Posts Tagged ‘New York’
September 19, 2016 | by Lorin Stein
Recently, thanks to heavy wait times at the twenty-four-hour Genius Bar on Fifth Avenue, I found myself killing an evening at the Plaza with nothing to read but the galleys of a book of art criticism, How to See, by the painter David Salle. It turned out to be perfect company—witty, chatty, intimate, sharp. And slightly exotic (at least for this reader): you rarely see novelists write so knowingly, on a serious first-name basis, about each other’s work. Soon I was dog-earing and drawing lines in the margins next to favorite passages, as for example:
On recent paintings by Alex Katz:
Some of the color has the elegance and unexpectedness of Italian fashion design: teal blue with brown, black with blue and cream. You want to look at, wear, and eat them all at the same time.
September 12, 2016 | by Dan Piepenbring
Amy Bennett’s exhibition “Time Speeds Up” is showing in New York at Ameringer McEnery Yohe through October 8. Bennett, who works in Beacon, New York, paints her landscapes after dioramas she’s painstakingly constructed at a 1/500 scale. She carves valleys and rivers into Styrofoam and freckles the map with wooden houses and wiry trees; over time, she adds farmland, grocery stores, and schools. “The creation and gradual alterations of these models allow Bennett to indulge a novelistic sensibility,” Eleanor Heartney writes in an essay to accompany the exhibition. “The settings she selects are precisely those in which the American ideals of freedom and security clash.”
August 5, 2016 | by Matthew St. Ville Hunte
How sports taught me to think.
Noam Chomsky once said that he was amazed at the insight and sophistication that the average American brought to the discussion of sports. Chomsky considered this use of brainpower to be a diversion that operated in the service of power. “One of the functions that things like professional sports play,” he said, “is to offer an area to deflect people’s attention from things that matter, so that the people in power can do what matters without public interference.” I guess he is right enough in his way, but for my part I hold with the literary historian Gerald Graff, who has argued that his youthful fascination with sports was not a form of anti-intellectualism, as he once thought. Instead, Graff has come to believe, fandom was a form of intellectual development by other means. Read More »
August 3, 2016 | by Jeff Seroy
No one could miss the magic. Cool alleys of giant pines wind through the park, the entrance by footbridge leads over a creek; far below, you can glimpse striated mounds accreted by live mineral springs. And then: the stately grounds. Even today, in its celebratory fiftieth-anniversary season, with a new plaza built around stadium-size latrines and concessions selling fried dough, the Saratoga Performing Arts Center maintains some of its Nelson-and-Happy Rockefeller–era allure. The center was built to offer New York City Ballet and the Philadelphia Orchestra permanent summer residencies, and though attendance at dance events and the dance season itself have shrunk considerably over the past thirty years, coming to SPAC still feels eventful. The audience is filled with fans. They dress for the occasion. They know the performers. They roar with recognition when someone introduces the evening’s program. They cheer during curtain calls. They applaud, contrary to City Ballet’s urban custom, when dancers exit, and at the end of each musical section. They even clap for the scenery. Read More »
August 2, 2016 | by Terry McDonell
Befriending George Plimpton.
George’s questions were like trampolines, a technology he admired. They bounced you higher—to the next question. This was particularly true when he was talking about writers and writing.
“Did you know that the great Camus played goal for the Oran Football Club?” he asked me when we were walking past an Algerian restaurant near his apartment on Seventy-Second Street. I was unaware but said that I did think Gabriel García Márquez had written a soccer column for a while in Bogota.
“Alas,” George sighed, “Le colonisateur de bonne volonte was never moved to write about it. Imagine, the existential goalkeeper.”
