Early on in her career, she was often labeled “the most beautiful woman in the world.” This might have played havoc with the mind of a lesser mortal; for Brigitte Bardot, forever typecast as the blonde bombshell, it was all in a day’s work. Throughout her illustrious career, she acted in 47 films, performed in several musicals, and recorded more than 60 songs. She became a muse for the likes of Christian Dior, Pierre Balmain, and Pierre Cardin. And she was awarded the Legion of Honour, France’s highest decoration, in 1985, ten years after retiring at age 40 to pursue a “more meaningful life” out of the withering glare of the press, when she could have continued to shine on the silver screen.

Bardot appears to be having a major moment in 2025. Sabrina Carpenter’s new Vogue Italia cover shoot, shot by fashion photographer Steven Meisel, was clearly influenced by the legendary actress’s ’60s-era glamour. And two new art books pay tribute to her considerable legacy. Being Bardot, published by ACC Art Books, features photography by Douglas Kirkland and Terry O’Neill, who took some of the most iconic images of the actress ever captured on film; while Brigitte Bardot: Intimate, from Assouline, showcases never-before-published photos by her longtime friend Glislain “Jicky” Dussart. All still utterly enthralling nearly six decades later.

“In a period of just a little more than 20 years, Brigitte Bardot exploded established perceptions of beauty and femininity,” writes author James Clarke in the introduction to Being Bardot. “In doing so, she dramatically rewrote expectations around—and perhaps even established a new version of—femininity. She was a movie star and a pop-culture icon whose image was emblematic of a particular moment in time. Bardot’s film career spanned 21 years, from 1951 to 1973. Her screen performances, and the still images of her that became such a constant and vivid element of popular culture, brought a new sense of what female movie stardom could be, not only in French cinema but globally.”

Bardot’s killer looks and knockout style have been emulated by the likes of Claudia Schiffer, Kate Moss, Lara Stone, Amy Winehouse, Georgia May Jagger, Scarlett Johansson, and Paris Hilton. Asked about her many imitators, Bardot simply sniffed, ”None have my personality.” She put Saint-Tropez on the map after filming And God Created Woman there in 1953, directed by her husband Roger Vadim, establishing such a strong connection with the Mediterranean paradise that she lives there to this day, having made it her permanent home; many of Dussart’s photographs were taken there.

Terry O’Neill created one of the most iconic images ever taken of Bardot, a photograph of her smoking a cigarette on the set of The Legend of Frenchie King in 1971.”I thought if I could get a close-up of the moment the wind blew her trademark hair into her eyes, combined with the cigarette dangling from those lips, it would capture how sexy, strong and wild her image was,” O’Neill recalls in Being Bardot. “I didn’t have many frames left, so I went in closer. The wind blew, and I clicked the shutter. I had no idea if the photo would match the image I had in my mind until the film was developed. The first time I saw these images, I got chills.” It’s safe to say that the rest of the world did, too.

On the occasion of her 90th birthday, the town of Villefranchesur-Mer, another picturesque French Riviera town she elevated to icon status, honored Bardot with a celebratory photo exhibition. “The images show her sometimes bursting with joy, sometimes introspective, but always imbued with this aura which has fascinated and still fascinates entire generations,” the exhibition noted. “Bardot’s authenticity is one of the most striking to people. Even though she was a global star, she always stayed true to who she was and did not yield to the expectations of others.”

From the very start of her career, the curators wrote, “from Paris to Saint-Tropez and via Villefranche-sur-Mer, all along her path to fame, from one film to the next, Brigitte had all the makings of a celebrity: Whether copied, scrutinized, followed, persecuted or adored, she made one successful film after another based on her sex appeal, in which she often plays a young French woman who is portrayed as wild, suave, and beautiful. Often the object—and victim— of a malicious curiosity, on screen she is revealed as a true, uninhibited and moving actress. Bardot irritated and amused her contemporaries all the more by her blatant disregard of public opinion and lack of approval of known critiques.”

Her impact on cinema, fashion, and culture cannot be overstated, all the more so because she decided to turn her back on it and devote herself to a cause close to her heart; in 1986, she founded the Fondation Brigitte Bardot to protect wild and domesticated animals. Beyond simply becoming famous, she radically altered the whole concept of female stardom. And she continues to influence and inspire generations of actresses, models, and women from all walks of life. Vive Bardot. 

This article originally appeared in Maxim magazine’s September/October 2025 issue.

Quentin Tarantino’s rarely-seen, single-film version of his martial arts revenge saga, Kill Bill: The Whole Bloody Affair, is set to be released nationwide in theaters for the first time on Dec. 5, 2025, distributor Lionsgate announced.

The unified epic, which combines Kill Bill: Volume 1 and Volume 2 into one unrated film, will include a new, never-before-seen 7 1/2-minute animated sequence. This special presentation removes the cliffhanger ending from the first volume and the recap that opened the second.

Tarantino, who wrote and directed the film, emphasized the importance of seeing the combined work on the big screen.

“I wrote and directed it as one movie—and I’m so glad to give the fans the chance to see it as one movie,” Tarantino said. “The best way to see Kill Bill: The Whole Bloody Affair is at a movie theater in Glorious 70mm or 35mm. Blood and guts on a big screen in all its glory!”

Select presentations of the film are anticipated to screen in 70mm and 35mm in all major markets.

The film stars Uma Thurman as The Bride, who awakens from a coma four years after her former boss and lover, Bill, ambushes her wedding rehearsal, shoots her in the head, and steals her unborn child. The story follows her quest to hunt down Bill and the four remaining members of the Deadly Viper Assassination Squad.

Lionsgate, which manages library distribution rights for a large portfolio of Tarantino films, will handle the release. The studio’s Tarantino collection also includes Reservoir Dogs, Jackie Brown, Inglourious Basterds, Django Unchained, The Hateful Eight, and Death Proof.

Kill Bill: The Whole Bloody Affair also stars Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, Gordon Liu, Michael Parks, and David Carradine as Bill. The film is produced by Lawrence Bender.

Luxury automaker Aston Martin and famed French Champagne house Bollinger have forged a prestigious global partnership, the two brands announced. The upscale union brings together two icons of the luxury market known for their enduring heritage, impeccable craftsmanship, and pursuit of excellence–as well as joining James Bond’s preferred automobile and the superspy’s favorite Champagne under one experiential umbrella.

Champagne Bollinger was named the Official Champagne Partner of Aston Martin, which in turn becomes Bollinger’s Official Automotive Partner. “This partnership is a natural alignment of two iconic brands,” said Charles-Armand de Belenet, Managing Director of Champagne Bollinger. “We are proud to see Champagne Bollinger become part of Aston Martin’s most exceptional moments around the world.”

Founded in 1913, Aston Martin is a symbol of British performance and handcrafted excellence. The marque’s century-long history of creating celebrated sports cars, which combine cutting-edge engineering with timeless design, mirrors the values held by the 196-year-old Champagne house. Since its founding in 1829, family-owned Bollinger has maintained a distinctive balance between heritage and forward-thinking excellence, even holding a continuous Royal Warrant from the British Royal Household since 1884.

Stefano Saporetti, Director of Brand Diversification at Aston Martin, said the partnership exemplifies the automaker’s spirit of creating “unforgettable experiences that blend performance, craftsmanship, and artistry.”

As part of the agreement, Champagne Bollinger will be present at key Aston Martin VIP events and customer gatherings globally, from exclusive launches to intimate unveilings. The strategic partnership aims to reinforce both brand’s commitment to elevating lifestyle experiences for discerning global audiences. Stay tuned to see what the collaboration has in store for fans of both brands.

It’s right there in the lyrics of his inescapable hit single “A Bar Song (Tipsy),” after all: As Shaboozey sings, “they know me and Jack Daniel’s got a history.” The song has been positively everywhere since its release just last April, spending 19 non-consecutive weeks at the top of the Billboard Hot 100, and leading to four Grammy nominations, including Best New Artist, for the singer (real name: Collins Obinna Chibueze).

In fitting fashion, its success led Shaboozey to team up with the iconic Tennesse whiskey maker as part of the Jack Daniel’s “Highway No. 7” cross-country music series. Ahead of a show sponsored by Old No. 7 at New York City’s Terminal 5 earlier this month, Shaboozey was grateful to see his dreams and hard work taking shape and paying off, saying Jack Daniel’s is “like my number one fan.”

For the singer, it’s still all about being authentic as he kicks his “The Great American Roadshow” Tour into high gear. “I’m big on just putting parts of myself in the music,” he told Maxim as he prepared to head to New York City. “It’s just really cool that… with, the mention of Jack Daniel’s, so much support could come from it.”

The ultra-stylish 30-year-old singer added that working with Jack Daniel’s feels like family, and feels like a more-than-natural fit. “That’s something I’ve kind of done my whole career is… putting some of my favorite things in life into my music,” he added.

More than 1,000 guests got to see the singer-songwriter debut a new song, “Move On,” and the Grammy-nominated artist naturally brought plenty of Old No. 7 onstage. For a distillery with as much heritage (and modern innovation) as Jack Daniel’s, Shaboozey favors the classics when it comes to whiskey. “I like JD, you know what I mean? Some of my friends call me… the Jack Man,” he said with a laugh.

Of a hectic past year, Shaboozey described it as “rewarding” and “exhilarating,” and notes that he’s eager for more, describing his mindset as “go, go, go, go” as he works to build off the success of his breakout third album, Where I’ve Been, Isn’t Where I’m Going.

Musically, the singer lists everyone from Gillian Welch to Johnny Cash as inspirations, along with the gritty outlaw country of Townes Van Zandt, and naturally, the singer is a fan of any music with a focus on “great storytelling,” he says. Those inspirations should give the artist plenty to go off as he plots his next album, and Shaboozey noted his band will bring a mobile recording rig to try out new songs on tour for the first time.

His perspective goes well beyond whiskey and songwriting, though. The self-described “jeanhead” is also a big fan of Levi’s and even starred in a short film for the brand’s recent Global Icons campaign. “I wear a lot of jeans, a lot of Western shirts, and it’s always about style and how I can feel good up on stage,” he said.

Shaboozey’s rise in the music scene has taken him to the likes of legendary rock clubs like Washington, D.C.’s 9:30 Club, and helped him dial in his setlist and stage design (Jack Daniel’s whiskey bottles, like any good rock show, are certainly par for the course).

“The set is really awesome. We spent a lot of time dialing it in and trying to make it as great as possible,” Shaboozey added, noting that “it takes a village to get here.” As Shaboozey brings his global smash hit (and plenty more fun) out on the road, check out his setlist here and be sure to bring your dancin’ boots (and an appetite for Jack Daniel’s whiskey).

The Great American Roadshow Setlist

1. “Last Of My Kind”
2. “Anabelle”
3. “Blink Twice”
4. “Tall Boy”
5. “Drink Don’t Need No Mix”
6. “Vegas”
7. “Highway”
8. “Move On” (with Kevin Powers)
9. “Family Traditions” (Hank Williams Jr cover)
10. “Amen”
11. “Finally Over”
12. “Fire And Gasoline”
13. “East Of The Massanutten”
14. “Horses & Hellcats”
15. “Good News”
16. “Let It Burn”
17. “A Bar Song (Tipsy)”

“One of the things I love about motorcycles is the variety of people who are fanatics about them—you tend to have this idea of a motorcyclist as either a super trendy tatted café racing hipster, or a Sons of Anarchy denimed-up gangster.

But the truth of the matter is that people who love escaping into the hills on motorcycles are about as varied as they come,” reveals Maxim Deputy Editor Nicolas Stecher, who also happens to be co-author of Assouline’s new uber-luxe The Impossible Collection of Motorcycles coffee table book. “That means that the type of motorcycles that were built to appeal to these passionate riders over the past 150 years are about as varied as Ben & Jerry’s.”

For the second edition of The Impossible Collection of Motorcycles, Stecher and co-author Ian Barry added ten new 21st-century bikes to the hundred they collected for the first edition, which focused on the previous century.

Featuring only the rarest, coolest, and most pivotal motorcycles since 1900, this new edition adds to Assouline’s vaunted Impossible Collection series, which has previously shined a light on everything from wines to Patek Philippe timepieces to even Formula One cars—which also happens to be included in our Ferrari F1 feature in Maxim’s September/October issue.

And these aren’t just routine coffee table books, mind you. They’re massive in scale (16 x 19 inches), and boast beautiful time-consuming and rare printing techniques such as hand-tipped images and hand-binding; the 170 images come presented on thick, archival-quality cotton paper with a PVC clamshell case and metal plaque.

With Barry’s pedigree designing and building museum-level custom bikes under the Falcon Motorcycles marque, and our esteemed editor’s long history in automotive journalism, the hundred bikes assembled here are each a gem worthy of the book’s title. Consider Evel Knievel’s famed Harley-Davidson XR750 on which he leapt over the Caesars Palace fountains, breaking countless bones upon impact when his jump fell awry.

Or early unicorns of engineering, such as Glenn Curtiss’s iconic 1907 V8, for which the famed aviator impossibly bolted a massive 4.4-liter V8 engine onto essentially a glorified bicycle frame to create a true spectacle of mechanical force. Hitting 136 mph, the Curtiss V8 shattered the land speed record and held it for decades.

But which is our deputy editor’s favorite? “That’s a tough one,” Stecher struggles, seemingly running through the hundred motorcycles in his mind. “I’d say my two favorites are the BMW R7, which graces the cover—an unbelievable one-off specimen of German engineering and art-deco design that was thought lost for nearly 70 years until discovered in 2005 in a BMW warehouse. What a story, and what a bike. And maybe the Britten V1000—a superbike entirely designed and built by a New Zealand madman in his garage, which beat factory teams with infinitely deeper wallets. That’s another thing: I really dig the visionaries behind these bikes, all of them the best kind of rogues and renegades this planet needs.”

Of course, a tome of this rare scale and quality boasts a $1,400 price tag to match. Find The Impossible Collection of Motorcycles (2nd Edition) at Assouline.com.

This article originally appeared in Maxim’s September/October 2025 issue. Follow Deputy Editor Nicolas Stecher  on Instagram at @nickstecher and @boozeoftheday.

Godzilla just invaded your six-pack. To celebrate the King of Monsters’ 70th birthday, Pabst Blue Ribbon joined forces with Toho International to unleash a limited-edition run of more than 60 million Godzilla-branded cans and boxes this fall.

PBR has long used its art can program to push packaging into collectible territory, but this collab feels like a kaiju-sized flex. The brand tapped Attack Peter, a Cuban American artist revered in kaiju circles for his bold linoleum block prints, to create four original designs. Each one brings Godzilla’s destructive energy to life, joined by fellow legends Mothra, Mechagodzilla, and my personal favorite, King Ghidorah.

The standard 12 and 16-ounce cans feature Godzilla’s snarl in stark black and white. The 25-ounce tallboys go even bigger, rotating through the other three kaiju. A limited number of cans will even pack a party trick: a cold-activated “atomic breath” effect that glows blue when the beer hits frosty perfection.

“Bringing the legendary Godzilla character into PBR’s world is massive on its own, but teaming up with Attack Peter on the designs completely leveled this partnership up,” says Rachel Keeton, Senior Brand Director at PBR. “His style and process of hand-carving these illustrations continues to push the boundaries of what the PBR art series is all about.”

For Toho, owners of the beloved Godzilla license, the mashup ensures his cultural reign continues unabated—like a friendly stroll through downtown Tokyo. “Partnering with Pabst Blue Ribbon, a historic brand with a rich legacy and passionate following fit for the King of Monsters, allows us to engage fans in a fresh and dynamic way,” says Kristin Parcell, GM of Toho International.

