{"id":112412,"date":"2017-07-12T09:25:32","date_gmt":"2017-07-12T13:25:32","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=112412"},"modified":"2017-07-12T10:52:18","modified_gmt":"2017-07-12T14:52:18","slug":"those-jazzy-ironworks-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/07\/12\/those-jazzy-ironworks-and-other-news\/","title":{"rendered":"Those Jazzy Ironworks, and Other News"},"content":{"rendered":"<div id=\"attachment_112413\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-112413\" class=\"wp-image-112413\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage.jpg\" width=\"1000\" height=\"688\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage.jpg 1080w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage-300x206.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage-768x528.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/07\/jazzage-1024x704.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-112413\" class=\"wp-caption-text\">Rose Iron Works, <i>Muse with Violin Screen<\/i> (detail), 1930. (Image via <em>Hyperallergic<\/em>, courtesy the Cleveland Museum of Art, on Loan from the Rose Iron Works Collections. \u00a9 Rose Iron Works Collections.\u00a0Photo by Howard Agriesti.)<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>When we think of the Jazz Age, we think of the hairstyles, the fashions, the \u2026 jazz. You\u2019d think the world was nothing but highball glasses\u00a0and long, langorous cigarette holders. But who among us pauses to remember the zoning regulations of the Jazz Age? Who dares to stop and consider the period\u2019s sideboards, bookcases, coffee services, and ironworks? I will tell you who: the Smithsonian\u2019s Cooper Hewitt Museum. Their new exhibition, \u201cThe Jazz Age: American Style in the 1920s,\u201d aims to transcend the clich\u00e9s of flapperdom by focusing on less celebrated objects and designs. At last, the vases and daybeds of the 1920s will get their fifteen minutes of fame. Allison Meier writes, \u201c<a href=\"https:\/\/hyperallergic.com\/378908\/the-jazz-age-at-cooper-hewitt\/\" target=\"_blank\">Many of the featured designers were immigrating from Europe, or having their creations\u00a0imported to the United States<\/a>. Others were Americans who went abroad to study and train, picking up tubular metal techniques\u00a0at the Bauhaus in Germany or ideas for bold\u00a0hues from De Stijl in the Netherlands \u2026 British designer\u00a0Wells Coates\u2019s\u00a0green, circular Bakelite radio, one of the manufacturing innovations being spread to\u00a0the new middle class, rests on German designer\u00a0Kem Weber\u2019s\u00a0sage-hued, streamlined sideboard, which was also\u00a0intended for serial production.\u00a0Russian-born craftsman\u00a0Samuel Yellin\u2019s curling wrought iron fire screen mingles with Lorentz Kleiser\u2019s monumental tapestry showing Newark\u2019s transformation from an indigenous village to an orderly town, both pieces demonstrating\u00a0the endurance of historical European aesthetics. A towering \u2018Skyscraper Bookcase\u2019 of California redwood with black lacquer, all designed by Austrian \u00e9migr\u00e9\u00a0Paul Frankl,\u00a0incorporates the\u00a0zoning-enforced\u00a0architectural setbacks of the\u00a0new skyscrapers, something which\u00a0Erik Magnussen\u2019s Cubic coffee service with its silver angles does on a smaller scale.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Not unrelatedly: the Bloomsbury Group\u2019s Vanessa Bell and Duncan Grant once designed a lavish, 140-piece dinner set, and now you can see it. (You cannot eat off of it, unless you buy it.) As Francesca Wade writes, the set emerged from a deep depression; Kenneth and Jane Clark had visited Grant in 1932, and found him in the dumps. \u201c <a href=\"https:\/\/www.lrb.co.uk\/blog\/2017\/07\/07\/francesca-wade\/out-of-the-bloomsbury-mud\/?utm_source=LRB+blog+email&amp;utm_medium=email&amp;utm_campaign=20170711+blog&amp;utm_content=usca_subs\">\u2018<\/a><a href=\"https:\/\/www.lrb.co.uk\/blog\/2017\/07\/07\/francesca-wade\/out-of-the-bloomsbury-mud\/?utm_source=LRB+blog+email&amp;utm_medium=email&amp;utm_campaign=20170711+blog&amp;utm_content=usca_subs\" target=\"_blank\">In an attempt to revive his interest in decorative art,\u2019 [Kenneth] writes in his autobiography, \u2018we asked him and Vanessa to paint us a dinner service.\u2019<\/a> Two years later, Bell\u00a0and Grant presented Clark with 140 pieces, including 50\u00a0Wedgwood plates illustrated with portraits of famous women from history\u2014twelve writers, twelve queens, twelve beauties, and twelve dancers or actresses, and one of each of the artists, painted by the other. \u2018It ought to please the feminists,\u2019 Bell wrote, offhandedly, to Roger Fry. The service vanished in the 1980s, last seen in the Normandy home of Clark\u2019s second wife, who was presumed to have sold it. Anyone interested in it has had to make do with black-and-white photographs in which many of the plates are stacked up, their faces hidden. But it recently resurfaced in the collection of an undisclosed European collector, who has now put it up for sale. It was displayed by\u00a0Piano Nobile\u00a0at the\u00a0Masterpiece fair\u00a0this month, and will be shown in the autumn at their London gallery.