Last week, we were humbled to learn that we received the inaugural International Academic and Professional Publisher Award from the London Book Fair, among a ridiculously esteemed group of nominees across multiple categories. The award, part of a new industry-wide pool of honors, furthers the LBF’s mission to “celebrate the role of the book and the written word at the heart of creative content across all formats.”
More from the press release:
These unique new awards, celebrating achievement across the entire business of publishing, will provide a truly global industry vision. They represent the UK’s recognition of international publishing industry excellence, and take place within the calendar’s most important global publishing event.
LBF and The Publishers Association have selected an group of UK judges, working at the heart of each category, whose international or discipline-specific expertise qualifies them to judge their peers’ work.
For a full list of winners, visit Publishing Perspectives, who mention in their write-up of the awards ceremony:
The global book industry saw the birth of something new on Tuesday night, something that will surely grow to become a fixture on the international publishing calendar, something that seemed so right one wondered why it had . . .
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Where the North Sea Touches Alabama is a strange book—I’ve been describing it to strangers (note the relationship between adjective and noun) as an ethnography of mourning, but really it’s a peculiar hybrid of sociological exegesis, lyric essay, and phantasmagorical travelogue. I believe author Allen C. Shelton might consider it a novel, just as Walter Benjamin certainly must have plucked a term from the atmosphere to describe the Arcades Project as he carried its pages in a suitcase like fake currency.
The book considers the tragic life and death of the artist Patrik Keim, a friend of the author’s, and a theoretical muse or Betelgeuse ostensibly traveling between this world and another. That’s the stuff of Western philosophy in the wake of Hegel, or a battered Platonic ideal we repeat to ourselves—the absolute idealism that marks being as an all-inclusive whole: not subject without object, and vice-versa. Shelton takes on this canon—Marx, Foucault, Weber, and especially, Benjamin—and arrives at someplace not entirely recognizable. Maybe that’s because the rest of the landscape he renders—via an epistolary immersion in northeastern Alabama—is so unavoidably specific. Anyhow: not to give too much away. The above trailer should be enough to get you started—like the book, . . .
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Congratulations to the 2014 class of Guggenheim Fellows, announced this week by the John Simon Guggenheim Memorial Foundation. The Guggenheim, a “mid-career award” (PS: Clare Vaye Watkins, knocking it out of the park for the younger generation), which honors scholars, scientists, poets, artists, and writers, extends its fellowships to assist with research and artistic creation. As we’ve noted in the past, the fellowship possesses some tortured origins—(John) Simon Guggenheim, who served as president of the American Smelting and Refining Company and Republican senator from Colorado, seeded the award (1925) following the death of this son John (1922) from mastoiditis (Guggenheim’s second son George later committed suicide, and more infamously his older brother Benjamin went down with the Titanic).
We’re delighted to see included among the “professionals who have demonstrated exceptional ability by publishing a significant body of work in the fields of natural sciences, social sciences, humanities, and the creative arts,” a roster of fellowship winners affiliated with the University of Chicago Press:
Susan Bee, Fine Arts; contributor of cover images to With Strings: Poems, My Way: Speeches and Poems, Girly Man, and Recalculating, all by Charles Bernstein
Susan Bernofsky, Translation; contributor to The Sound of Poetry/The Poetry . . .
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The detection of a slight swirling by scientists at the South Pole using the BICEP2 telescope makes a case for the existence of gravitational waves—and that, in turn, would point to the cosmic inflation of the Universe, support the theory of the Big Bang, and confirm another facet of Albert Einstein’s theory of gravity and general relativity. Though these observations are not yet confirmed, scholar and expert Harry Collins, author of Gravity’s Ghost and Big Dog: Scientific Discovery and Social Analysis in the Twenty-First Century, was kind enough to elaborate on the process, as well as what the experimental results might mean—and what then is at stake for different scientific communities. You can read his post after the jump.
Gravitational waves and discoveries at the South Pole
On March 17, 2014, there was a huge fuss about the discovery of primordial gravitational waves that could tell us something about the Big Bang’s first tiny fraction of a second. Since I have spent most of my academic life studying the sociology of the—so far fruitless—direct search for gravitational waves, I received a lot of emails asking . . .
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For her column at Bookslut, Jenny McPhee considers the fantasy of the “intellectual and sensual super-sophistiquée” in twentieth-century Paris—and reviews the ever-expanding body of literature dedicated to pursuit of this theme. Among it? Alice Kaplan’s Dreaming in French: The Paris Years of Jacqueline Bouvier Kennedy, Susan Sontag, and Angela Davis, which focuses on each woman’s time abroad, articulating the influence French culture exerted on their then-burgeoning womanhood and identities (among others) as writer, editor, activist, debutante, and icon.
McPhee notes in particular of Davis a thread that the three women hold in common—how their time in Paris left indelible marks on their self-perception:
Davis spent her junior year in Paris, the only black student of forty-six in the Hamilton program. Very familiar with the work of Rimbaud, Baudelaire, Proust, Camus, and Sartre, she was one of six students advanced enough for an intensive course in contemporary literature at the Sorbonne. While she was in France, four Birmingham girls—friends and neighbors of Davis’s—died when a bomb exploded in a Baptist Church, and Kennedy was assassinated.
