Posts Tagged ‘glass’
January 20, 2016 | by Dan Piepenbring
Janet Fish’s “Glass & Plastic: The Early Years, 1968–78” is at DC Moore Gallery through February 13, featuring an impressive array of her trademark still lifes and her work with light. “The reason for painting glass was to totally focus on light, and the glass held the light,” Fish said in 1968. She said of her approach to still life, “It’s really as much painting life as anything else … because it’s not dead. Things aren’t dead. The light is through everything and energy through everything.”
In 1964, The Paris Review launched a series of prints by major contemporary artists. Underwritten by Drue Heinz, the series was designed to encourage works in the print medium and to publicize the magazine. Largely through the efforts of Jane Wilson, who was chosen by George Plimpton to direct the program, dozens of artists donated signed and limited editions of original work. The print above, by Janet Fish, was completed in 1984; it’s still available from our online store.
Below, four works from the DC Moore exhibition.
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September 14, 2015 | by Dan Piepenbring
- In which Justin Taylor dissects a paragraph of Sam Lipsyte’s story “This Appointment Occurs in the Past,” in the name of pedagogy: “The only higher-order claims I wish to make today are, attention to language at the molecular level is valuable in itself; second, that anyone can learn it, in or out of the classroom; and third, that once it becomes assimilated as instinct it will enhance your writing as much as your reading, irrespective of whether you ever choose to write or read this way again.”
- Witness the rise of the smarmonym, a living reflection of our passive-aggressive use of language. What is it? Any word that we’ve “ironized and de-meaninged and re-meaninged”: “Pal, which often connotes enemy … And tolerance—which, when selected as a noun, often suggests its own absence. And classy. And sincerely, whose presence in a sentence is often evidence of, you know, total insincerity. Honestly, for the same reason. Respectfully, too. And, of course, literally …
- Today in interdisciplinary skirmishes: Simon Critchley remembers his teacher Frank Cioffi, whose philosophy had scientism in its crosshairs. “His concern was with the relation between the causal explanations offered by science and the kinds of humanistic description we find, say, in the novels of Dickens or Dostoevsky, or in the sociological writings of Erving Goffman and David Riesman. His quest was to try and clarify the occasions when a scientific explanation was appropriate and when it was not, and we need instead a humanistic remark. His conviction was that our confusions about science and the humanities had wide-ranging and malign societal consequences.”
- Paper is obsolete. Paper is wasteful and silly. And pages! Pages are ridiculous. The future of books is glass. Say it with me: the future belongs to glass.
- Garth Greenwell read Michael Nava’s The Little Death, a mystery novel with a gay Latino hero from an immigrant family in California’s Central Valley: “Henry Rios is a defense attorney whose hardboiled bona fides—world-weariness, wit, a penchant for erotic entanglement—are accompanied by a hyper-attentiveness to class and a commitment to the poor. In a genre that had used queer people primarily as figures of ridicule and contempt, the Rios books offer a vista on gay lives extending from the closet-lined corridors of power to cruising parks and leather bars.”
- The Paris Review Parisians didn’t fare too well this summer in New York Media Softball League. But you know who did? The High Times. They beat us. They beat pretty much everyone. “The Bonghitters remain an industry powerhouse. They’re the defending league champions … and they’ve been blazing through opponents since forming in 1991 … For the Bonghitters, the first key to winning is showing up.” The second key is getting stoned.
February 19, 2015 | by Daniel Torday
On writers, glass, Pliny the Elder, and the way families pass on their stories.
Since I started writing, I have sought forebears who might have had literary aspirations. Were there writers in the family? My great-uncle György, who was exiled to the Ukraine during World War II and afterward became a functionary in Hungary’s Communist government, was a novelist, but my father has always been dismissive of his work. He says György wrote a variety of socialist-realist novel that’s hard to take seriously, hard not to see as propaganda. His books have never been translated into English, and my Hungarian isn’t nearly good enough to understand what’s in them. The only existing copies I know of sit on a shelf in my Cousin Hajnal’s house in the Buda Hills. I don’t have the heart to ask to take them and have them translated. When I’ve asked her about them in the past, she’s simply said that they are books, yes, and that her father wrote them.
