Well, Rick B. from the United States, it seems that you did not like the Norwegian director Joachim Trier’s newest film The Worst Person in The World very much. Your Amazon review is quite short, and pretty rough. You gave it one star. The title of your review is “tedious, annoying people talking too much.” And then you followed that up with two words and an exclamation mark: “It sucks!” I did like the film and so I found your annoyance annoying.
Part of what is so fascinating about Vivian Suter is that she doesn’t seem to care about her canvases all that much and so you can pack a smallish palace with hundreds of them, hanging all over the place, lying in piles, whatever, some of them covered in dirt and other detritus and a couple of them marked with what seems to be the footprints of dogs, pawprints I guess.
I was watching Oneohtrix Point Never trying to figure out just what the heck exactly it is about The Weeknd, who released his most recent album, Dawn FM, a couple of weeks ago, and I have never quite been able to understand why I am both attracted to and repelled by everything that is The Weeknd.
Friday, November 12, 2021, was celebrated as Vermeer Day by Google. The reason for this celebration verges into the territory of the arbitrary, since the explanation for the special day of Vermeer-celebrating was that on November 12, 1995, exactly twenty-six years ago, there was a huge exhibit at The National Gallery in Washington D.C. where twenty-one of the thirty-five attested works of Vermeer were exhibited together.
I first became aware of the photographs of Deana Lawson because of a piece that Zadie Smith wrote about Lawson in The New Yorker a few years ago and I remember it being quite a good piece, which is not unusual for a piece by Zadie Smith and, to be completely truthful, I find that I am often much more moved and impressed when Zadie Smith writes about visual art than I am by the novels of Zadie Smith.
The delicious contradiction of loving ruins is that the loss is part of the gain. Dealing with ruins is dealing with failure, the failure in all things, in all life, in every trying, in any attempt at anything. The failure at the heart of all knowledge. The failure even in speaking of failure.
It is startling and more than a little amusing to finally realize, or to have pointed out to you, as happened to me, that the word ‘dunce’, a not exactly au courant but certainly still, I think, recognizable word that basically means stupid, one who wears the dunce cap, that this word is, actually, a shortened form of saying that a person is like Duns Scotus, the medieval scholastic philosopher.
There’s a bit of backstory here. The warty pig in question is a depiction on the inside of a cave in Indonesia. The painting was discovered last year. It was painted, the carbon daters say, about 45,000 years ago. Warty pig is, for now at least, the oldest work of representational art, by far, that exists anywhere in the world.
I’ve never really understood why Georg Trakl talks about foreheads so much. I mean, you can imagine the word coming up once in a poem for some reason or other. I can even see that there is something fascinating about foreheads in that they are both of and not of the face. That’s to say, you don’t generally get a face without a forehead.
I want to write about a certain kind of prose. It is the kind of prose that gets lost in itself. The kind of writing that tumbles head over heels and threatens to drown in its own wake. But not quite. The kind of prose that drowns completely is not so interesting. And the prose that never gets lost is not so interesting either.
In 1969 Lee Lozano began what she called her General Strike Piece. She started withdrawing from the artworld completely, documenting the process as she did. She kept notes as she visited various galleries and museums for the last time. She stopped exhibiting her own work. She stopped making new work.
Probably it should be said that On the Sublime was written anonymously since the very point that the person who wrote On the Sublime makes in the treatise On the Sublime is that authorship, in a sense, transcends authorship. Authorship is weird, the text says, and texts are weird.
I don’t know if you can call it a religious painting. Probably you can’t. That’s to say, there is no explicit religious intent in the painting as far as I’m aware, and certainly no one looking at the painting is going to suddenly pick out Moses or anything. It is a painting of a few blobs of black and green and a few other colors that sort of zingle through the canvas here and there.
Sometimes I think that the late Romantics are the most Romantic of all, since to be a Romantic is to commit to a lost cause. And it was already a lost cause to be an early Romantic of the 18th/early 19th century. But to be a Romantic in the late 19th/early 20th century was to be doubly doomed. It was to begin in anachronism and end in total dissolution.
The reference is, of course, to Auden’s famous poem September 1, 1939. That poem contains the well-known line “we must love one another or die.” I say a well-known line, but that doesn’t really capture it now, does it? The line is more than well-known—it verges into the realm of sacred writings of our time, a scrap of prophecy left to us from the 20th century.
You could say that Modernity has a masturbation problem. Not that masturbation itself is a problem. There’s nothing wrong with masturbation as a physical practice. The problem arises when masturbation becomes a metaphysics, the only means by which the self can relate to itself, as it were.]