{"id":110269,"date":"2017-04-25T09:44:57","date_gmt":"2017-04-25T13:44:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110269"},"modified":"2017-04-25T10:22:45","modified_gmt":"2017-04-25T14:22:45","slug":"strong-opinions-about-dead-artists-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/25\/strong-opinions-about-dead-artists-and-other-news\/","title":{"rendered":"Strong Words About Dead Artists, and Other News"},"content":{"rendered":"<div id=\"attachment_110270\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/rauschenberg.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110270\" class=\"wp-image-110270\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/rauschenberg.jpg\" width=\"1000\" height=\"827\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/rauschenberg.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/rauschenberg-300x248.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/rauschenberg-768x635.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110270\" class=\"wp-caption-text\">Robert Rauschenberg, <i>Collection<\/i>, 1954\u201355.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>There\u2019s a massive Robert Rauschenberg retrospective coming to the MoMA next month, which means we can expect a host of Serious Opinions on the Significant Artist\u2122 to appear in lofty periodicals everywhere. Look to the horizon and you can see the storm clouds gathering, as the assessors assess and the critics criticize. Jed Perl, whose lacerating take on Jeff Koons can still warm my heart on cold nights, has already rendered his verdict on Rauschenberg, and it goes mainly like this: he sucks. Perl writes, \u201c<a href=\"http:\/\/www.nybooks.com\/articles\/2017\/05\/11\/robert-rauschenberg-confidence-man-american-art\/\" target=\"_blank\">Rauschenberg became adept at keeping admirers and detractors alike on their toes with his swaggering insouciance and Delphic-Dadaist remarks<\/a> \u2026 It was in 1959, for the catalog of the exhibition \u2018Sixteen Americans\u2019 at the Museum of Modern Art, that Rauschenberg dreamed up what has become his most famous statement. \u2018Painting,\u2019 he announced, \u2018relates to both art and life. Neither can be made. (I try to act in that gap between the two.)\u2019 It\u2019s difficult to conceive of a more gnomic twenty-one-word declaration of principles. What on earth is Rauschenberg talking about? What does it mean to say that art can\u2019t be \u2018made\u2019? And what is that \u2018gap\u2019 between \u2018art and life\u2019 aside from the sweet spot where Rauschenberg established his reputation? \u2026 What Rauschenberg provides his interpreters is a nearly endless succession of whims, gambits, riffs, and diversions. Many of his effects amount to little more than lessons everybody ought to have learned in Modern Art 101.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Not dissimilarly, Stephen Akey has lodged his complaints\u00a0with the Emily Dickinson scholars of the world, who persist, he writes, in a laborious effort to make her poems even harder to read: \u201c<a href=\"http:\/\/thesmartset.com\/reading-emily-dickinson\/\" target=\"_blank\">The online Emily Dickinson Archive, which reproduces the manuscripts with all their wayward calligraphy and unresolved word choices, is a necessary and laudable enterprise, but the last thing it does is make her poetry more accessible<\/a>. You thought it was hard reading Emily Dickinson before? It just got harder \u2026 Maybe the chief difference between a Dickinson scholar and a Dickinson amateur (like me) is that the scholar is in love with and can justify every last dash, whereas the amateur, desperate for the guidance provided by rational punctuation, mentally supplies the missing commas, colons, semicolons, and periods not to be found in the poems themselves \u2026 Can anyone truly read these poems without editing them in her head, supplying the punctuation necessary for many of them to make a modicum of sense?\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Now is a great time to worry about the threat of nuclear war with North Korea. But don\u2019t spend all your worries in one place. You\u2019ll want to save a few so you can worry about your dildo getting hacked. Mark Hay looks at the downside of \u201csmart\u201d sex toys: \u201c<a href=\"https:\/\/theawl.com\/the-dildo-of-damocles-1731dc6e8e3e\" target=\"_blank\">Teledildonics\u2014\u200athe industry term for a wide variety of\u00a0remote sex technologies\u2014\u200acurrently\u00a0encompasses dozens of devices<\/a>. They range from basic vibrators\u00a0a partner can activate from afar\u00a0to the high-end Kiiroo\u2019s Onyx and Pearl, a vibrator and masturbation sleeve combo that connects to allow one to experience a distant partner\u2019s actions in real-time. Theoretically, the toys of the future could even allow users to record every physical aspect of a sexual encounter, remote or proximate, and save it for replay or distribution. As with any smart device, there\u2019s the obvious risk that a company could opaquely collect and sell, or a hacker could illicitly siphon off, metadata on users \u2026 The right security flaws may allow hackers to gather identifying details, like an email address, as well as geolocation data and an IP address. Then there\u2019s the issue of long-distance sexual assault \u2026 There\u2019s a real risk an outside party could activate individuals\u2019 sex toys.