{"id":91103,"date":"2015-10-21T09:24:00","date_gmt":"2015-10-21T13:24:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91103"},"modified":"2015-10-21T11:51:25","modified_gmt":"2015-10-21T15:51:25","slug":"a-corporation-for-every-artist-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/21\/a-corporation-for-every-artist-and-other-news\/","title":{"rendered":"A Corporation for Every Artist, and Other News"},"content":{"rendered":"<div id=\"attachment_91105\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/at_warhol-daisies.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-91105\" class=\"wp-image-91105\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/at_warhol-daisies.jpg\" alt=\"\" width=\"600\" height=\"621\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/at_warhol-daisies.jpg 1280w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/at_warhol-daisies-290x300.jpg 290w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/at_warhol-daisies-989x1024.jpg 989w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-91105\" class=\"wp-caption-text\">Andy Warhol, lenticular prints designed for Rain Machine (Los Angeles version), 1971. Image via <em>Hyperallergic<\/em><\/p><\/div>\n<ul>\n<li>Fact: there are men still walking the earth who have shared a meal at Denny\u2019s with Orson Welles. \u201cOne day in 1974<strong>, <\/strong><a href=\"http:\/\/www.bookforum.com\/inprint\/022_03\/14944\" target=\"_blank\">Orson Welles, John Huston, and the comedian Rich Little were sitting in a Denny\u2019s near Carefree, Arizona<\/a>, about to order a meal \u2026 A waitress approached the table where the three men sat. She recognized Little right away. After bantering with the impressionist for a bit, she nodded toward Welles and asked Little, \u2018Who\u2019s your fat friend?\u2019 Huston, saving the day, answered for Little with a straight face. \u2018You know, we don\u2019t actually know this man,\u2019 he said, indicating Welles. \u2018We picked him up on the highway and he seemed undernourished. We\u2019re going to feed him and then send him on his way.\u2019\u201d<\/li>\n<li>Today in the sex lives of whalers: few things speak to the hardships of a whaler\u2019s life than dildos, which were ubiquitous (or, okay, maybe just not uncommon) in the New England homes such men abandoned for the seas. At least one such dildo survives to this day, all plaster and memories. \u201cBy 1830, the average length of a whaling voyage was thirty months, but they were often longer\u2014Nantucket wives were dubbed \u2018Cape Horn widows,\u2019 because their husbands might be gone for eight years. In\u00a0<em>Moby-Dick<\/em>, Captain Ahab tells his first mate, Starbuck, that of the past forty years of \u2018making war on the horrors of the deep\u2019 he\u2019d only been ashore three, leaving only \u2018one dent in [his] marriage pillow.\u2019 \u2018[W]ife?\u2019 Ahab rages, \u2018wife?\u2014rather a widow with her husband alive!\u2019 <a href=\"http:\/\/lithub.com\/there-once-was-a-dildo-in-nantucket\/\" target=\"_blank\">The dildos, called \u2018he\u2019s-at-homes\u2019 in some books on the history of the Yankee whale fishery, were meant to be some insurance of fidelity for a husband who was rarely present<\/a>.\u201d<\/li>\n<li>Halloween is coming, which means it\u2019s time to practice an age-old ritual: <a href=\"http:\/\/mentalfloss.com\/article\/70048\/quest-discover-worlds-books-bound-human-skin\" target=\"_blank\">reading online essays about books bound in human skin<\/a>. Bonus points if you go on to give them to trick-or-treaters. \u201cThe earliest examples of books bound in human skin date from the seventeenth century and were produced in Europe and the United States \u2026 Many of the earliest examples relate to punishment. England\u2019s Murder Act of 1751 stipulated that those convicted of murder would not only be executed but, as an additional deterrent, could not be buried \u2026 making items out of criminals\u2019 skins provided yet another way to ensure the body stayed aboveground. A famous example of such punishment was the body of William Burke, who, with his accomplice William Hare, killed sixteen people in a ten-month period in 1828 in Edinburgh, Scotland, and then sold the bodies to medical schools. After being caught, executed, and dissected, some of Burke\u2019s skin was used to make a pocketbook as a final\u2014and lasting\u2014humiliation.\u201d<\/li>\n<li>Back in the sixties, <a href=\"http:\/\/hyperallergic.com\/246521\/the-pioneering-1960s-program-that-paired-big-name-artists-with-tech-firms\/\" target=\"_blank\">Kaiser Steel, IBM, Hewlett-Packard, RAND, and Lockheed Aircraft started a program to match artists with corporations<\/a>\u2014a kind of late-model patronage system. \u201cSome of the collaborations resulted in successful projects. Working with the magazine publisher Cowles Communication Inc., Andy Warhol created holographic photographs of daisies \u2026 Claes Oldenburg\u2019s <em>Giant Ice Bag<\/em> (1969) was produced in collaboration with WED Enterprises, the design and development branch of Disney. The pink sculpture was designed to undulate and twist as it deflated and inflated, in accordance with Oldenburg\u2019s interest in objects that broke and then reconstituted themselves \u2026 Richard Serra, who was matched with the Kaiser Steel Corporation, created stacked sculptures that did not differ radically from his usual output. In contrast, Robert Rauschenberg, who collaborated with the industrial company Teledyne, created an installation that split from his best-known assemblage work but was consistent with his later interest in viewer-activated spaces.\u201d<\/li>\n<li>Andrew DeGraff\u2019s <em>Plotted: A Literary Atlas <\/em>makes maps from great literature, allowing you at last to visualize, say, every nook and cranny of the bleak terrain in <em>Waiting for Godot<\/em>. Hours of fun await. \u201cDeGraff\u2019s book \u2026 raises the question of the way we tenuously hold fictional universes in our minds. <a href=\"https:\/\/lareviewofbooks.org\/review\/here-be-dragons-on-literary-cartography\" target=\"_blank\">Absent anything concretely visual to latch onto, we create messy, complex maps to maintain a grip on the disorienting profusion of information coming at us. If we could transcribe these mental representations, they would probably look less like DeGraff\u2019s thorough, well-executed images and more like those medieval maps, with small pockets of knowledge surrounded by huge swaths of emptiness<\/a>. In literature, as in life, we can\u2019t see everything. We can\u2019t keep track of all the details, nor can we truly envision specific geographies, even ones we\u2019ve visited before.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Fact: there are men still walking the earth who have shared a meal at Denny\u2019s with Orson Welles. \u201cOne day in 1974, Orson Welles, John Huston, and the comedian Rich Little were sitting in a Denny\u2019s near Carefree, Arizona, about to order a meal \u2026 A waitress approached the table where the three men sat. [&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":[19886,922,11477,35,4228,1010,16995,8013,19884,19885,5879,4373,8424,952,1470,19883,6718],"class_list":["post-91103","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-andrew-degraff","tag-andy-warhol","tag-anthropodermic-bibliopegy","tag-art","tag-cartography","tag-claes-oldenburg","tag-corporations","tag-dennys","tag-dildos","tag-human-skin","tag-john-huston","tag-lacma","tag-maps","tag-moby-dick","tag-orson-welles","tag-rich-little","tag-robert-rauschenberg"],"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>Pairing Artists with Corporations: Los Angeles in the Sixties<\/title>\n<meta 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