Famed photographer Peter Beard, who dazzled as a force of nature for decades, leaves behind a legacy of beautiful and collectible art.
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Famed photographer Peter Beard, who dazzled as a force of nature for decades, leaves behind a legacy of beautiful and collectible art.
From his first time in the studio with Amy Winehouse to discovering autotune, Ronson tells Vogue about the charming backstory to his new Apple TV+ show.
When Beard returned to Kenya in 1960 to work at Tsavo National Park he found a place that was ravaged and over populated. He witnessed how the selfish pursuits of mankind had lead to the sudden denaturing of a great wilderness, an environment that only a few years earlier had seemed absolutely inexhaustible to him.
A new volume by Taschen — which features photography, illustrations, and writing by the photographer and artist — was planned long before Beard's passing earlier this week. Now, the book will be among the first tributes to his legacy.
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What makes a place beautiful? The kind of breathtakingly stunning scenery that stays with you long after you’ve left, like a heartwarming childhood memory? Is it the unexplainable tickle that rises in your stomach when you stand, bug-like, atop a mountain, looking down? The exotic scents and unintelligible chatter that invade the mind when you find yourself in a foreign land? The world is bursting with gorgeousness and, oh boy, we need it now more than ever. So, in this week’s Sunday Magazine, we’re going to spoil you. Here are some of our favorite places. Most are remote — making this a perfect getaway guide if you prefer a socially distant vacation when the world opens up. Ready to plan your next adventure?
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An intimate profile of the photographer and artist, whose career has documented Africa's epic landscapes and indigenous species for nearly six decades. Read ...
Last fall I was in the market to buy my first home. I had one nonnegotiable criterion: it had to have a garage. Early in the search, I sent a promising listing to my mother, who lives in California. She noted that the garage looked small and unlikely to fit my truck. “That’s OK,” I said. “The truck isn’t going in there.” “What do you need a garage for then?” she asked, confused. “Nobody in Colorado parks their car in the garage,” I explained. “We all park on the street.” “But what do you put in the garage?” she pressed. I shrugged. “Bikes, gear, stuff like that.” Later, on a ride, I recounted the exchange to my friend Melanie, who, along with her husband, owns a house with a highly enviable garage (two-car, attached) packed to the eaves with bikes and camping equipment. “My mother thinks we’re very strange,” I told her as we pedaled along. “Have you ever parked your car in your garage?” “Of course not,” she laughed. “What a waste of a garage!”
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He really doesn’t want to fight. Crouched on the wing of a grounded fighter plane tracing figure eights in the sweltering desert sand, Indiana Jones is already bleeding after dispatching a Nazi mechanic who’d attacked him with a wrench. That guy was a middleweight; now the German’s shirtless coworker—exponentially bigger and balder, a Teutonic King Kong Bundy—wants a piece of the two-fisted archaeologist. Of course he does: The organizing principle of Raiders of the Lost Ark is that no matter how bad things get for its hero, they can always get worse. And of course Indy accepts the challenge, but not before hanging his head in a way that says, without putting the film’s PG rating in jeopardy, “Fuck this shit.”
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