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In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Gavin Selerie – Jumping the Limits
Jumping the Limits: the interaction of art forms at Black Mountain & beyond, including UK practice - Gavin Selerie I Fielding Dawson says Black Mountain “had no sides (literally). It was wide open in the mountain.”1 This is a useful reminder that physical space can influence or determine thought. It was significant that the kinds of exploration associated with the college occurred far from recognized centres of learning. You could call it the permission of outlaws, and Ed Dorn, a son of the Prairie, perhaps brings this to fruition with the cinematic-linguistic slides of Gunslinger. On the other hand, no space is definitive, and a key aspect of the Black Mountain community was its willingness to bring people in to work on projects for a limited period. The corollary of this is that skills or modes of inquiry were susceptible of translation to other spheres. Geographically, the dispersal, both before and after the closure of the college, was significant, allowing Bauhaus and related approaches to be taken up in other parts of North America, and finally circulated back to Europe. New York City had a particular cluster of Black Mountain-affiliated artists and San Francisco also, but the small community or individually focused endeavour could happen anywhere. Charles Olson returned to Gloucester but kept ideas afloat through correspondence, appearances in Berkeley, Vancouver and London, and via his two-year teaching stint at Buffalo. What links figures as disparate as the weaver Anni Albers, the writer Robert Creeley and the designer Buckminster Fuller? Olson, in an unsent letter of 1952, describes Black Mountain as an “assembly point of acts”.2 The key elements are a possibility for intersection and the physical shaping of ideas. -
The Undergroun and Alternative Press in Britain
Harvester/Primary Social Sources The Underground and Alternative Press in Britain A Bibliographical Guide with historical notes By John Spiers Published with a title and chronological index as a companion to the Underground/ Alternative Press collection prepared for microform publication by Ann Sexsmith and Alastair Everitt ~ THEHARVESTERPRESSt974 THE HARVESTER PRESS LIMITED Publishers Contents 2 Stanford Terrace Hassocks, Nr. Brighton Sussex, England First published in 1974 by the Harvester Press General Editor's Preface page7 Introduction© John Spiers 1974 Index, notes, etc ©The Harvester Press 197 4 General Preface page 9 Acknowledgements page 13 This Bibliographical Guide issued with the Harvester/Primary Social Sources silver-halide microfiche and 35 mm roll-fihn collection 'The Underground and THE UNDERGROUND AND ALTERNATIVE Alternative Press in Britain'. PRESS IN BRITAIN by John Spiers page 15 LC Card No. 73-93912 Complete List of Participating Groups and Papers page 29 ISBN 0 901759 84 8 Descriptions of Groups and Papers page 33 Typesetting by Campbell Graphics Ltd., Newcastle upon Tyne Printed in England by Redwood Press Limited, Trowbridge How to use the Index page 55 Bound by Cedric Chivers, Portway, Bath INDEX page 59 All eights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of The Harvester Press Limited. General Editor's Preface What Harvester/Primary Social Sources is now offering to scholars should not be seen as just another collection of research material reproduced on microfiche. It is very much more than that. -
The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural
THE BRITISH UNDERGROUND PRESS, 1965-1974: THE LONDON PROVINCIAL RELATIONSHIP, AND REPRESENTATIONS OF THE URBAN AND THE RURAL. Rich�d Deakin r Presented as part of the requirement forthe award of the MA Degree in Cultural, Literary, andHistorical Studies within the Postgraduate Modular Scheme at Cheltenham and Gloucester College of Higher Education June 1999 11 DECLARATIONS This.Dissertation is the product of my own work and is. not the result of anything done in collaboration. I agreethat this. Dissertationmay be available forreference and photocopying,. at the discretion of the College. Richard Deakin 111 ABSTRACT Whateverperspective one takes, contradictions in the relationship between the capital and the provinces have always been evident to some extent, and the British undergroundpress of the late 1960s and early 1970s is no exception. The introductoryfirst chapter will definethe meaning of the term 'underground' in this context, and outline some of thesources used and the methodologies employed. Chapter Two will show how the British underground press developed froman alternative coterie of writers, poets, and artists - often sympathisers of the Campaign forNuclear Disarmament movement. It will also show how having developed from roots that were arguably provincial the undergroundadopted London as its base. The third chapter will take a more detailed look at the background of some London and provincial underground publications andwill attempt to see what extent the London undergroundpress portrayed the provinces, and vice-versa. In Chapter Four actual aspects of lifein urbanand rural settings, such as communes, squats, and pop festivals,will be examined in relation to the adoption of these lifestylesby the wider counterculture and how they were adapted to particular environments as part of an envisioned alternativesociety. -
