Barry Schwabsky at Art In America:
What abstraction does best is take painting apart and then put it back together differently. Paige Beeber understands that principle better than most artists, and she puts it into practice at both material and perceptual levels, melding physicality and illusion.
My first contact with Beeber’s paintings came via the computer screen. My impression then was that the paintings would be very dimensional, like montaged reliefs, so I was surprised when I finally saw the works in person—this would have been around three years ago—and realized that their layered patchwork of colors was mostly just painted rather than assembled. But let me accentuate that word: mostly. Beeber does use collage in her painting, but it is her conceptual or perceptual cutting and pasting that predominates. The literal collaging in her work complements and sometimes contradicts her purely painterly juxtapositions. At a certain distance, or in reproduction, the effect is almost trompe l’œil, but just a slightly closer or longer look is enough to dispel the momentary illusion: This is painting that always wants to keep the materiality of painting visible.
more here.
Enjoying the content on 3QD? Help keep us going by donating now.
Fiction about young girls has often been in thrall to silence, secrecy, and evasion. In Jane Austen’s Mansfield Park, for example, young Fanny Price moves on tiptoe, daring anyone to notice her. Instead, all the noticing is done by her. Her duty is not merely to stay in the shadows but also to remain quietly pleasant and accommodating. So, too, the young Catherine Sloper in Henry James’s Washington Square shares her feelings with no one, and thus her feelings deepen. She is at her most interesting when she is at her most silent and withdrawn.
In the 19th and early 20th century, under English and Unites States law, jilted lovers could sue former partners for breaking their hearts. ‘Heartbalm torts’, which continue to be on the rulebooks of some US states to this day, were a category of legal actions that could be brought against romantic misconduct. The underlying idea was that wrongful romantic or sexual behaviour could cause harm that should be compensated by its causer. The sufferer of such harm, in turn, was entitled to receive damages, or solatium, from the inflictor. Most popular among the heartbalm torts were actions for broken engagements, adultery, and seduction.
Two-thirds of the world’s food comes today from 
I
Author 
A scientist who successfully treated her own 
A
BLVR: You’ve said you want to honor all the poets “whose rapturous ecstasy overwhelmed even language’s ability to transcribe it.” Many of those, I imagine, are the authors you included as the editor of The Penguin Book of Spiritual Verse: 110 Poets and the Divine. Spiritual and religious writing offers some of the deepest considerations of the ineffable but feels a little taboo in our increasingly secular culture.
The second part, chiefly told from Johannes’s point of view, chronicles the eerie hours after he wakes up one morning, late in his old age. Johannes is a now retired fisherman. His wife, Erna, is long dead. His mornings are “sad and lonely”. Johannes makes coffee. He steps out of the house and everything he beholds seems different somehow. He meets his dead neighbour, and good friend Peter, and they go fishing. Johannes later bumps into his daughter Signe and “is seized with deep despair, because Signe cannot see him or hear him”. At the tale’s close, Peter accompanies Johannes to a place where nothing hurts and “everything you love is there”.