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Jonathan Lethem's Artistic Journey
Jonathan Lethem grew up in a household filled with paintings and books. His father crafted the paintings, and his mother provided him with books. This artistic-literary background laid the foundation for his remarkable career as an acclaimed novelist, essayist, and short story writer. In his book "Cellophane Bricks: A Life in Visual Culture (2024)", Lethem showcases his unique perspective on art.The "Fictions of Art" section features his writing that runs parallel to, rather than directly about, an artist's work. He explains, "I couldn't do art writing, or perhaps I wanted to invent another version. So, I wrote what I always did: scenes, situations, voices, characters, and set pieces, inspired by the art."For example, in his piece on Fred Tomaselli, he writes a letter to a friend about visiting the artist's studio in Brooklyn. While he offers some critical reading, such as stating that Tomaselli's work is celebratory and explosively happy even with an ominous undertone, the rest of the piece is more about their day in Williamsburg, including lunch at Peter Luger's. Lethem's texts often have a wonderfully absurdist quality, similar to his fiction like "Gun, With Occasional Music (1994)". In an homage to Perry Hoberman, he presents a series of droll vignettes, like the one where you call Missing Persons and get your own answering machine with no beep.
Diversity in Art Practices
One of the joys of this collection is the wide range of art practices Lethem covers. He pays tribute to graffiti, describing it as "inserting itself like a knife between creation and destruction, between publicity and furtiveness, between word and image, cartoon, icon, and hieroglyph." He also highlights his love for comics and cartoons, "objectified books", and the Italian verbo-visual artist Mirella Bentivoglio's stone typewriter.
Reflections on the Artist's Life
The collection ends with two essays related to Lethem's father. In "My Father Has Started a Painting" (also serving as the foreword to Richard Brown Lethem's new book "Roots, Stones & Baggage (2023)"), Lethem shares memories of how the childhood household with its studio and library shaped his worldview. He admits to experiencing artist envy, stating that he yearns for the seemingly more grounded and absolute situation of painters and sculptors. As a former painter himself, he is "searching for a lost self" through these tributes to various artists."Cellophane Bricks: A Life in Visual Culture (2024)" by Jonathan Lethem, published by ZE Books, is available for purchase online and in bookstores.We hope you enjoyed this article! Before you continue reading, please consider supporting Hyperallergic's journalism during a time when independent, critical reporting is becoming scarce. Unlike many in the art world, we are not influenced by large corporations or billionaires. Our journalism is funded by readers like you, ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on art history to contemporary art. We bring attention to artist-led social movements, uncover hidden stories, and challenge existing norms to make art more inclusive and accessible. With your support, we can keep providing global coverage without the elitism often found in art journalism. If you can, please become a member today. Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading.
