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Posts Tagged ‘collectors’

Pynchon Defends Homer, and Other News

September 4, 2014 | by

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The Simpsons’s executive producer Matt Selman tweeted this script with Pynchon’s remarks.

  • Before he made his second “appearance” on The Simpsons in 2004, Thomas Pynchon made a few edits to the teleplay—he crossed out a pejorative line of dialogue about Homer’s ample posterior. “Homer is my role model,” he wrote in the margins, “and I can’t speak ill of him.”
  • Walter Benjamin’s “vexed relationship with academia”: “Benjamin could do first-paragraph seduction with a vengeance; yet on the several occasions when certain essays were the key to a prestigious university post—when those powers of seduction would really have worked in his favor—what does he do? He goes in the opposite direction, producing dense thickets of prickly, forbidding verbiage. Today, there isn’t a university press anywhere in the world that wouldn’t kill to get the rights to publish those same contentious, rejected essays.”
  • Now that so much of our media is stored in the Cloud, “the tide has turned against the collector of recordings, not to mention the collector of books: what was once known as building a library is now considered hoarding. One is expected to banish all clutter and consume culture in a gleaming, empty room.”
  • From If Only He Knew: A Valuable Guide to Knowing, Understanding, and Loving Your Wife, a 1988 Christian relationship guide that seems to presume marriage is a total bummer: “While a man needs little or no preparation for sex, a woman often needs hours of emotional and mental preparation … Comfort her when she is down emotionally. For instance, put your arms around her and silently hold her for a few seconds without lectures or putdowns.”
  • In which a Roald Dahl story moves a man to pursue beekeeping, a hobby that teaches us much about the nature of loyalty (and the loyalty of nature).

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“Aestheticized Loot,” and Other News

June 20, 2014 | by

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“Six different artists made these paintings.” Photo via Vulture

  • An excerpt from Marilynne Robinson’s next novel, Lila.
  • Discovered: twenty unpublished poems by Neruda.
  • As video games move from amusements to art, game designers should be increasingly concerned with presenting moral dilemmas in their games … Rather than having choices presented ‘as either/or, good/bad binaries with relatively predictable outcomes,’ games should strive to present ‘no clear narrative-or-system-driven indication as to what choice to make.’”
  • The photographer Eilon Paz has released Dust & Grooves: Adventures in Record Collecting, featuring pictures of, yes, record collectors and their daunting collections. Among the specialists: a guy who only collects The White Album; a guy who only collects Sesame Street records; the Guinness World Record holder (no pun intended) for largest collection of colored vinyl.
  • “A large swath of the art being made today is being driven by the market, and specifically by not very sophisticated speculator-collectors who prey on their wealthy friends and their friends’ wealthy friends, getting them to buy the same look-­alike art … It’s colloquially been called Modest Abstraction, Neo-Modernism, M.F.A. Abstraction, and Crapstraction. (The gendered variants are Chickstraction and Dickstraction.) Rhonda Lieberman gets to the point with ‘Art of the One Percent’ and ‘aestheticized loot.’ I like Dropcloth Abstraction, and especially the term coined by the artist-critic Walter Robinson: Zombie Formalism.”
  • Among the World Cup’s rules and regs: sex laws. Some teams are banned from pregame intercourse; others are only barred from certain forms of it. E.g.: “France (you can have sex but not all night), Brazil (you can have sex, but not ‘acrobatic’ sex), Costa Rica (can’t have sex until the second round) and Nigeria (can sleep with wives but not girlfriends).”

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The Inquisitive Fallacy

May 23, 2014 | by

A professor’s unlikely quest for busts of Alexander Pope.

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Unknown photographer, William Kurtz Wimsatt, circa 1961, © National Portrait Gallery, London

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Louis François Roubiliac, Alexander Pope, c. 1760, marble, Rothschild Foundation

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Louis François Roubiliac, Alexander Pope, 1741, marble, Yale Center for British Art, Gift of Paul Mellon in memory of the British art historian Basil Taylor (1922-1975)

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Louis François Roubiliac, Alexander Pope, c. 1738, terracotta, Barber Institute of Fine Arts, Birmingham

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Louis François Roubiliac, Alexander Pope, c. 1760, plaster, The Trustees of the British Museum

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Louis François Roubiliac, Alexander Pope, 1738, marble, Temple Newsam House, Leeds

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Joseph Nickolls, Pope’s Villa, Twickenham, c. 1755, oil on canvas, Yale Center for British Art, Paul Mellon Collection

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Adrien Carpentiers, Louis François Roubiliac Modelling His Monument to Shakespeare, between 1760 and 1761, oil on canvas, Yale Center for British Art, Paul Mellon Collection

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Studio of Sir Godfrey Kneller, Alexander Pope Profile, Crowned with Ivy, c. 1721, oil on canvas, Yale Center for British Art, Gift of Margaret Wimsatt in memory of William Kurtz Wimsatt Jr.

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Alexander Pope, The works of Mr. Alexander Pope, Vol I (London: Printed by W. Bowyer, for Bernard Lintot between the Temple-Gates, 1717), title page, frontispiece of Pope by Vertue after Jervas, inside front cover, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library

Fame and Friendship: Pope, Roubiliac, and the Portrait Bust in Eighteen-Century Britain,” recently on view at the Yale Center for British Art, tells a curious tale of Alexander Pope’s legacy, focusing on the strange fervor that continues to surround busts and portraits of him. Pope, whose birthday was earlier this week, was a household name, at least in one sector of British society. He was the first English poet to publish two volumes of his own collected works while living—and with the publication of the first volume, he also became the first English author to sustain himself entirely on the proceeds of his work. And he didn’t lead a meager existence. Pope was able to lease a sizable villa near Richmond, a painting of which was on view in Yale’s exhibition.

For any writer, these achievements would’ve been no small feat, but they’re especially impressive in light of Pope’s many obstacles. He was a Catholic at a time when Catholics weren’t allowed to live within ten miles of London or Westminster or to attend university; and he was beset with health problems that led to a visible hunchback and permanently stunted his height. Even so, Pope became a celebrated member of the British literary canon—someone whose very image evoked intellectual achievement.

Paintings and busts of Pope were commissioned for wealthy families and artistic friends—they conferred status among men of letters. According to Joseph Roach, Sterling Professor of Theater and English at Yale, when Voltaire visited England in 1727, he marveled that he saw Pope’s portrait in “twenty noblemen’s houses.” The placement of these busts was telling of the poet’s reputation; he was displayed with such notable British intellectuals as Laurence Sterne and Isaac Newton.

“Fame and Friendship” assembled an intriguing array of these busts, made of stately marble or—in the case of a petite, mass-produced work—porcelain. At the center of the collection are eight busts of Pope by French émigré sculptor Louis François Roubiliac, created between 1738 and 1760. Though they were made over the course of twenty-two years, they carry certain hallmarks: a telltale droop beneath Pope’s eyes, a marked thinness in his cheeks, an inquisitive gaze, and a slender nose. In Roubiliac’s skillful hands, the signs of Pope’s infirmity are presented instead as characteristics befitting a poetic countenance, with all the sensitivity that poetry implies. Read More »

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