April 9, 2018 On Books The Strange Magic of Libraries By Stuart Kells Carl Spitzweg, The Bookworm (detail), 1850. Our era is a digital one, to be sure, but libraries of physical books are still holding on defiantly, even triumphantly. According to the Library Map of the World, there are over two million public and school libraries on planet Earth. Of these, 103,325 are in the U.S. and 12,570 in my native Australia. Globally, the number of private libraries is much larger still—because who’s to say that even a humble shelf of Penguin or Pocket paperbacks doesn’t qualify as a private library? The census of American libraries spans a wonderful diversity of institutions, from modest municipal book rooms and mobile libraries to the grand collections of such hallowed places as the Morgan, the Folger, the Huntington, and the Smithsonian. Surveys of library users reveal a passionate attachment to these institutions, one that is voiced in very human terms. The word love is an emotion often expressed toward libraries, and not just for National Library Week. Libraries are places in which people are born—as authors, readers, scholars, and activists. (Think Eudora Welty, Zadie Smith, John Updike, and Ian Rankin.) Read More
April 6, 2018 This Week’s Reading Staff Picks: Bardi, Baseball, and LSD By The Paris Review Though David Hockney’s major retrospectives at the Tate, the Pompidou, and the Met last year cemented his status as one of the greatest artists of our time, the breathtaking innovation on display at his new exhibit, “Something New in Painting (and Photography) [and even Printing]” is evidence that at the spry age of eighty, the man is only just getting started. The show includes eighteen new paintings on hexagonal canvases as well as two new works of computer-manipulated photography that each span a full gallery wall. As Hockney describes it, he once drove through a long tunnel under the Alps. There were no other cars, and the constancy of the road narrowing into the pinprick of light ahead, the tyranny of the one-point perspective, created an unbearable atmosphere of tension. Then the car emerged, and there were the mountains, there was the sky, there was the world, wild and unbound and everywhere around them. One painting in the show describes this with stark simplicity: the narrowing road below, the vista of mountains above. The rest capture the dizzying feeling of awe by playing with “reverse perspective,” Hockney’s technique in which the space bends, the edges fold in, and the viewer is granted the gift of peering around impossible corners and hovering over floors that reach upward. The notches on either side of each canvas are the inverse of the nose that generally interrupts our vision, a breaking open of the way we see. The show will be on view at the Pace Gallery until May 12. The colors, the sumptuous aquamarines of a Los Angeles swimming pool, the burnt sienna and iridescent yellow of the Grand Canyon, provide the perfect escape from this unrelenting New York winter. —Nadja Spiegelman Astrid Stawiarz/Getty Images North America Dorothea Lasky’s latest collection, Milk, often feels like an optical illusion: simplicity in black-and-white, arranged so that it reveals something disorienting and complex in a way you can’t quite articulate. Each line is vibrant in itself, popping short and quick in sharply skipping staccato, individually crafted and yet still somehow seamlessly woven into the full piece. Lasky demonstrates her virtuosity time and again; like any artist truly confident in their medium, she doesn’t need much material to create a deeply stirring piece. If you’re still not sold on Lasky’s minimalist brilliance, you can take a test drive with the Review’s Spring issue, which features “A Hospital Room,” a poem from the collection. —Lauren Kane Read More
April 6, 2018 Arts & Culture The End Is Here! By Lawrence Weschler Gustave Courbet, L’origine du monde, 1866. The great artists see it coming. Back in their native Soviet Union, in the 1960s, collaborative artists Alexander Melamid and Vitaly Komar fashioned a body of work that deployed socialist realist tropes in comically magic realist and even downright Warholian terms, anticipating, by a good half century, this year’s film“Death of Stalin” (and for that matter the persistence of Putin). Following their arrival in America in 1978, they continued in much the same vein, though they broke up as a collaborative almost 15 years ago. In February 2016, Melamid, for his part, flush off the success of his great urinal show (an extended revisioning of Duchamp’s epochal Fountain, on its 100th anniversary), decided to honor the 150th anniversary of Courbet’s scandalous Origin of the World (L’origine du Monde) with his own End of the World (Le But du Monde), a quite shocking portrayal of some guy’s (actually his own) naked rear end, cheeks spread, anus exposed and rampant. Talk about dialectical materialism: if his two ass-cheeks represented thesis and antithesis, where did that put the rest of us, his painting’s viewers? With this work, he anticipated, well, everything that was to follow through the rest of that year and, frankly, up till the present. Read More
