{"id":102492,"date":"2016-09-09T13:49:09","date_gmt":"2016-09-09T17:49:09","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=102492"},"modified":"2016-09-10T16:05:15","modified_gmt":"2016-09-10T20:05:15","slug":"staff-picks-stage-fright-substitute-teachers-skin","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/09\/staff-picks-stage-fright-substitute-teachers-skin\/","title":{"rendered":"Staff Picks: Stage Fright, Substitute Teachers, Skin"},"content":{"rendered":"<div id=\"attachment_102496\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/img_2121-2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-102496\" class=\"wp-image-102496\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/img_2121-2.jpg\" width=\"600\" height=\"409\" \/><\/a><p id=\"caption-attachment-102496\" class=\"wp-caption-text\">Photo: Charlotte Strick<\/p><\/div>\n<p>Alex Prager\u2019s brilliant ten-minute film <em><a href=\"http:\/\/www.lehmannmaupin.com\/exhibitions\/2016-09-07_alex-prager\">La Grande Sortie<\/a><\/em>\u00a0in its U.S. debut, is looping in the upstairs screening room of Lehmann Maupin Gallery\u00a0through\u00a0October 23.\u00a0Prager has imagined for us the marvelously grotesque descent of a prima ballerina into a state of hysteria provoked by our worst fears of stage fright. Witnessed through the shifting perspectives of the dancer (the remarkably theatric \u00c9milie Cozette) and her ever more repulsive and hostile audience, the ballerina\u2019s derangement reminds one of a desperate Mia Farrow surrounded by equal parts evil and camp in\u00a0<em>Rosemary\u2019s Baby<\/em>. Even on the fourth viewing, my heart rate surged in time with the stabbing string instruments in the film\u2019s score, sampled from Stravinsky\u2019s \u201cRite of Spring\u201d and composed by Radiohead\u2019s producer, Nigel Godrich. Layered under these orchestral notes is the amplified tap-tap-tap of scraping toe shoes across the wooden stage, the flapping of the dancer\u2019s tulle skirt, and the noisy fidgeting of her restless audience. I marveled at Prager\u2019s ability to create such a polished and darkly humorous examination of the extremes of human anxiety and artificiality. And the artist delivers up a panic-filled surprise ending worthy of a Hollywood horror flick.\u00a0\u2014<strong>Charlotte Strick<\/strong><\/p>\n<p>Type <em>our education system<\/em> into Google and Autofill will finish your thought: \u201cis broken.\u201d \u201cIs outdated.\u201d \u201cIs flawed.\u201d Any Joe on the street can tell you that. But Nicholson Baker strode bravely into the classroom to see just how defective our schools are: for six months in 2014, he subbed for K\u201312 teachers in Maine. His new book, <em><a href=\"http:\/\/www.penguinrandomhouse.com\/books\/312047\/substitute-by-nicholson-baker\/9780399160981\/\">Substitute<\/a><\/em>, is a close record of the hairline cracks and scotch-tape fixes that are comprised by a public education. Rather than fulminate or theorize, Baker offers a lively day-by-day account of everything he saw and heard in the classroom. It\u2019s storytelling as commentary, and it means that <em>Substitute<\/em>\u2019s seven hundred pages fly by, filled as they are with the mulch of student life: the iPad games, the idle chatter, the dioramas and worksheets and silent-reading blocks.\u00a0Fans of Baker\u2019s know he can elevate any subject\u2014this is a man who\u2019s\u00a0<a href=\"http:\/\/www.newyorker.com\/tech\/elements\/innovation-suction\" target=\"_blank\">written compellingly about vacuum cleaners<\/a>\u2014and the tedium of teaching\u00a0finds him pressing his gift for metaphor\u00a0to ever more creative ends: \u201cWe all walked to the cafeteria, where there was a massive molten fondue of noise.\u201d\u00a0Or: \u201cWe were swimming in a warm, lifeless salt pond of geopolitical abstraction.\u201d \u2014<strong>Dan Piepenbring\u00a0<\/strong><!--more--><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/substitute.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-102497\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/substitute.jpeg\" alt=\"substitute\" width=\"450\" height=\"683\" \/><\/a><\/p>\n<p>The September issue of\u00a0<em>Frieze<\/em>\u00a0contains <a href=\"https:\/\/frieze.com\/issues\/frieze-magazine\/issue-181\">an eight-page comic (or \u201cspecial artist\u2019s project,\u201d to use the magazine\u2019s parlance) by Gary Panter<\/a>. Its narrative rests on a sort of bleak joke: one man opines to another about contemporary attitudes toward fine art as they make their way to an exhibition in which \u201c98% of the museum contents of the 20th century\u201d have been used for landfill. The man\u2019s complaint is a version of Benjamin\u2019s mechanical-reproduction argument: in the digital age, a work of art can be reproduced infinitely, so much so that neither the original object nor the myriad reproductions hold any value. By the same token, he warns that \u201cmistaking the highest marketing structure as the main manifestation of art is sad.