In their stead I have purchased rare used copies of two books written by Frederic Neuburg, author of a large trove of letters to my father’s Aunt Traute that he keeps in an old teak box in his house in Los Angeles. My father is not Bellow or Updike, and I am not the son of Bellow or Updike, but it is the book I have, in two editions, an art book containing photographs of Neuberg’s glass collection and extensive commentary on the pieces. Read More »
February 9, 2015 | by Erik Morse
Paul Scheerbart doesn’t figure very prominently in modern German belles lettres—nor, more regrettably, on the drafting tables of venerated Berliner architects and urban planners. Scheerbart, an eccentric, Danzig-born poet and architectural theorist, is best remembered through obscure citations from Walter Benjamin, Walter Gropius, and Bruno Taut. But in the spirited era of Berlin’s café culture, he was a popular serialist, publisher, and proto-surrealist. From the late 1880s to his premature death in 1915, he wrote prolifically on science, urban planning and design, space travel, and gender politics, often in the course of a single text. His most celebrated treatise, Glass Architecture (Glasarchitektur, 1914) foretold of a sublime, technocratic civilization whose peaceful world-order was borne from the proliferation of crystal cities and floating continents of chromatic glass, a vision summed up in his aphorism: “Colored glass destroys all hatred at last.”
Taut, an architect and devoted disciple, dedicated his 1914 Werkbund Exhibition building, the Glass House, to Scheerbart—his so-called “Glass Papa.” Like his French contemporaries Camille Flammarion, Villiers de L’Isle-Adam, Raymond Roussel, and Alfred Jarry, Scheerbart’s prophetic oeuvre oscillated between themes of technology and aesthetics in a genre known in the Francophone world as fantastique.
Translations of Scheerbart texts have trickled into the English-speaking realm; Glass! Love!! Perpetual Motion!!!: A Paul Scheerbart Reader, edited by Josiah McElheny and Christine Burgin, is the first attempt at an English-language collection. Assembled from his fiction and critical works, drawings and photographs, and secondary texts from friends and acolytes, the book’s publication hopes to inspire what McElheny calls a new generation of “Scheerbartians.”
I recently spoke to McElheny by phone from his studio in Brooklyn, where we discussed Scheerbart’s belated American reception, the cultural amnesia of World War I, and our mutual fascination with Utopian literature.
How did you first come across Scheerbart’s writing?
The first major publication of his work in translation was Glass Architecture in 1972. I read that sometime around 1988, and I didn’t really know what to make of it. I came to it as though it were an architecture book, but it read to me like a piece of literature. I found it to be captivating and somewhat Borges-like—not in structure but in its spirit. Then around 2001, there was the publication of The Gray Cloth with Ten Percent White: A Ladies’ Novel. I was struck by its very unusual literary style—very sparse, thematic, and highly evocative—and fascinated by the entire novel, which is about people struggling over the political and spiritual meaning of aesthetics. I had never encountered anything like it in historical literature—the way it speaks in a proto-feminist voice but also with the deep undertone of misogyny that one associates with that era. It was a very disturbing book and it really bothered me—the way in which he demonstrates how aesthetics can have this implication about sexuality. I had so many questions about the translation itself. Later I learned that much of the strangeness of the language lay in the original German. Read More »
February 18, 2014 | by Dan Piepenbring
The poet A. R. Ammons was born on this day in 1926.
I know that you worked in your father-in-law’s biological glass factory as a vice president in charge of sales. Were you interested in the work or was it dull?
It wasn’t dull. I have a poem somewhere explaining how running a business is like writing a poem. In business, for example, you bring in the raw materials and then subject them to a certain kind of human change. You introduce the raw materials into a system of order, like the making of a poem, and once the matter is shaped it’s ready to be shipped. I mean, the incoming and outgoing energies have achieved a kind of balance. Believe it or not, I felt completely confident in the work I was doing. And did it, I think, well.
—A. R. Ammons, the Art of Poetry No. 73