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You know when you’re watching a Brad Pitt movie and Brad Pitt is eating food in the movie and you’re not sure which you want more, Brad Pitt or the food? Now you can have your Brad and eat it, too, thanks to Fat Brad: The Cookbook, the “definitive exploration into the on-screen eating habits of William Bradley ‘Brad’ Pitt,” as publisher Long Prawn puts it.
The book reads like fan fiction by a preteen girl on MasterChef Junior. Chefs Ali Currey-Voumard and Mietta Coventry recreated 50 dishes that various Pitt characters eat, from Tyler Durden’s seafood bisque in Fight Club and Rusty Ryan’s carpark burger in Ocean’s 11 to the “Game Bird with Taters and Guinness Gravy” Mickey O’Neil enjoys in Snatch. Ben Clement‘s photographs of the artfully messy dishes are food porn of the highest order.
“We loved the brilliant disparity between Brad’s on-screen penchant for shitty food and his god-like body,” Fred Mora, one of the three founders of Long Prawn, told It’s Nice That. While the cinematic photos serve as wry commentary on American gluttony and celebrity worship, the recipes are totally legit, tested by top chefs, and not the sort you’ll want to burn after reading.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…