Step Aboard the Superyacht Circling This Year’s Cannes Film Festival

Over the weekend of the Cannes Film Festival, director Ron Howard premiered his documentary *Avedon*, which traces photographer Richard Avedon's rise from a working-class Jewish immigrant background to a defining chronicler of American culture. The film received a second life aboard the Renaissance superyacht with a party hosted by editor Graydon Carter, Ancient chairman and CEO Alexander Klabin, and Burgess chief executive John Beckett. Guests included actors Natasha Lyonne and Rosemarie Dewitt, photographer Jean Pigozzi, model Eddie Mitsou, Avedon's grandchildren Michael, Matthew, and Caroline Avedon, and producers Courtney Kivowitz, Sara Bernstein, Darcie Reisler, Dallas Rexer, Chris St. John, and Justin Wilkes. The after-hours cocktail allowed attendees to relive the film's most impactful scenes while mingling with the producers and the photographer's family.

Baumgartner Restoration Painstakingly Brings a Neglected Portrait Back to Life

Art conservator Julian Baumgartner, who runs Baumgartner Fine Art Restoration in Chicago, received an anonymous portrait that arrived severely damaged—folded inside a mangled parcel with substantial creases, tears, and worn-away paint. Using reversible, archival materials and meticulous attention to detail, Baumgartner painstakingly restored the neglected painting, giving it a second chance at life.

Dolce Vita is Over

Dolce Vita war gestern

Andrea Modica's new photobook "Italian Story" collects four decades of photographs taken in Italy, beginning with her first trip there in the late 1980s. Born in 1960 to a family with roots in Sicily and Naples, Modica received a Fulbright scholarship to travel to Sicily and photograph the origins of the Catholic imagery, gender roles, and family structures she experienced growing up in New York. The book, however, is not a documentary of her heritage; instead, it presents dreamlike, surreal images—motionless bodies in water, dead fish, figures behind mosquito nets, Madonna statues—that resist clear narrative or identity politics. Modica works with an 8x10 large-format analog camera and prints using the historic platinum-palladium process, giving the images a timeless, collaborative quality.