Finis: Our icon for the My Last Word column
On this last day of August, I pause to praise a piece of writing in our July/August issue—and to praise the column it inhabits.
Longtime readers of Arizona Attorney Magazine will know that the name of our occasional back-page column is “The Last Word”—so named when we have one of our three primary columnists writing.
But we also invite any attorney—or non-attorney—to write a single column when the mood strikes them. On those months, we call the column “My Last Word.” And it has become one of my favorite places in the magazine.
I think I enjoy the surprise and discovery, as multiple people inevitably have inevitable viewpoints.
In that space, we have had people write on all sorts of things. And this month, attorney Gary Fry muses on—the act of musing. He wonders—as we should—whether we take enough time to do exactly that. Or are we too caught up in the minutiae of daily life to pause and reflect.
You can read his essay here. And if you want, you then can start at the other end of the issue; here’s the first page. Enjoy.
Gary also reminds me how much I enjoy the incredible photography of Jeff Wall. Here is a story about him and his process.
One piece of his I enjoy very much is called “Picture for Women,” which takes the dialogue about “the male gaze” in a decidedly modern direction. Here it is:
Picture for Women, by Jeff Wall (via Wikimedia Commons)
Here is a description of the work, courtesy of Wikipedia:
Picture for Women is a 142.5 × 204.5 cm cibachrome transparency mounted on a lightbox. Along with The Destroyed Room, Wall considers Picture for Women to be his first success in challenging photographic tradition. According to Tate Modern, this success allows Wall to reference “both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting. As three-dimensional objects, the lightboxes take on a sculptural presence, impacting on the viewer’s physical sense of orientation in relationship to the work.”
There are two figures in the scene, Wall himself, and a woman looking into the camera. In a profile of Wall in the The New Republic, art critic Jed Perl describes Picture for Women as Wall’s signature piece, “since it doubles as a portrait of the late-twentieth-century artist in his studio.” Art historian David Campany calls Picture for Women an important early work for Wall as it establishes central themes and motifs found in much of his later work.
A response to Manet’s Un bar aux Folies Bergère, the Tate Modern wall text for Picture of Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet’s painting:
“In Manet’s painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet’s barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer’s role as onlooker, are implicit in Manet’s painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.”
Interesting, right? And because it’s fun to compare, here is Manet’s Un bar aux Folies Bergère:
Un bar aux Folies Bergère, by Edouard Manet (via Wikimedia Commons)
If you or someone you know is interested in writing a 700-word column for the magazine, contact me at email@example.com. It doesn’t have to be on law, exactly, though it should resonate with attorneys—their careers or their wider lives.