DOCSLIB.ORG

Poetry Project's Newsletter #237

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Poetry Project's Newsletter #237 THE POETRY PROJECT NEWSLETTER EDITOR: Ted Dodson COVER DESIGN: John Passafiume POETRY PROJECT, Ltd. STAFF DIRECTOR: Stacy Szymaszek MANAGING DIRECTOR: Arlo Quint COMMUNICATIONS AND MEMBERSHIP COORDINATOR: Nicole Wallace ARTS MANAGEMENT CONSULTANT: Debora Ott MONDAY NIGHT COORDINATOR: Simone White WEDNESDAY NIGHT COORDINATOR: Ariel Goldberg FRIDAY NIGHT COORDINATOR: Matt Longabucco TALK SERIES COORDINATOR: Corrine Fitzpatrick BOOKKEEPER: Lezlie Hall VIDEOGRAPHER: Andrea Cruz ARCHIVIST: Will Edmiston INTERNS/VOLUNTEERS: Jim Behrle, Mel Elberg, Ashleigh Martin, Serena Maszak, John Priest, Douglas Rothschild, Katherine Taylor, Catherine Vail, and Kymberly Winchell BOARD OF DIRECTORS: John S. Hall (President), Katy Lederer (Vice-President), Carol Overby (Treasurer), Jo Ann Wasserman (Secretary), Gillian Mc- Cain, Camille Rankine, Jonathan Morrill, Todd Colby, Erica Hunt, Elinor Nauen, Evelyn Reilly, Edwin Torres FRIENDS COMMITTEE: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Ted Greenwald, Steve Hamilton, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Eileen Myles, Patricia Spears Jones, Michel de Konkoly Thege, Greg Masters, Ron Padgett, Bob Holman, Paul Slovak, John Yau, Anne Waldman, Hal Willner FUNDERS: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Depart- ment of Cultural Affairs, in partnership with the City Council. Additional support provided by the Axe-Houghton Foundation; Committee on Poetry; Dr. Gerald J. & Dorothy R. Friedman Foundation, Inc.; Foundation for Contemporary Arts; Jerome Foundation; Leaves of Grass Fund; Leslie Scalapino – O Books Fund; LitTAP; New York Community Trust; Poets & Writers, Inc.; Poets for the Planet Fund; Anonymous Foundations; Harold & Angela Appel; Russell Banks; Martin Beeler; Bill Berkson & Constance Lewallen; David Berrigan & Sarah Locke; Mei Mei Berssenbrugge & Richard Tuttle; Rosemary Carroll; Steven Clay; Todd Colby; Jordan Davis; Peggy DeCoursey; Don DeLillo & Barbara Bennet; Rackstraw Downes; Ruth Eisenberg; Ann Evans; Stephen Facey; Raymond Foye; Ted Greenwald & Joan McClusky; Mimi Gross; Phil Hartman; Anselm Hollo & Jane Dalrymple-Hollo; Ada & Alex Katz; Florence Kindel; Doris Kornish; Susan Landers & Natasha Dwyer, Katy Lederer; John Lewin; Kimberly Lyons & Vyt Bakaitis; Gillian McCain & Jim Mar- shall; Mark McCain; Thurston Moore; Jonathan Morrill & Jennifer Firestone; Elinor Nauen & Johnny Stanton; Hank O’Neal & Shelley Shier; Ron & Pat Padgett; Evelyn Reilly; Simon Schuchat; Kiki Smith; Sylvie & June Weiser Berrigan; The Estate of Kenneth Koch; members of The Poetry Project; and other individual contributors EDITORS EMERITI: Ron Padgett 1972–1973 / Bill MacKay 1973–1975 / Ted Greenwald 1975–1977 / Frances LeFevre 1977–1978 / Vicki Hudspith 