{"id":34681,"date":"2012-06-29T13:00:06","date_gmt":"2012-06-29T17:00:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=34681"},"modified":"2012-06-29T13:02:13","modified_gmt":"2012-06-29T17:02:13","slug":"what-we%e2%80%99re-loving-giant-dollhouses-literary-art-sade","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/06\/29\/what-we%e2%80%99re-loving-giant-dollhouses-literary-art-sade\/","title":{"rendered":"What We\u2019re Loving: Giant Dollhouses, Literary Art, Sade"},"content":{"rendered":"

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

Literature is trending in the New York art world right now. One show<\/a> in Chelsea takes its cue from William Blake\u2019s Songs of Innocence and Experience<\/em>, and another<\/a> borrows its title and raison d\u2019\u00eatre from Henry Miller\u2019s \u201cStand Still Like a Hummingbird.\u201d In the latter show, at David Zwirner, a work by Mason Williams<\/a> from 1967 consists of a life-size silkscreen print of a Greyhound bus that can either be hung on the wall as a mural or folded and placed in a box. It seems, to me, to be analogous to much of literature\u2014a picture of the larger world that is neatly held within an object whose diminutive size belies the limitless scope within it. The work weights more than ten pounds, which means it\u2019s still heavier than a six-pack of Proust or a hardcover Larousse Gastronomique<\/em>. \u2014Nicole Rudick<\/strong><\/p>\n

This week, I revisited Richard Rodriguez\u2019s memoir, Brown: The Last Discovery of America<\/em><\/a>, and found that it\u2019s as relevant today as it was when it was first published in 2002. Rodriguez explores the problem of being read primarily through his racial and sexual identity. He argues that the belief that only your demographic doppelg\u00e4nger can address or portray you is counter to the function of literature, which allows moments of recognition between two very particular\u2014and therefore different\u2014lives. \u201cAuden has a line,\u201d he writes.\u00a0\u201cPorts have names they call the sea.\u00a0Just so, literature will describe life familiarly, regionally, in terms it is accustomed to use [\u2026],\u201d but ultimately, has \u201conly one subject:\u00a0What it feels like to be alive.\u201d\u00a0Rodriguez\u2019s politics, when you agree with them and especially when you don\u2019t, are stimulating and certainly worth the patient reading they demand. \u2014Alyssa Loh<\/strong><\/p>\n

There are a few things I love so dearly that finding out someone doesn\u2019t like them can make it instantly very difficult for me to relate to that person. \u201cBy Your Side<\/a>\u201d by Sade is one of them. The song has magical soothing powers. It\u2019s a bit like being inside during a summer storm, wrapped in a blanket and watching rain graze the windowpane. (You probably shouldn\u2019t tell me if you don\u2019t like it.) \u2014Anna Hadfield<\/strong><\/p>\n

Even though Thessaly recommended Leanne Shapton’s Swimming Studies<\/em><\/a> last week, I have to pile on! I’ve rarely been so wholly consumed by a reading experience. Shapton\u2019s vivid description of a moment during a swim practice brought me back to my own high school pool on one of hundreds of winter nights: the soupy chorine-thick smell, the familiar feeling of sweating while in water, and the refreshing wave of winter cold hitting me as I made a flip turn at the far end of the pool. I dog-eared the passage; by the end I had folded down more page corners than were left unturned. In evocatively describing things like sliding around in sheets after shaving your entire body or the ability to know one\u2019s status by the type of goggles, Swimming Studies<\/em> brings the solitary activity of swimming into everyday life.\u00a0 It isn\u2019t a sports book; in Swimming Studies<\/em> the author has created a place for athlete and artist to coexist. \u2014Emily Cole-Kelly<\/strong><\/p>\n

Several friends who know me well sent me this photo gallery<\/a>, and they were right on the money: I\u2019m enraptured by Canadian artist Heather Benning\u2019s conversion of an abandoned farmhouse into a giant, open-sided dollhouse. \u2014Sadie Stein<\/strong> <\/strong><\/p>\n

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Literature is trending in the New York art world right now. One show in Chelsea takes its cue from William Blake\u2019s Songs of Innocence and Experience, and another borrows its title and raison d\u2019\u00eatre from Henry Miller\u2019s \u201cStand Still Like a Hummingbird.\u201d In the latter show, at David Zwirner, a work by Mason Williams from […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[7985,7991,2655,1431,7986,7987,7988,7984,7989,7990],"class_list":["post-34681","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-david-zwirner","tag-heather-benning","tag-henry-miller","tag-leanne-shapton","tag-mason-williams","tag-richard-rodriguez","tag-sade","tag-staff-picks-william-blake","tag-swimming-studies","tag-swimmingm-sports"],"acf":[],"yoast_head":"\nWhat We\u2019re Loving: Giant Dollhouses, Literary Art, Sade by The Paris Review<\/title>\n<meta name=\"description\" content=\"June 29, 2012 \u2013 Literature is trending in the New York art world right now. 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