Posts Tagged ‘Walton Ford’
October 2, 2015 | by The Paris Review
My favorite chapter in Valeria Luiselli’s wonderful, unusual new novel, The Story of My Teeth, is “The Parabolics,” in which the book’s protagonist, Highway, wakes to discover that all his teeth are missing and that he is in the midst of the supremely creepy Ugo Rondinone video installation Where Do We Go from Here; that is, he finds himself confronted on four sides by a quartet of lethargic, staring, “sinister” clowns, “a hell worse than the one that had installed itself inside my mouth.” A disembodied, rather unkind voice relates a series of parables to Highway throughout the chapter, so it seemed safe to assume that the chapter title referred to these. But Highway doesn’t understand any of the stories, and in fact his thoughts seem to circle around the idea expressed by Rondinone’s title. “Where am I supposed to go?” he queries the voice. “Parabolics” might also refer to “parabolas,” a series of curves—or perhaps (attempted) leaps over “the schism between the perception you have yourself and the perception other people have of you.” Maybe I’m taking a leap myself. But: “I’ve always thought that hell is the people you could one day become,” Highway thinks. “And there I was, toothless, lying on a bench in front of videotaped projections of enormous buffoons, dozing … being mistaking for one of them.” —Nicole Rudick
A recent piece in the Times on Walton Ford made me remember: I really enjoy the work of Walton Ford. His paintings, which I first saw at the Brooklyn Museum in 2006, depict ferocious animals doing ferocious things, ferociously; they’re set in a welter of copulation and violence at the edge of human society, and in a lot of them, nineteenth-century aristocrats are on hunting trips gone seriously awry. I’m envious of anyone in Paris who gets to see his fifteen new works at the Musée de la Chasse, a museum dedicated to hunters and animals that “essentially documents our historical fear of being eaten alive,” as Matthew Rose puts it in the Times, and thus a perfect venue for Ford’s work. In one new painting, Representation Véritable, a massive black creature based on the Beast of Gévaudan has a wolf by the jugular; in the background, two women are at rest (maybe forever?) in an idyllic meadow. Ford’s paintings are musky, unsparing allegories for colonialism, industrialism, and a host of other noxious -isms, and no one should discount their formal ingenuity—but none of it would matter if they weren’t, at their most literal level, so terrifying. —Dan Piepenbring Read More »
July 15, 2010 | by Caitlin Roper
This is the second installment of Roper's culture diary. Click here to read part 1.
11:30 A.M. John Waters interview. He’s in Provincetown for the summer, so we have to talk on the phone. I’m disappointed not to meet him in person, but still excited to talk. Waters is a charmer. I’m instantly enthralled and never want to hang up1.
1:00 P.M. My friend Max sent me some images of paintings by Walton Ford2, whom we both admire. I think Ford is my favorite contemporary painter. He paints gigantic, detailed watercolors. There’re sort of Audobon, naturalist illustration-inspired, with a dark, anti-colonial, anti-industrialist twist. I spend about fifteen minutes looking at all the Ford paintings I can find online. This is an example of a kind of culture that is not best delivered via computer screen. I long to see some Ford paintings at full size.
5:00 P.M. Max sent me this video, probably captured by a security camera, of a guy strolling down the street in a track suit and a pair of sunglasses. He does a double-take, and nearly gets hit by a car careening down the sidewalk. He leaps to safety, missing death by inches. I find it so alarming I watch it over and over again. The way the guy looks up, jukes to one side, then leaps expertly out of the way—I cannot believe it.
6:45 P.M. The Kids Are All Right at the Loews Village 7. I liked Lisa Cholodenko’s High Art. I saw it in college. I know little about this one, which is my ideal4 movie-going scenario. As soon as the movie starts, I’m engaged5. This is the best movie I have seen in a theater since Joon-ho Bong’s Mother. Also, Mark Ruffalo is hot.
9:15 P.M. Kickstarter and Rooftop Films teamed up for a film festival. The roof in Park Slope is vast. We slink in during a film and settle in folding chairs. The film shorts are projected on a screen hung on a brick wall. It’s a warm night, but there is a gentle, steady breeze. I watch two shorts and find my eyes drifting back to the horizon, where a herd of clouds makes its way across the plains of the blue-black sky. Read More »
- We talk for about twenty minutes and the transcript of our conversation is twenty-four pages long. Waters: “I am astounded by the behavior of people that think they’re completely normal, and can act so insane and not realize it.”
- I first saw Ford’s work in person at the Brooklyn Museum in 2006. I was there to see Ron Mueck’s impressive, wacky hyperrealist sculptures, but it was the last day of the Annie Leibovitz show, and the place was mobbed. I snuck away from the masses and found myself in an empty room, each wall had just one vast Ford painting. I spent about an hour in there staring at the detail in a painting of a tiger.
- He didn’t show me this piece, but I came across it myself (I was looking for Philip Roth’s 1958 review of The Bridge On the River Kwai). I’m impressed, as usual, with David’s intellect. I’m lucky to know and work with someone I genuinely admire. When I tell him I liked it, he says, “I should've cut the second paragraph."
- I never read reviews before I see a movie if I can help it.
- It’s set in California, and the characters are appealing and real in a way I have rarely seen on film. Most important: the writing is excellent. Lisa Cholodenko, wow.