The cans land in October, timed perfectly for Halloween parties, dive bar nights, and tailgates—possibly to pair with Pabst Light, which PBR just launched earlier this year. Beyond their utility, they double as instant collectibles, a marriage of cult beer and cult monster that actually makes sense. Seventy years after first leveling Japan, Godzilla still looms large. Now, thanks to PBR, you can crack him open cold and carry him into the night.

Follow Deputy Editor Nicolas Stecher on Instagram at @nickstecher and @boozeoftheday.

Grammy-winning pop superstar Doja Cat has announced a massive run of 2026 dates for her “Tour Ma Vie World Tour,” spanning Latin America, Europe, the U.K. and North America. The 2026 leg of the tour, promoted by Live Nation, follows previously announced 2025 stops across Australia, New Zealand and Asia later this fall and winter. The extensive world tour marks the artist’s largest-ever outing and her first time headlining in multiple international regions, including Latin America.

The 2026 tour is set to kick off in São Paulo, Brazil, at Suhai Music Hall, before heading to major cities including Buenos Aires, Mexico City, Dublin, London, Lisbon, Paris, Chicago, Denver, Vancouver, Los Angeles, Las Vegas, Miami and Toronto. The run will conclude with a headline performance at New York’s Madison Square Garden on Dec. 1, 2026.

The tour supports Doja Cat’s highly anticipated fifth studio album, Vie, which was released last week via Kemosabe Records/RCA Records. Alongside the album drop, the artist unveiled the music video for her new track, “Gorgeous.” Directed and shot by Bardia Zeinali in New York City, the video features appearances by high-profile models and creatives, including former Maxim cover star Irina Shayk, Yseult, Paloma Elsesser, Alex Consani, Amelia Gray, Ugbad, Ida Heiner, Mona Tougaard, Alek Wek and Karen Elson.

Doja Cat recently performed her single “Jealous Type” at the 2025 MTV Video Music Awards, featuring soft jazz saxophonist Kenny G. She first teased the song in her Summer ‘25 campaign with Marc Jacobs. Last year, she released her deluxe album Scarlet 2 CLAUDE, which included the chart-topping singles “Attention,” “Paint The Town Red” and “Agora Hills.” “Paint The Town Red” spent three weeks at No. 1 on the Billboard Hot 100 chart, becoming the first rap song to reach the top spot in 2023. “Agora Hills” peaked at No. 7 on the Hot 100 and reached No. 1 on Top 40 Radio in 2024.

Check out her American concert dates below.

