Last week, China’s President Xi Jinping hosted the annual Asia-Pacific Economic Cooperation forum in Beijing. For Xi, it was a diplomatic coming out party. Like every debutante, he left nothing to chance. In the weeks leading up to APEC, Beijing implemented a comprehensive plan aimed at presenting its best face to the foreign visitors. Much of this plan targeted Beijing’s infamous smog. As the forum opened, it appeared the efforts had payed off. Beijing residents dubbed the color of the sky during the forum APEC blue, a color one popular commentator called “beautiful but fleeting.”Continue reading →
Time is important to D.E. May. His work resembles found objects and documents for some long-ago half-completed project. It is difficult to tell which marks were left by a previous writer and which were added by the artist’s own hand. Using paper, cardstock, cardboard and a variety of other common materials, May explores universal ideas of history and memory on the personal scale.
D.E. May lives and works in Salem, Oregon and has exhibited widely in state and throughout the country. He is included in numerous public collections including the Albright-Knox Art Gallery, the Boise Art Museum, Portland Art Museum and the Seattle Art Museum, as well as the private collections of Blake Byrne, Werner Kramarsky, Beth DeWoody, Brad Cloepfil and Driek & Michael Zirinsky. May has been written about in Artforum, Artweek and New American Paintings. He is represented by PDX Contemporary gallery.
Blacktop Ecologies: Los Angeles Poetry and Poetics is a one-day symposium of writers active in Los Angeles today. Though largely drawn from the interaction of poetry and teaching, the poets range from highly experimental, even “conceptual,” writers of lyric, narrative and political poetry, as well as translation and performance writing. There is no “subject” for the symposium — it is not concerned with Los Angeles or even its poetical history — but a snapshot of poets in Los Angeles today, how they think and make their work. Each poet will make a short presentation of their recent thinking and read selections of their work; each “lane” will be followed by a question and answer (for passenger loading only) period.
Presented by the English Department of UCLA, the Friends of English, the Dean of Humanities and the Modernist/Experimental Literature and Text-art (M/ELT) Colloquium.
Marshall Hodgson was both a genius and a visionary. While he may have seemed to be just another university professor, at once restless, innovative, and genial, he was also an academic Übermensch with a global agenda. He wanted to change the world by changing the way we saw, understood, and engaged Islam within world history. Born in 1922, he was drafted but as a Quaker refused to fight in World War II. After serving five years in detention camp, he returned to school, graduating from the University of Chicago with a PhD in the early 1950s. He had been teaching from the notes that became The Venture of Islam for over a decade before his demise in 1968. Forty-six years after his death, and 40 years since the posthumous publication of his magnum opus, his legacy remains puzzling. Was he ahead of his time, or has he been overtaken by the Cold War and its aftermath, including the horror of 9/11, along with its own, persistent aftermath? Continue reading →
In a post here at the LARB China Blog last month, Austin Dean discussed the recent revival of interest in Chinese authors of the 1930s and ’40s who had fallen out of favor after the communist takeover in 1949. When Austin sent in his post for editing and I opened the file to see what he had written about, I laughed to myself — he and I were thinking along the same lines, as I had been planning a post about one of those long-lost authors.
The author I had in mind was Mu Shiying, an experimental essayist, short-story writer, and novelist who blazed onto the Shanghai literary scene in the early 1930s and produced an impressive quantity of works before falling victim to an assassin in 1940. The circumstances of Mu’s death have something to do with his long disappearance from the Chinese literary canon: he had taken a job managing a newspaper produced under the Wang Jingwei regime, a collaborationist pro-Japanese government that’s still remembered as perhaps the greatest example of betrayal in twentieth-century Chinese history, and that association led to his assassination. But the other reason that Mu’s stories could not be circulated during the first few decades of communist rule is that they depict — in vibrant, thrilling detail — the pleasure-seeking wildness of Shanghai nightlife in the 1930s. In the years after the communist government came to power, the new administration shut down those nightclubs, and the major literary works of the Mao era (1949-1976) featured China’s farmers and workers, rather than tuxedo-clad cabaret patrons. Continue reading →
In The Log From the Sea of Cortez, John Steinbeck and Ed Ricketts wrote, “We determined to go doubly open so that in the end we could, if we wished, describe the sierra thus: ‘D.XVII-15-IX; A.II-15-IX,’ but also we could see the fish alive and swimming, feel it plunge against the lines, drag it threshing over the rail, and even finally eat it. And there is no reason why either approach should be inaccurate.”
