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Thứ Tư, 26 tháng 5, 2021

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It’s close to impossible to show who you are on social media. I’ve become this crazy Big Brother for influencers where I’m constantly dissecting who’s being their real self and who’s doing things for their brand or for their aesthetic or identity. I’ve made it my job to watch out for that, which is such a waste of time. I’m always telling my friends, “Oh, she’s not actually weird. You can tell the difference between someone who’s weird and someone who’s trying to be weird.” And they’re just like, “You need to get a life and stop.”

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Yeah. What’s your algorithm on TikTok? I really do think the algorithm shows us who we are. I get people who bring me rage—really vapid celebrities that I hate. I also get a lot of psychology facts, and that’s it. I only look at things that bring me pain. I do wish I was shown things that I don’t look at that often. My sister’s [algorithm] is so funny. On every social media, it’s legitimately kittens and baking videos—all things that bring her actual joy and soothing in this life. And mine is just a shitshow of a fire dumpster.

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I had been staring at Steve Kornacki for more than 72 hours, and it was a surreal moment. We knew he was going to win for like two days, but no one was allowing themselves to get excited. Usually there’s celebrities or people online who fuck up, but everyone was following the rules of “let’s just be patient and wait,” and I thought that was pretty amazing. I didn’t go out and join the COVID set. [laughs] But I celebrated from my home. We had some champagne and cried. It was fun.

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Here, Karmel discusses the book, some of his greatest mentors, and the particular challenges (and pleasures) of teaching art right now. First, I’d love to know how you came to study art—what it was that turned you onto the field, and to contemporary art in particular. I was an aimless, young college student who thought that I might be a novelist, because my dad was a novelist. So I finished college and I was writing a really, really bad novel that, fortunately for everyone involved, never got published. Meanwhile, I’d been collecting photography, and a friend of mine, an art critic, said, “Hey, you should write about photography for Art in America.” I was like, I have no credentials! I’ve never taken an art course! And he was like, “It doesn’t matter.” So I started writing about photography for Art in America, [and later] about painting and sculpture. Then I got a gig teaching at the School of Visual Arts, and after a couple of years, it kind of crept up on me that I liked this art history thing, and if I was going to do it for a career, I should probably learn something about it. So I went to graduate school at the Institute of Fine Arts, where I had just amazing teachers—I studied with Kirk Varnedoe and William Rubin from MoMA, who was the most powerful man in the art world from the early 1970s until sometime around 1998. He later asked me to help organize the Cubism exhibition at the museum in 1989. And then I really intended to teach, so I got a part-time job teaching when I finished my Ph.D in ’93. Later, Kirk was chief curator at MoMA, and I had the amazing experience of working with him on the Jackson Pollock retrospective that opened in ’98. When that was over, I got the job that I have now, teaching at NYU. That was, like, 20 years ago.

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In his preface to Abstract Art: A Global History—arriving this month from Thames & Hudson—Joseph Low (“Pepe”) Karmel, a professor of art history at New York University, writes that the goal of the book is “to demonstrate different ways of looking at abstraction and to encourage readers to respond to a wider range of abstract art.” A simple idea in theory, it proves a massive undertaking in practice, demanding a complete rethinking of long-established narratives. With Abstract Art, Karmel approaches the field not as a steady tunneling toward nothingness, as figures and other discernible objects fell away, but as something more dynamic—and much less white, Western, and male. There is no such thing as pure form, he insists; abstract art has always been “rooted in experience of the real world,” wherever and whenever it was made. He identifies five major categories of subject matter—bodies, landscapes, cosmologies, architectures, and signs and patterns, tracing each theme over 100 years, from 1915 to 2015—and works to consider the perspectives of women and artists of color not generally included in the discourse. (A work by the Swedish mystic Hilma af Klint claims the cover; while the Indian-born artist Zarina provides the frontispiece and Wosene Worke Kosrof, an Ethopian painter, the back cover.)

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Prince Harry and Prince Charles’s relationship is fractured. While Harry said that he is on good terms with his grandmother, Queen Elizabeth, he admits that he can’t say the same for his father. Harry says Prince Charles had stopped taking his calls at one point. “There’s a lot to work through there. I feel really let down because he’s been through something similar,” he said. “I will always love him. But there’s a lot of hurt that’s happened.”

