New York City

The Other Airport Read

A couple of weeks ago, I spoke of one of my usual airport purchases: Scientific American.  Well, there’s another mag I often buy in airports, and that one is The New Yorker, proving that I’m not only a pretentious twit, but that I’m a stereotyped pretentious twit.  I guess I can live with that.

The New Yorker - September 16th, 2017

My most recent moment of weakness came in September of 2017 (see cover above) but, as you can see, I’m reviewing it over a year later.  Just like my scientific American, the reason for that is that I only read the first few articles, the ones that are time-based such as concert dates and the like, before tossing the mag onto by To-Be-Read pile, which is a beast about a year in height.

Of course, once I got to the mag, the concert dates were no longer relevant, and many of the theater reviews referred to shows I could no longer watch, but I read through them again anyway.  The reason for this is that I’m always fascinated by The New Yorker’s combination of two things: an appreciation for the finer things in life such as symphony orchestras and the breathtaking capacity to discuss run-of-the-mill stuff in terms that makes you think they belong among the finer things in life.  As an example of this latter trend, it’s impossible to tell whether a couple of the lesser-known bands they talk about are just a bunch of friends who’ve been practicing in a garage and sound like it or the second coming of the Jimi Hendrix Experience.

I spend this time on the social news at the beginning of the magazine because that sums up the whole attitude perfectly.  It’s a local section that doesn’t feel local: you get the idea that the writers truly feel that a concert happening in a bar in New York needs to have a global audience, but it’s also an exercise in discussing everything, regardless of relative quality or banality, in the most exquisite language possible.

Of course, 95% of the people who pick up a copy of the mag will fall into one of two groups: those who shake their head in disgust at the pretentious nature of the writing, and those who think that reading it will somehow “improve” them (some of the latter group may be right, so I encourage them to keep trying).

For the five percent remaining, this one is a guilty pleasure.  We know what the editors are doing, and yet we love the magazine anyway.  We can take the pretentiousness, or leave it aside to read less opaque prose, but whenever we do come back, we find it charming.  I like to think that a lot of the readers of Classically Educated are the same way (although I often hope they don’t think we’re in any way pretentious twits…).

A final note for the fiction section, which, as you can imagine, I always read with particular attention.  The story in this one was well written… but I always seem to buy the editions with the suburban angst and sorrow.  Where are the great, bold stories of yore?  I guess they’re gone to wherever the bold men and women of yore have been laid to rest–after all, the fiction does reflect the readership, or at least it should.

Anyhow, if you’ve never picked up a copy of The New Yorker and read it cover to cover, you owe it to yourself to do so.  Even an old copy bought used is a good bet.

 

Gustavo Bondoni is a novelist and short story writer based in Buenos Aires.  His literary heroes include Borges, Wodehouse and Asimov, and if you can reconcile those three, you are a better psychologist than he is.  His short fiction has been collected in Virtuoso and Other Stories, and you can check it out here.

 

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Empire State of Artistic Mind

New York City Skyline

So, our Editor-In-Chief has just returned from a trip to New York… it was pretty obvious that he was going to write stuff for the page.  His first delivery is a slightly elitist take not only on art museums, but specifically on which art museums.  A phrase about leopards and spots comes to mind.

When I got back from my recent New York vacation, a friend who’s never been to the Big Apple asked me: “Other than just walking around the city, what is there to do in New York?”

Talk about a loaded question.

In the first place, “just walking around the city” should be more than enough for essentially anyone.  This is a city that, if you avoid the tourist traps such as Times Square, or the Statue of Liberty cruise, is extremely rewarding.  Culture, be it art, literature, history or any other expression is there to be found, often even if you are a brain-dead tourist who tries to avoid it.  Any house on Museum Mile is likely to be an art gallery – even if it doesn’t really advertise the fact.  The Strand is an amazing experience, and if you happen to land in Times Square by mistake, the theater overflows onto the street.

But my first instinct when answering was: the art museums.  There’s MoMA and the Met, of course, but also countless others.  The Whitney, The Frick and the Neue Galirie spring to mind immediately… but there are still others.

But what if we had to pick just one?  And what if, hypothetically, you had to pick it according to Classically Educated’s Manifesto, so you could write an article about it?

Even more loaded than the last one!

But we’ll give it a shot.  And we’ll make it a top five list, just because people on the internet like top five lists.

Gustav Klimt Portrait of Adele Bloch Bauer

5. Despite the fact that Gustav Klimt is well represented – by the famous, stolen-and-recovered-and-sued-for-and-recovered-again portrait of Adele Bloch Bauer, and that the gallery is located almost perfectly, the Neue Galerie is still a bit limited in scope.  Cool, but very small, only good enough for fifth place on our list, just edging out the Morgan Library museum, and the unexpected collection at Kykuit and well ahead of the Brooklyn Museum.

Whitney Museum New Building

4.  The Whitney.  4th place might be a bit unfair to this icon of American art, as, had I waited until 2015, I could have spoken about the museum in its new building at the southern tip of High Line Park.  But as it wasn’t yet done at the time of writing, we’ll acknowledge the quirkiness of the special exhibits here (Kusama being a particular favorite) with 4th place.

Edgar Degas Ballerina at the Met

3. The Met.  Wow, I can hear the cultured from all over the world complaining already.  How can the Met be third?  Well, it is.  It’s an amazing museum, built on the scale and philosophy of the Louvre in Paris, with the added benefit of an impressive Impressionist collection, which the Louvre doesn’t really have. But… apart from not having that inexplicable Pyramid entry, the Met has a bit too much mass appeal to get any further than third on our list.  Which just goes to show how good the art museums in New York truly are.

Frick Collection Interior

2.  The Frick Collection.  While the collection itself is small, and not particularly impactful compared to the others on this list, the Frick deserves its place among our favorites for various reasons.  The first is that the house it is located in is perfect gilded-age elegance, uncompromising in the sense that money exists to be enjoyed, without guilt and to the fullest extent.  It is a beautiful place.  The art is good, too, with Whistler, Goya and Velázquez on the walls.  It can’t be first, but it is the one that makes us point and say: that is how it should be done.

The Starry Night by Vincent Van Gogh

1. MoMA.  OK, so once the Met was out, this one was always going to win, but still requires some explanation.  Classically Educated is supposed to be all about the classics, after all – and the collection here is late 19th century at its oldest point.  But the thing is, if you go off to look for a polymath with gently elitist tendencies, it’s more likely that you’ll find him hanging around in this museum than any of the others on the list.  So, something about this museum makes it a haven for our target audience.  What?  Well, for one thing, it’s eclectic – you need to be able to appreciate painting and photography and graphic design and industrial design to truly enjoy this one.  For another, you need to be grounded sufficiently in art theory to have an appreciation of the conversation that is constantly going on regarding the definition and limits of art.  These two characteristics make it our kind of art museum – but what truly seals its position is the fact that there it is: Van Gogh’s The Starry Night, hanging on its own wall.  When you have the best impressionist painting, you have an insurmountable advantage.

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