A few years ago in the fall, I led a coastal field course from Los Angeles to San Francisco with thirteen undergraduates and graduate students from Duke University. Like John Steinbeck and Ed Ricketts in preparing for their expedition to the Gulf of California, I wanted us to go “doubly open,” knowing that this approach entails a whole spectrum of observation between the coldly scientific and the deeply experiential poles that Steinbeck and Ricketts staked out for their expansive interpretation of field science. I wanted my students to see California with reverence and awe, while not ignoring its flaws and internal contradictions. I wanted us to get immersed in its cold Pacific waters, to cover our hands in octopus ink and the slime of stranded drift mats of giant kelp. I also wanted to walk in its cement rivers and inhale the stink of its refineries. I wanted us to savor its delicious doughnuts, uncover the secrets of its wines, and gorge ourselves on enormous burritos. I wanted to share it all with the eclectic mix of artists and activists, scientists and stewards who make California their home. Continue reading →
One of the more spirited debates in literature over the past couple of years concerns the likability of characters, especially female characters. During an interview with Publishers Weekly in April 2013, Claire Messud took umbrage at the suggestion that Nora Eldridge, the protagonist of her excellent novel The Woman Upstairs, was not someone the interviewer would ever want to befriend. “For heaven’s sake,” Messud responded. “Would you want to be friends with Humbert Humbert? […] The relevant question isn’t ‘is this a potential friend for me?’ but ‘is this character alive?’” Continue reading →
This week, our featured triptych artist is David Lloyd.
Lloyd creates mixed-media paintings on shaped panels. “There’s a sort of narrative to it,” he says. “They’re based on a sort of yin and yang of the real world and the mystical world.” His many exhibitions include those held at Klowden Mann, Gallery Paule Anglim, the Orange County Museum of Art and the Museum of Art and History in California, as well as Metro Pictures and Milk Gallery in New York, along with many others. His work is in private collections internationally, and public collections include the Los Angeles County Museum of Art, the Getty, the Orange County Museum of Art, and the Museum of Contemporary Art, San Diego. He currently lives in Los Angeles.
This week’s triptych features his work “Ephemeris” (2014, mixed media on canvas, 29 x 70 x 1/2 in. Work courtesy of Klowden Mann).
As a child, John Knuth was fond of exploring the wilderness around his Minnesota home, and this wide-eyed fascination with the natural world informs his artistic practice. His recent show at Five Car Garage in Santa Monica, “Base Alchemy,” featured meditative, minimal works that meld gleeful, scientific experimentation with a reductive, formalist aesthetic. The exhibition featured two bodies of work – fly paintings consisting of fields of dots made by thousands of flies who are fed, and then regurgitate, a mixture of paint and sugar, and mirror-like Mylar paintings which Knuth burned with signal flares, causing violent ruptures in their surfaces. Both Mylar (used in emergency blankets) and the flares are survival tools, used when the natural world puts up a threatening challenge to human mastery over it.
In conjunction with the exhibition, Knuth introduced a number of albino morph California Kingsnakes into the gallery for a one-day performance. These animals are bred specifically to accentuate their recessive genes, giving them colors that would never be found in nature. Filmmaker Andy Featherston created a video pairing the gorgeous, writhing snakes with Knuth’s alchemical creations, thereby revealing the beauty and violence inherent in the manipulation of nature.