\u201d But Panter\u2019s smart critique is only one aspect of this brilliant comic; the other is the art. Panter drew it in ink without penciling or planning first (I\u2019d guess the subject has been on his mind), then filled the panels with gem-hued watercolors and employed a rubber stamp and stencils to create areas of fake Benday dots. Last, he made occasional scribbles with a pencil. If the message is somewhat doleful, the art is a buoy. That balance may be what I love most about Panter\u2019s work. \u2014<strong>Nicole Rudick<\/strong><\/p>\n<p>Ten years before his retirement from music in 2009, the Silver Jews\u2019s David Berman released a poetry collection,\u00a0<em><a href=\"https:\/\/www.amazon.com\/Actual-Air-David-Berman\/dp\/1890447048\">Actual Air<\/a><\/em>. Berman\u2019s poems, like his songs, aren\u2019t showy\u2014they\u2019re precise and accessible, sweet without being cloying, smooth without being facile. \u201cThe Charm of\u00a05:30\u201d celebrates, simply, the feeling of having had a good day, when \u201ceven the headstones \u2026 seem to stand up and say \u2018Hello! My name is \u2026 \u2019 \u201d Reading these poems is like turning over a rock and feeling like you\u2019ve never looked at a rock before; Berman transmutes his sensitivities into verse that makes you want to look closely. But he can also be devastating: in \u201cImagining Defeat,\u201d the narrator is woken by a woman who\u2019s leaving him, her suitcase \u201clike a little brown dog at her heels.\u201d She asks him if he ever thinks of cancer. He does, \u201cbut always as a tree way up ahead in the distance where it doesn\u2019t matter.\u201d Then he slashes this sadness with the absurd. \u201cTo believe any of that,\u201d he writes, \u201cyou have to accept the premise that she woke me up at all.\u201d\u00a0\u2014<strong>Caitlin Love<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-102498\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/09\/matteseptember16cover.jpg\" alt=\"matteseptember16cover\" width=\"450\" height=\"587\" \/><\/p>\n<p>The September issue of <a href=\"http:\/\/matteeditions.com\/\">the tiny but esteemed photography magazine\u00a0<em>MATTE<\/em><\/a>\u00a0has pictures from <a href=\"http:\/\/www.reslikeyes.com\/\" target=\"_blank\">Res<\/a> about their relationship with their aging father. That I want to describe such a personal body of work as being, above all, formalist is a testament to the complexity of Res\u2019s images. Rarely is anything where you expect it to be: a man\u2019s face disappears behind the sparring shadows of sports trophies; an eerie, cloud-dappled sky peers down at a bleak and cluttered desk; aged\u00a0skin emerges from behind the shimmering, out-of-focus loops of a chandelier. This formal rigor is essential to the sense we get that this is a family album turned deliberately on its head. The tropes are gone\u2014the birthday parties, the posed and smiling faces\u2014and they\u2019re replaced with pieces of suburban banality that Res has transformed into scenes both unsettling and ecstatic. If the family album is, as Corrine Fitzpatrick writes in her essay introducing Res\u2019s work, \u201ca family telling itself the story of itself,\u201d then these images conspire to blow the narrative possibilities of the contemporary family wide open. You can pick up a copy at the NY Art Book Fair at MoMA PS1 from\u00a0September 16\u00a0to\u00a018. \u2014<strong>Sylvie McNamara<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alex Prager\u2019s brilliant ten-minute film La Grande Sortie\u00a0in its U.S. debut, is looping in the upstairs screening room of Lehmann Maupin Gallery\u00a0through\u00a0October 23.\u00a0Prager has imagined for us the marvelously grotesque descent of a prima ballerina into a state of hysteria provoked by our worst fears of stage fright. Witnessed through the shifting perspectives of the [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[24437,24433,35,55,6564,24436,1399,228,24434,19419,24439,2660,2165,100,7221,165,9619,24440,883,24435,24438],"class_list":["post-102492","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-actual-air","tag-alex-prager","tag-art","tag-dance","tag-david-berman","tag-frieze-magazine","tag-gary-panter","tag-illustration","tag-le-grande-sortie","tag-lehmann-maupin","tag-matte-magazine","tag-nicholson-baker","tag-nonfiction","tag-photography","tag-poems","tag-poetry","tag-recommended-reading","tag-res","tag-staff-picks","tag-substitute","tag-the-silver-jews"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO 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