Lyrics of the Heart: With Other Poems
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Sunday, October 14, 2012
Book Review Pt. 2: Air Guitar, by Dave Hickey
Probably the biggest insight your correspondent owes to this work is a plausible definition for art/explanation for why art matters, in "Frivolity and Unction." Answer: it doesn't. Art is a luxurious waste of time through which extremely important issues get worked out. Hickey's analysis is, again, gorgeous, so I'll quote it here at length:
So here's my suggestion: At this moment, with public patronage receding like the spring tide anyway and democracy supposedly proliferating throughout the art world, why don't all of us art-types summon up the moral courage to admit that what we do has no intrinsic value or virtue--that it has its moments and it has its functions, but otherwise, all things considered, in its ordinary state, unredeemed by courage and talent, it is a bad, silly, frivolous thing to do. We could do this, you know...
...We could just say: "Okay! You're right! Art is bad, silly, and frivolous. Movies are bad, silly, and frivolous. Basketball is bad, silly, and frivolous. Next question?"...
...What if works of art were considered to be what they actually are--frivolous objects or entities with no intrinsic value that only acquire value through a complex process of socialization during which some are empowered by an ongoing sequence of private, mercantile, journalistic, and institutional investments that are irrevocably extrinsic to them and to any intention they might embody?...
...Because the art world is no more about art than the sports world is about sport. The sports world conducts an ongoing referendum on the manner in which we should cooperate and compete. The art world conducts an ongoing referendum on how things should look and the way in which we should look at things--or it would, if art were regarded as sports are, as a wasteful, privileged endeavor through which very serious issues are worked out.
Because art doesn't matter. What matters is how things look and how we look at them in a democracy...
Why I think this is valuable: if you're anything like me, you've wasted countless hours and cigarettes agonizing over whether and how art is valuable. This is a serious problem: the value of art is in no way self-evident. What is self evident is how it relates to other stuff. Like class: GED-graduates are not the major demographic for reprints of Shakespeare or Dostoevsky, poor people don't flock to the theater, and loudly-played classical music is used to discourage homeless people from hanging out in public areas. Great art tends to be friendly toward the upper classes, while pro-wrestling and MTV and the Twilight books score with lower classes. (I'm not saying always, and I'm not endorsing this fact; I'm just acknowledging a broad demographic trend.)
Plus, in a world full of injustice and scarcity, why spend time on art? Why not use that energy for activism? Children die every day from starvation, and you're going to spend your time reading the thoughts of Tristam Shandy? I don't know about you, but for me, it seems that spending one's time teasing out the significance of narrative voice in Joyce's Dubliners while my neighbors suffer and die is, to be precise, vulgar. To rephrase this point as an argument: Art is a luxury activity, and it's wrong to luxuriate while others lack necessities, and others do lack necessities. Thus, it's wrong to spend time and energy on art.
So two excellent reasons to turn your back on art are 1) it's classist and 2) it's a waste of precious resources.
What I love about Hickey's analysis is that it wholeheartedly accepts both of these facts, yet still finds value in art: to wit, as an ongoing referendum on how to look at things in our society. If you see that 'How we look at things' is powerful and important, then you'll see how art has an indirect but fundamental influence on our society (and thus on class, justice, ecological awareness, etc.). Hickey is right that art does not promote virtue in the way that grant-seeking museum curators say that it does--exposure to high art does not, by and large, make people better or smarter or more empathetic. Art has no intrinsic value. What art does have is influence on how we live together, influence on the shape and texture of our society. Art, like role models and traumatic experiences, teaches us how to see. And since we're social animals, how we look at things influences pretty much everything else that we do care about (justice etc.). Art is a wasteful luxury through which important issues get worked out.
So by this point, whether you read Air Guitar or not, you've gotten a heavy taste of Hickey's writing and a summary of (what is in my view) the most important point in the whole book: art is not intrinsically valuable, but it is a social activity, and social activities have important effects.
In summary, your correspondent can report that Hickey's anthology is smart, funny, and extremely insightful. and the questions he asks guarantee interesting answers.