1978–1980 / Greg Masters 1980–1983 / Lorna Smedman 1983–1984 / Tim Dlugos 1984–1985 / James Ruggia 1985–1986 / Jessica Hagedorn 1986–1987 / Tony Towle 1987–1990 / Jerome Sala 1990–1991 / Lynn Crawford 1991–1992 / Jordan Davis 1992–1994 / Gillian McCain 1994–1995 / Mitch Highfill 1995–1996 / Lisa Jarnot 1996–1998 / Brenda Coultas & Eleni Sikelianos 1998–1999 / Katherine Lederer 1999–2000 / Ange Mlinko 2000–2002 / Nada Gordon & Gary Sullivan 2002–2003 / Marcella Durand 2003–2005 / Brendan Lorber 2005–2007 / John Coletti 2007–2009 / Corina Copp 2009-2011 / Paul Foster Johnson 2011-2013 Copyright © 2013 The Poetry Project All rights revert to authors upon publication 汫漀氀漀 琀吀愀最愀氀漀最 kul 匀猀琀攀洀愀琀椀挀愀氀氀 氀漀漀欀椀渀最 甀瀀 琀栀攀 眀漀爀猀 椀渀 琀 栀攀 瀀漀攀洀 瀀爀漀瘀椀攀猀 愀 瀀愀琀挀栀眀漀爀欀 漀昀 爀攀昀攀爀攀渀挀攀猀 琀栀愀琀 挀椀爀挀氀攀 昀 漀漀 爀攀氀椀最椀漀渀 琀栀攀 戀漀 愀渀 琀栀攀 洀椀渀 戀甀琀 琀栀攀 瀀漀攀洀 爀攀猀椀猀琀猀 琀 栀椀猀 愀瀀瀀爀漀愀挀栀 愀椀洀椀渀最 愀猀 椀琀 漀攀猀 愀琀 琀栀攀 爀攀愀攀爀 猀攀渀猀漀爀 愀瀀瀀 愀爀愀 i m p e t u s tus, we are to hear and feel these words daggering at us, to feel them the mouth and gut. It is as While Diggs’ perfo汲椀欀攀 琀栀椀猀攀昀昀漀爀琀氀攀猀猀 愀渀 洀甀猀椀挀愀氀 攀愀挀栀 氀椀渀攀 猀栀椀洀洀攀爀椀渀最 眀椀琀栀 愀 栀4...............Staff Letters: Stacy Szymaszek, Arlo Quint, Ted Dodson椀栀愀 琀 漀昀 猀氀氀愀戀椀挀 挀洀for which much of this language will be new and unexpfrom one t匠甀挀栀 眀漀爀 欀 椀猀 戀漀琀栀 瀀氀攀愀猀甀爀愀戀氀攀 愀渀 椀昀昀椀挀甀氀琀 愀渀 琀栀愀琀 樀甀渀挀琀甀爀攀 洀愀欀 攀猀In 6...................Sleeping with French Philosophy: Chris Tysha recent presentation at the &Now FesDidesc 栀椀渀瘀攀猀琀洀a polyglot poetvoice to the range of languages that populate.Twis cl sensitive to our tendency to “other” and ost the the Resisting this orient takes an inverse t洀8............................... ..................Three Poems: Guillaume Apollinaire (trans. Ron Padgett)瀀栀漀渀 瀀愀爀愀 欀漀欠漀 椀 最愀洀椀 猀漀渀†瀀爀漀瘀椀椀渀最 琀爀愀渀猀氀愀琀椀漀渀 眀栀 begbo’ok i constraintsa. pull out the constrain栍 愀氀攀12.............Andrew Durbin on Lucy Ives, Bernadette Mayer on Michael Ruby†椀 攀渀猀攀洀戀dig up the estaclo瑳漀 琀栀攀 琀maila’ halom pal 挀漀洀攀 The effect is symphoual interweaving of the lines, gray text and black provid 吠栀攀 昀椀爀猀琀 氀椀渀攀 猀眀椀琀挀栀攀猀 昀爀漀洀 , and its translation feels almost plodd 13..........Matt Longabucco on Mario Santiago Papasquiaro, Laura Henriksen on Kimberly Lyonsjuxtaposi- tionof these words refused to , be subsumed into a single phrase. Rather than disciplining the language into “cor- rect” he reader’s throat. Not only does the poem refuse to t慡渀 bi戀攀琀眀攀攀渀 漀甀爀挀攀† 伀昀琀攀hen an English 14.......Jeff Nagy on Joe Luna, Amaranth Borsuk on LaTasha N. Nevada Diggs word appears in one of the leftmorro, or Spanish corollarye italicized line,†division “source” and漀 氀椀渀攀猀 攀瀀攀渀 漀渀 漀渀 攀 愀渀漀琀栀攀爀 昀漀15..........Ben Mirov on Brandon Downing, Alystyre Julian on Anne Waldmanbaba i kuga bur獳琀愀渀 栀攀爀 sumam潢瀀攀渀 漀甀爀 爀瀍愀猀琀漀 椀 昀椀爀攀昀put†愀氀椀琀愀to pa渀 琀栀攀猀 攀 氀椀渀攀猀 16.........Calendar of Events琀栀攀 吀愀最愀氀漀最 “to burst,” intercedes in the “transla- tion,” extendingde is translating which? The traffic goes both