Introduction

What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Goldfield, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.

Tuesday, July 27, 2021

July 26, 2021 Issue

I’m intrigued by Igshaan Adams’ cloud-like hanging sculptures. There’s a picture of one [“Getuie (Witness) VIII,” 2021] illustrating Hilton Als’ “At the Gallery,” in this week’s issue. Als describes them as “tumbleweeds of wire,” and this strikes me as exactly right, except that wire is just one of their ingredients. Other elements: metal, glass, rubber and stone beads, hoop earrings, chain, car paint, and resin. Several more are on view at caseykaplangallery.com, in its wonderful Igshaan Adams exhibition “Veld Wen.”  

Installation view of Igshaan Adams' "Getuie (Witness) VIII" (2021) and "Nagtreis Op N Vliende (A Night Journey On a Winged Horse)" (2021) (Photo by Jason Wyche) 


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