April 6, 2018 Studio Visit Inside Dawn Clements’s Studio By Eileen Townsend Dawn Clements, Peonies, 2014. Photo: S. Alzner On a cold and rainy Sunday last autumn, I visited Dawn Clements’s studio in Greenpoint. Before it was converted into art studios, the building was a fabric factory; the windows are big, the wood floors have deep brown pockmarks spread across them. Her studio tables were cluttered with a chandelier, paper ephemera, and other trinkets, like a deconstructed carousel of baubles. “I make my drawings by sort of crawling across the page,” said Clements, as we looked at a series of recent oversized watercolors she’d pinned up to the studio wall. “What I draw depends on what I find or what I have.” Clements has round eyes and pale gray hair cropped close to her head a result of chemotherapy. She holds herself still and seems serious but not somber. She chooses her words carefully. In college in New England, she studied film theory and semiotics. Many of Clements’s drawings are drawn frame by frame from classic film melodramas. She reconstructs the rooms in which the characters live, leaving blank spaces where the actors obscured the set on the screen. These drawings have quotes from the films and time signatures noted in the corner (“3:06” or “2:53” or “wish I was there”). “These aren’t real rooms,” said Clements about her reconstructions. “I can only draw what they give me.” In one drawing, a train dining compartment is rendered around ghostly blank spaces where actors briefly stood. In another, the cushions of a plush sofa, rendered faintly in ballpoint pen, fade into the white of the page. The room appears to be without boundaries. The blank moments in the drawing don’t signify disinterest with humanity, they make it feel too bright to capture. Clements said, “I think it’s interesting how in real life, everyone has these strong feelings but we rarely express them.” It’s as if, overwhelmed with emotion, we’ve had to study the drapes and the floorboards. Read More
April 6, 2018 The Lives of Others The Bloody Family History of the Guillotine By Edward White In 1788, a French blacksmith named Mathurin Louschart was killed in his home by a single blow to the head. The act was committed in the blink of an eye, but the feud motivating it had festered for months. Earlier that year, the deeply conservative Mathurin had apparently taken offense at his son Jean’s newfangled ideas about liberty and equality. Jean was vocal about his beliefs, which were stoking the fires of radicalism throughout France. Not content with throwing his son out of the family home, Mathurin attempted to punish him further by arranging to marry Jean’s girlfriend, Helen. Helen’s family was only too pleased to palm off their daughter to a vaunted member of the community, but Helen herself despaired at the prospect of being wrenched from Jean and shackled to a brooding old ogre for the rest of her life. Jean hatched a plan: he arrived one night at his father’s house to rescue Helen and ride off into the egalitarian sunset. But Mathurin interrupted their escape, and a fight ensued. Jean lashed out with a hammer. It struck Mathurin flush on the forehead, and the old man died instantly. Despite his protestations of self-defense, Jean was found guilty of murder and sentenced to be broken on the wheel. That punishment, in which the condemned was strapped faceup upon a large wheel and then had their bones broken, had been a common means of torture, execution, and humiliation throughout Europe for centuries. Some believe it was a thoroughly French invention, pioneered as early as the sixth century. If so, more than a thousand years of history came to an unexpected end the day that Jean approached his agonizing fate in Versailles. In the weeks after sentencing, Jean’s fate became a cause célèbre. Here, many felt, was a young man being punished not for an act of violence but for his political beliefs. As Jean made his way to the scaffold on the day of his execution, dozens of locals charged forward, seized him, and carried him to safety. The authorities were stunned, and the strength of public opinion moved King Louis XVI to issue Jean a royal pardon. Read More
April 5, 2018 Bulletin Announcing the New Editor of The Paris Review By The Paris Review The board of The Paris Review Foundation is pleased to announce the appointment of Emily Nemens as editor of The Paris Review. She will be the fifth editor in the sixty-five-year history of The Paris Review. An editor, writer, and illustrator, Ms. Nemens, thirty-four, has been coeditor of The Southern Review since 2013. She has discovered and published numerous award-winning authors. In the past year alone, her selections for The Southern Review have won two Pushcart and two O. Henry Prizes; three were selected for inclusion in 2018’s Best American Short Stories. “Emily has a proven track record of finding diverse new voices outside the established networks,” says The Paris Review’s publisher, Susannah Hunnewell. “She follows what she calls ‘a meritocratic editorial agenda’ and, for example, found both O. Henry Prize winners in the pile of unsolicited submissions. Emily prides herself on working closely with writers, grooming and mentoring them in an open and collaborative process with her staff.” Read More