Some are brought against their will. Others are encouraged in subtler ways. But the over-all efforts seem aimed at the erasure of the Ukrainian people.
THE NEW YORK TIMES BOOK REVIEW – August 13, 2023: The annual thrillers issue features – a tense murder mystery set aboard a cruise ship; a heist novel involving rough diamonds, crooked lawyers and masters of the double cross; and an especially creepy serial-killer novel, to name just a few.
In “Flirting With Danger,” Janet Wallach tells the story of Marguerite Harrison, who traded a life of privilege to become America’s first international female spy.
By Chloe Malle
FLIRTING WITH DANGER: The Mysterious Life of Marguerite Harrison, Socialite Spy, by Janet Wallach
Anyone complaining about a canceled Delta flight would do well to channel Marguerite Harrison. The United States’ first international female spy, Harrison crisscrossed the globe by rickshaw, propeller plane, camel, inflated goatskin raft and rail freight car and once brightly described a trans-Siberian voyage, in which she was wedged between sacks of tea and oats on the back of a troika in a blizzard, as “a rare and delightful experience.”
From left: John Fairfax; Tom McCleanCredit…From left: Daily Mail/Shutterstock; Tom McClean
In “Completely Mad,” James Hansen tells the stories of two men who in 1969 vied to be the first to row solo across the Atlantic Ocean.
COMPLETELY MAD: Tom McClean, John Fairfax, and the Epic Race to Row Solo Across the Atlantic, by James R. Hansen
The day before the Apollo mission landed two men on the moon, a British man named John Fairfax waded into Hollywood Beach, Fla., greeted by masses of cheering fans, having been the first person to row solo across the Atlantic Ocean. Eight days later, another Briton, Tom McClean, pulled his dory up a deserted beach in Blacksod Bay, Ireland, having rowed solo across the Atlantic in the opposite direction. While Fairfax was acclaimed and feted, McClean walked to the closest pub, alone.
Shara Hughes was born 1981 in Atlanta, Georgia. Lives and works in Brooklyn, New York. She earned a BFA from the Rhode Island School of Design and later attended the Skowhegan School of Painting and Sculpture.
She describes her lush, vibrantly chromatic images of hills, rivers, trees and shorelines, often framed by abstract patterning, as “invented landscapes.” Full of gestural effect, surface tactility and possessing a fairytale mood of reverie, these paintings, as the New Yorker described them, “use every trick in the book to seduce, but still manage to come off as guileless visions of not-so-far-away worlds.”
Bold, clashing colours and shifting perspectives manifest into dream-like landscapes that push and pull the eye across the canvas, challenging conventions of space. Rather than depicting true to life landscapes, Hughes invites us into a fantastical world offered as a portal for psychological discovery and reflection.
Country Life Magazine – August 9, 2023:The art of the shell seeker; High time – the daring life of a steeplejack; Animal architects; grand rentals and Thelwell’s legacy…
The master builders of the British countryside
Exploring labyrinthine tunnels and forest skyscrapers, John Lewis-Stempel gets lost in the world of animal architecture
Grace and favour rooms
Many grand country houses are now welcoming overnight guests. Rosie Paterson checks in
Always reaching for the stars
Ben Lerwill requires a head for heights as he meets steeplejacks working at the top of their game
Art in America Magazine (August 8, 2023) – The issue features Fall 2023: Icons – Artists who have made an impact, plus The Ruscha Effect, Cave_bureau, Pippa Garner, Marfa vs. Naoshima, Françoise Gilot, and more.
Suzanne Jackson: a history drawing-cracked wall, 2016–19.PHOTO TIMOTHY DOYON/COURTESY ORTUZAR PROJECTS, NEW YORK
Suzanne Jackson, whose work a history drawing-cracked wall (2016–19) features on the cover of the Fall 2023 issue of Art in America in a detail of the larger work shown here in full, told A.i.A. the backstory of her creation from her home in Savannah, Georgia. (Jackson is also the subject of a feature profile in the same issue.)
As told to A.i.A. The “history” in history drawing is thehistory of making the drawing. Over the three years I was working on it—it’s a big drawing—the whole process just happens from day to day: you’re adding something new, building it, working through composition and how elements come into the spaces in different ways. Each time you come back to work on it, something new has happened in your life.
From the start, women were at the center of the demonstrations that swept Iran last year. Schoolgirls emerged as an unexpected source of defiant energy.
One morning this past winter, the students at a girls’ high school in Tehran were told that education officials would arrive that week to inspect their classrooms and check compliance with the school’s dress code: specifically, the wearing of the maghnaeh, a hooded veil that became a requirement for schoolgirls in the years after the Iranian Revolution. During lunch, a group of students gathered in the schoolyard. A thirteen-year-old in the seventh grade, whom I’ll call Nina, pressed in to hear what was being said. At the time, mass protests against the government were raging across the country; refusing to wear the veil had become a symbol of the movement. An older girl told the others that it was time for them to join together and make a stand.
The twenty-nine-year-old musician pursues technical, rather than emotional, manipulation with her instrument. She can coax from it the sounds of an accordion, a drum, or a string orchestra.
“Do you listen to Sudan Archives?” Most of the time, but not every time, the response to this question is one of confusion. How can one listen to the archives of a country? Sudan Archives is, in fact, a twenty-nine-year-old musician—a singer, rapper, producer, arranger, lyricist, and violinist. She creates a “fiddle-punk sound,” as she describes it, that blends folk, ambient, soul, house, and whatever other tradition she feels is available for the taking. Sudan (the name that her colleagues, her fans, and, increasingly, her intimates call her) begins composing by striking a riff on one of her five violins, which she uses differently from most other American producers.
