“Miley Cyrus, My Self-Made Prison Yet There is Light I Must Go Towards What I Know to Be Right,” 2017
David LaChapelle made his name by shooting celebrities colliding with consumer detritus: baubles, flowers, and fame recombining in delirious explosions of color. In the nineties and early aughts, his slick aesthetic, which lifts lavishly from Christian pageantry and Renaissance painters, was inescapable, splashed across fashion editorials, advertisements, and music videos." Read the entire article at The New Yorker.
