{"id":129247,"date":"2018-09-13T11:00:49","date_gmt":"2018-09-13T15:00:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=129247"},"modified":"2018-09-19T10:14:28","modified_gmt":"2018-09-19T14:14:28","slug":"late-art","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/","title":{"rendered":"Late Art"},"content":{"rendered":"

In the winter of 2015, Ben Lerner wrote a short story, \u201cThe Polish Rider,\u201d incorporating fictionalized elements of the life and work of the artist Anna Ostoya, who had recently lost two of her canvases in the back of an Uber. As the narrator of the story helps the artist search for the missing canvases, he fantasizes about \u201crecuperating the lost paintings through prose,\u201d about how the verbal might take the place of the visual. After the story was published in <\/em>The New Yorker, Ostoya painted the painting Lerner had invented based on her earlier work, transforming the fiction without changing any of the words. Ostoya went on to produce a series of compositions that respond to the story she\u2019d helped inspire. In the essay below, Lerner describes how Ostoya\u2019s actual body of work catalyzed the fiction.<\/em><\/p>\n

 <\/p>\n

\"\"<\/a>

View of \u201cSlaying,\u201d Anna Ostoya, 2016, Bortolami Gallery, New York.<\/p><\/div>\n

 <\/p>\n

That winter, a small pneumonia bloomed in his left lung. He\u2019d embarked on a second course of antibiotics, the first having proved insufficient. He was getting better but was weak, and by about eight o\u2019clock each night, profoundly so. Still, he wanted to see Anna and her opening in Chelsea. They made a plan to meet for an early drink downtown; they could catch up a little, then head to the opening together in a cab. He would look quickly around the gallery and rush back to bed in Brooklyn\u2014another cab. (As long as he had an infection in his lung, it seemed, he could pay for private transportation without guilt. Taxis were on his mind; maybe he wouldn\u2019t have otherwise written \u201cThe Polish Rider.\u201d) But he\u2019d take the B train into Manhattan.<\/p>\n

Stepping out of his apartment was like stepping out of a darkened theater; he had that feeling of supersensitivity that attends a reemergence into public after a period of seclusion, streetlights startlingly bright, a nearby siren startlingly loud. Would he have written the story if he hadn\u2019t met Anna in that condition? Over his soda water and her wine, he asked Anna how the installation of her show had gone, how she\u2019d ultimately decided to hang the sequence of paintings she\u2019d composed based on Artemisia Gentileschi\u2019s monumental Judith Slaying Holofernes<\/em>. He\u2019d seen a few early versions of these paintings in her apartment (and studio) at 203 Rivington, on the Lower East Side. (The first few times he visited Anna\u2019s place, he had a sense of d\u00e9j\u00e0 vu; finally he remembered that he and his wife had spent a couple nights at 203 Rivington\u2014in a friend of a friend\u2019s apartment, whose layout was identical to Anna\u2019s\u2014some years before. If not for this coincidence, he might not have, et cetera).<\/p>\n

The Book of Judith\u2014canonical for Catholics and Eastern Orthodox Christians, excluded by Protestants and Jews\u2014tells the story of how Judith, a beautiful and courageous widow, ingratiates herself to Holofernes, an Assyrian general. One night, when Holofernes is in a drunken stupor, Judith, accompanied by her maid, sneaks into his tent and cuts off his head, thus saving her town of Bethulia, which Holofernes planned to destroy. The scene was commonly painted, but he knew that Gentileschi\u2019s version was famous both for the violence and power of the painting, and because it has long been read as \u201cpainted revenge\u201d for Gentileschi\u2019s rape by Agostino Tassi, a colleague of Gentileschi\u2019s father, the painter Orazio. Tassi was a teacher of Gentileschi\u2019s; many commentators see their features in the figures.<\/p>\n

