{"id":130419,"date":"2018-10-26T13:00:37","date_gmt":"2018-10-26T17:00:37","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=130419"},"modified":"2018-10-26T12:11:54","modified_gmt":"2018-10-26T16:11:54","slug":"staff-picks-cameras-colonnades-and-countesses","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/10\/26\/staff-picks-cameras-colonnades-and-countesses\/","title":{"rendered":"Staff Picks: Cameras, Colonnades, and Countesses"},"content":{"rendered":"
\"\"<\/a>

John Chiara, \u201cPike Slip to Sugar Hill,\u201d 2018. Installation view.<\/p><\/div>\n

Photography is an exercise in disappointment. How many times has my sight been arrested\u2014by a mountain, a vista, a strange street juxtaposition\u2014only for the resulting photo to be flat, featureless, uncommunicative? I sometimes scroll through old photos I\u2019ve taken and can\u2019t remember what I wanted to capture. Yet it seems the most effortless, natural art. Little manual strength or dexterity is required\u2014you look, you click, and light impresses itself everywhere simultaneously on the film. Camera pressed to face, the lens ceases to be an object, becomes a perceived appendage of the eye. The \u201ceye\u201d of a photographer is often praised in the same manner as a pitcher\u2019s arm, a singer\u2019s voice, a painter\u2019s hand. Yet in those cases the body part celebrated is actually performing the action, while the photographer\u2019s eye does nothing but select\u2014the camera does the work, and the camera is not an eye. An eye is connected to a brain, and vision is inseparable from thinking, from the gestalt of perception, the interplay of the senses. Photographs we take are so often disappointing because they have been denuded of ourselves, floating free from the pressure of our senses and cognition. The great pictures are those that feel made<\/em>. They induce synesthesia\u2014we can feel them, smell them, hear them. This ethic is embraced by the photographer John Chiara, currently showing his collection of large color-negative New York photos \u201cPike Slip to Sugar Hill<\/a>\u201d at the Yossi Milo Gallery. Chiara imposes himself on the processes cloistered in the camera by building his own, so large that he mounted it on the back of a flatbed. As a result, most of the photos are looking up at buildings, gawking. Within the camera he exposes the giant photo paper directly, physically manipulating the exposure in real time. The colors are ghostly and garish, the solid, darker things made bright, giving the photos the spatial clarity of a blueprint. Texture, by virtue of the print size, the volume of the colors, and Chiara\u2019s hand, is palpable. The pictures are quickened by oxymoron. Pointed skyward, they feel subterranean. Defiantly unreal, they are utterly faithful to embodied sight.\u00a0\u2014Matt Levin\u00a0<\/strong><\/p>\n

The walk from the F train to the southern tip of Roosevelt Island<\/a> is not just a relieving break from the concrete canyons of Manhattan\u2014it\u2019s a concise tour of three centuries of architectural history. Elsewhere in the city, such evolutions are cleared to a landfill in Jersey, making room for the next generation of buildings to rise, but on Roosevelt Island they coexist: the ruins of Renwick\u2019s nineteenth-century smallpox hospital<\/a> still stand (barely) as a verdant folly wedged between Thom Mayne\u2019s futuristic building for Cornell Tech<\/a> and Louis Kahn\u2019s Four Freedoms Park<\/a>, its midcentury ambition finally realized and opened to the public earlier this decade. Renwick is better known for his architecture in D.C., such as the Smithsonian Institution building<\/a>, on the National Mall; Mayne made his New York name with the silvery hunk he designed for Cooper Union<\/a>; and Kahn, well \u2026 just watch My Architect<\/em><\/a> if you don\u2019t know how much he contributed to modern architecture\u2014said another way, I see it as an ongoing coup that New York has a posthumous Kahn anchored in the East River. I\u2019m of the opinion that these crisp fall days are the best of the year; put on a scarf, brave the tram, and when you arrive on Roosevelt, follow the flow of the water. The leaves are just starting to change on the trees of Kahn\u2019s hull-shaped plaza, making the paired colonnades that much more a delight.\u00a0\u2014Emily Nemens<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Claire Fuller<\/p><\/div>\n

