by Leanne Ogasawara
And You May Find Yourself Living in an Age of Mass Extinction…. So begins Timothy Morton’s latest book, All Art is Ecological.
Published as part of Penguin’s new Green Ideas Series, this slim paperback sits alongside nineteen other works of environmental writing. From farmers and biologists to artists and philosophers, spanning decades, the books offer a wide range of perspectives, which Chloe Currens, the editor of the series, says serves to present an evolving ecosystem of environmental writing.
Along with classics like Masanobu Fukuoka’s The Dragonfly Will Be the Messiah and Rachel Carson’s The Silent Spring; there is the work of many contemporary thinkers, such as Greta Thunberg’s No One is Too Small to Make a Difference, Amitav Ghosh’s Uncanny and Improbable Events, and George Monbiot’s This can’t be happening.
I wanted to read them all—but I started with Timothy Morton, who has been called “the philosopher prophet of the Anthropocene.” A big fan of his writing, I think Timothy Morton is pretty much the most exciting thinker alive. I was, therefore, not surprised to find myself challenged from the very first sentence.
What does this mean exactly: You MIGHT find yourself living in an age of mass extinction?
Why the subjunctive? Read more »
by Sue Hubbard
“These fragments I have shored against my ruins”
― T.S. Eliot: The Waste Land and Other Poems
From the young painter who, in July 1948, sold his canvases from the pavement in the LCC ‘Open-Air Exhibition' on the Embankment Gardens, Frank Auerbach has become one of the most important and challenging painters on the British landscape. Despite his great friendship with the priapic and party loving Freud, Auerbach has, by comparison, lead the life of an aesthete; a monk to his chosen calling. He hardly socialises, preferring the company of those he knows well. He drinks moderately, wears his clothes till they fall apart and paints 365 days a year.
Though he rarely gives interviews and does not like to talk about his work, he has said of painting: “The whole thing is about struggle”. As Alberto Giacometti contended it is “analogous to the gesture of a man groping his way in the darkness”…”the more one works on a picture, the more impossible it becomes to finish it”.
It is out of this creative darkness, this complexity and unknowability of the world and the self that Auerbach has conjured his series of extraordinary heads, nudes and landscapes. Whilst the past for him may be a foreign country where they do things differently, one that he doesn't choose to revisit – “I think I [do] this thing which psychiatrists frown on: I am in total denial” – it's hard to walk around this current exhibition at Tate Britain and not feel that his dramatic early years had a profound influence on his work.
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