ways. As her notes indicate, language “phrase books” are a Diggs has notedher lanlay ofte普爀漀洀 愀 昀爀甀椀琀昀甀氀 洀椀猀爀攀愀椀, and the†瀀漀攀洀猀 愀爀攀 愀猀猀漀挀椀愀琀椀瘀攀 椀渀 愀 眀愀 琀栀愀琀 洀愀欀攀猀 琀栀攀洀 挀爀瀀琀洀椀最栀琀 最攀琀 氀 漀猀琀 氀漀漀欀椀渀20.........I Want to Reclaim Every Part of Living Including Illness and Death:We d, how nenotes to help us deci, like its own phrasthe an interview with Lisa Robertson langua. Her interweaving of te椀 最最猀†瀀爀 愀挀琀椀挀攀 愀渀漀琀栀攀爀 洀甀氀琀 E倀漀甀渀 眀栀漀translattans-lirefer line f.I睴漀甀氀 瀀攀爀瘀攀爀menPo眀攀爀攀 椀琀 渀漀琀 昀漀爀 栀椀Barbadian-inflected “damn right it’s betta than yours,” which opensod to the Kelis song that provides its title, but Diggs 26.................................. ..........................A Poem: Karen Lepriwinerode di pentame”昀吠漀 戀爀攀愀欀 琀栀攀 瀀攀 渀琀愀洀攀琀 攀爀 琀栀愀琀 眀愀猀 琀栀攀 昀椀heavinTwERKmotion, wearing away at her for“blocka bullet.The book眙漀爀 愠氀氀 琀栀攀 爀攀猀琀椀攀 戀愀愀渀琀漀 爀攀猀漀渀愀渀琀 l remains, / thby way of (auth呯栀攀 刀 攀一漀椀whose own ti愀洀 氀愀猀琀 琠栀攀 爀攀猀琀 吠栀攀 戀漀漀欀 漀攀猀渀琠 攀渀 眀椀琀栀 猀椀 氀攀渀挀攀 戀Tw 椀最最猀 氀椀瘀攀猀 甀瀀 琀漀31....Comics: Coffee Shop by Bianca Stone 愀渀琀漀 挀栀椀攀昀 眀椀猀栀tradition,” in sounds that surround us. After Stone Cold Poetry Moms by Jim Behrlereading, If Twerk is a dance that bounces and ripples, thatTwerkinbrings the racie慷 爀攀挀甀爀爀攀渀琀 最攀猀琀甀爀 攀 椀渀 琀栀攀 戀漀漀欀 眀栀椀挀栀 昀爀攀焀甀攀渀琀氀 爀攀昀氀攀挀琀猀 漀渀 琀栀攀 眀愀 戀漀椀攀猀 瀀攀爀昀漀爀洀 最攀渀攀爀 愀渀 爀愀挀攀 愀渀 琀栀攀 眀愀 琀栀攀 椀渀 琀甀爀on In densely-layered poems like “Sun椀最最猀 洀愀欀攀猀 昀爀攀焀甀old桳漀瘀攀湡 愀挀爀 昀漀爀洀 攀瘀攀氀漀瀀攀 戀椀渀 栀 椀猀 瀀漀攀洀 漀昀 琀栀愀琀 渀愀洀攀 眀栀椀挀栀 愀漀瀀琀猀 琀栀攀 as its edevoted to dire吀眀攀, Latasha N. Nevada Di攀瘀椀攀眀攀 戀h Bo名栀攀 渀漀琀攀猀 琀漀 愀琀愀猀栀吀眀 are prefaced with a description of their Cover: Harwood, Lee. “Train Love Poem.” The World: A New York City Literary Magazine #5.medium, telling u爠栀椀渀攀Published July, 1967. 猀琀漀渀攀猀 愀挀爀氀椀挀 漀渀 瀀愀渀攀氀 欀渀椀瘀攀猀 洀椀 lustration paper on mylar, rubber tires, wood, metal, plastic,名栀椀猀 氀椀猀琀 椀猀 渀漀 洀攀爀攀 樀漀欀攀 渀 漀 琀漀渀最甀攀椀渀挀栀攀攀欀 愀最爀椀琀琀攀 爀攀昀攀爀攀渀挀攀 琀e the road. Aggressively p@ D F J L P R T V ¸｀ ð｀ ò｀ ’ ’ L“ N“ ì” î” Ÿ Ÿ nŸ pŸ 汫漀氀漀 琀漀 琀栀攀 吀愀kul 匀猀琀攀洀愀琀椀挀愀氀氀 氀漀漀欀椀渀最 甀瀀 琀栀攀 眀漀爀猀 椀渀 琀 栀攀 瀀漀攀洀 瀀爀漀瘀椀攀猀 愀 瀀愀琀挀栀spi, but the poem resists this approach, aiming as it does at the ³ìôçàÙÕÙÕÑÕÑÕÉÕžÅų¯«§£Å£¯Ÿ›—›—“—›“›““—›“›“›“›ratus, we are to hear and feel these渀 the mouth椀欀攀 琀栀攀 氀椀瀀漀最爀愀洀洀愀琀椀挀 瀀漀攀洀猀 漀昀 栀爀椀猀琀椀猀 愀猀 洀甀挀栀 愀 lingu癩椀爀琀甀 愀猀 愀 戀攀愀爀攀爀 漀昀 洀攀愀渀o牦愀爀攀 瀀栀漀渀攀洀攀猀 椀渀琀漀 愀 戀攀愀 琀栀愀 In the land of Poetry Project, we start thinking Hello, dear reader of the Poetry Project News- about New Year’s Day in October. We barely no- letter. Another Dia de Muertos has passed. ...writing is as lonely tice the groups of people on haunted tours of the Each year it’s celebrated in our churchyard As a pile of shoes. Heaven is wingless and church grounds or the Day of the Dead celebra- cemetery with plenty of elaborate altars, far away, tion because we are fixated on how we can put sugar skulls, & marigolds. After pouring And there are no books that mention your together an Annual New Year’s Day Marathon