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https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Politics, Pleasures and the Popular Imagination: Aspects of Scottish Political Theatre, 1979-1990. Thomas J. Maguire Thesis sumitted for the degree of Doctor of Philosophy at the Department of Theatre, Film and Television Studies, Glasgow University. © Thomas J. Maguire ProQuest Number: 10992141 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992141 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. -
Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture Daniel Kane
Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture Daniel Kane all those americans here writing about america it’s time to give something back, after all our heroes were always the gangster the outlaw why surprised you act like it now, a place the simplest man was always the most complex you gave me the usual things, comics, music, royal blue drape suits & what they ever give me but unreadable books? Tom Raworth, “I Mean” These opening lines from “I Mean” by British poet Tom Raworth, published in 1967 in Raworth’s fi rst full- length collection, The Relation Ship (Goliard Press),1 stand as a kind of metaphor for a larger problem facing British avant- garde poetry in the 1960s. Put simply, “I Mean” addresses an “American” infl uence on British letters that was to weigh heavily on poets challenging the restrained formalism and hostility to the modernist project characteris- tic of the British “Movement” poets.2 How were the many Beat and Black Mountain– enamored versifi ers of Albion to be innovative on their own terms? The avant- garde, as Raworth seems to have it, is predicated on the aura of the “outlaw,” the “gangster.” Such fi gures are suggestively American, par- ticularly when read within the context of the poem’s opening lines. American signs pointing the way forward for a developing British poetics include an idealized simplicity, comics, and music.3 Raworth’s poem works in part to ask whether the English will be able to “give something back.” What would that “something” sound like? What would it look like? Would it be somehow Framework 52, No. -
The Midlands Ultimate Entertainment Guide
Wolves & B'Cntry Cover March.qxp_Wolves & B/Country 23/02/2015 20:30 Page 1 WOLVERHAMPTON & BLACK WOLVERHAMPTON COUNTRY ON WHAT’S THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE WOLVERHAMPTON & BLACK COUNTRY ISSUE 351 ’ Whatwww.whatsonlive.co.uk sOnISSUE 351 MARCH 2015 GINA YASHERE MARCH 2015 SHOWING HER BEST BITS IN WOLVERHAMPTON CLAIRE SWEENEY talks Sex In Suburbia interview inside... PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART POP IN SPACE We Choose To Go To The Moon exhibition in Wolverhampton @WHATSONWOLVES WWW.WHATSONLIVE.CO.UK @WHATSONWOLVES INSIDE: FILM COMEDY THEATRE LIVE MUSIC VISUAL ARTS TUESDAY 17 - SATURDAY 21 MARCH EVENTS FOOD & DRINK Box Office 01902 42 92 12 & MUCH MORE! BOOK ONLINE AT grandtheatre.co.uk Spring NEC A4:Layout 1 26/01/2015 14:59 Page 1 The ultimate stitching, knitting & crafting shows! THURS 19 - SUN 22 MARCH NEC, BIRMINGHAM OPEN 9.30AM - 5.30PM (SUN 5PM) BIGGEST SHOW EVER - OVER 300 EXHIBITORS! MR SELFRIDGE COSTUMES // INTERNATIONAL TEXTILE ARTIST SOPHIE FURBEYRE THE SEWING CLUB // ‘FRACTURED IMAGES’ QUILTING DISPLAY PAPERCRAFTS & CARDMAKING // KNITTING, QUILTING & STITCHING JEWELLERY MAKING & BEADING // CATWALK FASHION SHOWS FREE WORKSHOPS & DEMONSTRATIONS // PROGRAMME OF TALKS Buy tickets on-line www.ichfevents.co.uk SAVE UP TO or phone Ticket Hotline 01425 277988 Tickets: Adults £10.50 in advance, £12.50 on the door £2 OFF! EACH ADULT AND SENIOR TICKET Seniors £9.50 in advance, £11.50 on the door IF ORDERED BY 5PM MON 16 MARCH 2015 Contents March Region -
Engage Essay
What we have done 1 The Archive In July 2012, the BBC Imagine series screened The Grit and The Glamour, in which Alan Yentob traced the evolution of the city’s art scene in the 1990s and its continued success - the ‘Glasgow Miracle’ described by Hans Ulrich Obrist after a visit to the city in the mid-1990s. The film attempted to cover a broad swathe of activity from 1990 to the present and predictably was forced to simplify its story. Following well- trodden paths Imagine outlined the formation of the department of Environmental Art within the wider Glasgow School of Art and traced the rise of a generation which included Douglas Gordon, David Shrigley, Martin Boyce, Simon Starling and Christine Borland. The implication of the programme’s structure was that the previous decades were not deemed as worthy of scrutiny. They were not ‘miraculous’. It’s unfair to put too much weight of expectation on one documentary. The makers faced an impossible task within the confines of 80 minutes and Alan Yentob clearly connected with his subject enthusiastically and conveyed a sense of the early 1990s to an audience beyond Scotland. Within Glasgow, however, it reinforced the myth-making that was already obscuring the work of previous decades and even the variety of work that took place during and since the rise of that generation in the 90s. One reason why the impulse to generate these myths is so strong may lie in the relative lack of historical awareness around Scottish contemporary art activity since 1945. Unlike large cities such as London, Paris, Berlin or New York, who can all look back on a continuous engagement with avant-garde art from the beginning of the 20th century, Glasgow’s emergence as a viable generator of contemporary is very recent. -
