Art
The Real Work by Adam Gopnik review
What does it mean to master a skill – drawing, dancing or driving – and how do you actually do it? That is the question New Yorker writer Adam Gopnik asks in The Real Work, and it becomes the springboard for a discussion of art, family, empathy, mortality. Via memoir, analysis and criticism he assembles a celebration of the flaws that make us human.
The “real work” is a term used by stage magicians to describe “the accumulated craft, savvy and technical mastery that makes a great magic trick great”. The magician credited with having achieved the “real work” for a given trick, Gopnik explains, isn’t necessarily the one who invented it, but rather the first to master every detail of its performance. The book is structured round Gopnik’s interactions with practitioners of various crafts, from baking to boxing: he becomes an apprentice of sorts, learning just enough of each skill to develop an understanding of what mastery may mean.
In the process, he picks up on three themes: first, that mastery is the “slow carpentering of fragments into a harmonious whole”. The expert creates the illusion of something unified by learning each tiny step – whether those steps are the small melodic ideas of a jazz pianist or the rhythmic pattern of a boxer’s jabs.
Second, mastery is about humanity, not perfection. “We never really love an artist’s virtuosity, or if we do, it feels empty,” Gopnik writes. “We love their vibrato, their … way of entangling their learned virtuosity within their unique vulnerability.”
Third, it’s not about “life rules, but real lives”. Gopnik thinks mastery can be found everywhere, from his mother’s kitchen to his driving teacher’s car. “We always overestimate the space between very good and uniquely good,” Gopnik says: we know the names of the Michael Jordans and the Leonardos, but there are countless people who are nearly, if not quite equally, brilliant. And even if most of us won’t become household names, “we are all more varied and capable than we are often allowed to seem”.
Gopnik studies drawing with an artist who takes a strict realist approach; he learns to combine the fragments of a whole, and deploys tools of the trade – certain shapes and techniques, the endless utility of an eraser. It’s also an opportunity for him, as an art critic, to discuss the concept of representational art, pulling from the work of psychologists and historians as he considers why “collections of shrewdly borrowed shapes and broken lines strike us as real”.
Elsewhere, he discusses magic with David Copperfield, David Blaine and the normally mute Teller, partner of Penn. He learns to drive with an instructor who repeatedly urges him to “become the noodle”, meaning to fully relax into the task – mastering driving, Gopnik notes, is about learning to pretend what you’re doing isn’t incredibly dangerous. Baking with his mother leads to reflections on childhood and ageing, and what children owe their parents.
In one revealing chapter, Gopnik describes his struggle with paruresis, or shy-bladder syndrome – an inability to urinate in public toilets. In late middle age, he begins cognitive behavioural therapy, touring the city’s public toilets on his bike with his therapist as he practises peeing in increasingly stressful situations. Thus, he masters an elusive target: his own mind.
Gopnik is at his most moving when addressing the limited time we have on Earth; the roughly established number of heartbeats we are given to achieve whatever means most to us. In this context, he writes, mastery may have nothing to do with impressing some great portion of the public; instead, what counts is ourselves and a few people close to us. Mastery, he concludes, is “emphatically not transcendent”. Instead, in Gopnik’s conception it is thoroughly democratic – something we all can achieve, and in many cases already have.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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