{"id":111976,"date":"2017-06-22T09:01:59","date_gmt":"2017-06-22T13:01:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111976"},"modified":"2017-06-22T10:33:03","modified_gmt":"2017-06-22T14:33:03","slug":"your-arts-not-instagrammable-enough-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/","title":{"rendered":"Your Art\u2019s Not Instagrammable Enough, and Other News"},"content":{"rendered":"<div id=\"attachment_111977\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-111977\" class=\"wp-image-111977\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\" width=\"1000\" height=\"750\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg 960w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1-300x225.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1-768x576.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-111977\" class=\"wp-caption-text\">Yayoi Kusama, <i>The Souls of Millions of Light Years Away<\/i>, 2013.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Aspiring artists should judge their work by one criterion and one criterion only: Do people want to take selfies in front of this thing? If the answer is no, then it\u2019s back to the drawing board, friend. You\u2019d do well to make something <em>immersive<\/em>, something <em>participatory<\/em>, something that\u2019s such an <em>experience<\/em> that it acts as a magnet on the surrounding population, much as a Six Flags or a new Shake Shack might. To make anything quieter or less immediately spectacular is to risk irrelevance. When Sarah Boxer went to see Yayoi Kusama\u2019s \u201cInfinity Mirrors\u201d exhibition, she realized that she\u2019d found the quintessential art show of our time\u2014one whose value is directly correlated to its Instagramability. Boxer writes, \u201c<a href=\"https:\/\/www.theatlantic.com\/magazine\/archive\/2017\/07\/yayoi-kusamas-existential-circus\/528669\/\" target=\"_blank\">The fact that some folks have managed to make the scene while others get left out in the cold is integral to the excitement of participatory art<\/a>. The thrill is akin to exotic travel, or getting to see\u00a0<em>Hamilton<\/em>. Because not everyone who wants the experience actually gets the experience, these works, even if their intentions and messages are democratic, tend to become exclusive affairs \u2026 Why has the apprehension of art become so like theater? And why is Kusama, who never received as much attention in the 1960s as many of her contemporaries did, finally in the spotlight now? I was given a one-word answer to that question\u2014Instagram!\u2014and surely that is right. The Kusama show has just about everything the Happenings once had\u2014the chance to see something extraordinary, the chance to participate, and the chance to photograph (or be photographed). But the \u2018Infinity Mirrors\u2019 exhibition has added one key ingredient to the mix\u2014the chance to capture the lonely existential experience of infinity and send it to others in the form of a selfie.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Speaking of spectacle: in the eighties, the Gorgeous Ladies of Wrestling (<small>GLOW<\/small>) put a glam, femme spin on WrestleMania, creating a show that fused daredevil feats of strength to campy dance routines. Now Netflix is resurrecting the show\u2014but as a sitcom, and with little input from the original cast. Gendy Alimurung caught up with that cast and found that their lives are equally tragic and exhilarating, shaped in every way by their years as wrestlers: \u201c<a href=\"https:\/\/www.washingtonpost.com\/lifestyle\/this-80s-female-wrestling-league-was-dangerous-and-sexist--and-the-best-job-of-their-lives\/2017\/06\/19\/4ed73c02-4220-11e7-adba-394ee67a7582_story.html?utm_term=.91115432adac\" target=\"_blank\">If the women feel proprietary about <em>GLOW<\/em>, it\u2019s only because they gave so much of themselves to it<\/a>. It was brutal work. The pay was measly, the material was campy and racist. For many, however, it was the best job they ever had \u2026 Professional wrestling is fake. But the pain was real. Virtually none of them started out as trained wrestlers. They were actors, dancers and models who answered casting calls for \u2018a new sports entertainment show.\u2019 Dee Booher, who played German villainess Matilda the Hun, recalls that after a match, \u2018these girls sometimes came out with handfuls of hair.\u2019 At her apartment in Seal Beach, Calif., in Orange County, she flips through an old photo album while sitting in a motorized wheelchair\u2014the result of wrestling-related spinal deterioration. \u2018I\u2019d beat \u2019em up. Eat \u2019em up! It was beautiful!\u2019 she says. \u2018Here\u2019s Spanish Red. Look at this girl. Look at how she moves. She was a dancer. Here\u2019s Ashley. Look at those ta-tas on her\u2019 \u2026 \u2018I hope you\u2019re getting paid enough for this,\u2019 she recalls one of the medics telling her \u2026 The women made between $300 and $700 a week. No dental. No medical.