{"id":111645,"date":"2017-06-09T09:18:46","date_gmt":"2017-06-09T13:18:46","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111645"},"modified":"2017-06-09T12:15:48","modified_gmt":"2017-06-09T16:15:48","slug":"we-deserve-a-pink-guggenheim-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/09\/we-deserve-a-pink-guggenheim-and-other-news\/","title":{"rendered":"We Deserve a Pink Guggenheim, and Other News"},"content":{"rendered":"<div id=\"attachment_111646\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-111646\" class=\"wp-image-111646\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim.jpg\" width=\"1000\" height=\"563\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim.jpg 2898w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim-300x169.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim-768x432.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/guggenheim-1024x576.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-111646\" class=\"wp-caption-text\">What might have been. Image via the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural &amp; Fine Arts Library, Columbia University, New York).<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Name a building that\u2019s whiter than the Guggenheim. I\u2019ll bet you can\u2019t\u2014no matter which sense of <em>white<\/em> you\u2019re using. But let\u2019s go with the most literal one. The museum used to be a beige, inoffensive, neutral color that probably everyone was fine with except for Robert Moses, who compared it to \u201cjaundiced skin.\u201d And so it was whitewashed. But Frank Lloyd Wright, as Michael Kimmelman notes in a new piece, had toyed with the idea of making it pink or even magenta\u2014one way to make it pop off the sidewalk amid the drab skyline of a city he hated. Kimmelman writes, \u201c<a href=\"https:\/\/www.nytimes.com\/interactive\/2017\/06\/08\/arts\/frank-lloyd-wright-at-150-moma.html?rref=collection%2Fsectioncollection%2Farts\" target=\"_blank\">In 1957, Frank Lloyd Wright, ninety and still tirelessly hawking himself as America\u2019s greatest architect, sat for a television interview with a young, chain-smoking Mike Wallace<\/a>. Does New York\u2019s skyline excite him, Wallace asks. \u2018It does not,\u2019 Wright says. \u2018Because it never was planned\u2014it\u2019s all a race for rent, and it is a great monument I think to the power of money and greed\u2019 \u2026 Wright is still, sixty years after his death, a man for our times, image savvy, fighting to stay on top of the architectural heap by mastering a swiftly evolving media landscape \u2026 New York was never Wright\u2019s idea of America. Elizabeth Hawley, from City University of New York, digs into archival drawings for Nakoma Country Club, a golf resort in Wisconsin, where Wright appropriated Native American art and artifacts for a decorative scheme as part of his larger project to define and own \u2018Americanness\u2019 \u2026 Wright was also a man of his own times, in other words, a bundle of competing ideas.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Emily Bloom looks at the influence of BBC Radio on Irish writers, especially Seamus Heaney, who credited the sounds of the radio for launching \u201chis journey into the wideness of the world beyond\u201d: \u201c<a href=\"http:\/\/www.irishtimes.com\/culture\/books\/bbc-rejected-waiting-for-godot-as-too-irish-1.3112552\/\" target=\"_blank\">The \u2018gutturals and sibilants\u2019 of the foreign broadcasters initiate Heaney into the diversity and complexity of the spoken word<\/a> \u2026 Earlier generations of Irish writers, including W. B. Yeats, Elizabeth Bowen, Louis MacNeice,\u00a0and\u00a0Samuel Beckett, describe similar experiences beginning in the 1930s. For these writers, radio was an important influence, offering a powerful mass medium for the spoken word. For the first time, people could listen to a distant speaker in the privacy of their homes. Writers were especially drawn to the new medium because it created a platform for the spoken word at a time when print culture had all but erased the last vestiges of oral traditions on the British Isles \u2026 When I began researching in the BBC archives I was surprised both by the number of Irish writers who turn up and at the ways they credit the radio medium with shaping not only what they write, but how they write.