{"id":73842,"date":"2014-07-11T19:35:38","date_gmt":"2014-07-11T23:35:38","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=73842"},"modified":"2019-02-05T13:20:39","modified_gmt":"2019-02-05T18:20:39","slug":"what-were-loving-boyhood-blockbusters-bay-area-ceramists","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/07\/11\/what-were-loving-boyhood-blockbusters-bay-area-ceramists\/","title":{"rendered":"What We\u2019re Loving: <i>Boyhood<\/i>, Blockbusters, Bay Area Ceramists"},"content":{"rendered":"<p>\u201c<a href=\"http:\/\/www.georgeadamsgallery.com\/exhibitions\/exhibitions_past_ins.php3?exhib=543\" target=\"_blank\" rel=\"noopener\">Left Coast\/Third Coast<\/a>\u201d: it\u2019s the name of an exhibition up at George Adams Gallery through the middle of next month, and a brilliantly concise epithet for those <em>other<\/em> places where art gets made. They refer, of course, to the West Coast and to Chicago, and the show focuses on artists whose careers were begun in the Bay Area and in the Windy City in the fifties and sixties.\u00a0It\u2019s not every day you get to see so many of these artists in one place. Among them are Jim Nutt and Gladys Nilsson (part of the Hairy Who), Robert Arneson (a wonderfully profane Bay Area\u00a0ceramist), and Jeremy Anderson (a West Coast sculptor who frequently worked with wood). H.\u2009C. Westermann\u2019s work is also here, and it\u2019s always a treat to see his sculptures and drawings in person. These are artists who not only returned to figuration when Abstract Expressionism was at its most monumental, but they did it in what were then considered remote corners of the country for art making.\u00a0\u2014<strong>Nicole Rudick<\/strong><\/p>\n<p>Go see <em>Edge of Tomorrow<\/em>, the new Tom Cruise sci-fi romp, and walk out about fifteen minutes before its rah-rah conclusion. What you\u2019ll be left with\u2014as three of us learned yesterday in an impromptu <em>TPR <\/em>Night at the Movies\u2122\u2014is a grim but heartening existential parable. If you\u2019ve seen the ads, you know that <em>Edge<\/em> runs with a premise similar to <em>Groundhog Day<\/em>\u2019s: Cruise plays an infantryman who comes back to life whenever he\u2019s killed. Instead of awaking in sleepy Punxsutawney, he comes to in a militarized, bureaucratized hell, i.e., the future. He\u2019s always hours away from facing a massive extraterrestrial invasion, and he\u2019s always tasked (not unpleasantly) with seeking the counsel of Emily Blunt, who is always crouched in the same sweaty, imperious yoga pose. Cruise\u2019s condition gives him a chance to defeat the aliens, but it also gives us a chance to watch him die, a lot, in an elaborate montage that\u2019s as compelling as anything at the movies now. Step by painstaking step, he has to repeat an intricate performance on which the fate of humanity is staked. If you\u2019re willing to dwell on the sequence, it can take you to some surprising places, some rarefied and some not: I thought of syllogisms, Sisyphus, <em>The Trial<\/em>, first-person shooters, cheat codes, mid-period Paul Verhoeven, D-Day, Dance Dance Revolution, Kierkegaard\u2019s knight of infinite resignation, those team-building, problem-solving exercises I had to do in elementary school, and how neat it would be to save the planet with Emily Blunt. These ruminations may not bear fruit, but that\u2019s okay\u2014<em>Edge <\/em>is still a more enlightened mental vacation than it ought to be. \u2014<strong>Dan Piepenbring<\/strong><\/p>\n<p>In trying to come up with recommendations for these posts, I sometimes think of Montaigne, who, despite serving as a legal counselor for most of his professional life, did not like giving advice: \u201cI am very seldom consulted, and even more seldom heeded; and I know of no undertaking, public or private, that my advice has advanced and improved. Even those who, by chance, have come to depend on it, have in the end preferred to be guided by any other brain than mine.\u201d He was a bit of a lone wolf, continuing, \u201cBy leaving me alone, they follow my declared wish, which is to be wholly self-reliant and self-contained. It pleases me not to be interested in the affairs of others, and to be free from responsibility for them.\u201d This sentiment may have had something to do with the extreme social isolation in which Montaigne was raised; it was part of his father\u2019s strict pedagogical curriculum, which would put today\u2019s pre-Ivy prep Montessori schools to shame. (Montaigne\u2019s first language\u2014in sixteenth-century France\u2014was Latin. Every morning the child was awakened by soft music. As a baby, he was sent to live with a peasant family for three years so he would not become accustomed to great wealth.) Montaigne later returned to this isolation, retreating to his tower-library in Dordogne when he retired. He considered the opinions of others \u201cflies and specks that distract my will,\u201d and so, at risk of being one of those specks, I recommend the vast, insight-laden <em><a href=\"http:\/\/www.mcnallyjackson.com\/book\/9780140446043\" target=\"_blank\" rel=\"noopener\">Essays<\/a><\/em> of this thoroughly, idiosyncratically educated man. They\u2019re always worth another look. \u2014<strong>Chantal McStay<\/strong><\/p>\n<p>Nearly a decade elapsed between each of Richard Linklater\u2019s three <em>Before Sunrise<\/em> films, and like that trilogy, his latest, <em>Boyhood<\/em>, follows a pattern of real time, grounding us in fixed points throughout its character\u2019s lives. <em>Boyhood<\/em> was filmed over twelve years, which allows its actors to age onscreen. It has an authenticity that\u2019s too rare in cinema\u2014its pinches of dialogue sound like natural exchanges, rooting the audience into a narrative that mirrors\u00a0the adolescent experience with a painstaking awareness. Linklater recently voiced his intent <a href=\"http:\/\/www.newyorker.com\/reporting\/2014\/06\/30\/140630fa_fact_heller\" target=\"_blank\" rel=\"noopener\">in <em>The New Yorker<\/em><\/a>: \u201cI always had that personality\u2014I think it\u2019s a writer\u2019s sensibility\u2014where you\u2019re there but not there \u2026 I had to make a peace with myself. It\u2019s like, well, you\u2019re not in the moment. But just by contemplating it, by searching for the depth of the moment, that is itself an experience.\u201d\u00a0\u2014<strong>Yasmin Roshanian<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cLeft Coast\/Third Coast\u201d: it\u2019s the name of an exhibition up at George Adams Gallery through the middle of next month, and a brilliantly concise epithet for those other places where art gets made. They refer, of course, to the West Coast and to Chicago, and the show focuses on artists whose careers were begun in [&hellip;]<\/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":[14592,14591,14590,14589,14588,1316,14562,2450],"class_list":["post-73842","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-boyhood","tag-doug-liman","tag-edge-of-tomorrow","tag-george-adams-gallery","tag-left-coastthird-coast","tag-montaigne","tag-richard-linklater","tag-tom-cruise"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What We\u2019re Loving: Boyhood, Blockbusters, Bay Area Ceramists by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 11, 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