Tag Archives: Paul McCarthy

Spring Classes: Contemporary Fairy Tales & Powerful Objects

15 Mar
Moss+Blossoms

Mossy trees sprouting cherry blossoms at the University of Washington

This spring, I’m teaching a six-week class on contemporary fairy tales at Hugo House. We’ll read Angela Carter and Margaret Atwood and Sarah Shun-lien Bynum and Alissa Nutting, among other fantastic writers. We’ll talk about some of my favorite techniques, like everyday magic and intuitive magic. And we’ll try our hands at writing our own fairy tales. Class meets Wednesday nights 7-9 pm from May 25-June 29. Registration is currently open for Hugo House members; general registration opens March 22. Scholarships are available and applications are due on March 25.

white out blossoms

Cloud cover & blossoms

I’m also teaching a 75-minute webinar on Saturday, April 16 called Powerful Objects via Inked Voices. We’ll talk about one of my favorite topics: how objects create a special kind of magic in fiction and how useful they are in developing character, plot, and emotional resonance. It’s a lecture-based class that will include writing prompts and a Q&A. The class will meet at 12 pm EST / 9 am PST and is just $25. We’ll talk about Cynthia Ozick’s story “The Shawl,” so please read that in advance. You can register here.

Speaking of fairy tales, right now at the Henry Art Gallery, you can see Paul McCarthy’s White Snow, a wildly whimsical and subversive take on Snow White. A few years ago, I saw his gonzo installation WS at the Park Avenue Armory in New York, a similarly subversive spin on Snow White but somehow less rich than the wood sculptures on view at the Henry. White Snow seems more artful, crafted, and thoughtful, whereas WS was a big raunchy frat party. The Henry is now free on Sundays (huzzah!), so go check it out. Perhaps it will inspire you!

paging archimboldo

Where is Arcimboldo when you need him?

New Fairy Tales from the North

8 Aug
JaneAlexander

“Bom Boys” by Jane Alexander

After the Tin House conference, M. and I went to New York to visit family and get our fill of art and food. We structured our visit around three bizarre-sounding art exhibits: Matthew Barney’s drawings at the Morgan Library, Paul McCarthy’s massive installation at the Park Avenue armory, and Jane Alexander’s eerie sculptures at St. John the Divine.

Barney’s drawings were often framed in “self-lubricating” plastic, which was fascinating in and of itself, and sometimes more  interesting than the faint, conceptual sketches contained within. Most intriguing in this exhibit were his copies of Norman Mailer’s Ancient Evenings, heavily marked up, cut up, splashed with gold leaf. This is part of his newest project, “River of Fundament,” a seven-part “opera” drawing on  Mailer’s novel of Ancient Egypt and the Egyptian Book of the Dead and transposing it to 20th century American car culture.

“WS,” McCarthy’s exhibit, took up the entire armory with projections and sculptures of Snow White, the seven dwarves, and Walt Disney in an extremely debauched frat party. The set from the projected film took up the center of the armory, and you could walk around it, peeking into windows, catching sight of some very disturbing after-the-party messes. An enchanted forest lay beyond the house, and you couldn’t quite walk inside of it, but just below it, which was unsettling, along with the fact that trees intentionally resembled turds. And in side galleries, a series of other films with the same characters included food porn and  a naked Snow White accosting Walt Disney’s mouth with a bar of soap. It was an impressive production, though I regret bringing my mother.

The most moving and complex was “Jane Alexander: Surveys (From the Cape of Good Hope),” which explores the legacy of Apartheid. Tucked away in various chapels at the back of St. John the Divine, these child-sized beast-human sculptures were strange and haunting. I half-expected them to start moving around and addressing me. Because of a calendar error, we caught the show on its last-last day, as it was being packed up, so it was doubly strange to see these small creatures being put into crates. Particularly arresting was “Security.” It featured a large wingless bird enclosed in razor-wire inside a courtyard that was once the north transept of the church before the roof burned down in 2001. Surrounded by red rubber work gloves and rusting machetes and sickles and standing atop wheat and earth, the bird is watched over, sort of, by a dull-eyed, monkey-like “Custodian” perched on a window sill and a pointing “Monkey Boy”. The New York Times has a photo gallery here.

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In other news, I’m very happy to be on a panel at the 2014 AWP in Seattle! I will be reading at “New Fairy Tales from the North” with Maya Sonenberg, Valerie Arvidson, and Rikki Ducornet. The panel description begins with this choice Angela Carter quote from “The Werewolf”:

“It is a northern country; they have cold weather, they have cold hearts.”

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