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>What role can literature play, asks Andrew O\u2019Hagan, when social media threatens to destroy private life as we know it? \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/jun\/17\/privacy-literature-social-media-andrew-ohagan?utm_content=buffercab29&amp;utm_medium=social&amp;utm_source=twitter.com&amp;utm_campaign=buffer\" target=\"_blank\">Literature, which includes great journalism, might enhance the public sphere but it more precisely enriches the private one, and we are now at the point where privacy, the whole secret history of a people, might be the only corrective we have to the political forces embezzling our times<\/a> \u2026 I\u2019m always going out of the house to find stories and always being changed by them \u2026 Such work sets up conversations that novelists might not otherwise have. When I\u2019m reporting nowadays I feel less like a news gatherer and more like an actuality seeker, someone for whom the techniques of fiction are never foreign and seldom inappropriate. In recent years, I\u2019ve tended to write about people who inhabit a reality they made for themselves or that in other ways consorts with fiction, and I was required to enter their ether and dance with their shades in order to find the story. When I was a young reader, I learned from the poets not to trust reality\u2014\u2018reality is a clich\u00e9 from which we escape by metaphor,\u2019 Wallace Stevens wrote.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Adam Shatz profiles the elusive Craig Taborn, a jazz musician who so eschews the public eye that his friends call him \u201cthe ghost\u201d: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/06\/22\/magazine\/the-ethereal-genius-of-craig-taborn.html?_r=0&amp;referer=https:\/\/www.google.co.uk\/\" target=\"_blank\">Taborn\u2019s music, too, has an elusive aura, both in its spectral, moody textures and in its proud refusal to cater to expectations about what jazz, or even music, should be<\/a> \u2026 The beauty of his art resides in large part in his ability to discover new sounds in the piano, from the keys to the strings; his playing inspires something rare in music today, a sense of wonder \u2026 He has refined a technique of using the piano\u2019s sustain pedal and his attack in order to bring out the upper partials of a note, so that when he strikes a key, he can control the \u2018cross-talk\u2019 between two notes, throwing into relief what he calls \u2018the entire shape and bloom of a note,\u2019 from its inception to the moment when \u2018it ceases to be audible and becomes imaginary\u2019\u2014ghostlike, you might say \u2026 Musicians often describe their work as surrender to a superior force, but Taborn does so with a self-effacing insistence that is all the more striking coming from such a virtuoso. He calls this force \u2018the process,\u2019 and his ability to give himself over to it has, in turn, made him one of the popular sidemen in jazz.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Corporate media is desperate to make money from fan fiction, an art form that absconds with their beloved franchises and characters into a utopian space where the writers have total control and no one is trying to turn a profit.\u00a0<em>FANtasies<\/em>, a new web series, hopes to bring the shine of officialdom to a group of hobbyists who\u2019ve tended to avoid it. Amanda Hess writes, \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/06\/21\/arts\/when-fan-fiction-and-reality-collide.html?_r=0\" target=\"_blank\">a collision between the (mostly) women who create fan fiction and the entertainment world they draw on, which often seems unsure of whether to dismiss their work or capitalize on it<\/a>. The series vacillates between guarding the fandom and gently teasing it, vaulting fan fiction to mainstream recognition while reinforcing its subordinate relationship to conventional creative properties. The very conception of the series illustrates the topsy-turvy power dynamics of internet culture as it comes of age. Unpaid creators feed new cultural forms that, when they get popular enough, are co-opted by big companies hoping to whip them into profits \u2026 It\u2019s a polished series with mainstream investment starring homegrown YouTube performers who have become big deals, based on fan fiction written by other upstart internet creators who are mostly typing away in obscurity. The relationship between all those players can be so fraught that even\u00a0discussing fan fiction with its real-life subjects is taboo among many such writers, as the spotlight can feel meanspirited, or just beside the point.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.<\/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":[35,29266,6746,29265,29264,10911,4097,330,29267,504,29263,2028,11923,12543,5885],"class_list":["post-111976","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-art","tag-craig-taborn","tag-fan-fiction","tag-glow","tag-gorgeous-ladies-of-wrestling","tag-instagram","tag-installation-art","tag-jazz","tag-jazz-pianists","tag-literature","tag-participatory-art","tag-piano","tag-privacy","tag-social-media","tag-yayoi-kusama"],"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>When Your Art\u2019s Just Not Instagrammable Enough<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.\" \/>\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\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Your Art\u2019s Not Instagrammable Enough, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"June 22, 2017 \u2013 In today\u2019s roundup: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-06-22T13:01:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-06-22T14:33:03+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"960\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Your Art\u2019s Not Instagrammable Enough, and Other News\",\"datePublished\":\"2017-06-22T13:01:59+00:00\",\"dateModified\":\"2017-06-22T14:33:03+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\"},\"wordCount\":1258,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\",\"keywords\":[\"art\",\"Craig Taborn\",\"fan fiction\",\"GLOW\",\"Gorgeous Ladies of Wrestling\",\"Instagram\",\"installation art\",\"jazz\",\"jazz pianists\",\"literature\",\"participatory art\",\"piano\",\"privacy\",\"social media\",\"Yayoi Kusama\"],\"articleSection\":[\"On the Shelf\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\",\"name\":\"When Your Art\u2019s Just Not Instagrammable Enough\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\",\"datePublished\":\"2017-06-22T13:01:59+00:00\",\"dateModified\":\"2017-06-22T14:33:03+00:00\",\"description\":\"In today\u2019s arts and culture news: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Your Art\u2019s Not Instagrammable Enough, and Other News\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\",\"name\":\"Dan Piepenbring\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"caption\":\"Dan Piepenbring\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"When Your Art\u2019s Just Not Instagrammable Enough","description":"In today\u2019s arts and culture news: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/","og_locale":"en_US","og_type":"article","og_title":"Your Art\u2019s Not Instagrammable Enough, and Other News by Dan Piepenbring","og_description":"June 22, 2017 \u2013 In today\u2019s roundup: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.","og_url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2017-06-22T13:01:59+00:00","article_modified_time":"2017-06-22T14:33:03+00:00","og_image":[{"width":960,"height":720,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg","type":"image\/jpeg"}],"author":"Dan Piepenbring","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Dan Piepenbring","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"Your Art\u2019s Not Instagrammable Enough, and Other News","datePublished":"2017-06-22T13:01:59+00:00","dateModified":"2017-06-22T14:33:03+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/"},"wordCount":1258,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg","keywords":["art","Craig Taborn","fan fiction","GLOW","Gorgeous Ladies of Wrestling","Instagram","installation art","jazz","jazz pianists","literature","participatory art","piano","privacy","social media","Yayoi Kusama"],"articleSection":["On the Shelf"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/","url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/","name":"When Your Art\u2019s Just Not Instagrammable Enough","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg","datePublished":"2017-06-22T13:01:59+00:00","dateModified":"2017-06-22T14:33:03+00:00","description":"In today\u2019s arts and culture news: Yayoi Kusama and the rise of selfie art; literature in an age without privacy; the elusive jazz pianist Craig Taborn.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/kusama_the_souls_of_millions_1.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/22\/your-arts-not-instagrammable-enough-and-other-news\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Your Art\u2019s Not Instagrammable Enough, and Other News"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8","name":"Dan Piepenbring","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","caption":"Dan Piepenbring"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111976","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=111976"}],"version-history":[{"count":4,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111976\/revisions"}],"predecessor-version":[{"id":111989,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111976\/revisions\/111989"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=111976"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=111976"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=111976"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}