{"id":90999,"date":"2015-10-19T09:07:05","date_gmt":"2015-10-19T13:07:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90999"},"modified":"2015-10-19T11:12:15","modified_gmt":"2015-10-19T15:12:15","slug":"beauty-at-the-cash-register-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/19\/beauty-at-the-cash-register-and-other-news\/","title":{"rendered":"Beauty at the Cash Register, and Other News"},"content":{"rendered":"<div id=\"attachment_91001\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sutnar_design-for-point-of-sale-cover.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-91001\" class=\"wp-image-91001\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sutnar_design-for-point-of-sale-cover.jpg\" alt=\"\" width=\"600\" height=\"435\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sutnar_design-for-point-of-sale-cover.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sutnar_design-for-point-of-sale-cover-300x218.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-91001\" class=\"wp-caption-text\">From the cover of <i>Design for Point of Sale<\/i>.<\/p><\/div>\n<ul>\n<li>Weimar Berlin is \u201c<a href=\"http:\/\/www.nybooks.com\/blogs\/nyrblog\/2015\/oct\/15\/rush-of-weimar-berlin-neue-galerie\/\" target=\"_blank\">typically presented as a nonstop freak show of grotesque transvestites and mutilated war vets<\/a>, lumpen Brechtian beggars and top-hatted industrialists, Charleston-crazed floozies, effete gigolos, and brazen rent boys\u201d: imagery at once bolstered and challenged by \u201cBerlin Metropolis: 1918\u20131933,\u201d an exhibition at Neue Galerie. \u201cDrawing on 350 well-chosen examples displayed in six jam-packed galleries arranged by Richard Pandiscio (who also designed the handsome catalog), the survey summons up the fast-paced, jittery, but scintillating atmosphere of a wide-open world city that attracted foreign hedonists enticed by its louche nightlife.\u201d<\/li>\n<li>Chris Ware\u2019s new illustrated essay is about why he loves comics, in a very, very, very big-picture sense: he invokes neuroscience, linguistics, and cosmology. \u201cReally, when one comes right down to it, in the end, that\u2019s all we have. Our memories! Not to bum anyone out, though \u2026 As organisms on a planet that\u2019s bifurcated by a daily passing dance between shadow and radiation, <a href=\"http:\/\/www.nytimes.com\/interactive\/2014\/07\/17\/books\/review\/18ware.html?smid=tw-nytbooks&amp;smtyp=cur\" target=\"_blank\">comics are, like, the perfect art form<\/a>!\u201d<\/li>\n<li>Today in midcentury design nostalgia: Ladislav Sutnar\u2019s <em>Design for Point of Sale<\/em>, a 1952 guide inflected with the ideals of the Bauhaus, is \u201c<a href=\"http:\/\/eyeondesign.aiga.org\/ladislav-sutnar-grandaddy-of-infographics-designer-of-the-invisible\/\" target=\"_blank\">easily\u00a0the most exquisite book about\u00a0supermarket\u00a0store displays ever created<\/a>.\u201d Here, at last, is your chance to master that most delicate art: retail. Sutnar\u2014who was also the guy who told Bell Telephone to put area codes in parentheses, a major advance in telephone-number design\u2014gives us \u201cpage after page of beautiful layouts with ample white space, as well as his architectural renderings of point-of-purchase display spaces.\u201d<\/li>\n<li>While we\u2019re stuck in the fifties, go ahead and answer these questions: In a first edition would you prefer a soiled original binding to one in morocco? What great country has never produced a great painter? Would you like to see more of our public buildings decorated by artists? What is the origin of the romantic conception of love in the Western world? Name several of the leading nineteenth-century antagonists of revealed religion. These are drawn from <em><a href=\"http:\/\/www.slate.com\/blogs\/the_vault\/2015\/10\/15\/quiz_assessing_knowledge_by_1950s_standards.html\">The Cultured Man<\/a><\/em><a href=\"http:\/\/www.slate.com\/blogs\/the_vault\/2015\/10\/15\/quiz_assessing_knowledge_by_1950s_standards.html\" target=\"_blank\"><span style=\"text-decoration: underline;\">, a 1958 book of quizzes that aimed to elevate mankind<\/span><\/a> by asking him not just about facts, but about his attitudes. Its author, Ashley Montagu, believed that \u201ca person considered \u2018cultured\u2019 would not just be able to readily summon facts, but also to access humane <em>feelings<\/em>,\u201d and that nothing could access these feelings quite like a good quiz.<\/li>\n<li>On Percival Everett, whose new collection of stories, <em>Half an Inch of Water<\/em>, extends his satirical purview: \u201cHe rarely does publicity, doesn\u2019t write reviews, and doesn\u2019t read reviews of his own work; he is probably not coming soon to a bookstore near you. His novels tend to be both choppy and dense, with chapters broken up into one- or two-page scenes that are riven with philosophical asides, interpolations from outside texts, wordplay, classical allusions, self-interrogations, metafictional interjections, and the occasional photograph, drawing, mathematical equation, or semiotic square \u2026 <a href=\"http:\/\/harpers.org\/archive\/2015\/11\/two-ways-of-looking-at-percival-everett\/?single=1\" target=\"_blank\">Everett\u2019s novels suggest that the self is a patch job, a cognitive illusion<\/a>. It\u2019s no surprise, then, that the shift to the third person in his short fiction feels like a kind of liberation, a sweet relief. And if the price of that shift is a loss of intimacy or immediacy, the reward is composure and lucidity\u00a0\u2014which, it turns out, are not the same as comprehension. You can see something clearly and still not know what to make of it, or even what it is.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Weimar Berlin is \u201ctypically presented as a nonstop freak show of grotesque transvestites and mutilated war vets, lumpen Brechtian beggars and top-hatted industrialists, Charleston-crazed floozies, effete gigolos, and brazen rent boys\u201d: imagery at once bolstered and challenged by \u201cBerlin Metropolis: 1918\u20131933,\u201d an exhibition at Neue Galerie. \u201cDrawing on 350 well-chosen examples displayed in six jam-packed [&hellip;]<\/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":[19840,2546,131,216,19836,19835,19841,19837,19839,13793,15966,19838,19834],"class_list":["post-90999","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-ashley-montagu","tag-chris-ware","tag-comics","tag-design","tag-ladislav-sutnar","tag-neue-galerie","tag-percival-everett","tag-point-of-purchase","tag-quiz-books","tag-quizzes","tag-supermarkets","tag-the-cultured-man","tag-weimar-berlin"],"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>\u201cThe Most Exquisite Book About Supermarket Store Displays\u201d<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s 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