By Deb A.
Happy Fathers' Day to our American readers! The New York Public Library has some book recommendations to honour the occasion.
Beyoncé and Jay-Z have caused a stir with their latest video, which was filmed at the Louvre. (If you're looking for a guide to the art featured in the video, Vulture has you covered.)
"Stay as invisible as possible," was Clemens Kalischer's advice for new photographers. The photojournalist died June 9 at the age of 97.
Get ready for a memorable address: Chimamanda Ngozi Adichie will receive the PEN Pinter Prize on October 9.
A "raw sense of connectivity": The Walrus profiles Billy-Ray Belcourt, the Cree poet and Rhodes scholar who recently won the Griffin Poetry Prize.
By Deb A.
My Dear Sir,
It has been so long since letters gave way to e-mails that now e-mails themselves have been replaced by messages that are easier to type with one's thumbs. And yet, there's something undeniable about the power of the handwritten word—in particular when it comes in an envelope.
For anyone rolling their eyes at this anachronistic, romanticised view of letter-writing: Try imagining an audience listening rapt as a renowned performer reads a piece of correspondence aloud. Is that performer reading a WhatsApp chat or a letter?
Chances are you're thinking of epistles, not emojis. So were the founders of Letters Live, who began an event series in London in 2013 that has, after over a dozen events in the United Kingdom, recently made its way over the the United States as well.
Letters Live bills itself as "a celebration of the enduring power of literary correspondence." The events are a surprise; the audience is aware of what to expect in the most general sense—in essence, a cast of famous people reading memorable letters from other, mostly famous, people—but the personalities and subject matter involved are a mystery until someone takes the stage, and every show is different. Perhaps Ian McKellen will read Kurt Vonnegut's letter to five teenage fans. Maybe Benedict Cumberbatch will recite Albert Camus's missive to the teacher who inspired him. The process is so secretive that the performers themselves are told only moments before they step into the spotlight what they'll be reading.
Shows are generally sold out, and part of the proceeds are used to support literacy-focused charities such as First Story, The Reading Agency, and 826LA. The next event is the series' New York debut this week.
By Deb A.
Here's a roundup of just a few examples of beauty in the world this week.
Yinka Shonibare's Wind Sculpture has arrived in Central Park.
'They want to read books that engage with their everyday experiences, featuring characters who look like them." Denene Millner wrote in the New York Times about finding books for black children that celebrate daily life rather than extraordinary 'firsts.'
Hot on the heels of his own attempt to show that things just keep getting better, Steven Pinker recommended books to make you an optimist in The Guardian.
March 8th was International Women's Day, and the CBC celebrated with a list of 30 incredible women to inspire you with art...
...while Bloomberg highlighted female photographers around the world.
A book of lost poetry by Lou Reed is set to be published.
Canada's new Heritage Minute is for everyone who grew up with Anne of Green Gables.
By Deb A.
A book of poetry written by Leonard Cohen just before his death will be published next year. (Billboard)
We've talked about the Fearless Girl statue at length, and we wish we could be shocked that the firm behind it has a history of underpaying women and people of colour. (NPR)
Thirty publishers rejected Matt Cain's book on the grounds that it was too gay, but the general public disagrees: it's well on its way to getting published through crowdfunding instead. (The Bookseller)
505 new books were released during the UK's "Super Thursday". Which will you read first? (BBC)
Prize round-up: Kazuo Ishiguro won this year's Nobel Prize for literature. And the five finalists for Canada's Giller Prize have been announced. (Nobel Prize, Giller Prize)
The Guardian asked the art world about the biggest question currently facing artists. In one way or another, money comes up a lot. (The Guardian)
A school librarian rejected the First Lady's donation of ten Dr. Seuss books. (The Washington Post)
The Yayoi Kusama museum in Tokyo is open for business! (Yayoi Kusama Museum)
By Deb A.
The museum-going experience is generally a fairly standard one: Go in and look. In most cases, the act of experiencing art relies heavily or even exclusively on sight. Anyone wishing to contemplate something particularly fascinating might get close enough to see the tiny details, or sit for awhile to gaze. There might be something to listen to, but touching or tasting are generally frowned upon, and smelling is often wholly irrelevant altogether.
Peter de Cupere is a preeminent olfactory artist whose works include a fake fuel station smelling of grass, candy and exhaust fumes; a house made of pleasantly scented garbage; real flowers that smell like smoke; and a dome containing an old black tree on a white ball that makes visitors' eyes water with its intense peppermint and pepper aroma.
"When you walk into an installation with scent, you cannot hide. Your body starts to react," Mr. de Cupere explained to the New York Times. He believes that so little art is olfactory because smells "act directly on the limbic system and don't give you the necessary time and chance to translate things like you do with sight." Odours have an immediate physical impact on us, whereas even our first visceral impression of a painting can be considered and evaluated and refined.
The immediacy of smells extends to how we experience them. Unlike visual and aural art, scents must be encountered in person. They are not available online. As Scent Art, a network for olfactory artists, explains, "The resistance of odour to digitisation makes it one of the aspects of an artwork that still demands the physical presence of its audience in order to experience it." Klara Ravat has taken advantage of this fact to examine how human interaction changes after visitors have exchanged body odours with someone else—a feat that could only be realised in person.
Artist and smell scientist Sissel Tolaas thinks that scent affords us a deeper understanding that is more likely to remain fixed in our memory. Her installation for Beauty--Cooper Hewitt Design Triennial in 2016 examined the beauty of smells--in particular, decay. She captured autumn odours in Central Park, then reproduced them and mixed them into paint that is activated by another sense: touch. She aims to help visitors understand that there is beauty to be found in odours.
Scent is the only sense that triggers our emotions, our memory and our adrenaline. Why, then, aren't more artists using aromas in their works? For one, smells can be difficult to control—in 1902 Sadakichi Hartmann's 'scent concert' was upstaged by tobacco smoke. Smell is also temporary, although artists like Anicka Yi have used it to reinforce the idea that "maybe, all art shouldn't stick around forever in its object form."
Perhaps the most important barrier to scent art is that we simply don't care as much about our sense of smell as we do about our other four senses. It has been shown that the ability to smell is the sense we would be most willing to sacrifice. Hopefully the growing ranks of contemporary olfactory artists (if you'd like to become one, here's a helpful resource) can help us acknowledge the value of what's right under our noses.
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