“Alas,” I said, and he gave me a look. Read More »
July 26, 2016 | by Dan Piepenbring
- I’m tired all the time, which is why I’m so popular. Reviewing Anna Katharina Schaffner’s new Exhaustion: A History, Hannah Rosefield unpacks the durable notion of exhaustion as a status symbol: “Many critics, even as they call for a cure, frame exhaustion as a mark of distinction. This idea dates back at least to Aristotle. ‘Why is it that all men who have become outstanding in philosophy, statesmanship, poetry or the arts are melancholic?’ he wonders in Problemata … The associations of exhaustion with prestige have crystallized in the form of burnout. First used in the 1970s to describe exhaustion suffered by workers in the social sector, burnout was characterized by increased cynicism and apathy, and a decreased sense of personal accomplishment. Since then, its application has widened to include all worn down, overburdened workers, especially in Germany, Sweden and the Netherlands, where burnout is a subject of regular media debate. Burnout, caused by workplace conditions rather than by a worker’s mental and physical composition, is depression’s more palatable, more prestigious cousin.”
- I’d long assumed that one could never enter one’s average house cat in a pageant. Only the purebreds could know the thrill of the blue ribbon, I thought. The calicos and tabbies of this earth were doomed to the mundane. But I was wrong, as Omar Mouallem taught me: “I got over the stench of piss at the Edmonton Cat Show pretty quickly. It’s not so much my nostrils that adjusted but my eyes, to rows and rows of beautiful creatures. Plump British shorthairs smiled in their sleep and regal sphynxes owned their ugly … [The International Cat Association] has been showing and awarding titles to non-purebred domestic cats—even the maligned black ones—since its 1973 beginnings. It’s a stark contrast to the practices of the 110-year-old Cat Fanciers’ Association, which for decades didn’t even bother hosting the category. The association now emphasizes it like TICA, and in the last three years finally started giving non-purebred cats Grand Championship titles equal to pedigrees. The hope is that it will curb the cat fancy world’s declining entries and revenues.”
- There’s a plaque at 14 West Twenty-Third Street, where Edith Wharton grew up. Otherwise, don’t expect to recognize the place. This is New York, people! What’d you want us to do, preserve the joint? Rachael Revesz notes that “in such an old city, there are surprisingly few relics that remain as they were during the prolific novelist’s time, and nothing, beyond a small red plaque at her childhood home, to commemorate the most iconic New York writer of the late nineteenth and early twentieth century … Her house has been altered so many times in the last century that it cannot be delegated as a protected building. It is now a Starbucks on the ground floor, where her father’s extensive study used to be … Although the corporate exterior of the building might cause some to groan, few people might know that Starbucks was named after a character in Moby-Dick by Herman Melville, a distant cousin of Edith’s.”
- Today in old advice that’s still good advice: If you, an aspiring artist, want to take the road to success, don’t stop off at the Hotel Know It All, the Mutual Admiration Society, or the Always Right Club. Tunnel through Lack of Preparation Mountain and for God’s sake watch your step around the Holes of Illiteracy and Conceit. A 1913 allegorical map called the Road to Success “turns the figurative journey towards artistic triumph into a cartographic depiction of an actual climb towards victory … Taking shortcuts won’t get you anywhere except to the bottom of the River of Failure, which threatens to sweep away anyone who’s not up to the challenge of putting in hard work. And don’t just blow hot air, or you’ll end up in the clouds.”
- Here’s the time-tested way to gin up your crummy sci-fi flick: pretend it’s a western. In Star Trek Beyond, writes Richard Brody, “the words Republic and Federation are intoned like mantras to position the mission in quasi-American terms; the name Yorktown links the space combat of Star Trek Beyond to the existential, the primordial, and the revolutionary—the fight to retain independence in the face of a force that would snap it back in, engulf it in a dictatorial order, and milk it as a mere source of sustenance … The self-celebration of a legacy property’s sequel has rarely been framed in such starkly civic terms: the link between the historical continuity of the American federation and the personal continuity of family is the cultural continuity of Star Trek and pop music—and, for that matter, of classic Hollywood. Buy a ticket, keep America safe and free.”