Posts Tagged ‘art’
November 24, 2015 | by Steve Gianakos
“Chubby Boys and Chubby Girls,” a portfolio by Steve Gianakos, appeared in our Summer 1983 issue. Gianakos, who was born in 1938, had his most recent show earlier this year at Fredericks & Freiser; it was called “Accessories and Other Girlie Desires.” “With formal perfect pitch, comedic élan and fearless indiscretion,” the New York Times wrote of him in 2012, “he creates disjunctive cartoon allegories of surrealistic perversity.” —D. P.
November 23, 2015 | by Lilly Lampe
An artist’s quixotic attempt to convince The New Yorker to embrace photography.
Nina Howell Starr’s “The New Yorker Project,” currently on view at Institute 193 in Lexington, Kentucky, is a collection of photos and archival material never intended for publication—it began as a sort of letter to the editor, intended to convince her favorite magazine of the power of photography.
Starr, born in 1903, was a fan of The New Yorker from the beginning: she subscribed from the magazine’s inception in 1925 until her death in 2000. She came to photography much later, earning her M.F.A. from University of Florida in Gainesville, in 1963, at the age of sixty. Her husband was an English professor, which meant that the couple lived an itinerant academic life; when he retired, they relocated to New York City, where Nina’s career began in earnest. Read More »
November 23, 2015 | by Dan Piepenbring
- Today in audiobooks: recordings of erotic novels are selling like love muffins. And why not? What better way to spice up a long drive or a boring Saturday night than with a good story and some professionally stylized heavy breathing? But according to two popular vocal talents, Jennifer Mack and Soozi Cheyenne, the work can be taxing: “The explosion of sex-infused books (much of it self-published) and the popularity of MP3 downloads have combined to produce a vast universe of fictional aural sex. The books range from fantasy romance with rose petals on the bed to raunchier fare with lots of rough sex … Reading the raunchy stuff requires stamina. ‘After your fifteenth sex scene, it becomes exhausting,’ Mack said. ‘You can only do so many.’ ‘Sometimes I go, This is too early in the day for this,’ Cheyenne chimed in. ‘Sometimes the descriptions of the genitalia, like love muffin and throbbing manhood, send me into fits of giggles. So you take a break. You have a cigarette. You buy a salad.’ ”
- In the fifties, a cultural anthropologist named Bert Kaplan undertook a massive effort to capture and store people’s dreams on Microcards: “This vast catalogue of intimate details was assembled in the service and spirit of early twentieth-century social science, with its aspirations to produce a comprehensive account of the human mind, both within and across cultures … With the aid of the most advanced technologies for extraction and storage, they aimed to gather together testimonies of subjectivity from as many parts of the world as they could and largely leave to others the work of drawing conclusions about the whole. This was not a digest of confessional poetry or a narrow selection of case studies or personal histories.”
- The artist Aurel Schmidt’s new show, “The Blast Furnace of Civilization,” features ceramic geese with candles shoved down their throats (Foie Gras Candelabra), a pair of Converse sneakers outfitted with the Campbell’s Soup logo, and a Santa with the body of a yoga-toned young woman. “I am interested in the strange, mutant, man-made objects we buy, we touch, we orbit our identities around,” Schmidt says. “How they are presented to us, the way they are sold, the images of the objects online—flat and bright—or in stores, pretending to be things they are not … I am just fascinated by the process, it’s very dark but very interesting and it touches us every day—we interact with it every minute.”
- Being a crate-digging, record-collecting jazz aficionado is all well and good if you’re a guy. But if you’re not … “Record collecting, as the foremost practice through which relics of jazz history circulate and accrue value, reinforces in material culture the gender-based misrepresentations of the culture at large … Only by confining his collection within limits can the collector achieve the mastery he seeks. Logistical constraints, necessarily producing exclusions, make the collector’s mission possible … Women are pressured to inhabit male practices of appreciation, only to regularly be doubted and shamed for trying to impress men.”
- Today in trolls: hats off to jeremy1122, a Redditor who spent the better part of a year perfecting the style of a prolix, snobby David Foster Wallace fan, leaving a spoor of pretension and lit-bro entitlement wherever he went. “David Foster Wallace, I think, wrote sex scenes better than any other author,” jeremy1122 wrote once. “Everything in Infinite Jest tends toward infinity, like a great cosmic orgasm, and in the end, reading the text itself is the real sex. A coital bond between Wallace’s mind and ours.”
November 19, 2015 | by David Benjamin Sherry
David Benjamin Sherry’s exhibition “Paradise Fire” is at Moran Bondaroff Gallery, in Los Angeles, through December 12. Sherry photographs the American West using an unwieldy 8x10 field camera. “My interest lays in the changing American landscape, and this new series of pictures reflects my unease,” he wrote in a statement for the exhibition. He told Opening Ceremony, “I was drawn into the desert for its sheer brilliance of fossilized time, the blinding luminosity of its stones and rocks, the infinite desolate space, the wildly varied and brightly colored sun-bleached palettes, the supernatural light, the invisibility of space and surroundings, the supreme silence like no other natural landscape, and the infinite horizon and endless repetition in minimal form.” —D. P. Read More »
November 13, 2015 | by Emmie Francis
Brice Marden’s notebooks.
On a page of his 1964–67 journal, underneath a small cutout of Manet’s 1862 painting of Victorine Meurent, Brice Marden wrote, “Cézanne tried to kill painting by denying forms for the sake of painting. He seems to have come closest to painting painting out … I think a painter should paint to end painting for himself and some others. With this in mind and man in mind it seems inevitable that painting will go on.”
Now two of Marden’s journals have been exquisitely printed by the New York–based publishing imprint Karma, in whose gallery space the drawings, the journals, and a monochrome painting—Portrait (1964–65)—are on display. With their daily ephemera and cogitations, the notebooks provide an instructive and often amusing counterpart to Marden’s most recent body of work, which opened at Matthew Marks Gallery last week. There is an inevitable link between Marden’s early work and now. Read More »
November 9, 2015 | by Dan Piepenbring
Our Spring issue featured “Sample Trees,” a portfolio by Thomas Demand and Ben Lerner. Demand constructed and photographed paper flowers based on a detail from a news photo of Katherine Russell, the widow of the Boston Marathon bomber Tamerlan Tsarnaev; Lerner wrote a series of poems to accompany the photos.
“Sample Trees” is part of a larger cycle, Blossom, available now from Mack Books in a lavish Japanese-bound hardcover. Tomorrow, November 10, the pair will be at the MoMA Design and Book Store (11 West Fifty-third Street) to celebrate and sign copies of the book. The signing begins at seven P.M. We hope to see you there.