The Hunt family owns one of the largest private oil companies in the country. Leah Hunt-Hendrix funds social movements that want to end the use of fossil fuels.
Let’s say you were born into a legacy that is, you have come to believe, ruining the world. What can you do? You could be paralyzed with guilt. You could run away from your legacy, turn inward, cultivate your garden. If you have a lot of money, you could give it away a bit at a time—enough to assuage your conscience, and your annual tax burden, but not enough to hamper your life style—and only to causes (libraries, museums, one or both political parties) that would not make anyone close to you too uncomfortable. Or you could just give it all away—to a blind trust, to the first person you pass on the sidewalk—which would be admirable: a grand gesture of renunciation in exchange for moral purity. But, if you believe that the world is being ruined by structural causes, you will have done little to challenge those structures.
‘A novelist is condemned to produce a succession of novelties, new names for characters, new incidents for his plots, new scenery,’ reflects the beleaguered hero of The Ordeal of Gilbert Pinfold, Evelyn Waugh’s portrait of the artist as a middle-aged car crash.
London Review of Books (LRB – August 5, 2023) – But really, as Pinfold goes on to say, ‘most men harbour the germs of one or two books only; all else is professional trickery of which the most daemonic of the masters – Dickens and Balzac even – were flagrantly guilty.’ Pinfold is by admission a self-portrait, so Waugh must have expected readers to speculate on how this observation applied to his own career, and whether he was a one or a two-book man himself.
In 1958, a Cambridge don called Frederick J. Stopp produced a study of Waugh – uniquely, Waugh himself gave ‘generous assistance’ – which warmly endorsed the idea that he had basically ‘two books in his armoury’, the first featuring the ‘contrast between sanity and insanity’ and the second ‘sanity venturing out into the surrounding sphere of insanity, and defeating it at its own game’.
Whether this particular dualism had Waugh’s approval is unclear, but either way it doesn’t seem entirely satisfactory since the two alternatives look like variants of the same thing. Less well-disposed readers have thought that Waugh’s books divided on much more rudimentary lines: the good ones, which are funny, and the bad ones, which are pious.
There is the string of brilliant, brittle social comedies in the 1930s, and then there is whatever started happening with the publication in 1945 of Brideshead Revisited. Stopp reported, presumably with his master’s sanction, that ‘Mr Waugh’s reputation among the critics has hardly yet recovered from the blow.’ Brigid Brophy had the best joke: ‘In literary calendars, 1945 is marked as the year Waugh ended.’
In marine biology, a whale fall is the body of a dead whale that has slowly descended to the bottom of the ocean. Scavengers strip its flesh, crustaceans and other creatures colonize its skeleton and its decaying bones help sustain countless organisms for years to come, part of the delicate balance of the undersea ecosystem.
While Billy Wilder’s 1957 film adaptation portrays Ariane (played by Audrey Hepburn) as a doe-eyed ingénue, Claude Anet’s original character is considerably more enigmatic. Credit…Allied Artists/Getty Images
Reading Claude Anet’s provocative 1920 novel “Ariane: A Russian Girl,” the reader may yearn for a little less conversation.
By Gemma Sieff
It would be nice if we had put to bed, so to speak, witless and reductive double standards about female promiscuity. Have you heard the one that goes, “A key that opens many locks is a master key, yet a lock that is opened by many keys” is … unprintably bad? Me neither — until I saw it on TikTok.
The Metropolitan Museum of Art (August 3, 2023) – A virtual tour of Tree & Serpent: Early Buddhist Art in India, 200 BCE–400 CE. Featuring more than 140 objects dating from 200 BCE to 400 CE, the exhibition presents a series of evocative and interlocking themes to reveal both the pre-Buddhist origins of figurative sculpture in India and the early narrative traditions that were central to this formative moment in early Indian art.
With major loans from a dozen lenders across India, as well as from the United Kingdom, Europe, and the United States, it transports visitors into the world of early Buddhist imagery that gave expression to this new religion as it grew from a core set of ethical teachings into one of the world’s great religions. Objects associated with Indo-Roman exchange reveal India’s place in early global trade.
The exhibition showcases objects in various media, including limestone sculptures, gold, silver, bronze, rock crystal, and ivory. Highlights include spectacular sculptures from southern India—newly discovered and never before publicly exhibited masterpieces—that add to the world canon of early Buddhist art. On view: July 21st–November 13th, 2023
Literary Review – August 2023 Issue: How Sugar Became King; Oil, Resin, Vinegar & Paint – “Albrecht Dürer: Art and Autobiography” By David Ekserdjian; Shopping & Plucking – “How to Be a Renaissance Woman: The Untold History of Beauty and Female Creativity” By Jill Burke and more…
Albrecht Dürer: Art and Autobiography By David Ekserdjian
Dürer’s Lost Masterpiece: Art and Society at the Dawn of a Global World By Ulinka Rublack
The German Renaissance artist Albrecht Dürer (1471–1528) was fortunate in his initials. The stylised ‘AD’ that he routinely inserted into his paintings and engravings, and even the preparatory drawings, seemed to imbue his productions with an almost divine stamp of approval. Most German painters of the era did not sign their work, but Dürer was eager to assert creative ownership of his productions, obtaining legal protection of his sole right to the trademark monogram.
The World of Sugar: How the Sweet Stuff Transformed Our Politics, Health, and Environment over 2,000 Years By Ulbe Bosma
There was a time when commodity histories were everywhere. They tended to focus on consumption and trade over very long distances. Ulbe Bosma’s TheWorld of Sugar is much more than this sort of book. It is one of the most accomplished longue durée case studies in the history of capitalism that we have, concerned not just with trade and consumption but with production also. At every turn it subverts both critiques and celebrations of capitalism, and our understanding of much else besides. It is an extraordinary achievement.
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