Elizabeth Minkel

THE VAMPIRE LESTAT 3.05 "New York" + Storyboard by Karl Johnsson via Levan Akin

📷 Fujifilm X-T5 / XC15-45mm

Untitled (21 W. 35th Street, Photo by Sid Grossman, c. 1938-39

Acrylic on canvas on panel , 74 x 55 cm.

Oil on aluminum panel , 30 x 36 in.

they're the same picture

Boys in Empty Tenement, Photo by Aaron Siskind, c. 1935

Oil on Australian cotton canvas , 93 x 123 cm.

Most of the cast of And Then There Were None answered this question with something like “Ooh I could never kill anyone. I’d have to poison them and run away”. Not Sam Neill.

"There’s no way of knowing how Claudia might have behaved if she'd lived to see 2025, but Louis’ fantasy is embarrassingly shallow, opening with Claudia smiling sweetly and telling him that she missed him (would she really??) before segueing into small-talk about Louis’ latest business ventures. Much like with Daniel Molloy and Miss Lily, he’s paying someone to listen to him—now with an increased level of emotional baggage. Is Regina doing a convincing impression of Claudia? Obviously not! She’s basing her entire performance on secondhand accounts from Daniel’s book. Her job is to enact a vague outline of a happy family dinner, and in the same way that people manage to fall in love with chatbots, Louis’ imagination does the rest of the work.   In reality, Louis and Claudia’s relationship was far more contentious.  Much of their conflict stemmed from Louis feeling a sense of ownership over Claudia, leading all the way back to the moment of her turning: a horrifying scene where Louis dragged her body across the floor like a ragdoll and begged Lestat to give her the Gift. In the years after her transformation, her fathers kept her in a childish role that she quickly outgrew. The casting change from Bailey Bass to Delainey Hayles became an unintentionally effective transition point between Claudia’s adolescence and adulthood, when she and Louis began living as brother and sister. The complexity of this relationship can’t be translated into a staged hangout with Regina and her actress friend."

brutal love

Oil on canvas , 40 x 40 cm.

Lee Friedlander, New Orleans, Louisiana, 1961

Worked up the motivation to tackle a forest scene again. Having art block is weird and annoying because this seemed super daunting, but was pretty straightforward. Daily drawing 2455.

Coney Island, Photo by Sid Grossman, c. 1947

Mary Fedden (British, 1915-2012), Tabby by Lamplight, 1990. Oil on canvas, 59 x 49 cm.

Oil on canvas , 12 x 16 in.