portrait photographer because labels were always being thrown on me. When I was at Rolling Stone I was a ‘rock-and-roll photographer’, at Vanity Fair I was a ‘celebrity photographer’. You know, I’m just a photographer. I realised I wasn’t really a journalist. I have a point of view and, while these photographs that I call portraits can be conceptual or illustrative, that keeps me on the straight and narrow. So I settled on this brand called ‘portraits’ because it had a lot of leeway. But I don’t think of myself that way now: I think of myself as a conceptual artist using photography.
I remember going to the Factory in 1976 and watching Andy Warhol work. I’d been there before, earlier in the 70s, photographing Joe Dallesandro and Holly Woodlawn, and then Paul Morrissey. Warhol was a fixture of New York. It was just shocking when he died, because he was everywhere. I don’t know how he did it, but he was out at everything. You felt that if he was at a place you were at, then you were at the right place.
Warhol had things everywhere in the Factory – silkscreens all over the place, and tables of artwork – and things were always going on. I think Fran Lebowitz was there for Interview magazine, and [Warhol] was photographing the sisters from Grey Gardens [1975]. I was just a fly on the wall: there were people milling around doing all kinds of things, it was a pretty active place.
To read more: https://artreview.com/features/ara_winter_2019_annie_leibovitz/
One of the most successful artists of the Italian Renaissance, Titian was the master of the sixteenth-century Venetian school and admired by his royal patrons and fellow artists alike. Several of his contemporaries, including the authors and art theorists Giorgio Vasari, Francesco Priscianese, Pietro Aretino, and Ludovico Dolce, wrote accounts of Titian’s life and work.
In this episode, Getty assistant curator of paintings Laura Llewellyn discusses what these “lives” teach us about Titian and the artistic debates and rivalries of his time. All of these biographies are gathered together in Lives of Titian, recently published by the Getty as part of our Lives of the Artists series.
The complementary pair—Onassis the sophisticate, and Simon the nervous hippie—were close until Onassis died in 1994. Over a sprawling conversation, Simon discussed seeing the “goofy” side of Onassis, what she misses about performing and what she envied about Onassis.
The Credit Suisse Exhibition: Gauguin Portraits 7 October 2019 – 26 January 2020 Book tickets online and save, Members go free: 
NPR’s Tamara Keith and Amy Walter of the Cook Political Report join Judy Woodruff to discuss the latest political news, including whether two weeks of public impeachment hearings have shifted public opinion about President Trump and the investigation into his Ukraine policy, potential pressure on Republican lawmakers and the late entrance of Michael Bloomberg into the 2020 Democratic race.
Netflix has risen from obscurity to be one of the most powerful media companies in the world with more than 150 million global subscribers. It has launched critically acclaimed hits such as House of Cards, The Crown and Unbelievable, as well as showcasing the back catalogues of popular television series. But as part of its rapid growth, the company has racked up huge debts.
Jencks’s book grew out of his PhD thesis, supervised by Reyner Banham at the University of London in the late 1960s, and paved the way for his later, more explicitly polemical The Language of Post-Modern Architecture (1977). In this bestselling book, Jencks set out his stall for a pluralist architecture that rejected what he saw as modernism’s reductive ‘univalent’ approach, swapping it for a symbolically rich and historically engaged ‘multivalent’ postmodernism. For good or bad it became the defining book of its era, an unabashed rejection of mainstream modernism that ushered in a new architectural style.
Modern Movements in Architecture (1973) by Charles Jencks was one of the first books on architecture I read, a birthday present given to me the summer before I started my degree. In some ways, it spoiled things: I thought all architecture books would be that much fun. Modern Movements in Architecture is a complex and sophisticated history, but it wears its learning lightly. It relates architecture to a wider cultural discourse and it is unafraid to be critical, even of some architects, such as Mies van der Rohe, who were previously considered to be above criticism.
“The link between antibiotic exposure and Parkinson’s disease fits the current view that in a significant proportion of patients the pathology of Parkinson’s may originate in the gut, possibly related to microbial changes, years before the onset of typical Parkinson motor symptoms such as slowness, muscle stiffness and shaking of the extremities. It was known that the bacterial composition of the intestine in Parkinson’s patients is abnormal, but the cause is unclear. Our results suggest that some commonly used antibiotics, which are known to strongly influence the gut microbiota, could be a predisposing factor,” says research team leader, neurologist Filip Scheperjans MD, Ph.D. from the Department of Neurology of Helsinki University Hospital.
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