some Cazadores on the ground for Mictecaci- name or mine. Benefit Reading, for the 40th time, that has every- huatl, Queen of the Underworld, we staff of thing people love about it but is always infused the Poetry Project take to planning our New - Frank Lima with surprising new energy. The Marathon is like Year’s Day Marathon in earnest. ⁐ a Bernese Mountain Dog that jumps up and puts It’s our biggest fundraising event of her paws on my shoulders. What a sweet beast. the year and we need lots of help to make Frank Lima and Lou Reed and Seamus Heaney. It bodes well for poetry that it gets more it happen. It takes about 80 volunteers work- and more challenging to narrow the performer list ing with the staff to create the full Marathon October has passed and what is it now? No- down to a number that works for our relatively reality: more than 10 joyous hours of reading vember? modest 11-hour timeframe. Our Program Com- and performance, an amazing poetry book- mittee, formed last year to include more voices store, and a busy kitchen. If you would like I think I may have broken a promise to my- in the making of a dynamic and diverse event, to begin your new year playing a part in this self along the way, but that’s neither here nor started the process with a list of 300.
Load more

Recommended publications
  • 227-Newsletter.Pdf
    THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 2011 #227 LETTERS POEM NATHANIEL MACKEY INTERVIEW CARLA HARRYMAN & LYN HEJINIAN TALK WITH CORINA COPP CALENDAR PATRICK JAMES DUNAGAN REVIEWS CHAPBOOKS BY ARIEL GOLDBERG, JESSICA FIORINI, JIM CARROLL, ALLI WARREN & NICHOLAS JAMES WHITTINGTON CATHERINE WAGNER REVIEWS ANDREA BRADY CACONRAD REVIEWS SUSIE TIMMONS FARRAH FIELD REVIEWS PAUL LEGAULT CARLEY MOORE REVIEWS EILEEN MYLES ERIK ANDERSON REVIEWS RENEE GLADMAN DAVID BRAZIL REVIEWS MINA PAM DICK STEPHANIE DICKINSON REVIEWS LEWIS WARSH MATT LONGABUCCO REVIEWS MIŁOSZ BIEDRZYCKI JAMIE TOWNSEND REVIEWS PAUL FOSTER JOHNSON ABRAHAM AVNISAN REVIEWS CAROLINE BERGVALL NICOLE TRIGG REVIEWS JULIANA LESLIE ERICA KAUFMAN REVIEWS KARINNE KEITHLEY $5? 02 APR/MAY 11 #227 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Arlo Quint PROGRAM ASSISTANT: Nicole Wallace MONDAY NIGHT COORDINATOR: Macgregor Card MONDAY NIGHT TALK SERIES COORDINATOR: Michael Scharf WEDNESDAY NIGHT COORDINATOR: Joanna Fuhrman FRIDAY NIGHT COORDINATORS: Brett Price SOUND TECHNICIAN: David Vogen VIDEOGRAPHER: Alex Abelson BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Vanessa Garver INTERNS: Nina Freeman, Stephanie Jo Elstro, Rebecca Melnyk VOLUNTEERS: Jim Behrle, Rachel Chatham, Corinne Dekkers, Ivy Johnson, Erica Kaufman, Christine Kelly, Ace McNamara, Annie Paradis, Christa Quint, Judah Rubin, Lauren Russell, Thomas Seely, Erica Wessmann, Alice Whitwham, Dustin Williamson The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international.
