repository for fragments, detritus, phrases, bits of ephemera, addendum, indexical referents, the haphazard and intuitive, the ridiculous and unnameable, that which unfolds, part by part by part
The first is particularly striking--that mountain/sky-with-rainbow/ volume that is yet flat...am quite interested in the flip-flopping my eyes do to take the image in...
Also, I am very aware of the boundary line between say, "sky" and "mountain." The third especially--the edge between trees and trees as reflections/water/continuation of trees seems so very pointed and crisp. In a way I cannot say quite adequately, I sense I am being shown something I cannot see.
"Binary" is also an interesting word in the last one, which is the only collage in which the top doesn't work, at least to some degree, as deep space, with the bottom as foreground. It's an interesting shift from the first two.
In an interview with Rae Armantrout, Michael Silverblatt describes her poetry:
It's really extraordinary that things have two faces. And it seems to me that in your poetry much of the design is to see that things are double-faced, meanings are inter-penetrating with one another, not separate from one another. And that the interest is in the simultaneity.
Les Voleurs from William S. Burroughs' The Adding Machine Out of the closet and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief. All the artists of history, from cave painters to Picasso, all the poets and writers, the musicians and architects, offer their wares, importuning him like street vendors. They supplicate him from the bored minds of school children, from the prisons of uncritical veneration, from dead museums and dusty archives. Sculptors stretch forth their limestone arms to receive the life-giving transfusion of flesh as their severed limbs are grafted onto Mister America. Mais le voleur n'est pas presse' --- the thief is in no hurry. He must assure himself of the quality of the merchandise and its suitability for his purpose before he conveys the supreme honor and benediction of his theft.
Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! a bas l'originalite', the sterile and assertive ego that imprisons as it creates. Vive le vol-- pure, shameless, total. We are not responsible. Steal anything in sight.
5 comments:
The first is particularly striking--that mountain/sky-with-rainbow/ volume that is yet flat...am quite interested in the flip-flopping my eyes do to take the image in...
Also, I am very aware of the boundary line between say, "sky" and "mountain." The third especially--the edge between trees and trees as reflections/water/continuation of trees seems so very pointed and crisp. In a way I cannot say quite adequately, I sense I am being shown something I cannot see.
I want to add the tag "binary."
the first is obviously appealing because of its use of the intensely political without resorting to direct commentary (e.g. blood).
the oblique tension between the opposed is pedaled, a "wah" effect
Thanks for the feedback. I like the word "binary." I'll have to think more about that.
"Binary" is also an interesting word in the last one, which is the only collage in which the top doesn't work, at least to some degree, as deep space, with the bottom as foreground. It's an interesting shift from the first two.
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