In 2011, Masha Tupitsyn published LACONIA: 1,200 Tweets on Film, the first book of film criticism written entirely on Twitter. LACONIA experimented with new modes of writing and criticism, updating traditional literary forms and practices like the aphorism and the fragment. Re-imagining the wound-and-quest story, the love narrative, and the female subject in love in the digital age, Love Dog is the second installment in Masha Tupitsyn’s trilogy of immaterial writing. Written as a multi-media blog and inspired by Roland Barthes’ A Lover’s Discourse and Mourning Diary—a couple in Tupitsyn’s mind—Love Dog is an art book that is part love manifesto, part philosophical notebook, part digital liturgy.
The trilogy will culminate with the 24-hour sound installation Love Sounds, an audio history of love in cinema.
[Love Dog] reads like a reboot of Barthes’s A Lover’s Discourse, but instead of Goethe, [Masha] Tupitsyn uses the dense range of twentieth-century popular culture for part of its allegorical infrastructure… Love Dog is not only a gorgeous conceptual work on the self we construct virtually and serially, but also an important work on feminism and visual culture.
Masha Tupitsyn’s Love Dog is a call to the arms of love. Love as ethics. Love as a way of being in the world… Love Dog steers clear of any fairy-tale-like clichés about love and the romantic. True to her feminist vision, Tupitsyn challenges the constructs of masculinity and femininity in love, the roles expected to be performed by each gender respectively.
Love Dog feels like (one version of) what a book should be right now—a print text that’s constantly in conversation with other texts and people and mediums. Masha Tupitsyn is a serious intellectual and a passionate romantic, a critic who knows that criticism is a form of radical love. Ever serious but never dry, she fuses pop-culture critique, philosophy, and personal essay, and flits between different schools of feminist thought to ultimately offer a syncretistic, idiosyncratic feminism that feels hard won and very much her own.
Like all good criticism, [Masha Tupitsyn] takes the esoteric or ineffable elements in art and renders them obvious, instinctive. What is so envy-making about her writing is that she does this with such graciousness that she makes it look easy.
MASHA TUPITSYN is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love: An Addendum to Love Dog (Penny-Ante Editions, 2013), Love Dog (Penny-Ante Editions, 2013), a multi-media art book, LACONIA: 1,200 Tweets on Film (ZerO Books, 2011), Beauty Talk & Monsters, a collection of film-based stories (Semiotext(e) Press, 2007), and co-editor of the anthology Life As We Show It: Writing on Film (City Lights, 2009). The final installment in her immaterial trilogy is the forthcoming sound project, Love Sounds, a 24-hour oral history of love in cinema. Her fiction and criticism have appeared or is forthcoming in the numerous anthologies and journals. She has written video essays on film and culture for Ryeberg Curated Video and is a Senior editor at Berfrois and a contributing writer for Entropy. Her blog is: http://mashatupitsyn.tumblr.com