The blown-up newspaper pages displayed through the windows of an otherwise sparse, all-white gallery space in London’s busy Mayfair district stop you in your tracks.
“Greta Thunberg, who has died aged 19, enjoyed a meteoric career as a climate activist,” begins one, the text surrounding a photograph of the young campaigner speaking into a mic; on the wall facing her is Formula 1 star Lewis Hamilton, one hand on heart, the other held aloft in a triumphant fist. “Sir Lewis Hamilton, who has died aged 38, was the greatest British racing driver…”
Dolly Parton, Grace Jones, Sadhguru, Marc Almond and David Hammons are also immortalised. The text is there in black and white, past tense, matter-of-fact, next to images of their instantly recognisable faces.
Image: Pic: Lucy Dawkins courtesy Gagosian
Like the horrible moment you see your favourite celebrity trending on Twitter for no apparent reason, the incredibly real-seeming works evoke a panicked double-take. But don’t worry – these obituaries are in fact hypothetical, the latest works by artist Adam McEwen, featured in his first solo exhibition in London.
The great equaliser, death is one of art’s most prolific subjects – “the biggest subject”, McEwen says – but forecasting the inevitable so intricately and so specifically for very real, very much alive human beings, makes these faux newspaper articles rather uncanny.
While some might consider the works morbid or even distasteful, McEwen sees them as celebratory, though not uncritical. Similar to the introduction these subjects might get should they appear on Desert Island Discs or This Is Your Life, they are warts-and-all markers of a life well lived; a lifetime of experiences and personal qualities distilled into roughly 1,400 words.
The works are homages to “people I love”, McEwen tells Sky News. What links Parton, Thunberg, Lewis and the other figures featured is a thread of “tension”, he says, or triumph over adversity; they have played by their own rules and won.
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“These people are demonstrations that despite it appearing life is very difficult – if not impossible – to negotiate, you in fact have more choices and freedom than you realise.” McEwen points to Parton, a performer who has written thousands of songs and who has revelled, according to his artwork, in “subverting expectations about large-breasted, big-haired women” from the American South.
“You look at the story of Dolly Parton and she demonstrates it. And Lewis Hamilton, let’s say; [it was] almost impossible to be a young black man who wants to be a Formula One driver, if not impossible. But he shows it is possible.”
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Thunberg’s rapid rise from unknown schoolgirl to the world’s most famous environmental activist is one that fascinates McEwen. “Apart from her youth and her conviction,” he writes in her fake obit, “her ability to strike a chord lay in the power and simplicity of her message: older generations had left the young to suffer the consequences of their consumption. Everyone knew it; now the young weren’t going to let them ignore it anymore.”
From Malcolm McLaren to Kate Moss, Rod Stewart and Bill Clinton
Image: Adam McEwen’s previous works were part of The George Michael Collection sale at Christie’s in 2019. Pic: Nils Jorgensen/Shutterstock
As a young artist in the 1990s, McEwen subsidised his passion working part-time as an obituary writer for the Daily Telegraph. The idea to turn the form into art was born from a group show he was taking part in in 2000. “Everyone was given a Vivienne Westwood muslin shirt, a straitjacket, and we were told to do whatever we wanted. I decided to write Malcolm McLaren’s obituary… it was a homage to Malcolm and it had a kind of dark, slightly punk sensibility that made sense.”
Further fake obituaries to stars and notable figures followed, featuring everyone from Nicole Kidman, Kate Moss and Macaulay Culkin to Rod Stewart, Jeff Koons and Bill Clinton. Some would read differently now should he be starting afresh in 2023.
“They won’t be updated,” says McEwen. “Also, they function differently later. Let’s say, Macaulay Culkin, the actor. In 2004 he had a certain stature and a certain story; he was in Home Alone… 20 years later, we see it from a different position… You see this artwork now and it’s like, that’s not how I think about Macaulay Culkin anymore.”
McLaren, the former Sex Pistols manager and partner of Westwood, later came to hear about his own obit. “I met him once and told him,” McEwen says. “He was sort of initially nonplussed and then he laughed.”
He says Koons was also aware of his. “It’s a funny relationship, but it’s not… people have said to me, why don’t you do Trump? Kill him! They’re not really getting the point.”
