by Richard Farr

I’m on a trip to London and Spain. In Trafalgar Square with a spare half hour, I plunge into the National Gallery because I want to see the Arnolfini portrait again. Alas, van Eyck’s cadaverous old merchant and his heavily pregnant (or not pregnant) young wife (or betrothed, or recently dead ex-wife — pick you theory) are being attacked by a hundred-strong mob. I can’t even get close enough to see the annoying little dog, never mind the details.
But my consolation prize waits nearby, all but ignored: a lovely double portrait by Robert Campin from about 1435. Also, Rogier van der Weyden’s Mary Magdalene Enjoying Her Morning Latte.
I’ve never seen a painting by either Campin or van der Weyden of which I didn’t think “this deserves to be better known.”
Days later I’m in València. Near the entrance to the Museo de Bellas Artes some anonymous genius from the fourteenth century has gifted us a brilliantly expressive carving of John the Evangelist. Those eyes; that exact position of the head and neck; that subtle tension in the right hand. I don’t know what to say. What I want to say “Thank you! Thank you! How did you do that?”

Behind him there’s a grand gallery of altarpieces from the same era or a little later. Some are more than 20 feet high; they all look as if they were painted yesterday in a color-mad frenzy of devotion. I most harbor some inchoate prejudice about the late Medieval world because I’m amazed by the psychological acuity and wit and sheer individuality in the rendition of the faces.
The next day, wanting something Modern, I go to the Centre del Carme, which has an enormous show that might be called, though it isn’t, Margins of the Unendurable. Some thousand or so dimly-lit square meters are devoted to a well-known video artist. There are, the blurb explains: “nine large-scale installations conceived as immersive stage sets that envelop the viewer and prompt reflection on issues such as emigration, violence, identity, and philosophical concepts like eremitism and the infinite seriality of life.”
I am not making this up. Read more »






I find myself increasingly unable to read anything resembling AI text, that is, anything seemingly preformed, readymade, or mass produced, like an IKEA chair; but even as I write this, I think to myself—why an IKEA chair? Why does this object, or rather, this unit of language—IKEA chair—come to me unbidden? “IKEA” as signifier of anonymous, impersonal and practical furniture, and “chair” as typical illustrative example—Wittgenstein’s theory of family resemblances as shown by how the concept of “chair” functions in language, for example—combining to form the perfect analogy: IKEA chair is to furniture as AI text is to human writing; and yet, when I visualize an IKEA chair, or rather, when I see myself walking through the showroom in Burlington, Ontario, I see many chairs of all shapes and sizes, some hard and made of wood, some soft and upholstered, some big and roomy, some ergonomic and sleek, and I realize that, in fact, IKEA makes a wide variety of chairs, and perhaps my analogy is flawed.







Sughra Raza. Esplanade Walks As Days Get Longer. Boston, March 2022.
I recently read about a man who arrived in the United States from India with just thirty dollars in his pocket and, three decades later, had become a billionaire. When asked about the most important lesson of his journey, he answered without hesitation: money matters.