May 4, 2018 At Work Sound Tracks: An Interview with Simone Forti By Barbara Browning Simone Forti, 2012. “Someone must have handed me a piece of flexible tubing from the hardware store and shown me that I could play it, the pitch rising and falling according to how hard I’d blow through it. It was around 1970. I tied a red kerchief to this horn and called it my molimo, after the instrument the Mbuti Pygmies play to wake up their mother, the forest … They claim that the molimo is the sound, not the object.” (From the notes in Al Di Là.) Photo: Jason Underhill Simone Forti is primarily known as a central figure in American postmodern dance, but her work in movement has always been interdisciplinary. The foundational pieces she called Dance Constructions, for instance (first performed at the Reuben Gallery in 1960, and, the following year, in Yoko Ono’s loft), were, as the name implies, sculptural as well as choreographic.Lesser known are the soundscapes she’s created, both alone and with others, throughout her career. The first time her sonic experiments received serious attention was in a 2012 gallery show, “Sounding,” at the Box Gallery in Los Angeles. The exhibition featured recordings of her soundscapes alongside projections and images of original performances; the gallery included areas with benches, carpeting, and earphones where visitors could, presumably, close their eyes and pay focused attention to those sounds. A piece titled “Bottom” (1968) is composed of four five-minute “blocks” of sound: monotonous drumming, three voices holding a chord, a vacuum cleaner, and Forti whistling. Another, “Censor” (1961), involves loud singing accompanied by the noisy shaking of a pan full of nails. Today, Forti is releasing Al Di Là, her first full-length collection of recordings: nine tracks, compiled with the assistance of the composer Tashi Wada. The Italian title of the album is a slight alteration of the title of one of the tracks, “Dal Di Là” (1972). The former might be translated as “toward the beyond,” the latter “from the beyond.” Forti’s own translation of the song’s lyrics, which she sings in a haunting a cappella, is “I’m awaiting a song from afar, from afar, a song of goodbye from afar. For now I’ve seen the game I was playing, slowly leaving the earth and drifting far among the stars.” Read More
May 4, 2018 On Photography Forging Intimacy By Ariel Lewiton © Marie Hyld My friend sent me an article about a young Danish photographer, Marie Hyld, who takes photos of herself with strangers she meets on Tinder, attractive men and women approximately her own age. Each photograph is staged to look like a candid moment of intimacy caught within an established romantic relationship and, as with many long-term relationships, reflects a range of shifting moods: sexy, playful, sleepy, bored. At first, I was drawn to one of the sexy ones—Hyld and her partner standing in a green-tiled shower, embracing under the spray. Although the man’s face is partially concealed by Hyld’s head, her cheek pressed into the curve of his neck, from what I could discern of his profile and body, he so closely resembles a former lover of mine that for a few minutes I was nearly certain it was him. That man was an aesthete; he was handsome and vain and seemed to love feeling desired, but avoided attachments. It was not difficult to imagine him volunteering for a project like Hyld’s, an artistic inquiry into make-believe intimacy. (This was before I learned that the photographer finds her collaborators in Denmark, a place I’ve never been.) The resemblance also probably had to do with the photograph being staged in the shower. The man I knew would get up in the morning and take lengthy luxuriant showers while I lay in bed, showers that went on so long I’d sometimes wonder if he’d passed out or left the building with the water still running. Invariably, I’d grow bored and climb out of bed to wander through his rooms, taking inventory of his things: his books and paintings, his soft dark sweaters folded on the shelf, his pile of boots behind the bedroom door, his stacks of mail and his blender and the bowl of tangerines on the kitchen counter. I never touched anything, except once his phone, to check what time it was and also to see if other women had called him in the night. But mostly to check the time. I would’ve liked to shower with him, but he never invited me, and I was too shy to ask. I thought it might be time and space he needed for himself. I’d picture him in there, raking his fingers through his wet hair, with his eyes closed as steam lifted off his skin. I wondered if he ever thought of me while he was in the shower—the woman he’d left in bed, now creeping around his apartment in her underwear. Maybe he did; maybe he didn’t. Read More
