{"id":104963,"date":"2016-11-18T09:07:06","date_gmt":"2016-11-18T14:07:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=104963"},"modified":"2016-11-18T11:49:55","modified_gmt":"2016-11-18T16:49:55","slug":"painting-like-man-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/11\/18\/painting-like-man-news\/","title":{"rendered":"\u201cPainting Like a Man,\u201d and Other News"},"content":{"rendered":"<div id=\"attachment_104966\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/massacre.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-104966\" class=\"wp-image-104966\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/massacre.jpg\" width=\"600\" height=\"378\" \/><\/a><p id=\"caption-attachment-104966\" class=\"wp-caption-text\">Grace Hartigan, <i>The Massacre<\/i>, 1952, oil on canvas. \u00a9 Estate of Grace Hartigan; collection of the Kemper Museum of Contemporary Art. Image via <em>The Atlantic<\/em>.<\/p><\/div>\n<ul>\n<li>I always like to talk about <em>The Paris Review<\/em>\u2019s shadowy CIA past. True, it all happened well before I was born, let alone before I was employed here, but I feel it lends my personal story an air of roguish midcentury intrigue. But I should knock it off, because the fact is this: the CIA\u2019s alliance with belles lettres was quietly despicable, a mark on the magazine\u2019s history. Rob Spillman spoke to Joel Whitney, the author of the new book <em>Finks<\/em>, about the broader, soft-power implications of the CIA in the early <em>Review<\/em>\u2019s aesthetics: \u201c<a href=\"http:\/\/bombmagazine.org\/article\/40181110\/joel-whitney\" target=\"_blank\">[<em>Review <\/em>editors] interviewed Europeans and Americans who they put in a <em>belles lettrist\u00a0<\/em>context<\/a>. They basically were politicizing the apoliticization of art. They made it seem apolitical, and did so very effectively \u2026 There&#8217;s a de-emphasis on historical truth. You see that across all the CIA aesthetics that they championed. Abstract expressionism was depoliticized against the backdrop of social realism. You have new criticism, which was almost rabidly not interested in historical or the post-colonial context. <em>The<\/em>\u00a0<em>Paris Review <\/em>pretended they didn\u2019t do politics \u2026 If it looks apolitical, that doesn\u2019t necessarily make it so.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Looking to the same period, Sarah Boxer renews a sixties-era argument about women and art: \u201c<a href=\"http:\/\/www.theatlantic.com\/magazine\/archive\/2016\/12\/move-over-michelangelo\/505826\/\" target=\"_blank\">Women artists have been put down in many ways over the years, but the basic technique boils down to this<\/a>: A critic, a curator, a dealer, or an art historian describes how women paint differently from men, then declares this quality inferior. Women are pegged as controlled, tentative, personal \u2026 Greatness is a moving target designed to make women miss. It is no accident that \u2018painting like a man\u2019 used to be dished out as a supremely delicious compliment. Irving Sandler once asked Grace Hartigan \u2018if a male artist ever told her she painted as well as a man.\u2019 She replied tartly, \u2018Not twice.\u2019 \u201d\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>It turns out that <em>Walden <\/em>is actually full of great goofs and gags\u2014they\u2019ve just aged so poorly that the book now appears to us as a bastion of sober humorlessness. M. Allen Cunningham writes, \u201c<a href=\"http:\/\/lithub.com\/thoreau-was-actually-funny-as-hell\/\" target=\"_blank\">Had you taken the pains to point out to me, at fourteen, the extent of the levity that permeates\u00a0<em>Walden\u00a0<\/em>and much of Thoreau\u2019s writing, I might have punched you in the nose<\/a> \u2026 He larded his lines with puns and submerged secondary meanings that frequently aimed for laughs. Depicting himself ironically well-employed as nature\u2019s surveyor and inspector in\u00a0<em>Walden<\/em>\u2019s first chapter, he boasts: \u2018I have watered the red huckleberry, the sand cherry and the nettle tree, the red pine and the black ash, the white grape and the yellow violet, which might have withered else in dry seasons.\u2019 Like much of\u00a0<em>Walden<\/em>\u2019s wit, the Falstaffian irreverence here, wherein Thoreau confesses to being a serial outdoor pisser, went\u2014to deploy a pun of my own\u2014whizzing right over the teenage reader\u2019s head.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Alex Abramovich picks up a new collection of Donald Judd\u2019s writing: \u201c \u2018<a href=\"http:\/\/www.lrb.co.uk\/blog\/2016\/11\/17\/alex-abramovich\/on-spring-street\/\" target=\"_blank\">I wrote criticism as a mercenary and would never have written it otherwise,\u2019 Donald Judd wrote in 1974<\/a>. \u2018Since there were no set hours and since I could work at home it was a good part-time job\u2019 \u2026 [His writing is] matter of fact, utilitarian\u2014plain in ways that conceal the effort that might have gone into the actual work. Judd, who studied philosophy before turning towards art, was as precise on the page as he was in his sculpture. Take that syllogistic word \u2018since\u2019, which appears again and again in his essays, sometimes several times in the same sentence.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It\u2019s Friday: time to study some loud noises. If your weekend plans include annoying people as frequently and intensely as possible, you should ask an alarm designer\u2014this is their lifeblood. \u201c<a href=\"http:\/\/www.atlasobscura.com\/articles\/an-alarm-designer-on-how-to-annoy-people-in-the-most-effective-ways\" target=\"_blank\">What makes an \u2018awooga\u2019 sound more or less urgent than a \u2018ding\u2019<\/a>? And how do you create an alarm noise\u00a0that\u2019s annoying enough to get someone\u2019s attention, but not so annoying that said person disables the alarm? \u2026 To be perceived as urgent, an alarm needs to have two or more notes rather than being a pure tone, \u2018otherwise it can sound almost angelic and soothing,\u2019 says [designer Carryl] Baldwin. \u2018It needs to be more complex and kind of harsh.\u2019 \u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>I always like to talk about The Paris Review\u2019s shadowy CIA past. True, it all happened well before I was born, let alone before I was employed here, but I feel it lends my personal story an air of roguish midcentury intrigue. But I should knock it off, because the fact is this: the CIA\u2019s [&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":[25768,25769,25764,11072,4541,25766,25767,411,13808,31,426,3639,25765],"class_list":["post-104963","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-alarms","tag-annoying-noises","tag-belles-lettres","tag-cia","tag-donald-judd","tag-grace-hartigan","tag-henry-thoreau","tag-humor","tag-painters","tag-peter-matthiessen","tag-the-paris-review","tag-walden","tag-women-artists"],"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>What Midcentury Women Artists Had to Put Up With<\/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\/11\/18\/painting-like-man-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cPainting Like a Man,\u201d and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"November 18, 2016 \u2013 I always like to talk about The Paris Review\u2019s shadowy CIA past. 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