Posts Tagged ‘Robert Mapplethorpe’
February 24, 2014 | by Dan Piepenbring
- The portraits of Carl Van Vechten: Henri Matisse, Gertrude Stein, Theodore Dreiser, F. Scott Fitzgerald, and more.
- “Even when he’s dead, as he is for much of the book, we feel that he’s still hovering right next to us, closer to us than our own clothes.” On grief, parallel universes, and Paul Murray’s Skippy Dies.
- “When you want a science fiction movie adapted into a novel that might be better than the original source material, you don’t fuck around. You speed dial Alan Dean Foster and send the check pronto.” The lost art of movie novelization. (Among the stranger films to become novels: Taxi Driver, Young Frankenstein, Deep Throat.)
- Attention, surrealist novelists in search of a conceit: a town in Holland has designed a village made exclusively for people with dementia.
- Or you can start your day with leather and handcuffs: Robert Mapplethorpe’s early Polaroids are here for you.
March 14, 2013 | by Rachel Hurn
At Bluestocking Books, my favorite indie bookstore in Hillcrest, San Diego, I pick up a glorious-looking object. The cover is textured, beige with a blue inside flap—a look typical of the publisher Black Sparrow Press. On the front is a painting by Nicole Eisenman of twenty women in a brawl, or having sex, or both. All over the cover and among the cream pages are hand-scrawled notes. It looks like a literature student once owned the book. Probably someone studying creative writing. Probably someone at UCSD. I hold up the paperback to the woman behind the register, and ask, “What is this?”
“That’s Eileen Myles. She’s a lesbian poet. She’s amazing.”
That day I read the entire thing. Read More »
February 19, 2013 | by Claire Cottrell
7:00 A.M. Wake up to dog barking and strong skunk smell in house. Fear that door to garden was left open and skunk is loose in house. Get out of bed to confirm. Garden door is not open and skunk is not loose. Go back to bed for thirty minutes.
7:30 A.M. Get out of bed. Wash face. Gather belongings, including black cocoon coat purchased for an imminent trip to Paris found for sixteen dollars the day before at a second-hand store. Head home to Mount Washington.
8:00 A.M. Arrive at home. Make tea. Take daily vitamins. Make new favorite quick morning oatmeal: half cup of oats, two heaping tablespoons of maple syrup, cinnamon, chopped apple, fresh dates, walnuts, boiling water. Settle in to enjoy oatmeal and tea. Realize that laptop, aka lifeline, is in Amos’s car. Freak out. Cancel all morning obligations, citing laptop debacle. Text Amos.
8:05 A.M. Amos drops off laptop.
8:10 A.M. Finish oatmeal. Finish tea. Resume all morning obligations. Including: reviewing reactions to Sybil’s sad demise on last night’s Downton Abbey, looking at Atelier Bow-Wow’s pet architecture—otherwise known as teeny tiny buildings on teeny tiny sliver of land—for an article, researching Bruno Munari’s useless machines for a contribution to the new arts journal, synonym.
9:15 A.M. Tackle e-mail. Respond to e-mails from three weeks ago. Debate including ‘apologies for the delayed response.’ Decide against it thinking, No need to always apologize. For all they know I answer e-mail every few weeks because I live in a cabin removed from civilization and spend most of my time in nature. Read More »
October 16, 2012 | by Sadie Stein
June 1, 2010 | by David Wallace-Wells
When Louise Bourgeois published “The View From the Bottom of the Well,” a seminarrative portfolio of prints, in The Paris Review (Fall 1996), she seemed already to be gazing up from the grave. Bourgeois, who died yesterday at ninety-eight, had been long enjoying a kind of afterlife as a celebrity sculptor, with work that made improbably explicit the themes that had animated her work from the nineteen fifties and nineteen sixties—the human body and its vulnerability, the threat of predation, sexuality both grotesque and ever-present.
That afterlife owed quite a lot to a 1982 photograph by Robert Mapplethorpe, which showed a grandmotherly Bourgeois fondling her phallic sculpture Fillette. And when she began in her seventies and eighties to receive major commissions and museum retrospectives, the acclaim seemed as much personal as aesthetic, the exhibitions inspired as much by her engaging biography and confessional personality as by the work itself, which could hardly be reduced to the story of childhood trauma. Longtime followers knew that Bourgeois was much more than Spiderwoman, and in the summer of 1984, at perhaps the peak of her fame, the Review published a small portfolio of her drawings from the fifties—as a kind of reminder, it seems, that though her work was often engrossingly personal it was also, at its best, arcane. Below, a slide show of her two portfolios from The Paris Review: