{"id":112074,"date":"2017-06-26T17:41:26","date_gmt":"2017-06-26T21:41:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=112074"},"modified":"2017-06-26T17:47:16","modified_gmt":"2017-06-26T21:47:16","slug":"eight-views-of-paradise-interrupted","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/","title":{"rendered":"Eight Views of Paradise Interrupted"},"content":{"rendered":"

\u201cEight Views of Paradise Interrupted<\/a>,\u201d an exhibition of paintings by Jennifer Wen Ma<\/a>, is at Sandra Gering Gallery through July 28. Ma, who splits her time between New York and Beijing, paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.\u00a0<\/em>The works here were designed to supplement an opera that Ma debuted at last summer\u2019s Lincoln Center Festival,\u00a0inspired by Eve\u2019s expulsion from the Garden of Eden. In an interview, she noted that the word\u00a0<\/em>paradise is derived from the concept of a walled garden: \u201ca wall, a border, has been with the idea of paradise from the beginning, to keep certain things in, to keep certain things out.\u201d<\/em><\/p>\n

Jennifer Wen Ma, Evening Bell at Misty Pavilion<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 48″.<\/p><\/div>\n

<\/p>\n

<\/a>

Blooming Flower, Descending Geese<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 76″.<\/p><\/div>\n

 <\/p>\n

<\/a>

Departing Sail to Distant Shore<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 48″.<\/p><\/div>\n

 <\/p>\n

<\/a>

But Be Gently at Ease<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 90″.<\/p><\/div>\n

 <\/p>\n

<\/a>

Birth of the Fireflies<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 78″.<\/p><\/div>\n

 <\/p>\n

<\/a>

Eve at the Pond<\/i>, 2017, Chinese ink and paint on acrylic glass, 48″ x 106″.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.<\/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":[2384],"tags":[35,25491,5663,1367,19809,29327,14521,4154,10171,29328],"class_list":["post-112074","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-eden","tag-eve","tag-garden-of-eden","tag-ink","tag-jennifer-wen-ma","tag-landscapes","tag-paintings","tag-paradise","tag-sandra-gering-gallery"],"acf":[],"yoast_head":"\nEight Views of Paradise Interrupted: Paintings by Jennifer Wen Ma<\/title>\n<meta name=\"description\" content=\"Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.\" \/>\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\/26\/eight-views-of-paradise-interrupted\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eight Views of Paradise Interrupted by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"June 26, 2017 \u2013 Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\" \/>\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=\"2017-06-26T21:41:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-06-26T21:47:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\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=\"1 minute\" \/>\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\/26\/eight-views-of-paradise-interrupted\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Eight Views of Paradise Interrupted\",\"datePublished\":\"2017-06-26T21:41:26+00:00\",\"dateModified\":\"2017-06-26T21:47:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\"},\"wordCount\":251,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg\",\"keywords\":[\"art\",\"Eden\",\"Eve\",\"Garden of Eden\",\"ink\",\"Jennifer Wen Ma\",\"landscapes\",\"paintings\",\"paradise\",\"Sandra Gering Gallery\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\",\"name\":\"Eight Views of Paradise Interrupted: Paintings by Jennifer Wen Ma\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg\",\"datePublished\":\"2017-06-26T21:41:26+00:00\",\"dateModified\":\"2017-06-26T21:47:16+00:00\",\"description\":\"Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg\",\"width\":1200,\"height\":1200},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Eight Views of Paradise Interrupted\"}]},{\"@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":"Eight Views of Paradise Interrupted: Paintings by Jennifer Wen Ma","description":"Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.","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\/26\/eight-views-of-paradise-interrupted\/","og_locale":"en_US","og_type":"article","og_title":"Eight Views of Paradise Interrupted by Dan Piepenbring","og_description":"June 26, 2017 \u2013 Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.","og_url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2017-06-26T21:41:26+00:00","article_modified_time":"2017-06-26T21:47:16+00:00","og_image":[{"width":1200,"height":1200,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.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":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"Eight Views of Paradise Interrupted","datePublished":"2017-06-26T21:41:26+00:00","dateModified":"2017-06-26T21:47:16+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/"},"wordCount":251,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg","keywords":["art","Eden","Eve","Garden of Eden","ink","Jennifer Wen Ma","landscapes","paintings","paradise","Sandra Gering Gallery"],"articleSection":["Look"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/","url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/","name":"Eight Views of Paradise Interrupted: Paintings by Jennifer Wen Ma","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg","datePublished":"2017-06-26T21:41:26+00:00","dateModified":"2017-06-26T21:47:16+00:00","description":"Ma paints with ink on translucent acrylic glass, giving her landscapes a sumptuous, shadowy dimension in which women emanate a golden light.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/jwm_sg3382_evening_bell_at_misty_pavilion_hr2.jpg","width":1200,"height":1200},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/26\/eight-views-of-paradise-interrupted\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Eight Views of Paradise Interrupted"}]},{"@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\/112074","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=112074"}],"version-history":[{"count":6,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/112074\/revisions"}],"predecessor-version":[{"id":112086,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/112074\/revisions\/112086"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=112074"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=112074"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=112074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}