Posts Tagged ‘books’
June 15, 2015 | by Dan Piepenbring
We’re delighted to announce that Thomas David will be our third Writer-in-Residence—and our first biographer—at the Standard, East Village, in downtown Manhattan. He will be in residence for three weeks this July. We wish him a happy and productive stay. Read More »
June 8, 2015 | by Dan Piepenbring
The French Canadian artist Guy Laramée, whom we’ve featured before on the Daily, has a new series of book sculptures, “Onde Elles Moran”—“Where They Live.” Laramée spent nine months on the series, which features Brazilian birds painted on secondhand, linen-bound Clássicos Jackson—something akin to our Great Books of the Western World, those generically handsome tomes seemingly designed to collect dust on attractive shelves—with the birds’ native habitats carved into the pages.
Laramée has become known for his book sculptures, which he began about five years ago; he regards books as raw material in need of processing, and he’s proven unafraid to go at them with a chain saw. But he can also approach the medium with a miniaturist’s attention to detail, as demonstrated in the topography of the landscapes here; he uses . “It all started in a sand blaster cabinet,” he said in an interview with ANOBIUM about the sculptures’ genesis:
I put a book in there—stupid idea—and there it was. Within seconds I saw the landscape, the drama, Borges, the little people who lived in books, everything … I never really totally forget that these are books, that my raw material is not wood, not even paper, but a book. At times I’m lost in the project, in the landscape. But a book is a book, structurally. The pages are not glued, so you have to respect the structure, from the binding of each pages to the cover, otherwise pages will fly away when you release the clamps.
May 21, 2015 | by Lee Bob Black
In cities, trends come, go, and come again; causes rise to prominence, fall by the wayside, and emerge repackaged; neighborhoods flourish or fall out of favor. Condos, cupcake shops, and bike lanes become signifiers; shady buyouts and racist landlords fuel arguments about whether communities are being renewed or decimated.
The word gentrification is in the subtitle of DW Gibson’s most recent oral history, but the author has trouble with it: it’s too broad, he writes, to adequately capture a wide variety of experiences, contexts, and meanings. Several interviewees in his book also seem at odds with the word. One says gentrification doesn’t describe anything in the real world. Another says he doesn’t need to be able to describe it because he knows what it feels like.
To mark the release of The Edge Becomes the Center: An Oral History of Gentrification in the 21st Century, I spoke with Gibson, a journalist and documentary filmmaker, about bringing the human touch to the page, viewing a book as one long panning shot in a film, and the importance of using all the tools at one’s disposal, including cute daughters.
How do you make gentrification something people want to read about?
Most of the books out there are academic or have an academic feel to them. I think the way you get people to care about gentrification is to write about human beings. My goal was to show the human fabric of gentrification. People relate to people, to stories. Read More »
May 6, 2015 | by Dan Piepenbring
It would be an understatement to say that Airan Kang is fixated on the book as a form—the South Korean artist’s exhibitions have bibliophilic titles, almost to a one: there’s “The Only Book,” for instance, plus “Hello Gutenberg,” “Light Reading,” “The Bookshelf Enlightened,” and “Luminous Words.” Her latest, “The Luminous Poem,” which opens tomorrow at Bryce Wolkowitz Gallery, continues a career-long project that “opens up the idea of the book from a concrete, self-contained object into a virtual space for the imagination,” as the gallery puts it. You’d be forgiven for finding that high-flown—but even if Kang’s installments don’t explode your whole approach to the written word, you can still count on them to rewire some synapses. The enigmatic title piece projects Romantic poems across an enormous mirrored book that the viewer can walk through; the effect is like a planetarium for words, with serifed stars. Her shelves of books, meanwhile, their spines and covers etched in retina-scarring neon, conjure both your neighborhood bookshop and a Jetsons-era take on space-age amenities. It’s as if some time-traveler whispered the words electronic book into the ear of Hanna-Barbera cartoonist circa 1963—Kang’s works are proof of concept.
“The Luminous Poem” is up through June 13. Read More »
April 21, 2015 | by Dan Piepenbring
Give him your dog-eared, your tattered, your musty tomes yearning to breathe free, the shelf-worn refugees of your teeming library. He will smooth their pages and mend their binding. For he is Nobuo Okano, book repairman.
An episode of the Japanese series Shuri, Misemasu (or The Fascinating Repairmen—would that such programming arrived on these shores) documents his careful conversion of a battered, bruised English–Japanese dictionary to a state of just-published purity. (JAPANESE CRAFTSMEN STRIKE AGAIN, says one headline about his work, as if such people are invading our homes at night with bevel squares and handsaws.) Read More »
April 17, 2015 | by Sadie Stein
Early in Iris Murdoch’s The Sea, the Sea, the narrator, Charles Arrowby, explains why he never learned to drive and prefers to be a passenger. “Why keep bitches and bark yourself?” he asks, with impeachable logic.
In the course of the novel, his veneer of self-assurance crumbles. Arrowby discovers the limits of control, even in isolation. But he also begins to see the lengths we go to in seeking that most elusive pleasure: an escape from ourselves.
For the overthinkers of the world, there’s maybe no greater luxury than shutting off your mind. It happens so rarely that you tend to notice it, if you notice it at all, more as a state of absence than anything else. It can happen during a movie, or listening to music, or, perhaps, in the presence of a great cook. And most especially when reading. Read More »