Posts Tagged ‘Glenn Gould’
April 25, 2014 | by The Paris Review
Sadie Stein already recommended Arlette Farge’s little book-length essay The Allure of the Archives. A year later, I have to second the recommendation. On the surface, this is a personal memoir by a feminist historian whose research—into eighteenth-century police files—fundamentally changed our picture of pre-revolutionary Paris. But really this is a handbook about how to write, how to think about, history. Gripping, graceful, and beautifully translated by Thomas Scott-Railton, it captures the fun and the dangers of library work like nothing I’ve ever read. —Lorin Stein
A new anthology from Brick introduced me to Don DeLillo’s “Counterpoint: Three Movies, a Book, and an Old Photograph,” an essay from 2004. That title belies both the piece’s range and its force of concentration. It looks at Glenn Gould, Thelonious Monk, and Thomas Bernhard, three isolated, brilliant men who craved and feared the seclusion that came with their work. DeLillo is interested not just in their difficult lives but in the cultural consensus we reached upon their deaths—who did we decide these men were, and why? As its images begin to collect, all of them rendered in that laser-cut DeLillo prose, the essay becomes a haunting account of the distance between an artist and his audience, his art, and himself. DeLillo has a rare gift for writing about the sensory experience of art, for tracing the vectors of meaning in sight and sound. “In a busy diner,” he writes of a scene from Thirty Two Short Films About Glenn Gould, “there are voices in layers and zones, some folded over others, in counterpoint.” And he condenses The Fast Runner into a solitary image, an image of, well, overwhelming solitariness: “The man is running, eyes wild, into the arctic sky.” —Dan Piepenbring
Lebbeus Woods, who died in 2012, was an artist’s architect. He imagined the buildings that cities would need when calamity came calling. His work exists almost exclusively as experiment—only one of his ideas was actually constructed—and 175 of his graphite dreams are currently on display at the Drawing Center in SoHo. Some look like gashes in the side of a building, or what would happen to a street if it suddenly woke up. Some are like seedpods split open and engorged, a home for one suspended by a slender stalk, and some are simply floating, free of the city entirely. Or maybe these are cities, untethered, finally free to found themselves. —Zack Newick Read More »
March 26, 2013 | by Happy Menocal
1 A.M. Go to bed with Mason Currey’s Daily Rituals, a book about the work habits of famous artists, writers, philosophers, musicians, etc. Resolve to have a regimented, productive day tomorrow. All these people seem to subsist on coffee and alcohol and amphetamines. I feel like a toddler with my juice and crackers and noodles.
7:45 A.M. Begin work on a little ad that’s due today for Stubbs & Wootton—fancy slippers made in Spain. It’s for a promotion they’re doing during the Ides of March. Someone at the company started the e-mail chain for the ad with the subject line “Eyes of March,” and I kinda want to do the visual about that. Decide instead to just paint Caesar, wearing the slippers, looking warily over his shoulder. I google “man sitting on column” because I want Caesar to be sitting on a crumbled stump of a column, and find this devil dog.
My husband and I puzzle over where our two thousand terrible black umbrellas have gone, as now it’s raining and we have only one. He doesn’t bring it up this morning, but most times when we’re on the subject John likes to note that the pebbled plastic hook on the common street umbrella reminds him of that embalming tool they used in ancient Egypt to take your brain out through your nose. Read More »