    [Show full text]
  • Note to the Secretary-General Tonight You and Mrs. Annan Have
    Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958.
    [Show full text]
  • Kiki Smith : Natural Etchings [Text Byjudith B
    Kiki Smith : natural etchings [text byJudith B. Hecker] Author Smith, Kiki, 1954- Date 2003 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/133 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Kiki Smith Natura I Etchings In the second half of the 1990s the focus of Kiki Smith's Smith's first etchings of animals were based on printmaking shifted from the human body to the bodies museum specimens and are characterized by simple of birds and animals, and to exploring humanity's rela linearity and powerful morbidity, as in the multipart tionship with other earthly creatures. She often sketched etchings Destruction of Birds (1997, dated 1998) and directly from dead and stuffed specimens (some deli White Mammals (1998), where the bodies seem to berately sought out in natural history museums, some dangle in the space of each sheet. She then moved on encountered in ordinary life), depicting them isolated on to more richly described representations. To achieve blank backgrounds that directed attention to their form the detail and realism of Fawn (2001), Smith built up and symbolic resonance rather than to their environ the image slowly on the metal etching plate, gradually ment. Her regard for the life of animals was matched developing the varying textures of the animal's fur, the by an appreciation of the aesthetic qualities of their tufts on its chest, and the position of its limbs.
    [Show full text]
  • Barbara Mandigo Kelly Peace Poetry Contest Winners
    The Gathering by Ana Reisens Adult Category, First Place In the movie we sleep fearlessly on open planes because we cannot imagine any danger more tragic than those that have already passed. For weeks we have been arriving over the earth’s broken skin, over mountains and rivers, shaking the aching flagpoles from our shoulders. Now all the priests and imams and rabbis and shamans are gathered beside the others, teachers, brothers and kings and they’re sharing recipes and cooking sweet stories over fires. Suddenly we hear a voice calling from the sky or within – or is it a radio? – and it sings of quilts and white lilies as if wool and petals were engines. It’s a lullaby, a prayer we all understand, familiar like the scent of a lover’s skin. And as we listen we remember our grandmothers’ hands, the knitted strength of staying, how silence rises like warmth from a woven blanket. And slowly the lines begin to disappear from our skin and our memories spin until we’ve forgotten the I of our own histories and everyone is holy, everyone is laughing, weeping, singing, It’s over, come over, come in. And this is it, the story, an allegory, our movie – the ending and a beginning. The producer doesn’t want to take the risk. No one will watch it, he says, but we say, Just wait. All the while a familiar song plays on the radio and somewhere in a desert far away a soldier in a tank stops as if he’s forgotten the way.
    [Show full text]
  • Euell Porter
    Euell Porter Material prepared by Maurice Alfred Biographical Sketch of Euell Porter 1910-1998 Edwin Euell Porter was born October 10, 1910 near Franklin, Texas and died September 23, 1998, in Waco Texas. He was the last of six children born to George W. and Alma Parker Porter. His parents worked a small farm outside of Franklin in Robertson County. George W. came from Missouri and was a second generation Irish immigrant. Euell’s mother was of Cajun descent with hair as “black as coal.” His twin sisters, Addis Mae and Gladys Faye, and his brothers, Richard Bland, Samuel Lewis, and George Felton, took care of their little brother almost from his birth. When Porter was about six, his mother became bedridden with influenza and he remembered his mother saying “bring that baby here and let him stand by the bed and sing for me.” Though his mother was ill, the Porter’s sang and made music each night, with his sister Addis or his brother Sam playing the piano, and the rest of the family singing. His mother’s illness became progressively worse, and she died when he was eight. After her death, the family moved to a farm near Pettaway, Texas. Their new house and farm were much larger, with one room set aside for music. In the music room there was a pump organ and a five pedal upright piano. The family continued its tradition of singing, with his sister Addis Mae playing the organ and brother Samuel Lewis playing the piano. In the early 1920’s, Porter attended a singing school in Boone Prairie and it was there he learned to read shaped notes.