Diana has been a presence throughout. Harry said that since early 2020, he’s been cut off financially from the royal family. However, the money Diana left him allowed the family to step away from royal duties. “I’ve certainly felt her presence throughout this whole process,” he said. Harry also reflected on what it must have been like for his mother to leave the royal family, but on her own. “I can’t imagine what it must have been like for her to go through this process by herself all those years ago,” he said.

Thứ Ba, 25 tháng 5, 2021

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As our days braid into each other, we’re looking for exciting inside distractions instead of the stark furniture we settled for from Ikea. As frontline worker Kaitlin Spring puts it: “For me, working as a nurse anesthetist during the pandemic, I wanted to make our place into a little haven so that when we are home we are enjoying ourselves and can have a break from the hospital.” Her home in upstate New York is accordingly filled with bright hues, bulbous shapes, and ‘70s-inspired checkered patterns.

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Thankfully, a wave of designers are prepared to meet the moment. Long distance partners and industrial designers Jazmin Feige and Matias Gonzalez created their side project, Bougie Woogie, a playful home accessories brand that prioritizes functionality, in the midst of the stress and boredom they felt during the pandemic. “This style is not invasive. It’s more about having these organic shapes and really curvy and chubby squiggly shapes that actually calm your spirit,” Feige says.

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It’s an interesting moment to rerelease SUMO (1999), the 464-page Helmut Newton monograph that weighed 35kg and came with a specially designed Philippe Starck stand. To meet the current moment, it has been redesigned: now called BABY SUMO, it’s half the size and relatively speaking, it’s reasonably priced at $1,500. (The signed first-edition of SUMO became the most expensive book of the 20th century when it sold at auction in Berlin for 620,000DM in 2000, approximately $370K today.)

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Sikander’s Promiscuous Intimacies Then there’s Promiscuous Intimacies, Sikander’s first foray into sculpture, a “non-heteronormative anti-monument” inspired by her experience sitting on the New York Mayoral Advisory Commission on City Art, Monuments, and Markers. Using an image culled from her own 2000 painting, Maligned Monsters, she collapses space and time to bring into dialogue two art historical goddesses, a mannerist Venus adapted from Bronzino and a Hindu devata from an 11th-century Indian sculpture, intertwining them in an acroyoga-worthy pose that, though technically feasible—Sikander checked using models—is deliberately tenuous. It’s a hedge against the sort of one-sided, winner-takes-all history enshrined in much classical statuary. “They are unstable because I don’t want to take those relationships for granted,” Sikander observes. “Art is change. It’s in sync with the world we live in.”

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Azarenka and Osaka had been due to face each other in the final of the Western & Southern Open two weeks ago (that tournament was held this year at the same Flushing Meadows venue as the Open because of the coronavirus), only for Osaka to withdraw from the match citing a left hamstring injury.

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After her semifinal win, Azarenka reflected on her long journey back to a Grand Slam final, both professionally and personally. “I’m very proud of myself that I took that challenge up from losing and turned it around and became better,” she told reporters. “I’m not talking about being a better tennis player—I’m talking about being a better person for myself and my son. That’s what I’m most proud of.”

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“It was supposed to be a story about a woman approaching 40 and reclaiming her sexuality and rediscovering herself, just at the point that society traditionally writes women off.” Such an affecting book—no matter the genre—deserved greater mainstream notoriety. But The Idea of You is also rooted in socio-cultural commentary about aging and a woman’s worth. “This was never supposed to be a book about Harry Styles,” Lee told me. Nor was it ever intended as a classic, fuzzy romance.“It was supposed to be a story about a woman approaching 40 and reclaiming her sexuality and rediscovering herself, just at the point that society traditionally writes women off as desirable and viable and whole.”

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After two decades in Hollywood, Lee, now 46, knew what it was like to be marginalized. Auditions waned; roles shifted. “You’re no longer the hot one. You’re not the girlfriend. You’re not even the hot wife now. You’re the mom,” she said. “It really broke my spirit, and I was angry about it, and so a lot of that went into this book.” A fictional artist at Soléne’s gallery wins raves for a video-installation “exploring how women of a certain age cease to be seen.” Soléne’s ex-husband remarries; Hollywood tropes would have had her eating Ben and Jerry’s under the covers, in mourning. Instead, she is the elder in a May-December relationship, with a youthful Botticelli angel ministering to her on a yacht in Anguilla. It’s electric, triumphant, to read.