DOJA CAT NORTH AMERICAN 2026 TOUR DATES

Thu Oct 01 — Detroit, MI — Little Caesars Arena

Sat Oct 03 — Chicago, IL — United Center

Sun Oct 04 — Minneapolis, MN — Target Center

Tue Oct 06 — Kansas City, MO — T-Mobile Center

Thu Oct 08 — Denver, CO — Ball Arena

Sat Oct 10 — Salt Lake City, UT — Maverik Center

Tue Oct 13 — Vancouver, BC — Rogers Arena

Thu Oct 15 — Seattle, WA — Climate Pledge Arena

Sat Oct 17 — Portland, OR — Moda Center

Mon Oct 19 — San Francisco, CA — Chase Center

Tue Oct 20 — Sacramento, CA — Golden 1 Center

Thu Oct 22 — Los Angeles, CA — Kia Forum

Tue Oct 27 — San Diego, CA — Viejas Arena

Thu Oct 29 — Phoenix, AZ — PHX Arena

Sat Oct 31 — Las Vegas, NV — T-Mobile Arena

Tue Nov 03 — Austin, TX — Moody Center

Wed Nov 04 — Dallas, TX — American Airlines Center

Fri Nov 06 — San Antonio, TX — Frost Bank Center

Sat Nov 07 — Houston, TX — Toyota Center

Wed Nov 11 — Miami, FL — Kaseya Center

Fri Nov 13 — Tampa, FL — Benchmark International Arena

Sat Nov 14 — Orlando, FL — Kia Center

Tue Nov 17 — Atlanta, GA — State Farm Arena

Wed Nov 18 — Charlotte, NC — Spectrum Center

Fri Nov 20 — Baltimore, MD — CFG Bank Arena

Sat Nov 21 — Washington, DC — Capital One Arena

Mon Nov 23 — Boston, MA — TD Garden

Wed Nov 25 — Toronto, ON — Scotiabank Arena

Fri Nov 27 — Montreal, QC — Bell Centre

Sun Nov 29 — Philadelphia, PA — Xfinity Mobile Arena

Tue Dec 01 — New York, NY — Madison Square Garden

Pop superstar Sabrina Carpenter is entering her full bombshell era, gracing the October cover of Vogue Italia with a stunning shoot that blends retro glamour with her signature playful edge. The cover, lensed by legendary fashion photographer Steven Meisel and styled by Karl Templer, shows the “Man’s Best Friend” singer in a sophisticated yet sultry light, featuring a flipped-out bob and dramatic makeup.

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A post shared by Sabrina Carpenter (@sabrinacarpenter)

Carpenter’s latest photo shoot captures the 26-year-old at a pivotal moment in her white-hot career, fresh off the chart-topping success of her new album and a recently announced headlining slot at Coachella. The striking black-and-white photos cast Carpenter in a mix of nostalgic looks, including pieces from Prada and Dolce & Gabbana, styled with an air of Brigitte Bardot-like sophistication.

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A post shared by Sabrina Carpenter (@sabrinacarpenter)

Celebrity commenters praising the shoot on Carpenter’s Instagram page included actress Maude Apatow (“Oh my god”), supermodel Winnie Harlow (“Stunner”) and former Boy Meets World actress and Maxim cover star Danielle Fishel (“Literally took my breath away!! You’re stunning in every way”).

In the shoot’s accompanying interview, Carpenter spoke candidly about her use of wit and irony as both a defense mechanism and a source of creative freedom. She noted that her femininity is not a mask but “an experiment, a shifting character I can write and rewrite every day.” She also reflected on the unique connection with her fanbase, stating, “The most important part of the last 10 years of my life have been the people that have got me to where I am. We really are growing up together.”

Check out highlights from Carpenter’s Vogue Italia shoot in the Instagrams above.

Apple TV+ has debuted the trailer for the new docuseries Knife Edge: Chasing Michelin Stars, executive produced by Gordon Ramsay and premiering on October 10. The eight-part series, hosted by Jesse Burgess, co-founder of the global food and travel platform TopJaw, takes viewers inside the high-stakes world of fine dining—capturing the pressure and ambition that define the road to Michelin recognition. Check out Apple’s official plot synopsis below:

Knife Edge: Chasing Michelin Stars travels to some of the most compelling culinary destinations on Earth. Across eight episodes, the series visits restaurants in New York (Coqodaq, The Musket Room, Nōksu), Chicago (Cariño, Esmé, Feld), the Nordics (Aure, Jordnær, Knystaforsen), the U.K. (Caractère, House, Wilsons), Mexico (Em, Máximo), Italy (Agriturismo Ferdy, Kresios) and California (The Harbor House, Pasjoli, Pasta|Bar). At each stop, chefs open their doors and their kitchens, as they chase their first, second, or even third Michelin star.

With unprecedented access to Michelin—including rare, on-the-record interviews with anonymous inspectors—the series serves up a chef’s-eye view of one of the culinary world’s most elusive honors. Watch the trailer here.

The world’s biggest auction houses host international art sales at their Hong Kong headquarters semiannually. As of this year, their springtime sales take place during Art Basel Hong Kong. This fall, for the first time, Christie’s, Sotheby’s, and Phillips—the big three houses—are also holding their autumn modern and contemporary auctions this weekend, in the wake of Typhoon Ragasa. Art by top dogs like Andy Warhol, KAWS, Takashi Murakami and more are set to hit the block.

In recent years, the Hong Kong fall auctions have offered temperature checks. Last year they were the first major art sales to happen after the American election. This year, they mark the art world’s first sales after a summer rife with gallery closures. Yes, last week’s Pauline Karpidas sale broke records, but that was a special, once-in-a-lifetime type of sale. Last fall’s Hong Kong results were lackluster, as were this spring’s. So, it will be interesting to see how this week goes.

