Academy Award winner Jennifer Lawrence is the subject of the film watt Magazine Current Arts Journal.
In 2006, the fashion-focused publication launched a series featuring contemporary American artist Richard Tuttle in collaboration with fashion photographer Mario Sorrenti. Since then, there have been numerous examples of collaborations between high-profile artists and celebrities, such as Ryan Trecartin and Lizzie Fitch directing a shoot starring Kendall Jenner and Gigi Hadid in 2018, Mickalene Thomas photographing Cardi B. in 2018, and last year Robert Longo photographing Nicole Kidman as one of his “men” in the city.
This year’s iteration consists of a three-part collaboration between Lawrence and French filmmaker and artist Philippe Parreno, American painter Elizabeth Peyton and German photographer Wolfgang Tillmans.
Parreno made a short film starring Lawrence. In one scene, the actress stares raptly at the camera, silently portraying the range of emotions Parreno evokes—inner turmoil, peace, anxiety, joy, and sadness. Towards the end of the video, she turns around so that her shoulders and back are facing the camera. The parting image recalls Gerhard Richter’s famous portrait of his daughter, Betty (1988), itself a reference to Ingres Bathers in Valpinson (1808).
Tillmans, for his part, photographed Lawrence in his London studio, wearing a black T-shirt that read the title of his recent exhibition at the Center Pompidou: “Nothing can prepare us – everything can prepare us.”
Finally, Lawrence is seated in Paton’s portrait, which is painted in the artist’s decidedly loose, romantic style.
The art issue features three different covers of the actress, including one devoted to the work of each collaborating artist.
In the accompanying article, Lawrence spoke warmly of the artists she collaborated with: Parreno wrote dialogue for his films “almost like Ang Lee,” while Peyton was “much smarter than me in every way.”
Lawrence’s new film, Go to hell, my loveThe film, co-starring Robert Pattison and adapted from Ariana Havertz’s novel, opens in theaters on November 7.