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Jeff Dolven took fourteen poets to the Whitney, where they did their poetic thing en masse. You weren\u2019t there? Well, in his words, \u201c<a href=\"http:\/\/bombmagazine.org\/article\/458467\/14-person-poem\" target=\"_blank\">It happens like this: You enter the bright room on the west side of the sixth floor of the Whitney Museum of American Art<\/a>. You are among young trees, twenty-six of them, growing from wooden boxes raised on casters, spaced out around the room; the floor is red carpet, the light a mix of sun from the windows and a magenta glow from the bulbs on the ceiling. You may have a moment to look around, or you may be approached right away by someone who says:\u00a0<em>Find a furrow in your sleep<\/em>. Or,\u00a0<em>The ridge. A ladder asleep against a house<\/em>. Or,\u00a0<em>That went, This was our planet, a past tense<\/em>. Then the speaker moves right on, and someone else catches you by the elbow:\u00a0<em>all night in when down when joy down oh when<\/em>. Or,\u00a0<em>Given the recent turn of events, it might have resisted blooming<\/em>. You might start to seek these people out, to gather more lines, but before long a chime sounds and the readers, who have been circulating freely, form a circle in the center of the room.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Max Nelson reappraises the work of Stan Brakhage, who loved light more faithfully than you or I do: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/06\/08\/brakhage-when-light-meets-life\/\" target=\"_blank\">To describe the thinking behind his films, Stan Brakhage often quoted a saying attributed to the ninth-century Irish theologian John Scotus Eriugena: \u2018All things that are, are light.\u2019<\/a> He got the line from Ezra Pound, and his attachment to it was one of the few constant principles connecting the hundreds of experimental films he made between 1952 and 2003 \u2026 What his films shared was an obsession with light\u2014the patterns it makes, its effects on the eye and the brain, how different shooting methods and editing strategies could make it behave. Many of Brakhage\u2019s movies skip from shot to shot so quickly that it can be almost impossible to keep track of what they show. Each image lasts just long enough to register as a pattern of light and color before another hits the eye in its place \u2026 His mission, which he pursued with a zealous intensity, was to liberate the eye from such \u2018prescribed\u2019 ways of seeing.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Reading the Library of America\u2019s new anthology of rock criticism, Jack Hamilton wonders if the form resists canonization: \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/the-trouble-with-building-a-rock-writing-canon?intcid=mod-latest\" target=\"_blank\">Twenty-first-century popular-music criticism is haunted by the specter of \u2018rockism,\u2019 the conviction that the highest forms of popular music are created by (mostly white, male) practitioners of guitar-based music who are intrepidly following in the footsteps of Dylan, the Beatles, and the Boss<\/a> \u2026 Rockism is a canon-obsessed ideology, and although its critical heyday has mostly passed, any anthology like this one will invite scrutiny for traces of its residue. <em>Shake It Up<\/em> seems to anticipate this\u2014note the conspicuous \u2018and Pop\u2019 on its cover\u2014and, for the most part, successfully sidesteps rockism\u2019s pitfalls \u2026 Still, and perhaps inevitably, <em>Shake It Up<\/em> skews toward the old-fashioned, in several senses \u2026 By my count, only one of the fifty essays in this volume was originally published in an online-exclusive venue, which, given the immense influence of sites like <em>Pitchfork<\/em> over the past two decades, doesn\u2019t feel like enough.\u201d<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: alternate colors for the Guggenheim, how Irish writers learned from BBC radio, Stan Brakhage\u2019s films, and more.<\/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":[1657,29127,3491,3477,29128,3685,10350,11860,2380,4275,29129,3455,13091],"class_list":["post-111645","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-architecture","tag-bbc-radio","tag-frank-lloyd-wright","tag-guggenheim","tag-irish-writers","tag-jeff-dolven","tag-music-journalism","tag-robert-moses","tag-rock-criticism","tag-seamus-heaney","tag-shake-it-up","tag-stan-brakhage","tag-the-whitney"],"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>A Pink Guggenheim? 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