{"id":100048,"date":"2016-07-05T09:29:45","date_gmt":"2016-07-05T13:29:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=100048"},"modified":"2016-07-05T10:39:08","modified_gmt":"2016-07-05T14:39:08","slug":"how-to-look-at-white-squares-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/07\/05\/how-to-look-at-white-squares-and-other-news\/","title":{"rendered":"How to Look at White Squares, and Other News"},"content":{"rendered":"<div id=\"attachment_100050\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/ryman.jpg\" rel=\"attachment wp-att-100050\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-100050\" class=\"wp-image-100050\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/ryman.jpg\" alt=\"\" width=\"600\" height=\"566\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/ryman.jpg 800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/ryman-300x283.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/ryman-768x725.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-100050\" class=\"wp-caption-text\">Robert Ryman, <i>Arrow<\/i>, 1996, oil on Plexiglas with steel, 13 1\/2&#8243; x 12&#8243;. Image via Dia.<\/p><\/div>\n<ul>\n<li>Abbas Kiarostami, the Iranian director who made <em>Taste of Cherry<\/em>, <em>Certified Copy<\/em>, and a host of other poetic films, has died at seventy-six. Mohsen Makhmalbaf, one of Kiarostami\u2019s contemporaries, told the<em>\u00a0Guardian<\/em>, \u201c<a href=\"https:\/\/www.theguardian.com\/film\/2016\/jul\/04\/abbas-kiarostami-palme-dor-winning-iranian-film-maker-dies\" target=\"_blank\">Kiarostami gave the Iranian cinema the international credibility that it has today<\/a> \u2026 But his films were unfortunately not seen as much in Iran. He changed the world\u2019s cinema; he freshened it and humanized it in contrast with Hollywood\u2019s rough version. He was a man of life, who enjoyed living and made films in praise of life\u2014that\u2019s why it\u2019s so difficult to come to terms with his death.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It wouldn\u2019t be a lie to say that Robert Ryman paints white squares\u2014exactly the kind of concept that makes the uninitiated roll their eyes and say, My kid could do that. But your kid could not do this, not even your honor student. As silly as it sounds, Ryman\u2019s canvases force you to reevaluate the whole, like, concept of <em>white<\/em>: \u201c<a href=\"http:\/\/www.nytimes.com\/interactive\/2016\/02\/04\/arts\/design\/robert-ryman-dia-chelsea.html?smid=tw-nytimesarts&amp;smtyp=cur&amp;_r=0\" target=\"_blank\">If you take a close look at the current exhibition at Dia: Chelsea, you quickly realize just how much can be contained within them<\/a>. With smears and flecks and whorls of paint, built up in some places, washed out in others, the works catch the light in a singular way \u2026 The works are best seen when lit by the sun, as filtered down through the Dia skylights. And the light can activate the paint differently during the day, often calling up blue or green undertones.\u201d<\/li>\n<\/ul>\n<ul>\n<li>The web in the nineties was a simpler, uglier place, where color schemes grated, links broke, and a <small>MIDI<\/small> version of your favorite Third Eye Blind song was always just a click away. What explains our nostalgia for all this? Charles Thaxton writes, \u201c<a href=\"https:\/\/theawl.com\/how-does-it-look-d04fdd098b62#.6f4iduw40\" target=\"_blank\">It\u2019s now well established that most Internet users experience the web through a handful of large, enclosed platforms and apps<\/a> \u2026 Was the Early Web any better? The pre-platform, pre-mobile Internet was a web of pages and links and counters. The most essential thing about it is the notion that it looked <em>bad<\/em>. But the bad-looking web is making a comeback. All of a sudden you\u2019re on that clunky-looking webpage again \u2026 Nostalgia for the way the web looked is really a sublimated nostalgia for how it <em>felt<\/em>, for a time in almost everyone\u2019s life when discovery and openness and joy were all more operable. As much as we want to preserve the early Internet in amber, we want to hold on to the <em>feeling <\/em>of the early Internet even more.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Boethius was executed in the year 524, but don\u2019t let that deter you: his <em>De consolatione philosophiae<\/em>, written as he awaited execution, remains a vital read in troubling times. \u201c<a href=\"http:\/\/marginalia.lareviewofbooks.org\/apocalypse-mother-beauty-ed-simon\/\" target=\"_blank\">Boethius\u2019s task was both personal and communal, for in stoically embracing the decisions of the goddess Fortuna he admitted that death would soon come<\/a>, but as he was also a refugee from a world that was dying, his manuscript served as an <em>ars moriendi <\/em>for culture, too. And in subsequent centuries his accomplishment was steadfastly maintained by fellow humanists, laboring in monasteries and libraries dotting Europe, making <em>The Consolations of Philosophy <\/em>one of the most copied texts of late antiquity, a capsule from one culture\u2019s final moments through the eclipse of the next centuries \u2026 It\u2019s an interesting question how much someone like Boethius could anticipate that their world was coming to an end; it\u2019s an important question to ask if we are adequately anticipating it right now.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In which John Berger visits a small coastal village in Italy and rhapsodizes about eels: \u201c<a href=\"http:\/\/lithub.com\/john-berger-tells-a-fish-story-and-more\/\" target=\"_blank\">The women and men of Comacchio are recognizably different from their neighbors.<\/a> Stocky, broad-shouldered, weather-tanned, big-handed, used to bending down, used to pulling on ropes and bailing out, accustomed to waiting, patient. Instead of calling them down-to-earth, we could invent the term <em>down-to-water<\/em>. Every year in the first week of October they celebrate a fete known as the <em>Sagra dell\u2019Anguilla<\/em> (the festival of the eel). The cobbled town center is crammed with stalls of street vendors, come from elsewhere, selling trinkets, rings, seashells, cheeses, madonnas, salamis, dolls at low prices, small pleasures. The inhabitants wander slowly past, fingering the knickknacks, reckoning the small pleasures, and from time to time paying out a few coins. There are also benches and trestle tables where one can drink and eat. There is the smell of food being grilled. Onions, aubergines, peppers, and, of course, eels.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Abbas Kiarostami, the Iranian director who made Taste of Cherry, Certified Copy, and a host of other poetic films, has died at seventy-six. Mohsen Makhmalbaf, one of Kiarostami\u2019s contemporaries, told the\u00a0Guardian, \u201cKiarostami gave the Iranian cinema the international credibility that it has today \u2026 But his films were unfortunately not seen as much in Iran. [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[23081,9517,23084,23085,10308,23086,79,4746,573,4154,23082,12735,23083],"class_list":["post-100048","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-abbas-kiarostami","tag-apocalypse","tag-boethius","tag-comacchio","tag-dia","tag-eels","tag-film","tag-iran","tag-john-berger","tag-paintings","tag-robert-ryman","tag-the-internet","tag-web-design"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staring Deep into Robert Ryman\u2019s White Squares<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/07\/05\/how-to-look-at-white-squares-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Look at White Squares, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"July 5, 2016 \u2013 Abbas Kiarostami, the Iranian director who made Taste of Cherry, Certified Copy, and a host of other poetic films, has died at seventy-six. 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