 <\/p>\n

Now that we\u2019re all caught up in the giddy frisson of fall\u2014pumpkin patches, mulled cider, and a proliferation of Instagram posts involving the two\u2014is it too early to revisit the summer? Claire Fuller\u2019s Bitter Orange<\/em><\/a> escorts us back to the ineluctable July heat of 1969. Embedded deep in the English countryside, the Lyntons estate remains unexplored, the weeds wild and untrimmed. But the novel\u2019s protagonist, thirty-nine-year-old Frances Jellico, isn\u2019t as enamored with the grounds as she is by the strange young couple that shares them with her. Cara is an alluring young adventuress, a storyteller who bewitches Frances with all the beauty and danger of a \u201cflowering cactus,\u201d and Cara\u2019s presumed husband, Peter, is the first man to ever look at Frances \u201cas a man looks at a woman, not as one might look at a daughter, or a student, or a library-card holder.\u201d Deprived of intimacy her entire adult life, Frances is utterly seduced. But there\u2019s something lurking in the shadows of the delectable summer days Frances spends at Lyntons, all the wine and cigarettes that the residents devour. Page by page, Fuller enchants us with prose as thick as clotted cream, only for us to realize too late that she\u2019s been ensnaring us at every turn.\u00a0\u2014Madeline Day<\/strong><\/p>\n

In her most recent collection, Your Duck Is My Duck<\/em>, Deborah Eisenberg is a prose stylist with a smirk\u2014just when you feel confident that you know exactly where a sentence, a phrase, a plotline is headed, she gracefully places her foot under yours, and you stumble. The artful realism of her short fiction offers the depth and complexity of a novel. The story that has stuck with me in particular is \u201cCross Off and Move On,\u201d which reveals the ugly and the beautiful as they are witnessed in the emotional challenges of filial loyalty, the complexities of female adolescent aspiration, and the relationship between a mother and daughter.\u00a0\u2014Lauren Kane<\/strong><\/p>\n

As usual, it\u2019s all about mom in Harry K\u00fcmel\u2019s Daughters of Darkness<\/em><\/a>. A newlywed couple, Stefan (John Karlen) and Valerie (Danielle Ouimet), are on their way to France to visit Stefan\u2019s aristocratic mother. After their train is delayed, they check into a grand hotel in the coastal\u00a0Belgian city of Ostend. Upon arriving, Stefan pays off the concierge to lie and say his mother can\u2019t be reached, and the honeymoon extends itself indefinitely. Enter the Hungarian countess, Elizabeth B\u00e1thory (the divine Delphine Seyrig), a lesbian vampire who travels with a moody assistant, Ilona (Andrea Rau). The more you delve into Seyrig and her performance, the more glamorous this film becomes; she was the great-niece of Ferdinand de Saussure and the daughter of a Levantine archaeologist. K\u00fcmel styled Seyrig\u2019s character after Marlene Dietrich, which accentuates the feeling that you\u2019re in a self-contained world here. Having eliminated the groom\u2019s mother, the film chips away at the notion of a world outside the hotel\u2014or the film itself. The countess (whose disarmingly red lips lend themselves to the French title, Les L\u00e8vres rouges<\/em>) is implicitly linked to several murders of local young women. And yet what really makes this a horror film\u2014the physical violence, especially on Stefan\u2019s part\u2014the countess never instigates. Death and sadomasochism, like her evening gowns, seem to simply trail behind her. The film ends with an oft-used, though still effective, horror technique that hints of more violence to come, but questions linger: How long have the couple known each other? Even though it\u2019s the off-season, are there really no other guests at the hotel besides this satanic foursome? Why is everyone speaking English in Belgium? It would be a tragedy to watch this film\u2019s outstanding art direction and set design on a laptop, so don\u2019t miss it at the Quad this Saturday, with additional screenings on Halloween and November 1.\u00a0\u2014Ben Shields<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Still from Daughters of Darkness<\/i><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 revisits the summer of \u201969, stumbles on Deborah Eisenberg\u2019s gracefully wicked short stories, and embraces the 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