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Posts Tagged ‘calligraphy’

Punio, Punire

November 6, 2013 | by

puniopunire600

The New York City Marathon has come again, awing, baffling, and intimidating the more sedentary among us with its pursuit of voluntary physical punishment. In a downtown studio a few months ago, another marathon of sorts took place. Ruth Irving was filmed for three hours by the artist Jan Baracz writing the passive present conjugation of the Latin verb “to punish” (punio, punire). I am punished, you are punished … The camera was positioned over Irving’s shoulder as she dipped her calligraphy pen in the inkwell, tracing the words over and over until the page was covered. They had agreed she would just keep writing, creating layers of script on script. Jan looked nervously on, asking her occasionally in his absurdly thick Polish accent if she was okay, which she found irritating after awhile. Her own forced awareness—she couldn’t look away or she would lose her place on the page—was exhausting enough. She had imagined that the difficulty would be at least partly physical—hand cramps or parched throat. But the worst part of it was that she couldn’t stop, sit back and look. As an illustrator, calligrapher, and former architecture student, that’s what she did instinctively, or compulsively. The surveying pause of the artist before the brush lands on the paper. But she was working blind. That was true punishment.

Last fall, Ruth met Jan at a potluck thanksgiving in Brooklyn. They had an immediate, inexplicable rapport in the way only true odd couples can. Five foot ten, pale with raven-black hair, Ruth is from Melbourne, Florida, the daughter of conservative Christians. One of five children, she was homeschooled, wore long skirts, and was not allowed to listen to “music with rhythms.” She describes the environment as “a radical, defy-the-man mixture of religion and hippy anarchism.” She was pulled out of first grade just as she was just learning cursive. “I only knew half the cursive alphabet. It was something I was kind of embarrassed about.” As a result, two years ago, at age twenty-nine, she decided to teach herself to script. “Being homeschooled and being separated, it’s easy to cherish and hold on to, but at the same time it’s really painful,” she says. “Reality is so different from that precious bubble. I wanted to work on communicating with people. Now I’m scripting like everyone who went to school.” She became so adept at it that she was able to find work writing invitations and addressing formal envelopes. Read More »

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Hemingway Hotels, Customized Austen, Literary Shame

April 20, 2012 | by

  • Listen to Allen Ginsberg reading “What Would You Do If You Lost It?” at the 92nd Street Y in 1973.
  • One can now purchase a customized classic—think Pride and Prejudice—featuring you as a character.
  • Incredibly lovely calligraphy, in action.
  • Ted Hughes’s ninety-two-year-old brother, Gerald, is writing a memoir about the boys’ Yorkshire childhood.
  • Shameful reading confessions.
  • The life of the pencil elitist.
  • The Roots, Chris Martin, Regina Spektor, and … Captain Ahab. People of the Book unite! (Adorably.)
  • Hemingway’s estate is starting a hotel chain. Hemingway Hotels and Resorts will be Papa-themed. Says the Web site, “An artist needs inspiration to flourish, and so Hemingway was drawn to the world’s most beautiful locales: Paris, Spain, Venice, Key West, Havana, Idaho. Hemingway Hotels will also be found there, and in other beautiful places around the world, in cities and in nature, on beaches and in mountains. Only select hotels will be approved for this iconic brand. For each Hemingway Hotel must be true to its environment, unique architecturally, and committed to providing guests with active, passionate one-of-a-kind experiences that deeply enrich their lives.”
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    Islamic Art at the Met

    November 7, 2011 | by

    Dagger with Zoomorphic Hilt, second half sixteenth century. India, Deccan, Bijapur, or Golconda. The Metropolitan Museum of Art, Purchase, Lila Acheson Wallace Gift, 2011 (2011.236). Image: © The Metropolitan Museum of Art, New York.

    Last week, the Metropolitan Museum of Art opened its renovated and newly enlarged wing of Islamic art, now called Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. The new space, which is gorgeous, is entirely redesigned. The galleries are now organized by theme and material as well as period. There is more figurative art—paintings, illuminated manuscripts, glazed pottery—and greater geographical breadth. Many of the pieces displayed in the old galleries are also here, newly contextualized. Others, never displayed, have been taken out of the museum’s twelve-thousand-object collection. And some pieces were acquired over the past eight years, while the wing was closed to the public. Among the most seductive of these new objects is a zoomorphic dagger (pictured above) from sixteenth-century Deccan India. I recently took a tour of the galleries with curator Navina Haidar, who talked to me about some of its treasures, new and old. Read More »

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