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  • The Paris Review

    The Surprising History (and Future) of Paperweights

    by Chantel Tattoli Sep 20, 2017 6 minutes

    Illustration by Ellis Rosen

    On a Friday night this spring, I reported to the inaugural show at Fisher Parrish Gallery, in Bushwick. Some awfully cool looking folks were packed into the small white space. The table was laid with 117 new examples of paperweights. Almost none of them resembled the office accoutrement of last century, when open windows and fans sent paper sailing through reeking cigarette fog. These were objet d’art. They ranged from the purely ironic (a furry outgrowth) to the purely beautiful (chain links encrusted in sherbet crystals). Many were ineffable abstracts, and a few were just satisfying (animal figurines drilled into each other). “My life doesn’t justify a paperweight,” a girlfriend remarked. “My life isn’t settled enough. You don’t buy one until you think you’re not going to move.”

    Paperweights had never struck me as markers of stability. But a month later, when I was laid off from the legacy media company where I worked for a print magazine, I surveyed my desk, picked up a stack of

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