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In Berlin, Daniel Trilling visits \u201cGerman Colonialism: Fragments Past and Present,\u201d at the Deutsches Historisches Museum, which reckons with Europe\u2019s many genocides: \u201c<a href=\"https:\/\/www.lrb.co.uk\/blog\/2017\/04\/21\/daniel-trilling\/in-berlin-2\/\" target=\"_blank\">The British sociologist Gurminder K. Bhambra gave a\u00a0lecture\u00a0in which she pointed out that most of today\u2019s refugees in Europe come from countries that were once colonies, whose poverty or instability are a result of that experience<\/a>. She argued that the EU was a colonial project in origin: France\u2019s African possessions were offered \u2018as a dowry to Europe\u2019 and non-white populations \u2026 One exhibit stands out: a set of sound recordings made on shellac discs in 1917. During the war, British and French colonial troops taken prisoner on the Western Front were separated from the rest and sent to live in a camp outside Berlin. They were studied by scientists, some of whom got them to speak or sing. A Tunisian farmer sings a song he wrote about his conscription, war injury and imprisonment. A Gurkha recites the story of the prodigal son in English. A man from what is now South Sudan counts from one to twenty in his mother tongue, then departs from the script and demands to be released. The voices are upsetting, at once distant and shockingly immediate.\u201d<\/li>\n<\/ul>\n<ul>\n<li>James Campbell writes on James Baldwin\u2019s cinephilia: \u201c <a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/james-baldwin-hollywood\/?CMP=Sprkr-_-Editorial-_-TheTLS-_-ArtsandCulture-_-JustTextandlink-_-Quote-_-Unspecified-_-ACCOUNT_TYPE\" target=\"_blank\">\u2018<\/a><a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/james-baldwin-hollywood\/?CMP=Sprkr-_-Editorial-_-TheTLS-_-ArtsandCulture-_-JustTextandlink-_-Quote-_-Unspecified-_-ACCOUNT_TYPE\" target=\"_blank\">About my interests,\u2019 Baldwin wrote in the foreword to his first essay collection,\u00a0<em>Notes of a Native Son <\/em>(1955), \u2018I don\u2019t know if I have any, unless the morbid desire to own a sixteen-millimeter camera and make experimental films can be so classified.\u2019<\/a> Twenty-one years later, he published\u00a0<em>The Devil Finds Work<\/em>, a book-length meditation ostensibly on the roles assigned to black people in the American cinema from\u00a0<em>The Birth of a Nation\u00a0<\/em>to\u00a0<em>Guess Who\u2019s Coming to Dinner<\/em>, but diverging at every turn into fierce diagnoses of the society that wished that cinema into being \u2026 One of his most cherished hopes was to see a film version of his second novel\u00a0<em>Giovanni\u2019s Room\u00a0<\/em>(1956). Baldwin had a longstanding spoken agreement with Marlon Brando to take the part of Guillaume, the story\u2019s loathsome caf\u00e9 owner (there was often a role for Brando in Baldwin\u2019s movie plans), and things progressed far enough for writer, actor and director\u2014Michael Raeburn, who had already transferred\u00a0Doris Lessing\u2019s novel\u00a0<em>The Grass Is Singing\u00a0<\/em>to the screen\u2014to hold a meeting in Paris and for Baldwin to write a screenplay.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: an impending Rauschenberg retrospective brings the haters out; Emily Dickinson\u2019s poems are harder to read than ever.<\/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":[28529,7760,19884,2056,2736,28528,28527,16996,881,1389,705,81,165,2047,17170,6718],"class_list":["post-110269","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-cinephilia","tag-colonialism","tag-dildos","tag-emily-dickinson","tag-europe","tag-european-union","tag-hacking","tag-internet-of-things","tag-james-baldwin","tag-jed-perl","tag-moma","tag-movies","tag-poetry","tag-poets","tag-retrospectives","tag-robert-rauschenberg"],"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>It\u2019s Time to Formulate an Opinion on Rauschenberg (Everyone\u2019s Doing It)<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: an impending Rauschenberg retrospective brings the haters out; 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