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Colin Dickey has stuffed dead squirrels on the mind, and it\u2019s all Sebald\u2019s fault: \u201c<a href=\"https:\/\/placesjournal.org\/article\/death-and-taxonomies\/\" target=\"_blank\">I had begun to think about squirrels because of their fleeting appearances throughout W. G. Sebald\u2019s\u00a0<em>Austerlitz<\/em><\/a><em>.\u00a0<\/em>The novel, the author\u2019s last before his untimely death, in 2001, is filled with depictions and discussions of a variety of animals \u2026 Walking through the deserted town of Terez\u00edn, he comes upon a window display in an antiques store, where he sees a \u2018stuffed squirrel, already moth-eaten here and there, perched on the stump of a branch in a showcase the size of a shoebox, which had its beady button eye implacably fixed on me, and whose Czech name\u2014<em>veverka<\/em>\u2014I now recalled like the name of a long-lost friend.\u2019 But just as this moment of naming the squirrel in his mother tongue offers a brief connection to the past, so it is quickly dispelled. The taxidermied creature remains a cipher. \u2018What \u2026 was the meaning of\u00a0<em>veverka<\/em>,\u2019 Austerlitz asks himself, \u2018the squirrel forever perched in the same position,\u2019 stranded amongst the other trinkets and curios, \u2018objects that for reasons one could never know had outlived their former owners and survived the process of destruction,\u2019 objects lost in time and oblivious to the history of the nearby crematorium?\u201d<\/li>\n<\/ul>\n<ul>\n<li>Anna Summers remembers a visit to Ludmilla Petrushevskaya: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/persons-of-interest\/the-down-and-out-muses-of-ludmilla-petrushevskaya\" target=\"_blank\">Petrushevskaya\u2019s family was declared \u2018enemies of the people\u2019 by Stalin; she grew up sleeping under a dinner table in her grandfather\u2019s bedsit<\/a>. Her prose, poetry, and plays feature as their subjects bedraggled single mothers, impoverished old people, orphans, cross-dressers, and alcoholics. The publication of her work was banned until the late nineteen-eighties, but even before then, the real-life subjects of her fiction found ways to read her work and to show their gratitude. Petrushevskaya, now a household name, continues to live modestly, in Moscow, on what she makes from publishing and, for most of the last decade, from touring; since around 2000, she has performed as a professional cabaret singer \u2026 Under her gaze, my sense of decorum melted away; I suddenly understood why the women pilgrims had flocked to her. Almost without meaning to, I found myself telling her my own tale of marital crisis. Petrushevskaya transformed: storytelling is her trade, and here was a woman with a story that she had encountered in every possible version and put to paper dozens of times. Plays and small talk were forgotten. An exhausted old woman was replaced by a goddess of wisdom.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Stuart Jeffries, meanwhile, wonders why Russians continue to be depicted in pop culture as nothing other than loutish mobsters: \u201c<a href=\"https:\/\/www.theguardian.com\/tv-and-radio\/2017\/jul\/10\/will-cliche-russian-baddie-ever-leave-screens-james-norton-mcmafia\" target=\"_blank\">You\u2019ll find Russian bears everywhere on TV and movies these days\u2014and not just under the bowler hat<\/a>. Many shows now seem to have a tough Russkie with mob connections, ideally played by a non-Russian actor, to up the narrative ante \u2026 Twenty-first-century Russians rarely break out of the psychotic stereotype on Western TV or cinema \u2026 If Russians have always figured as fall guys in Western TV dramas and movies, the main difference between the 1980s and now is that then they were political thugs trying to take down the West with espionage; now they\u2019re criminal ones.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: an exhibition about flapper-era designs, the joys of taxidermy, 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":[19913,19002,216,29503,330,29504,7778,447,29506,29505,16400,3266,29502,3047,722],"class_list":["post-112412","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-austerlitz","tag-bloomsbury-group","tag-design","tag-duncan-grant","tag-jazz","tag-kenneth-clark","tag-ludmilla-petrushevskaya","tag-russia","tag-russians","tag-squirrels","tag-stereotypes","tag-taxidermy","tag-the-smithsonian","tag-vanessa-bell","tag-w-g-sebald"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - 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