Christie’s kicks the party off with a 20th/21st Century Evening Sale on Friday. Pablo Picasso’s “Bust de femme” (1944), immortalizing his muse Dora Maar, leads the rockstar lineup with an estimate of $11,060,488 to $13,632,695. The auction debut of Chinese-French abstractionist Zao Wou-Ki’s 1963 painting “17.3.63” follows, with an estimate of $9,002,723 to $11,574,930. David Hockney, Claude Monet, and Louis Vuitton collaborator Yayoi Kusama will also appear.

On Saturday, Christie’s will host a 20th Century auction led by Hockney’s “The Twelfth V.N. Painting “ (1992) (est. $1,929,155 – $2,572,206), which has never hit the block—then a 21st Century auction, headlined by Kusama’s acrylic painting “Pumpkin (C)” (1991) (est. $1,774,822 – $2,417,874). While the 20th Century auction has historic names like the Old Master J.M.W. Turner and self-taught Filipino-American Pacita Abad, almost all of its 79 lots are by dead artists.

By comparison, all but one of the 65 lots in their 21st Century sale were made by artists who are still evolving. That includes established legends like Alex Katz and George Condo (of Kanye West album cover fame) and ascendant hotshots like landscape painter Shara Hughes (who sold out her New York solo show this month) and sensual Danish painter Eva Helene Pade, the top outperformer from Sotheby’s Modern & Contemporary Day Auction in Hong Kong last fall.

Sotheby’s, meanwhile, is already getting warm by hosting a brooding, sex-positive group show titled “EROS/THANATANOS.” Guests must be 18 and older to see the spectacle, which they’re calling a gesamkunstwerk—or total artwork. The show pairs a custom playlist with haunting paintings like Jean-Michel Basquiat’s “Thin in the old” (1986) and evocative sculptures like a warped figure by Zeng Fanzhi, dubbed “one of China’s most acclaimed—and expensive—living artists.” All of the art is on sale, which means you could nab Jeff Koons’s “Dirty – Jeff on Top” (1991)—a life-sized sculpture of the artist having sex with his first wife—to spice up your living room.

On Sunday, Sotheby’s will host a Modern & Contemporary Evening Auction, led by iconic Japanese artist Yoshitomo Nara’s “Can’t Wait ‘til the Night Comes” (2012) (est. $8,359,671 to $10,931,878.) Fun fact, there’s an entirely different painting under this work, proof that artists change their mind. And, worth noting, this piece sold for more than its current high estimate with Christie’s in 2019—the same year that Christie’s initiated their habitual fall Hong Kong auctions. 

On Monday, Zao Wou-Ki’s “Paysage vert” (1950) could reign supreme in Sotheby’s Modern & Contemporary Day Auction, with an estimate of $643,051 to $1,028,882. Down the ballot, rising names to look out for at this sale include dreamy Chinese “half-stractionist” Li Hei Dei (who set her auction record of $179,506 with Sotheby’s in Hong Kong this March) and American artist Jonathan Lyndon Chase (who had a lovely pop-up show at Acne Studios in New York this May.)

Phillips is celebrating their 10-year anniversary in Asia. To celebrate, they’re hosting a stocked evening event on Saturday and a larger daytime one on Sunday. Nara headlines the former, where “Pinky” (2000) is expected to fetch $7,690,000 to $10,260,000 in its auction debut. Two impressive single-owner collections will also appear—a cache of works by Vietnamese painter Mai Trung Thu, and another collection of Zao Wou-Ki paintings, hidden from public view for 75 years. American-Japanese sculptor Ruth Asawa, who has a retrospective opening at New York’s MoMA next month, will make her first Hong Kong auction appearance—alongside rising talents like Chinese abstractionist Yuan Fang and American transcendentalist Loie Hollowell. The houses did their part sourcing hot artworks to sell. Now, let’s see if the bidders will do theirs.