When he looked at reproductions of the Gentileschi \u201cJudith\u201d with Anna, he realized that for him, that violence lay less in the spurting blood than in the furrowed brow of Judith, how it expresses, in addition to rage, the hard physical labor of cutting through bone and tissue; he compared it, as it is often compared, to Caravaggio\u2019s version, where a delicate Judith could be cutting through butter. (Gentileschi\u2019s painting was initially considered so violent it was confined to a \u201cdark corner\u201d of the Pitti Palace; now it\u2019s in the Uffizi. Another version of Gentileschi\u2019s \u201cJudith\u201d hangs in Naples, that doubling perhaps leading Anna to imagine using the image as a basis for a series in the first place.)<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

He spoke with Anna about Gentileschi\u2019s tendency to depict women\u2014strong women\u2014in the majority of her canvases, the historical tendency of critics to undervalue her work, and the documentation of her rape (and the subsequent trial where the authenticity of her testimony was \u201cconfirmed\u201d by torture)\u2014some of the reasons why Gentileschi became an important figure for feminist artists and art historians. She also became a figure in popular culture: there are multiple novels, a feature film, plays about Artemisia. When he looked at Anna\u2019s compositions, a whole complex of concerns was activated: the original painting(s), the biblical story, the historical rape, the history of the painting\u2019s reception and that reception\u2019s ongoing revision, both academic and popular, in which Gentileschi\u2019s heroicization and victimization can be difficult to tease apart, and in which the boundaries between art and life are particularly vexed.<\/p>\n

He also saw, how could he not see, the return of the beheading\u2014and the spectacle of the beheading\u2014as a contemporary form of violence. In the early twenty-first century, he felt, a beheading scene invariably evokes the so-called global war on terror and its repercussions, the confrontation between the respective fundamentalisms of the East and West, and the role of (new) media in the dissemination of terror, ideology. When he looked at Anna\u2019s serial abstractions from\u2014and variations on\u2014the original Judith<\/em>, his sense of the symbolic content of the depicted violence kept changing. At their most realistic, the canvases read to him first and foremost as about Gentileschi and gender; sufficiently abstracted, he saw\u2014either instead of or in addition to that content\u2014a capture from an ISIS<\/small> video. At their nonfigurative limit, the violence disappeared into a field of force, a depoliticizing motion. The way Anna switched features and genders across the series of paintings and related photo collages\u2014here a bearded face replaces Judith\u2019s; there a manipulated photograph of Anna\u2019s own face, barely recognizable, shows up in the position of Holofernes\u2014further compelled him to revise his sense of the political valences of the brutality as he looked. (It also crossed Baroque painting with digital technologies\u2014crossed old mastery with iPhones and Snapchat filters.)<\/p>\n

In the bar, in the dark booth, Anna reported that the installation had gone more or less smoothly, although she\u2019d worked herself, as she often did, to the point of exhaustion right up until the canvases were hung (hanging<\/em>, decapitation<\/em>; the vocabulary was capital, punitive). In fact, she confessed, she\u2019d taken two of the paintings down after they\u2019d already been installed so that she could touch them up in her apartment\u2014she\u2019d felt a passage of blue was insufficiently bright.<\/p>\n

He told Anna that her difficulty parting with her canvases reminded him of Michael Fried\u2019s argument in The Moment of Caravaggio<\/em>\u2014an argument Fried bases in part on an analysis of Caravaggio\u2019s Judith<\/em>\u2014that there is a strong symbolic relationship between the depiction of beheading and the problem of the painter \u201csevering\u201d himself or herself from the finished painting. Fried argues that all those scenes of beheading in the work of Caravaggio and his peers reflect, among other things, an anxiety about the rise, at that historical moment, of the gallery picture\u2014the autonomous and movable work of art. He was so busy wondering aloud whether Anna was drawn to the scene of beheading precisely because it figures both something about painting as an activity (he often praised her \u201cexecution\u201d) and the difficulty of separating herself from her paintings (and letting them enter the gallery system) that he almost didn\u2019t hear her say\u2014flatly, almost in passing\u2014\u201cI left my paintings in the Uber.\u201d<\/p>\n

