{"id":110549,"date":"2017-05-04T08:45:28","date_gmt":"2017-05-04T12:45:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110549"},"modified":"2017-05-05T13:34:31","modified_gmt":"2017-05-05T17:34:31","slug":"you-lost-your-glove-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/04\/you-lost-your-glove-and-other-news\/","title":{"rendered":"You Lost Your Glove, and Other News"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/lostglove.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-110550\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/lostglove.jpg\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/lostglove.jpg 800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/lostglove-300x242.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/lostglove-768x620.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li>I took the photo above outside <em>The Paris Review<\/em>\u2019s offices in December 2014. I still think about it sometimes, mainly when I\u2019m listening to Prince\u2019s <em>Batman <\/em>soundtrack or zip-lining between New York rooftops in my vulcanized rubber Batman costume, but also in lonelier, more solemn moments. It turns out there\u2019s a whole subculture devoted to photos of lost gloves. Genevieve Walker, a kind of lost-glove pioneer, has given plenty of thought to the preponderance of these gloves, and of those who pause to photograph them. She writes, \u201c<a href=\"http:\/\/reallifemag.com\/consider-the-lost-glove\/\" target=\"_blank\">I collect single, lost gloves<\/a>. Photos of them\u2014taken by me, and exceedingly by friends and strangers. Lost gloves have been found to grow proportionally with the local human population, in all climates\u2014it is a symbiotic relationship, like with pigeons, stray cats, or certain viruses. Ubiquitous as they are, once one makes a habit of cataloging lost gloves in their natural habitat, one\u2019s eye becomes keener, and even the most peculiar, unknown subspecies reveal themselves \u2026 What I\u2019m interested in is the way gloves are like birds, having migratory paths, genus and family; how they carry identifying marks like a butterfly\u2019s wing. I am interested in the gloves\u2019 situational patterns, their socioeconomic indicators bright as labels. But most of all, I marvel that you, now, continue to\u00a0send them to me, snapshots of the lost gloves of your life \u2026 \u201d<\/li>\n<\/ul>\n<ul>\n<li>While we\u2019re in this innocent, childlike frame of mind, here\u2019s Hattie Crisell on Eleanor Macnair, who reinterprets classic photographs entirely in Play-Doh: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/05\/01\/t-magazine\/art\/eleanor-macnair-play-doh-artist-photographs.html?smid=tw-tmagazine&amp;smtyp=cur&amp;_r=1&amp;referer=https:\/\/t.co\/75ziscAOOm\" target=\"_blank\">Macnair\u2019s colorful, three-dimensional homages are a labor of love: building one takes up to seven hours<\/a>. The human figures are modeled as nudes first, then covered with clothes to give them a lifelike shape. \u2018It\u2019s a bit like when you\u2019re a child and you have the cutout dressing-up dolls,\u2019 Macnair says. She creates the Play-Doh image late at night, then leaves it under a cloth while she sleeps. With the morning light, she begins to photograph. \u2018I\u2019m totally working against the clock. The edges start to crack and dry, even within three or four hours, and the colors start to fade.\u2019 Once she has what she needs, she immediately dismantles it, saving as much clay as possible to be used again. The project, she says, is partly about making art feel less rarefied and more democratic.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Garth Greenwell on \u00c9douard Louis\u2019s debut novel, set in a parochial French town very much in the grip of Le Pen\u2019s toxic nationalism: \u201c<em><a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/05\/08\/growing-up-poor-and-queer-in-a-french-village\" target=\"_blank\">The End of Eddy <\/a><\/em><a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/05\/08\/growing-up-poor-and-queer-in-a-french-village\">is a dark book, but it isn\u2019t an entirely joyless one; nor is it \u2018totalitarian.\u2019<\/a> If the narrator occasionally offers a reductive view of his world, the novel itself doesn\u2019t exclude what falls outside his system. Its characters act in ways that offer the novelistic pleasure of surprise \u2026 Even Louis\u2019s use of academic language ultimately comes to feel less analytical than aesthetic and dramatic. For the young Eddy, refined language is a weapon, a way to turn the stigma of difference into the prestige of distinction. When Eddy uses the formal verb\u00a0<em>d\u00eener\u00a0<\/em>at home instead of the familiar\u00a0<em>bouffer<\/em>\u00a0(\u2018to chow down\u2019), his family takes umbrage. They accuse him of putting on airs, of \u2018philosophizing\u2019 (\u2018to philosophize meant talking like the class enemy,\u00a0<em>the haves<\/em>, <em>the rich folk<\/em>\u2019).