Edinburgh Research Explorer
Edinburgh Research Explorer Cultural interactions at the Edinburgh Festivals, C. 1947-1971 Citation for published version: Bartie, A 2017, 'Cultural interactions at the Edinburgh Festivals, C. 1947-1971', Arts and International Affairs, vol. 2, no. 2. https://doi.org/10.18278/aia.2.2.2 Digital Object Identifier (DOI): 10.18278/aia.2.2.2 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Arts and International Affairs General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Oct. 2019 LONGFORM CULTURAL INTERACTIONS AT THE EDINBURGH FESTIVALS, C1947–1971 JULY 19, 2017 Angela Bartie Angela Bartie is a Senior Lecturer in Scottish History at the University of Edinburgh. She is the author of The Edinburgh Festivals: Culture and Society in Post-war Britain (Edinburgh, 2013) and, with Eleanor Bell, editor of The Writer’s Conference Revisited: Edinburgh, 1962 (Glasgow, 2012). She has interests in a range of areas of modern social and cultural history, in both Scotland and in Britain more widely, and has published a number of articles and chapters on the arts in the 1960s, Glasgow youth gangs, the policing of youth in post-war Britain, historical pageants in twentieth century Britain, and on oral history, as both theory and method. -
Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture
Wholly communion, literary nationalism, and the sorrows of the counterculture Article (Published Version) Kane, Daniel (2011) Wholly communion, literary nationalism, and the sorrows of the counterculture. Framework, 52 (1). pp. 102-127. ISSN 0306-7661 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/15036/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture Daniel Kane Framework: The Journal of Cinema and Media, Volume 52, Number 1, Spring 2011, pp. -
Cultural Interactions at the Edinburgh Festivals, C. 1947-1971
Edinburgh Research Explorer Cultural interactions at the Edinburgh Festivals, C. 1947-1971 Citation for published version: Bartie, A 2017, 'Cultural interactions at the Edinburgh Festivals, C. 1947-1971', Arts and International Affairs, vol. 2, no. 2. https://doi.org/10.18278/aia.2.2.2 Digital Object Identifier (DOI): 10.18278/aia.2.2.2 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Arts and International Affairs General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 LONGFORM CULTURAL INTERACTIONS AT THE EDINBURGH FESTIVALS, C1947–1971 JULY 19, 2017 Angela Bartie Angela Bartie is a Senior Lecturer in Scottish History at the University of Edinburgh. She is the author of The Edinburgh Festivals: Culture and Society in Post-war Britain (Edinburgh, 2013) and, with Eleanor Bell, editor of The Writer’s Conference Revisited: Edinburgh, 1962 (Glasgow, 2012). She has interests in a range of areas of modern social and cultural history, in both Scotland and in Britain more widely, and has published a number of articles and chapters on the arts in the 1960s, Glasgow youth gangs, the policing of youth in post-war Britain, historical pageants in twentieth century Britain, and on oral history, as both theory and method. -
Artforum.Com Critics' Picks
artforum.com / critics' picks 7/13/10 5:08 PM login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search ARTGUIDE DIARY PICKS NEWS IN PRINT FILM 500 WORDS VIDEO PREVIEWS TALKBACK A & E BOOKFORUM 中文版 CRITICS' PICKS San Francisco CURRENT PAST links New York Miriam Böhm RATIO 3 Pieter Hugo 1447 Stevenson Street Pablo Bronstein March 12–April 24 “Landscapes of Quarantine” Miriam Böhm’s first solo exhibition, “Inventory,” consists of Catherine Opie photographs of nondescript rectangular packages, mostly wrapped in brown paper and bubble wrap, which the artist “Beyond Participation: Hélio Oiticica and Neville has arranged, photographed, cut out, and rephotographed D’Almeida in New York” against vaguely bureaucratic backgrounds that evoke the “Your History Is Not Our doldrums of office cubicles. The resulting works are like History” Dutch still lifes reimagined in a UPS store. As the show’s Carol Bove title suggests, Böhm’s exacting vision is deployed as a Michel François critique of the art object: its reification and reduction into so Josh Kline and Anicka Yi many packages that are distributed via a myriad of avenues Jackie Gendel both old and new, including shippers, art handlers, dealers, galleries, museums, fairs, websites—in short, all the Walt Cassidy accoutrements of the ever-expanding art-world machine. “Solace” Adrian Paci As a grouping, Böhm’s photographs read as vanitas Meredith James paintings for the post-boom age, invoking Barthes’s critique Lynette Yiadom-Boakye of a world become object. In this sense, the work shares its “Nachleben” critical edge with Merlin Carpenter’s currency paintings (and “Who’s Afraid of even with Warhol’s dollars, for that matter), echoing neo- Ornament?” Marxist grumblings on the persistence of the (pristine) art Tom McGrath object.