Thursday, October 11, 2012
Book Review Pt. 1: Air Guitar, by Dave Hickey
This seems to be a basic epistemic (not to mention neurological) principle: in order to think about some subject, you have to ignore everything else. And by the process of concentrating on X and ignoring everything else, you end up defining X before you've even begun to consider it. It's a real pickle: you want to think about something in order to understand it, but in order to think about it at all, you sort of need to already understand it. (Incidentally, Plato formulates this problem in Meno's Paradox, and getting around it is one reason why Socrates posited that all learning is really just remembering.)
Another problem is part of the problem is existential--that is, the "Why Bother?" which occupied mid-twentieth-century French intellectuals and depressives of all stripes. Camus's The Myth of Sisyphus is the definitive investigation into correlation between 1) thinking too much and 2) suicide: "Beginning to think is beginning to be undermined." We'll only skirt the issue here by noting that, in fact, being well-adjusted involves avoiding lines of thought which lead to bad outcomes (or in other words: pragmatists are healthier than ruthless seekers of truth). As DFW puts it, healthy people "get to consciously decide what has meaning and what doesn't."
But so okay: there are excellent reasons to be suspicious of careful thinking. To wit: it's epistemically impossible, practically inefficient, and emotionally dangerous.
Still, the opposite doesn't look too promising, either. One of the boons of human storytelling is that we get to see how stupid other people are, how oblivious they are to their own stupidity, and how directly their stupidity leads to woe. You've surely got your own favorite examples; mine are 1) reality television and 2) Anna Karenina. Through effective portrayals of human thought and behavior, I get to see how Anna's history, hopes, habits, etc. lead her to act in particular ways, and how these actions lead to particular outcomes. Anna is oblivious to all this: indeed, it's her profound mis-understanding of what she wants and how to get it which determines her tragic destiny. Were she more aware, she'd likely meet a better end. So the absence of critical thought is also not a promising avenue.
All that being said, here's why I love Dave Hickey: Hickey excels at ignoring the unhelpful and invading the productive. Half of good thinking is asking the right questions, and that's what he does in this anthology of his art criticism:
-How are hope and social hierarchy related to the mystique of Las Vegas?
-What is the connection between desire, community, art, and social norms?
-"What we did not grasp was just exactly why the blazing spectacle of lawn-mowered cats, exploding puppies, talking ducks, and plummeting coyotes was so important to us."
-In what sense was Liberace in the closet, or not? And what about his fans?
-How was American car-culture born? And what does us tell us about the business of art?
-Why would Chet Baker walk away from the chance to become the next James Dean, for a life of heroin and jazz shows?
-Wadda'ya mean, masculine culture vs. everything else?
-How the hell could M. Foucalt make it all the way through the Sixties without once dropping acid?
-How do boredom and stimulation work in cinema and art? Why bother with limits?
-Wait, wait: you're telling me that people who sell art aren't just craven vultures?
-What did Perry Mason and Mission: Impossible tell us about their audience?
-What's the relationship between officious museums vs. art as a social practice? Wait: how is art a 'social practice'?"
-How did Julius Erving re-invent basketball, and what does that tell us about art?
-Why the hell would anyone write art criticism?
-Seigried and Roy?
You get the picture. Hickey's investigations are gorgeous, but one suspects that a trained monkey or even a bureaucrat could have carried them out, once Hickey'd framed the issue and formulated the questions for them.
Check back Sunday for part two of this review, where I'll discuss the most important insight in Hickey's book.
Friday, August 10, 2012
Fore-Edge Paintings: Beauty on the Edge
by Beth Carswell
Around the 16th century, an Italian artist named Cesare Vecellio (cousin of celebrated Renaissance painter Titian) began to use the fore-edge of books as a canvas, and took the opportunity to make books more beautiful. The first instances of decorative fore-edge paintings were applied outright on the edges of the leaves, easily visible to anyone who cared to look when the book was closed.
In the 17th century, one of the Queen’s Binders (a group of highly skilled English bookbinders during the Restoration period) took the skill one step further by discovering that if one painted on the slight inner edges of the pages, then gilded or marbled the outside page edges, the scene would be undetectable when the book was closed, and only reveal itself when the pages were fanned slightly, creating a disappearing, re-appearing masterpiece.
While it’s amazing enough hiding one painting this way (a single fore-edge painting), some artists created the astonishing technique of the double fore-edge painting, in which a book’s fore-edge shows two different scenes when the pages are fanned back to front or front to back. And some artists forgo the usual gilt or marbling on the very edges of the eaves, opting instead to include a third depiction (triple fore-edge-painting), visible when the book is closed. Most fantastically of all, some painters also embellish the top and bottom edges of the book pages, for an effect known as a panoramic fore-edge painting.
