Episode 582 – Keith Mayerson
Episode 533 – Stevan M. Weine
Episode 475 – Mark Prins
Episode 447 – Peter Schjeldahl
Virtual Memories Show 447:
Peter Schjeldahl
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“My job is to give people something to read that is enjoyable and in some other way perhaps worth reading. It’s almost not about the art; it’s about the concentration, the absorption.”
I traveled up to the Catskills this weekend for a round of Rip Van Winkle-themed putt-putt golf, lunch, and some conversation with New Yorker art critic Peter Schjeldahl. We get into Peter’s 2019 diagnosis of stage 4 lung cancer and how he gained & then lost the persona of The Dying Man during his one piece of memoiristic writing about it. We also talk about his accidental transition from poet to art writer in the ’60s, why his two criteria for writing about art are quality & significance, his bias for authenticity over authority and sophistication over education, how HOWL changed his life, why he hates reproductions of paintings, why it took him years to come around on Rembrandt, his experience of revisiting Velazquez’ Las Meninas over the years, the piece of art he’d like to revisit when we can travel again, his love of (& aesthete’s approach to) fireworks, and plenty moreon the art of living! Give it a listen! And go read Hot, Cold Heavy, Light: 100 Art Writings 1988-2018
“There’s no art to dying at all.”
“Having talent is like being put in lifetime charge of a wild animal that you have to feed and nurture and obey. And it doesn’t care about you; if taking a bite out of your ass would help the work, it’ll do that in a second.”
“Bad art is its own punishment.”
“The only thing a reproduction has in common with a painting is the image.”
TUNEIN PLAYER TK
“All of my deep art historical knowledge was learned bit by bit on deadline.”
Enjoy the conversation! Then check out the archives for more great episodes!
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About our Guest
Peter Schjeldahl has been a staff writer at The New Yorker since 1998 and is the magazine’s art critic. He came to the magazine from The Village Voice, where he was the art critic from 1990 to 1998. Previously, he had written frequently for the New York Times’ Arts and Leisure section. His writing has also appeared in Artforum, Art in America, the New York Times Magazine, Vogue, and Vanity Fair. He has received the Clark Prize for Excellence in Arts Writing from the Sterling and Francine Clark Art Institute; the Frank Jewett Mather Award from the College Art Association, for excellence in art criticism; the Howard Vursell Memorial Award from the American Academy of Arts and Letters, for “recent prose that merits recognition for the quality of its style”; and a Guggenheim Fellowship. He is the author of four books of criticism, including The Hydrogen Jukebox: Selected Writings, and Let’s See: Writings on Art from The New Yorker. His latest book is Hot, Cold, Heavy, Light: 100 Art Writings, 1988-2018.
Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded on Peter’s back porch on a pair of Blue enCORE 200 Microphones
Episode 151 – Harold Bloom
Podcast: The Magnificent Seven
Virtual Memories – season 3 episode 2
Willard Spiegelman – The Magnificent Seven
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Reading, walking, looking, dancing, listening, swimming, and writing: these are the activities organizing the life of this episode’s guest, Willard Spiegelman, author of Seven Pleasures: Essays on Ordinary Happiness
One of the best things about doing this podcast is that I get to meet some wonderful people. In this case, meeting with Willard over two afternoons (story to come) was like making a new old friend.
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Enjoy the conversation! Then check out the archives for more!
Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!
About our Guest
Willard Spiegelman is the Hughes Professor of English at Southern Methodist University. He also serves as editor-in-chief of Southwest Review, the third oldest continuously published literary quarterly in America. In 2005, Willard won the PEN/Nora Magid award for literary editing. In addition to Seven Pleasures, he’s also written or edited How Poets See the World: The Art of Description in Contemporary Poetry
Credits: This episode’s music is This Charming Man by The Smiths. The conversation was recorded at Willard Spiegelman’s home in New York City, on a pair of AT2020 mics