‘This isn’t a morbid wish – death is a fact’
Image: Adam McEwen. Pic: Andisheh Avini
McEwen says he doesn’t worry about how his subjects might react to seeing the stories of their lives told through their made-up deaths. “The only thing I know about Greta Thunberg, for real… the only thing I know for sure about Nicole Kidman or Bill Clinton, is that they are going to die. I’m not using it as a morbid wish. It’s a fact. For me also, I’m going to die.
“I don’t think [it’s] upsetting. Apart from anything else, these things exist in filing cabinets, or in digital filing cabinets, already for famous people. For Dolly Parton, there are already obituaries written for her, because they have to be. All I’m doing is appropriating something that’s already there.”
When he worked for the Telegraph, McEwen wrote obituaries in reaction to sudden deaths – including for John F Kennedy Jr in 1999, when he died alongside his wife and sister-in-law in a private plane crash – as well as planned pieces.
Just like a real newspaper article, there may be errors to look out for in his artwork, he says. “Typos, sure. Maybe factual errors. I mean, exactly like a newspaper. It’s 6pm. It’s got to go to press. We do the best [we can] and then the next morning, ‘Oh f***, we’ve missed that typo’. It’s the same. I’ve done them when they go, ‘in 19XX…’ and I was going to find the date [but forgot], and then it’s done and it’s in the exhibition. ‘Damn, I didn’t see that.’ But it doesn’t matter, because it’s the same. It’s all part of it.”
Adam McEwen’s exhibition of fake obituaries dedicated to living celebrities is showing at Gagosian’s Davies Street gallery in London until 11 March
Alan Yentob, the former BBC presenter and executive, has died aged 78.
A statement from his family, shared by the BBC, said Yentob died on Saturday.
His wife Philippa Walker said: “For Jacob, Bella and I, every day with Alan held the promise of something unexpected. Our life was exciting, he was exciting.
“He was curious, funny, annoying, late, and creative in every cell of his body. But more than that, he was the kindest of men and a profoundly moral man. He leaves in his wake a trail of love a mile wide.”
Yentob joined the BBC as a trainee in 1968 and held a number of positions – including controller of BBC One and BBC Two, director of television, and head of music and art.
He was also the director of BBC drama, entertainment, and children’s TV.
Yentob launched CBBC and CBeebies, and his drama commissions included Pride And Prejudice and Middlemarch.
Image: Alan Yentob (left) with former BBC director general Tony Hall in 2012. Pic: Reuters.
The TV executive was made a Commander of the Order of the British Empire (CBE) by the King in 2024 for services to the arts and media.
In a tribute, the BBC’s director-general Tim Davie said: “Alan Yentob was a towering figure in British broadcasting and the arts. A creative force and a cultural visionary, he shaped decades of programming at the BBC and beyond, with a passion for storytelling and public service that leave a lasting legacy.
“Above all, Alan was a true original. His passion wasn’t performative – it was personal. He believed in the power of culture to enrich, challenge and connect us.”
BBC Radio 4 presenter Amol Rajan described him on Instagram as “such a unique and kind man: an improbable impresario from unlikely origins who became a towering figure in the culture of post-war Britain.
Gillian Anderson has warned homelessness is a growing problem in the UK – one that will only get worse if we enter a recession.
The award-winning actress, who is playing a woman facing homelessness along with her husband in her latest film, The Salt Path, told Sky News: “It’s interesting because I feel like it’s even changed in the UK in the last little while.”
Born in Chicago, and now living in London, she explained: “I’m used to seeing it so much in Vancouver and California and other areas that I spent time. You don’t often see it as much in the UK.”
Her co-star in the film, White Lotus actor Jason Isaacs, chips in: “You do now.”
“It’s now becoming more and more prevalent since COVID,” said Anderson, “and the current financial situation in the country and around the world.
“It’s a topic that I think will be more and more in the forefront of people’s minds, particularly if we end up going into a recession.”
Image: Gillian Anderson and Jason Isaacs in The Salt Path. Pic: Steve Tanner/Black Bear
The film is based on Raynor Winn’s 2018 memoir, which depicts her and her husband’s 630-mile trek along the Cornish, Devon and Dorset coastline, walking from Minehead, Somerset to Land’s End.
