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
September 20, 2016 Arts & Culture We Are All Suffering Equally By Tom Overton Artists reclaim the cells of England’s Reading Prison. Photo: Marcus J Leith. All images courtesy Artangel, 2016. Outside each cell at Reading Prison, there’s a small metal frame screwed into the wall. The cell number sits in the bottom section, and the top has a card that keeps track of graffiti before and after prisoners are moved: NONE, SOME, or LOADS. The most popular form of vandalism is a wry ROOM SERVICE often scrawled next to the cells’ emergency buttons for calling warders. In one cell, the dated corner of a tabloid newspaper clings to a piece of chewing gum: presumably the rest of the page involved nudity. Stickily, it fossilizes a moment—July 5, 2013—in the year the prison closed. Elsewhere, on the red glossy paint of an internal doorpost, there’s a lengthy autobiography in ballpoint, including a guilty plea for seven armed robberies, a “shout out to all the mandem” in postcodes across England, the anticipation of a release date—16.04.2016—and a final motto: RIDE OR DIE. Rather more tersely, cell C.2.2. has CUNT! scratched into the wall. From 1895–97, under the different number C.3.3., this was where Oscar Wilde served his sentence for “gross public indecency”—homosexual acts. The number became his identity. Read More
September 20, 2016 On the Shelf The Internet Keeps Regurgitating You, and Other News By Dan Piepenbring Just another day online! In a new essay about censorship and her childhood muteness, Hilary Mantel reminds writers of the seriousness that comes with saying anything whatsoever: “If you don’t mean your words to breed consequences, don’t write at all; the only tip you can give to a prospective writer is ‘Try to mean what you say’ … Erasure seems simple—blink and it’s gone, overwrite the line. But nothing ever really goes away. The Internet keeps regurgitating you. You can’t bury or burn your traces. They won’t be nibbled by rats, who used to love vellum, or munched by tropical ants, or consumed in the small fires that afflicted archives every few years, leaving scorched and partial truths for historians to frown over.” On a similar note, Francine Prose responds with aplomb to what I can only describe as Shrivergate (or Literary Sombrerogate?): “It’s not the responsibility of art to make us better people, but some works of art can (if only temporarily) increase our compassion, sympathy, and tolerance … Even if we acknowledge (as Shriver does not) that we live in a society in serious need of repair, it’s still possible to ask whether the protest against cultural appropriation constitutes the most useful and effective form of political activism, whether it addresses our most critical and pressing problems. We could insure that not a single rock star or runway model ever again wears corn rows or dreadlocks—and not remotely change the fact that a black person with the same hairstyle might have trouble finding a job … We could prohibit writers from inventing characters whose backgrounds differ from their own without preventing even one young black man from being shot by the police.” Read More
September 19, 2016 Video & Multimedia A New Machine By Dan Piepenbring Don Buchla with one of his instruments. Don Buchla invented some of the first electronic instruments—not synthesizers, he insisted, but electronic instruments. To him, the word synthesizer implied some attempt at emulation, as if these new machines could do nothing more than imitate preexisting sounds. Buchla believed that his inventions offered an aural palette every bit as distinct as a trumpet’s or a clarinet’s. It was only marketing that made listeners hear something derivative in them. “An instrument has to exist long before performance techniques can be developed and a repertoire arises,” he told Keyboard Magazine in the eighties, explaining why there are so few new sounds in the world: Because of this, the market for the instrument doesn’t exist for many years after the R&D that goes into developing a truly new instrument. With short-term profits a primary motive, the big corporations are simply not interested … When you open up those other possibilities, you’ll alienate the people who are coming from a rock-band orientation and want instant gratification. They don’t want to have to figure out some other relationship between their actions and the instrument’s response. Read More
September 19, 2016 Arts & Culture The Quotable David Salle By Lorin Stein Dana Schutz, Frank as a Proboscis Monkey (detail), 2002, 36″ x 32″. 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. Read More
September 19, 2016 Arts & Culture Paris from Camus’s Notebooks By Alice Kaplan Albert Camus. Photo: Robert Edwards The myth is tenacious: an unknown writer on the verge of international fame, not suspecting that the scattered pages on his or her desk will become that miracle, a first published novel and a passport to glory. From March to May 1940, Albert Camus was that man, finishing a draft of the book he was calling The Stranger. The city, eerily calm, overtaken with a sense of dread, was weeks from the German invasion. Paris has changed enormously since 1940, but you can still walk in Camus’s footsteps through places that a few literary specialists have put on the map and come close to a moment of artistic creation. Camus finished a first draft of his novel alone in a hotel room in Montmartre. The former Hôtel du Poirier on the rue Ravignan sits atop one of Paris’s “buttes” or hills, whose cleaner air might have benefitted the young writer, who struggled with chronic tuberculosis. The site is still about as picturesque a place as Paris has to offer: up a terraced set of steps, on one side of a cobblestone square with its own fountain, the little hotel stood directly across from the Bateau-Lavoir, a beehive of artist studios, spread out like a ship. On this vessel of high modernism, Picasso painted Les Demoiselles d’Avignon in 1907. The glory days of the Bateau-Lavoir ended after World War I, but in March 1940, when Camus lived in its shadow, the place still exuded its bohemian aura. Crowned by the mammoth Sacré-Cœur cathedral, Montmartre was an acquired taste, with its own diehard citizens—pimps and scoundrels, anarchists and poets. Far from the business districts, Montmartre was still, in 1940, practically a separate village, a neighborhood where an artist or writer could get by on almost nothing. Read More