Believed to have originated as long ago as the 10th century, fore-edge paintings first often depicted shields, coats of arms or other insignia. As artists became more interested in beautification, they began to include landscapes, battle scenes, religious iconography, floral designs, and more, sometimes related to the book's subject and sometimes not.
Many of the books sold today with fore-edge paintings are antiquarian volumes to which the edge paintings have been added much later. One of the most widely seen modern-day fore-edge painting artists is Martin Frost, based in the UK, who since 1970 has produced countless fore-edge paintings, including many offered for sale on AbeBooks.
Please see Bromer Booksellers at http://www.bromer.com/books_foreedge.html and The Boston Public Library at http://foreedge.bpl.org/articles
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Fore-edge Painted Books
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The Pickwick Papers
Charles Dickens
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D.H. Lawrence
Stories for the Household
Hans Christian Andersen
Chefs-d'oeuvres du roman contemporain
Sunday, January 29, 2012
Scotland's Secret Book Artist
Wednesday, January 18, 2012
Wednesday, December 14, 2011
Best Sustainable Christmas Tree Ever
Monday, July 11, 2011
Graceful 3D Trees Cut into Discarded Books
Cleverly returning a hint of their paper based origins, artist Kylie Stillman takes old discarded books and carefully carves inverted bonzai tree reliefs in their pages. Her works come at a time when book art and carving are gaining in popularity, yet her works stand out as unique examples in the young trend. The Australian artist got her start at carving books in 2006 when she trimmed a bird into a discarded tome; she later gave her birds a place to sit, progressing to potted plants and now her current tree carvings. For her latest work featuring trees carved in stacks of boldly colored paper, see her website kyliestillman.com.
Thursday, June 9, 2011
Unusual Bindings from ABE Books
We all know the old adage, but never mind what they say. Sometimes it's okay to judge a book by its cover.
We love to read, but it's an extra pleasure when the book is an object of beauty, craft or art, as well. These editions have all been thoughtfully bound in atypical materials, some in direct correlation to the subject matter, some for the sake of beauty or functionality. They have become not only literature, but art.
Bookbinding has been a skilled and lovingly practiced craft for centuries. It's an astonishing treat to see the range of materials and methods that go into bookbinding. Ranging from absolutely affordable to extravagantly expensive, here are some of the most unusual bindings found on AbeBooks, from eelskin and ivory to copper and gold, to rubber and fur, and much more.
Go on. Judge.
30 Unusual Bookbindings
Arizona Highways Magazine 1965
Gerald A. Bergin
$125
Sentiments and Similes of William Shakespeare
William Shakespeare & Noel Humphreys
US$ 1800
Etrennes Mignonnes
W.H. Hudson
$3825
Odilon Redon
Andre Mellerio
$2750
La Guirlande D'Aphrodite
Ferdinand Herold
US$ 2750
Personal History of David CopperfieldCharles Dickens
US$ 7651
Heads and Tales
Malvina Hoffman
US$ 1400
The Sweet O' The Year
Emily Ridgway
US$ 2125
Enzo Cucchi Scultura 1982-1988
Martin Schwander & Enzo Cucchi
$750
Blood Brother
Elliott Arnold
US$ 1800
Paa Langfart Med Snarken
Jack London
$75
La Route D'Emeraude
Demolder, Eugene.
US$ 1800
1611 King James Bible
US$ 119000
Batak Bark Book
$2400
The Sermon on the Mount
Owen Jones
$1542
Subversive Crafts
Katy Kline
$11
The Flounder
Günter Grass
US$ 600
Varnished Wood
The Lay of the Last Minstrel
Walter Scott
$400
La Voie du Salut ou Prieres Journalieres
Baron de Zaiguelius
$150
The American Coast Pilot
Edmund M. Blunt
US$ 450
Little Fur Family
Brown, Margaret Wise; Williams, Garth
$45 - $2200
The Holy Bible
King James Version
$88
Andy Warhol's Index
Andy Warhol
US$ 1500
The Song of Hiawatha
Henry Wadsworth Longfellow
$28,500