May 4, 2018 On Art Seeing Beyond the Tip of Your Nose By Lawrence Weschler David Hockney, Grand Canyon II, 2017, acrylic on canvas, 48″ x 96″. David Hockney’s latest painterly passion, the results of which are currently on display at the Pace Gallery in New York City, consists of an elaboration of his ongoing fascination with reverse perspective, this time by way of notched hexagonal canvases, such as the one above. As I discussed in my catalogue essay for the show, this current round in his interest was in part spurred by his encounters with the thinking of an early-twentieth-century Russian Orthodox monk, but for my own part, I couldn’t help but be reminded of the work of Trevor and Ryan Oakes, young identical twin artists whose ideas I’ve been following for several years (as has David, after I introduced them to him). Unlike the sorts of identical twins who develop secret languages from infancy, Trevor and Ryan (born in 1982), out of West Virginia and before that Colorado, had been carrying on a conversation, virtually since toddlerhood, on the nature of bifocal vision—what it is like, that is, to see with two eyes. (Around age ten, their parents once told me, they could be found sitting on stumps out in the woods, twenty feet apart, trying to work out what the depth perception might be of a dragon with eyes that far apart.) Notwithstanding their tender years, they’d been thinking about this stuff a long time—almost as far back as David when he started making his Polaroid collages. And as it happens, the ideas that seem most pertinent to Hockney’s current concerns are the twins’ theories on depth perception, which they developed when studying together at Cooper Union as they developed a system for making camera-obscura-exact drawings deploying no other equipment than their own two eyes (a facility that obviously came to fascinate Hockney). Read More
May 3, 2018 Arts & Culture Smoke By John Berger PROLOGUE There’s never smoke without fire. This was first said by someone suggesting a rumor might be well-founded. Words in the media today often function like a smoke screen for hiding flames. The government of North Korea has just announced that they have tested an H-bomb fired from a submarine. Endless discussion about whether this is true or a bluff. No reflections around the fact that in the oceans of the world there are about sixty fully armed nuclear submarines awaiting instructions day and night. Read More
May 3, 2018 Arts & Culture Shirley Hazzard at the 92nd Street Y By Stacy Schiff “75 at 75,” a special project from the 92nd Street Y in celebration of the Unterberg Poetry Center’s seventy-fifth anniversary, invites contemporary authors to listen to a recording from the Poetry Center’s archive and write a personal response. Here, Stacy Schiff reflects on a recording of Shirley Hazzard’s reading from The Transit of Venus in December 1981. It had snowed that morning. It rained hard that evening. Both Shirley Hazzard and F. D. Reeve, who introduced her, thanked the audience for braving the downpour. The weather suited the occasion: no one who has ever picked up The Transit of Venus, for which Hazzard that fall won the National Book Critics Circle Award, is likely to have forgotten the tempest with which the novel opens, one that seems to split earth from sky to deliver a man—amid streaming mud, crackling thunder, wet wool, and a dissolving suitcase—to his destiny. He advances, Hazzard tells us, the weather whipping up her prose, into the frame from the left-hand corner, assuming his place in the landscape “under a branch of lightning.” I am not the only reader who has read those lines under the impression that Hazzard was riffing on another tempest, one painted in the early sixteenth century by Giorgione. She is that kind of writer. Read More
May 3, 2018 Poetry Rx Poetry Rx: Lie to Yourself, What You Will Lose Is Yourself By Kaveh Akbar In our column Poetry Rx, readers write in with a specific emotion, and our resident poets—Sarah Kay, Kaveh Akbar, and Claire Schwartz—take turns prescribing the perfect poems to match. This week, Kaveh Akbar is on the line. Illustration by Ellis Rosen. Dear Poets, My seventy-two-year-old mother used to wake up early every day and text me the weather so I could dress accordingly before I left for work. I’m twenty-seven years old and—I am proud to admit—fully capable of checking the weather myself. But despite my repeated protests, my mother texted me daily anyway. She passed away suddenly in late February. We shared so many quirky traditions that feel lost to me now. I was wondering: Do you have a poem that might speak to these small gestures of love, either from the perspective of what it’s like to give them or to receive them? Yours, Missing the Weather Dear Missing, Your mother’s texting was an irreplaceable gift, undoubtedly one of many such gifts she gave you. At first, my instinct was to send you Robert Hayden’s “Those Winter Sundays” (“What did I know, what did I know / of love’s austere and lonely offices” being among the language’s great articulations of our inability to appreciate small gestures of love in the moment they’re given). But then I thought it would be better to give you something that spoke specifically to maternal love and its associate—too often thankless—labors. Read More