September 21, 2016 Correspondence Who the Hell Is This Joyce By H. G. Wells H. G. Wells does not approve. In honor of H. G. Wells’s sesquicentennial, here’s a letter he wrote to James Joyce in November 1928, brought to light a few years ago by Letters of Note. The note finds Wells reacting, irascibly if not uncharitably, to early passages of Joyce’s Finnegans Wake, which had by then begun to circulate in literary magazines. Read More
September 21, 2016 Arts & Culture Flooded Penthouse By Margaux Ogden & Hunter Braithwaite The below is excerpted from Flooded Penthouse, a book by the painter Margaux Ogden and the writer Hunter Braithwaite, launched to commemorate Ogden’s new exhibition at Puerto Rico’s Embajada, a gallery in a former sex-toy shop. The show, “Nothing Had Yet Been Sacrificed,” takes its title from Luc Sante’s line about the young Bob Dylan—“Everything seemed possible then; no options had been used up and nothing had yet been sacrificed.” Much as a relationship grows from a mulch of moments, these drawings are built up on a ground of notes, numbers, lists. Small bills, pocket change. Doing so causes a slight impropriety to arise, not only because it’s so decidedly un-art (or, depending on how much Rauschenberg you looked at when you were younger, too-art) but because the pocket scraps are exhibitionist. Stored in our pants, folded tight against ourselves, they reveal how we pass our days: what we plan to buy, how much we paid for it, how we check off the world. Read More
September 21, 2016 First Person Least-Favored Animals By Rachel Mabe On confronting death, in the road and elsewhere. All photographs by Rachel Mabe. The rented farmhouse in North Carolina sat at the midpoint of a dead-end street, where the only light came from a streetlight in my neighbor’s front yard. Every night before bed, my dog, Henry (David Thoreau), and I walked down the circular drive and into the road, going as far as the light reached and back again. This provided time for the night to settle in, the stars to announce themselves, and Henry to take care of business. One autumn night, Henry found a dead frog where the light fell brightest on the pavement. I stooped to examine the creature. He lay on his back, red innards escaping from his perfectly still mouth. The following night, I searched ahead for the frog as we walked out of the dark driveway and into the light. Henry sniffed him and moved on. The frog was in the same place as the night before, only flatter. The next night he looked less like a frog. After staring at him for a while, I needed more. Read More
September 21, 2016 On the Shelf The Literate Pigeons, and Other News By Dan Piepenbring He thinks he’s people! I used to take such pride in my literacy. “Look at me!” I would shout, running down the street in my I’M LITERATE T-shirt. “I can read!” But now the pep is out of my step, because apparently even pigeons can learn to read: “Through gradual training, the birds moved from learning to eat from a food hopper, to recognizing shapes, to learning words … After narrowing down to the four brightest birds out eighteen, over eight months of training, the advanced-class pigeons were taught to distinguish four-letter words from nonwords. They were even able to tell the difference between correctly spelled words and those with transposed characters, like ‘very’ and ‘vrey,’ or words with different letters included to make them completely misspelled.” And that means it’s only a matter of time until the pigeons will be texting, too, because that’s what everyone does now. What do you think the pigeons are gonna do, use the telephone? The phone call is dead. Don’t even bother making a friendly call, unless you’re a needy loser. Timothy Noah tells us, “The phone call died, according to Nielsen, in the autumn of 2007. During the final three months of that year the average monthly number of texts sent on mobile phones (218) exceeded, for the first time in recorded history, the average monthly number of phone calls (213). A frontier had been crossed. The primary purpose of most people’s primary telephones was no longer to engage in audible speech … Calling somebody on the phone used to be a perfectly ordinary thing to do. You called people you knew well, not so well, or not at all, and never gave it a second thought. But after the Great Texting Shift of 2007, a phone call became a claim of intimacy. Today if I want to phone someone just to chat, I first have to consider whether the call will be viewed as intrusive. My method is to ask myself, ‘Have I ever seen this person in the nude?’ ” Read More
September 20, 2016 Arts & Culture There’s Always Dairy By Dan Piepenbring Why not? It’s rough out there for artists and writers right now, I know. There are days when you just want to throw in the towel, say fuck it, fake your own death, give insurance fraud a go, and live out of a Winnebago somewhere in remote Ontario. That’s a good plan—that’s a really good plan—but remember, you’ve got options. You might just need a little breather, is all. Before you go permanently AWOL, consider Reuben Kadish, the artist, who died twenty-four years ago today. After World War II, when he had a family to support and couldn’t find a cheap place to live in New York, or even on Long Island, Kadish decided to check out for a while: he bought a disused dairy farm in Vernon, New Jersey. Despite knowing nothing about the operation, he ran it, apparently with great success, for ten years. When he moved to the place, he was a painter; when he reemerged as an artist, he was a sculptor, his hands having imbibed the ways of farm life. This could be you. Read More
September 20, 2016 Look Elements By Dan Piepenbring Dan Walsh’s exhibition “Prints and Multiples” is at Pace Prints, in New York, through October 22. “I always regarded the space in a painting as the soul of a painting,” he told the Daily in 2011. “I’m working to find a space I can interact with on a day-to-day basis, something neutral and malleable: one of the goals of minimalism was to experience qualities of materials, forms, colors and remove psychological space.” Dan Walsh, Axis, 2016, reduction woodcut, 22″ x 22″. Read More