 <\/p>\n

\"\"<\/a>

Anna Ostoya, Slain Abstraction (6)<\/em>, 2016<\/p><\/div>\n

He stared at her in disbelief. She was overtired, she explained; she hopped out of the car; by the time she reached the door of 203 Rivington, she realized what she\u2019d done, but it was too late; the car had sped away; she texted the driver, but when he finally returned to her, the paintings were gone, taken by the passengers who had Ubered after her; the driver said he couldn\u2019t divulge any information about subsequent passengers, that she would have to go through Uber\u2019s customer service; she did; the gallery assisted, applied what pressure it could, but Uber wouldn\u2019t help, wouldn\u2019t divulge any information; she went to the police at Uber\u2019s suggestion\u2014a sympathetic man named Sergeant Paradise (would I make that up?) took down her story\u2014but there was nothing he could do except commiserate, et cetera.<\/p>\n

He and Anna left the bar, hailed a yellow cab, and headed up Tenth Avenue to her opening, where two of the canvases would, for those in the know, be present absences. He didn\u2019t want to minimize the loss of the paintings\u2014although Anna herself seemed, save for her frustration with Uber, at peace with their disappearance\u2014but he did feel like there was something conceptually rich, maybe even beautiful, about what had transpired. \u201cMaybe you and Liz\u201d\u2014Liz Magic Laser, a video artist friend he and Anna had in common\u2014\u201cshould make a short film about what happened, try to track down the paintings.\u201d It could form part of the show, the dramatized decapitation of the series. Maybe the subtraction of the paintings, he offered\u2014perhaps indelicately, perhaps reassuringly\u2014adds something to the work as a whole?<\/p>\n

The show, at any rate, looked terrific and was all the more powerful, he thought, for the absences haunting it. But he also felt cold, had started to sweat. A few people had arrived that he knew, including Liz. He told her quietly, quickly about the lost canvases, about what a great film or video it could be. She seemed to like the idea. She also seemed to be looking at him, at his pallor, with concern. He might have been feverish. He pushed his way out of the bright gallery\u2019s glass doors and hailed a cab, imagining, as the city slid by, where the decollated paintings might be hanging now.<\/p>\n

 <\/p>\n

\"\"<\/a>

Anna Ostoya, Slain Abstraction (7)<\/em>, 2016<\/p><\/div>\n

 <\/p>\n

Ben Lerner has received fellowships from the Fulbright, Guggenheim, and MacArthur Foundations, among other honors. He is the author of two novels (<\/em>10:04 and <\/em>Leaving the Atocha Station), three books of poetry (<\/em>The Lichtenberg Figures, <\/em>Angle of Yaw, and <\/em>Mean Free Path), and a work of criticism (<\/em>The Hatred of Poetry). Recent collaborations include <\/em>Blossom (published by Mack in 2015), with Thomas Demand.<\/em><\/p>\n

Anna Ostoya is an artist whose work has been exhibited in the 2015 Lyon Biennial and at the Museum of Modern Art, the Power Plant Toronto, the CCS Bard College, Manifesta 7 Rovereto, and the Second Athens Biennial. She has had solo exhibitions at La Kunsthalle Mulhouse, Foksal Gallery Warsaw, and CCA Kronika, and with her galleries: Bortolami, New York; tegenboschvanvreden, Amsterdam; and Silberkuppe, Berlin. In 2017, a survey of her work opened at Zach\u0119ta National Gallery of Art, Warsaw.<\/em><\/p>\n