Written from her notes on the journey, The Salt Path went on to sell over a million copies worldwide and spent nearly two years in The Sunday Times bestseller list. Winn’s since written two more memoirs.
Isaacs, who plays her husband Moth Winn in the movie, told Sky News that Winn told him she “hopes [the film] makes people look at homeless people when they walk by in a different light, give them a second look and maybe talk to them”.
With record levels of homelessness in the UK, with a recent Financial Times analysis showing one in every 200 households in the UK is experiencing homelessness, the cost of living crisis is worsening an already serious problem.
Image: Pic: Steve Tanner/Black Bear
The film sees Ray and Winn let down by the system, first by the court which evicts them from their home, then by the council which tells them despite a terminal diagnosis they don’t qualify for emergency housing.
Following the loss of their family farm shortly after Moth’s shock terminal diagnosis with rare neurological condition Corticobasal Degeneration (CBD), the couple find solace in nature.
They set off with just a tent and two backpacks to walk the coastal path.
Isaacs says living in a transient way comes naturally to actors, admitting like his character, he too “lives out of a suitcase” and is “away on jobs often”.
Shot in 2023 across Somerset, Devon, Cornwall and Wales, Anderson says as a city-dweller, the locations had an impact on her.
Anderson reveals: “As I’ve gotten older, I have become more aware of nature than […] when I was younger, and certainly in filming this film and being outside and so much of nature being a third character, it did shift my thinking around it.”
Meanwhile, Isaacs says he discovered a “third character” leading the film just the day before our interview, when speaking to Winn on the phone.
Isaacs says the author told him: “I feel like there’s three characters in the film,” going on, “I thought she was going to say nature, but she said, ‘No, that path'”.
Isaacs elaborates: “Not just nature, but that path where the various biblical landscapes you get and the animals, they matter.
“The things that happen on that path were a huge part of their own personal story and hopefully the audience’s journey as well.”
The Salt Path comes to UK cinemas on Friday 30 May.
A weapons supervisor who was jailed for involuntary manslaughter over the fatal shooting of Halyna Hutchins on the set of the Alec Baldwin movie, Rust, has been freed.
Hannah Gutierrez-Reed was released on parole from the Western New Mexico Correctional Facility in Grants on Friday, after serving her 18-month sentence, NBC News, Sky’s US partner said, quoting New Mexico Corrections Department spokesperson, Brittany Roembach.
Gutierrez-Reed was released to return home to Bullhead City, Arizona, where she will be on parole for a year for the manslaughter case.
Image: Hannah Gutierrez-Reed in court as she was jailed for 18 months for involuntary manslaughter. Pic: Rex/Shutterstock
Image: Halyna Hutchins pictured in 2017. Pic: Rex/Shutterstock
She was in charge of weapons during the production of the Western film in Santa Fe, New Mexico, in October 2021, when a prop gun held by star and co-producer Alec Baldwin went off during a rehearsal.
Cinematographer Hutchins died following the incident, while director Joel Souza was injured.
Gutierrez-Reed was acquitted of charges of tampering with evidence in the investigation, but will be on probation over a separate conviction for unlawfully carrying a gun into a Santa Fe bar where firearms are banned weeks before Rust began filming.
Image: Alec Baldwin reacts after the judge threw out the involuntary manslaughter case against him. Pic: AP
Involuntary manslaughter means causing someone’s death due to negligence, without intending to.
At her 10-day trial in New Mexico in March last year, prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of Rust and for failing to follow basic gun safety protocols.
The 18-month sentence she was given was the maximum available for the offence.
Baldwin, 67, was also charged with involuntary manslaughter, but the case was dramatically dismissed by the judge during his trial last July over mistakes made by police and prosecutors, including allegations of withholding ammunition evidence from the defence.
The actor had always denied the charge, maintaining he did not pull the gun’s trigger and that others on the set were responsible for safety checks on the weapon.
Rust was finished in Montana and released earlier this month, minus the scene they were working on when Hutchins was shot, Souza, speaking at November’s premiere in Poland, said.
Rust is billed as the story of a 13-year-old boy who, left to fend for himself and his younger brother following their parents’ deaths in 1880s Wyoming, goes on the run with his long-estranged grandfather after being sentenced to hang for the accidental killing of a local rancher.