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Lauren Elkin
Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage). Her previous book Flâneuse: Women Walk the City (Chatto/FSG) was a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, a New York Times Notable Book of 2017, and a BBC Radio 4 Book of the Week. Her essays have appeared in Granta, the London Review of Books, Harper’s, the New York Times, and Frieze, among others. Her next book, Art Monsters, will be out in July 2023 (Chatto/FSG). She lives in London.

Articles Available Online


Maria Gainza’s ‘Optic Nerve’

Book Review

May 2019

Lauren Elkin

Book Review

May 2019

In his foreword to A Thousand Plateaus, on the pleasures of philosophy, and of Deleuze and Guattari’s philosophy in particular, Brian Massumi writes:  ...

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Issue No. 8

Barking From the Margins: On écriture féminine

Lauren Elkin

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Issue No. 8

 I. Two moments in May May 2, 2011. The novelists Siri Hustvedt and Céline Curiol are giving a talk...

Iconoclasts have never known quite what to do with the ruined fragments that they leave behind If we imagine the first English iconoclasts in action as they undertook to rid churches of images and holy objects in the sixteenth century, images of grim-faced fanatics wielding hammers and flaming torches are likely to spring to mind But if iconoclasm is loud and violent in its fury, it is haunted by its quiet aftermath, in which the meanings that it releases prove troublingly difficult to control One response might be to leave nothing behind at all In 1547, as iconoclasm in England assumed new ferocity under Edward VI, a royal injunction urged the clergy to remove and destroy all ‘monuments of feigned miracles, pilgrimages, idolatry and superstition; so that there remain no memory of the same’   This enforced forgetting, however, was a dangerous strategy If superstition were utterly purged and its memory obliterated, there was the risk that it might be repeated The overcoming of error needed to be remembered if its repetition were to be guarded against In many churches broken statues or desecrated images were accordingly left in situ, as salutary reminders of a reviled past This too had its risks, however Even in their broken form, such idols might continue to inspire reverence rather than revulsion After all, if the fragmentation of relics in the Middle Ages in no way reduced their sanctity – a splinter from the True Cross was as holy as the whole – then the sacred remained sacred even in its ruined state Iconoclasm, which seemed to aim at absolute and irrevocable change, turned out to be torn between forms of remembrance and forgetting that it could not fully control   Art Under Attack is the first exhibition devoted to the history of British Iconoclasm, and it is in many ways the realisation of an iconoclast’s nightmares If the iconoclast wants the object to vanish and be forgotten, the exhibition reveals the stubborn tendency of defaced objects to linger and accrue new meanings The first two rooms, devoted to the Reformation of the sixteenth and seventeenth century,

Contributor

August 2014

Lauren Elkin

Contributor

August 2014

Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK...

The End of Francophonie: The Politics of French Literature

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Issue No. 2

Lauren Elkin

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Issue No. 2

I. We were a couple of minutes late for the panel we’d hoped to attend. The doors were closed and there was a surly-looking...

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Issue No. 10

What Can an Art Magazine Be?

Orit Gat

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Issue No. 10

What can an art magazine be? Today, as the publishing industry reassesses its role in the age of the internet,...

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October 2014

Noise & Cardboard: Object Collection's Operaticism

Ellery Royston

Object Collection

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October 2014

The set is made of painted cardboard. Four performers grab clothes from a large pile and feedback emanates from...

poetry

April 2012

The Disappearance

Dana Goodyear

poetry

April 2012

A yellow veil dropped down at evening, and when it lifted everyone was gone. Good mothers fled their young...

 

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