In 1965, after graduating from Brandeis, she studied in Frankfurt with the social critic and philosopher Theodor Adorno, then worked . . .
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Recently at Artforum, Chicago-based critic Jason Foumberg assessed the state of the art (world)—at least the academic art world, as manifested in the most recent annual meeting of the College Art Association. Pivoting on the panel discussion “Identity Politics: Then and Now,” Foumberg noted:
CAA accommodates an extraordinarily diverse offering of topics, from medieval to new media art, but everyone agrees on one thing: We must learn from the past. The recent past of identity politics provided a brilliant example, with Gregg Bordowitz at the helm of the evolving revolution. “Stop trying to be radical. Stop privileging ‘radicality’ as a term. The radicals do it out of necessity. What is your necessity?” Bordowitz rhetorically asked the audience.
A surprise addition to the account was the inclusion of several snapshots from UCP’s wine reception (see above), catching authors Huey Copeland and Andrew Uroskie in the act of non-radically taking a breather from the din of all that ruckus, celebrating their respective publications Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America and Between the Black Box and the White Cube: Expanded Cinema and Postwar Art.
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Over at the Los Angeles Review of Books, Jan Mieszkowski reviews The Death Penalty: Volume I, the latest collection of Jacques Derrida’s seminars to appear in print. Drawn from the first half of a two-year seminar he gave from 1999 to 2001, the book postulates the American position on capital punishment as complicit with a logic in which a sovereign state has the right to take a life. In this takeaway from his review, Mieszkowski positions Derrida within today’s academy:
Derrida’s prominence in North American universities has waned, at least superficially, in the decade since his death. A new group of European philosophers has supplanted him as the must-reads of the moment, including Alain Badiou, Jacques Rancière, and the Slavoj Žižek. In the intellectual circles in which Of Grammatology and Specters of Marx were once standard fare, the works of Gilles Deleuze or Giorgio Agamben are now more likely to enjoy pride of place. Perhaps most striking for those who remember a time when Derrida’s oeuvre was viewed as a fount of productive positions on virtually every philosophical topic, there is an increasing tendency to refer to his “one or two” major ideas, as if his thought were distinguished . . .
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Every other year, shortly before the Ides of March and just as precarious an omen, cometh the Whitney Biennial. This year’s model splits the show more or less into three floors, each curated by a different individual, and each thus aligned with a particular sensibility, hierarchy, and vision. Reviews started trickling in after the media preview, among them kudos for Floor 4, helmed by Michelle Grabner, coeditor of The Studio Reader and professor of painting at the School of the Art Institute of Chicago.
Hyperallergic notes the floor as “the most tightly curated and coherent of the three,” and includes a photo essay sampling the work; critic Jerry Saltz, in an otherwise lukewarm review of the show, acknowledges Grabner’s curation as “includ the show’s visual and material high point: a central gallery crammed with colorful painting, sculpture, and handmade objects as well as ceramics and textiles.”
In an interview with Artspace, Grabner comments on her familiarity with the milieu she documents in The Studio Reader and how it informed her selections for the Biennial:
I am exceedingly comfortable in studios and among the materials of art and art-making. So needless to . . .
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This photograph of a 9,550-year-old Swedish spruce tree is one of several images shot by photographer Rachel Sussman, featured in a slideshow at Time magazine. The photos are drawn from Sussman’s latest project, The Oldest Living Things in the World, which chronicles the decade Sussman spent traveling the globe, taking stunning photographs of continuously living organisms that are 2,000 years old and older.
From the Time piece:
There’s a sense of wonder imbued in these photographs of organisms that seem to be a physical record of time, but there’s also a call to action. Many of these subjects of Sussman’s portraits are under threat from habitat loss or climate change or simple human idiocy. (Sussman has written movingly about the loss of the 3,500-year-old Senator tree in Orlando, destroyed in a fire that was almost certainly set on purpose.) “The oldest living things in the world are a record and celebration of our past, a call to action in the present and a barometer of the future,” Sussman has said—and the images that follow prove her out.
Read more about The Oldest Living Things in the World here.
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Chicagoland, a non-scripted documentary series produced by Robert Redford for CNN, premieres tonight. The show, touted as “Where policy meets real people’s lives,” ostensibly focuses its eight parts on the plight of a “heartland” city “generating change and innovation in social policy, education, and public safety.” Rick Kogan, writing for the Chicago Tribune, pins down the first episode’s emerging storylines—violence and public schools—as not necessarily un-akin to the offerings of scripted urban dramas like The Wire (the Trib will be live-blogging this evening’s premiere). Whether and what the show delivers remains to be seen, but Kogan’s review hints at a beautifully shot advertisement for a rebranded CNN and a program which, for better or worse, could define the city for years to come. Tune in for a cameo by UCP author Neil Steinberg, whose You Were Never in Chicago similarly captures our city in the raw through a series of essays that chronicle Steinberg’s own fixations and proclivities.
You can read more about You Were Never in Chicago here.
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