\u201d<\/li>\n<\/ul>\n<ul>\n<li>Martin Filler considers the career of Irving Penn, whose photography is the subject of a new retrospective at the Met to celebrate his centennial: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/05\/02\/the-puzzle-of-irving-penn\/\" target=\"_blank\">Penn\u2019s finest efforts now look better than ever<\/a>. Among them are his classic portraits of midcentury cultural luminaries\u2014Igor Stravinsky with a hand cupped around one ear; a prematurely world-weary Truman Capote; and the rail-thin Marcel Duchamp like a Giacometti sculpture come to life. All were posed against gray industrial felt backdrops or wedged into an acute-angled corner that somehow prompted his subjects into remarkable revelations through posture and facial expression. \u2018They couldn\u2019t run away,\u2019 Penn explained to me of this canny compositional contrivance, \u2018and they belonged to me as subjects for that moment of time. They felt good about it, too. Their rears were protected and they could project their attitudes outward in one direction\u2019 \u2026 There can be a stiflingly hermetic quality to some of Penn\u2019s studio work. I\u2019ve never been a fan of his finicky early still lives, which are so overly art-directed that any relation to the messy abundance of the seventeenth-century Dutch paintings that inspired him is lost. Or the existentialist pretensions of the gutter trash series\u2014clearly influenced by the postwar Arte Povera notion that there is something inherently profound in decay.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Emily Post is long gone, but her etiquette advice lives on in her descendants, especially Lizzie Post and Dan Post Senning, who endeavor to keep the Post name relevant in these increasingly rude times. It\u2019s an uphill battle, as Laura Miller writes; the latest version of <em>Emily Post\u2019s Etiquette: Manners for Today<\/em> \u201c<a href=\"http:\/\/www.slate.com\/articles\/arts\/culturebox\/2017\/04\/how_emily_post_s_descendants_are_shepherding_her_legacy_into_a_cultural.html\" target=\"_blank\">includes updated chapters on social media (\u2018It is definitely okay to actively unfriend someone you no longer feel comfortable being connected with\u2019) and smartphones (\u2018Don\u2019t be upset if your text doesn\u2019t get an immediate response\u2019), and even a section on etiquette in online gaming (\u2018Good-natured trash-talking, cheering and even jeering can be okay if they\u2019re in line with good sportsmanship and the character of the site\u2019)<\/a> \u2026 Some of the obstacles facing the Post empire are familiar ones for a publishing business trying to adapt in the digital age. \u2018Book royalties have been declining for years,\u2019\u00a0Dan explained, a complaint familiar to any author or publisher of reference books in the age of Google \u2026 \u2018Talk about branding ambitions: Try to find a contemporary tableware set that has a salad knife \u2026 We have some old family silver that does, but it\u2019s too ornate for this shoot. I\u2019d like to see Emily Post\u2013branded tableware some day.\u2019 Across a whiteboard in Dan\u2019s own office, the question was scrawled: \u2018Where will the money come from?\u2019 \u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: people love photographing lost gloves; an artist remakes iconic pictures with Play-Doh; Irving Penn\u2019s centennial is here.<\/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":[2070,22176,28653,4448,1621,865,15942,9926,10911,28656,17092,28655,747,3161,10443,3120,28654,16252],"class_list":["post-110549","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-centennials-2","tag-edouard-louis","tag-eleanor-macnair","tag-emily-post","tag-etiquette","tag-france","tag-french-literature","tag-gloves","tag-instagram","tag-irving-penn","tag-lost-gloves","tag-marine-le-pen","tag-novels","tag-photographs","tag-photos","tag-play-doh","tag-the-end-of-eddy","tag-the-met"],"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>Photographs of Lost Gloves: A Thriving Subculture<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: people love photographing lost gloves; 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