Excerpted from\u00a0Lerner\u2019s essay about the genesis of their collaboration, in<\/em>\u00a0<\/i>The Polish Rider<\/a>,\u00a0by Anna Ostoya and Ben Lerner, published by MACK in 2018<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the winter of 2015, Ben Lerner wrote a short story, \u201cThe Polish Rider,\u201d incorporating fictionalized elements of the life and work of the artist Anna Ostoya, who had recently lost two of her canvases in the back of an Uber. As the narrator of the story helps the artist search for the missing canvases, […]<\/p>\n","protected":false},"author":1590,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[],"class_list":["post-129247","post","type-post","status-publish","format-standard","hentry","category-arts-culture"],"acf":[],"yoast_head":"\nLate Art by Anna Ostoya and Ben Lerner<\/title>\n<meta name=\"description\" content=\"An essay by Ben Lerner, with art by Anna Ostoya.\" \/>\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\/2018\/09\/13\/late-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Late Art by Anna Ostoya and Ben Lerner\" \/>\n<meta property=\"og:description\" content=\"September 13, 2018 \u2013 In the winter of 2015, Ben Lerner wrote a short story, \u201cThe Polish Rider,\u201d incorporating fictionalized elements of the life and work of the artist Anna\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\" \/>\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=\"2018-09-13T15:00:49+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-09-19T14:14:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"667\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Anna Ostoya and Ben Lerner\" \/>\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=\"Anna Ostoya and Ben Lerner\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\"},\"author\":{\"name\":\"Anna Ostoya and Ben Lerner\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/53977a809b6d597cad1a2b029e73268f\"},\"headline\":\"Late Art\",\"datePublished\":\"2018-09-13T15:00:49+00:00\",\"dateModified\":\"2018-09-19T14:14:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\"},\"wordCount\":1934,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg\",\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\",\"name\":\"Late Art by Anna Ostoya and Ben Lerner\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg\",\"datePublished\":\"2018-09-13T15:00:49+00:00\",\"dateModified\":\"2018-09-19T14:14:28+00:00\",\"description\":\"An essay by Ben Lerner, with art by Anna Ostoya.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Late Art\"}]},{\"@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\/53977a809b6d597cad1a2b029e73268f\",\"name\":\"Anna Ostoya and Ben Lerner\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/27968a88867e4fc2f8dd4f8bdb3e955a71a8addecf4d17a835199c8c9e920729?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/27968a88867e4fc2f8dd4f8bdb3e955a71a8addecf4d17a835199c8c9e920729?s=96&d=mm&r=g\",\"caption\":\"Anna Ostoya and Ben Lerner\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/lernerostoya\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Late Art by Anna Ostoya and Ben Lerner","description":"An essay by Ben Lerner, with art by Anna Ostoya.","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\/2018\/09\/13\/late-art\/","og_locale":"en_US","og_type":"article","og_title":"Late Art by Anna Ostoya and Ben Lerner","og_description":"September 13, 2018 \u2013 In the winter of 2015, Ben Lerner wrote a short story, \u201cThe Polish Rider,\u201d incorporating fictionalized elements of the life and work of the artist Anna","og_url":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2018-09-13T15:00:49+00:00","article_modified_time":"2018-09-19T14:14:28+00:00","og_image":[{"width":1000,"height":667,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg","type":"image\/jpeg"}],"author":"Anna Ostoya and Ben Lerner","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Anna Ostoya and Ben Lerner","Est. reading time":"10 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/"},"author":{"name":"Anna Ostoya and Ben Lerner","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/53977a809b6d597cad1a2b029e73268f"},"headline":"Late Art","datePublished":"2018-09-13T15:00:49+00:00","dateModified":"2018-09-19T14:14:28+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/"},"wordCount":1934,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg","articleSection":["Arts & Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/","url":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/","name":"Late Art by Anna Ostoya and Ben Lerner","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg","datePublished":"2018-09-13T15:00:49+00:00","dateModified":"2018-09-19T14:14:28+00:00","description":"An essay by Ben Lerner, with art by Anna Ostoya.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/2.as-installed-at-the-opening-missing-one-painting.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/13\/late-art\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Late Art"}]},{"@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\/53977a809b6d597cad1a2b029e73268f","name":"Anna Ostoya and Ben Lerner","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/27968a88867e4fc2f8dd4f8bdb3e955a71a8addecf4d17a835199c8c9e920729?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/27968a88867e4fc2f8dd4f8bdb3e955a71a8addecf4d17a835199c8c9e920729?s=96&d=mm&r=g","caption":"Anna Ostoya and Ben Lerner"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/lernerostoya\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129247","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\/1590"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=129247"}],"version-history":[{"count":16,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129247\/revisions"}],"predecessor-version":[{"id":129415,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129247\/revisions\/129415"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=129247"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=129247"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=129247"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}