The Daily T LOunge for September 30, 2020

Posted on September 30, 2020

Өzen Bar and Lounge – Nur-Sultan, Kazakhstan

Fluid lines and flattering lighting. What more could anyone want from a LOunge? Aside from a bar tab in someone else’s name. Well you’re in luck! Drinks are on us! So what if they’re imaginary? Play the at-home version and pour yourself something good and stiff. Even if it’s tea, darlings. We’re not here to force you into a wicked lifestyle. We’re just here to lead you down that path and let you make your own choices along the way.

Today is WEDNESDAY. Raise one to Odin.

We have no news or reflections to offer at this time. The sun is shining, the world is cray, and with any luck (and a weensy bit of skill), we should have some celebrity and fashion things to send your way. While we’re off mixing up our daily brew of opinions, feel free to chat amongst yourselves while sampling some nibbly bits from our Charcuterie Board of Distractions:

 

The Hairstylist and Makeup Artist of Girlfriends Reflect on Creating the Iconic Looks From the Show
I remember my mom watching Girlfriends in the early 2000s, when I’d secretly enjoy joining her on the couch each week to see how Joan, Maya, Toni, Lynn, and Williams’s shenanigans would unfold. I didn’t always know what was going on (the show started when I was five and ended when I was in the eighth grade), but I was always entertained, and I looked up to each of the characters for different reasons. Joan’s hard work, Lynn’s artistic open-mindedness, Maya’s unapologetic spirit, and Toni’s confidence and honesty motivated me through middle school. The show’s fashion and beauty looks were my mood board, from curls, blowouts, and weaves to wigs, braids, and updos. Inspiration didn’t stop at the hair either. There was Joan’s lit-from-within glow, Lynn’s au natural meets gothic-chic vibe, Maya’s hot pink lips and smoky eyes, and Toni’s sexy red lips. It was all a glimpse of what I thought my adult life could look and feel like.

 

Meghan Markle on How George Floyd Impacted Her L.A. Return and Why Boycotts “Don’t Resonate” With Her
“Seeing it come to the surface in a different way just had my husband and I both very eager to be involved with the right civic and civil activists behind the scenes,” the duchess said of how her life and work in Los Angeles were affected by the country’s ongoing racial justice movement.

 

A Fuller Picture of Artemisia Gentileschi
The pioneering painter survived a rape, but scholars are pushing against the idea that her work was defined by it—and celebrating her rich harnessing of motherhood, passion, and ambition.
As the scholar Mary Garrard noted, in a 1989 appraisal titled “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art,” the painting represents an art-historical innovation: it is the first time in which sexual predation is depicted from the point of view of the predated. With this painting, and with many other works that followed, Artemisia claimed women’s resistance of sexual oppression as a legitimate subject of art. As one of the first women to forge a successful career as a painter, Artemisia was celebrated internationally in her lifetime, but her reputation languished after her death. This was partly owing to fashion: her naturalistic mode of painting went out of style, in favor of a more classical approach. Seventeenth-century scholars barely mentioned her. When she registered, it was as a footnote to her father, Orazio Gentileschi, a well-regarded artist who specialized in the kind of historical and mythological scenes in vogue at the time. (Academics tend to refer to Artemisia by her first name, in order to distinguish her from her father.) Her work received little substantial critical attention until the early twentieth century, when Roberto Longhi, the Italian art historian, wrote a grudging assessment, calling her “the only woman in Italy who ever understood what painting was, both colors, impasto, and other essentials.”\n\nIn the second half of the twentieth century, Artemisia was reconsidered.

 

21 Beautiful Gardens, Parks, & Courtyards To Visit In London This Autumn
London residents are spoiled for choice when it comes to urban green spaces. Of course, there are the royal parks – from Kensington Gardens to Primrose Hill – which demand to be visited. Then there’s Hampstead Heath, whose idyllic Ladies’ Bathing Pond has inspired full-blown essay collections; Kew Gardens, beloved of Virginia Woolf; Hampton Court Palace, whose grounds were designed by Henry VIII… The list goes on. There are certain places, however, that are at their loveliest in autumn – when summer blooms give way to autumn fruits and the trees begin to change.

 

Everyday Items We’ve Been Using Wrong The Whole Time
There are some things we’re so used to doing but these things deserve a second look so we can use them the way they were meant to be used. Here are the everyday items we’ve been getting wrong all along.

 

How Cate Blanchett Embraced a New Era of Red-Carpet Beauty
In a film festival season with few glittery moments, Blanchett has charted a subtly striking course. Her longtime makeup artist unpacks the essentials, from amplified eyes to mask-friendly powder.
It’s not yet October, and the fall calendar is already three film festivals in, with the current one in New York mostly playing out across virtual screenings and drive-in movie theaters. It’s refreshingly democratic, watching premieres (or a teenage Laura Dern in Smooth Talk) from the easy reach of one’s living room or car. The mood is triumphant, and the dress code casual, even for a director piped in for an onscreen appearance. Still, it’s easy to miss the usual pomp of festival proceedings—the sartorial snap to attention after an under-the-radar summer. Last month’s Venice Film Festival—with its cautiously orchestrated red carpets and glittery faces intermittently covered by masks—was the exception.

 

New York Dining Is Moving Indoors. How Nervous Should You Be?
As dining rooms reopen, doctors, engineers and other experts assess the health risks and how restaurants can reduce them.
New Yorkers will be able to eat inside restaurants on Wednesday for the first time since March, and the word that best sums up my feelings about it is: Yikes! The thought of eating inside an actual dining room does not have me cowering under the covers the way it did six months ago, when I was visited nightly by a smothering fear that the coronavirus had found me before the shutdown. What I feel now is not so much monster-under-the-bed fear as the don’t-walk-down-dark-alleys sort. The trouble is, New York is about to walk down that alley knowing exactly what’s at the end. London has been down its own dark alley, as have Madrid and Marseille. Outbreaks came back with renewed energy in all three places, and the authorities have tightened the restrictions on dining and drinking places once more. I’ve tried convincing myself there’s nothing to be afraid of. After all, for several weeks this spring I was nervous about breathing the air outside. Isn’t there a chance I’m overestimating the danger of indoor dining, too?

 

The First Photos of Enslaved People Raise Many Questions About the Ethics of Viewing
“To Make Their Own Way in the World” convenes a group of scholars of slavery, American history, memory, photography and science to tell a complex story.
For a century, they languished in a museum attic. Fifteen wooden cases, palm-size and lined with velvet. Cocooned within are some of history’s cruelest, most contentious images — the first photographs, it is believed, of enslaved human beings. Alfred, Fassena and Jem. Renty and his daughter Delia. Jack and his daughter Drana. They face us directly in one image and stand in profile in the next, bodies held fixed by an iron brace. The Zealy daguerreotypes, as the pictures are known, were taken in 1850 at the behest of the Harvard zoologist Louis Agassiz.
Is there a correct way to regard these images? Should one view them, or any coerced image, at all? To whom do they belong? Do they quicken or numb the conscience? Does displaying them traumatize the living? Is it care or cowardice to keep them concealed? What do we owe the dead?

 

 

 

[Photo Credit: ritzcarlton.com]

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