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Forbes' puts its list together based on earnings and media exposure, like how many magazine covers a celebrity is on Here are Forbes' top-ten celebs: Jennifer Aniston, Dr She's the number-one celebrity on this year's Forbes magazine Celebrity 100 Brad Pitt isn't even on the list The "Friends" star ranks higher than Tom Hanks, Steven Spielberg, Nicole Kidman, Julia Roberts or anyone else, including her own husband Dre with Eminem, Tiger Woods, Steven Spielberg, Jennifer Lopez, Paul McCartney, Ben Affleck, Oprah Winfrey, Tom Hanks and the Rolling Stones Jennifer Aniston Tops Forbes List Jun 20, 8:05 AM EST %meta(topic:01005 000;apâ€â€?topic:general entertainment;subtop ic:movies;%) %meta(topic:01011 000;apâ€â€?topic:general entertainment;subtop ic:music;%) %meta(topic:apâ€â€?to pic:general entertainment;subtop ic:other;%) %meta(topic:01016 000;apâ€â€?topic:general entertainment;subtop ic:tv;%) NEW YORK (AP) â€â€? Jennifer Aniston is the brightest star on Earth "They always say, 'God, she was so brave to do that,'" Philbin said "It's not my cup of tea Thirty-two years after her last solo show at the prestigious Leo Castelli Gallery in New York, Bontecou, at age 72, is emerging from a self-imposed exile on a Pennsylvania farm with a coast-to-coast retrospective featuring 125 pieces and drawings from her past and present There, she could work as she liked in her studio, raise goats and a garden, and satisfy her love of nature by hiking the surrounding ridges and digging fossils out of a prehistoric stream bed nearby She is still passionate, talking about how competition in America has become a war, about corporate misdeeds; about how human nature is destroying the planet " Just like her departure from the New York art scene in the early 1970s, Bontecou's most recent decision is all her own I just wanted time to experiment It will be presented at the Museum of Contemporary Art, Chicago, from Feb "Lee Bontecou: A Retrospective" is organized by the UCLA Hammer Museum and the Museum of Contemporary Art, Chicago " In her heyday, there was plenty of praise for Bontecou, but it was not enough to keep her from longing for quiet I needed it," she said 14 through May 30, 2004, and at the Museum of Modern Art, Queens, New York, from July 30 through Sept "I hope I don't fall over," she said, describing herself as terrifically shy 27, 2004 5 and, from there, moves to the Museum of Contemporary Art in Chicago and the Museum of Modern Art in New York She tells a story about going to an opening and people asking her about Bontecou It's a coming-out party for one of the most significant artists you've never heard of, say organizers, but it's no picnic for Bontecou getting used to the spotlight again " The time came, however, when she felt she had to make a move back toward the art world She didn't want to burden her husband or daughter with all her work, so she met with Elizabeth A "I hope to have some privacy so I can work," she said Lee Bontecou was a star, but she went from VIP to missing person in the blink of an eye They talk about her dropping out "Lee Bontecou: A Retrospective" opens at the UCLA Hammer Museum in Los Angeles on Oct Those works, though, don't encompass the scope of Bontecou's art, which include "soot" drawings evocative of outer space, surreal vacuum-formed plastic flowers and rough-looking fish, and, more recently, delicate constructs of wire and porcelain that range from fantastical sail craft to those reminiscent of bugs, beehives and bone "I didn't want to talk about my older work," said Bontecou Four decades ago, she was known as an exponent of her own brand of abstract expressionism, taking her lead from the natural world and organic forms and, by using the rough materials of a postwar Industrial Age, linking them with the ferocity of conflict and mechanical references Several years ago, she developed aplastic anemia, a disorder in which the bone marrow stops making enough red and white blood cells, resulting in a higher risk of infections and bleeding Some seem prepared to take flight In some, embedded metal teeth or grids seem ready to snap shut with mechanized passion; in others, deep black holes appear to lead to an endless, cosmic longing and nothingness Smith and Philbin are co-curating the exhibit The exhibition runs at the Hammer Museum in Los Angeles from Oct T 5 through Jan Smith, chief curator at the Museum of Contemporary Art, Chicago, who had put on a smaller retrospective of her work years earlier The show aims to reintroduce her to a public that has largely forgotten her She's a master at it "It was a conscious decision to not give shows and not have to have that pressure of having shows and all that stuff " Eventually, she moved permanently to the farm outside Orbisonia, a village about 110 miles east of Pittsburgh "But to do it, you have to be satisfied with not having a lot of money and you have to make certain kind of sacrifices Following the 1971 Castelli show, she dropped out and began to split her time between an old dairy farm in central Pennsylvania she bought with her husband and teaching art at Brooklyn College Philbin says people in the art community â€â€? namely the artists â€â€? who never forgot Bontecou are eager to see the new work 11, 2004 She moved from bronze, vaguely cubist renditions of humans and animals into a more radical technique that combined sculpture and painting by stretching canvas over welded metal wall frames, cut and split into crudely ornate geometric sections and holes "I probably would have floundered on until I dropped," Bontecou said, explaining that her health has improved somewhat Artist Bontecou in Limelight Again Oct 1, 11:02 AM EST Forty years ago, everyone on the New York art scene knew the young woman with the tomboy looks and the bangs: Her name was mentioned along with Frank Stella, Roy Lichtenstein and Jasper Johns, and she was praised for work â€â€? part painting, part sculpture â€â€? which is by turns fierce, mysterious, surreal "It's abstract language combined to form meaning Lee Bontecou has a plan for when this show is over Speaking from the office of a New York gallery, Bontecou says in an unassuming voice that she's still not sure she's ready for the news conferences, the speeches, the limelight "It's very, very unique work," said Ann Philbin, director of the UCLA Hammer Museum "I'm so glad I did what I did |
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