    [Show full text]
  • Press Release Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021
    Page 1 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) Kiki Smith. Hearing You with My Eyes 9.10.2020 – 10.1.2021 Contents 1. Press release 2. Media photographs 3. Artist’s biography 4. Excerpts from the catalogue 5. Public engagement– Public outreach services 6. Museum services: Book and Giftshop, Le Nabi Café-restaurant 7. MCBA Partners and sponsors Contact: Aline Guberan Communication and marketing manager 079 179 91 03 [email protected] Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 16 Press release Lausanne, 8 October 2020 Kiki Smith. Hearing You with My Eyes (9.10.2020 – 10.1.2021) 1. Press release Exploring the body and the senses: a major Swiss show on the work of Kiki Smith The work of the American artist Kiki Smith is the featured subject of a major temporary show this fall at the MCBA Musée cantonal des Beaux- Arts of Lausanne. Boasting a selection of nearly one hundred works, some of which are on display for the very first time in Europe, this survey covers almost four decades of artmaking, focusing on a theme that is central to her output yet has been little explored until now, i.e., sensory perception. Devoted to the work of Kiki Smith (born 1954), the show Hearing You with My Eyes is a rare opportunity for the general public to get to know the major themes that run through the American artist’s output, themes that spring from her observation of the human body.
    [Show full text]
  • Poetry Project Newsletter
    THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 10 #223 LETTERS & ANNOUNCEMENTS FEATURE PERFORMANCE REVIEWS KARINNE KEITHLEY & SARA JANE STONER REVIEW LEAR JAMES COPELAND REVIEWS A THOUGHT ABOUT RAYA BRENDA COULTAS REVIEWS RED NOIR KEN L. WALKER INTERVIEWS CECILIA VICUÑA POEMS DEANNA FERGUSON CALENDAR BRANDON BROWN REVIEWS AARON KUNIN, LAUREN RUSSELL, JOSEPH MASSEY & LAUREN LEVIN TIM PETERSON REVIEWS JENNIFER MOXLEY DAVID PERRY REVIEWS STEVE CAREY JULIAN BROLASKI REVIEWS NATHANAËL (NATHALIE) STEPHENS BILL MOHR REVIEWS ALAN BERNHEIMER DOUGLAS PICCINNINI REVIEWS GRAHAM FOUST ERICA KAUFMAN REVIEWS MAGDALENA ZURAWSKI MAXWELL HELLER REVIEWS THE KENNING ANTHOLOGY OF POETS THEATER ROBERT DEWHURST REVIEWS BRUCE BOONE $5? 02 APR/MAY 10 #223 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Corrine Fitzpatrick PROGRAM ASSISTANT: Arlo Quint MONDAY NIGHT COORDINATOR: Dustin Williamson MONDAY NIGHT TALK SERIES COORDINATOR: Arlo Quint WEDNESDAY NIGHT COORDINATOR: Stacy Szymaszek FRIDAY NIGHT COORDINATORS: Nicole Wallace & Edward Hopely SOUND TECHNICIAN: David Vogen BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Nicole Wallace INTERNS: Sara Akant, Jason Jiang, Nina Freeman VOLUNTEERS: Jim Behrle, Elizabeth Block, Paco Cathcart, Vanessa Garver, Erica Kaufman, Christine Kelly, Derek Kroessler, Ace McNamara, Nicholas Morrow, Christa Quint, Lauren Russell, Thomas Seeley, Logan Strenchock, Erica Wessmann, Alice Whitwham The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international. Checks should be made payable to The Poetry Project, St.
    [Show full text]
  • Teaching the Media with Mouse Woman: Adventures in Imaginative Education
    Teaching the Media with Mouse Woman: Adventures in Imaginative Education by Kymberley Stewart M.A., Simon Fraser University, 2004 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Curriculum Theory & Implementation Program Faculty of Education Kymberley Stewart 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Kymberley Stewart Degree: Doctor of Philosophy (Education) Title: Teaching the Media with Mouse Woman: Adventures in Imaginative Education Examining Committee: Chair: Allan MacKinnon Associate Professor Mark Fettes Senior Supervisor Associate Professor Kieran Egan Supervisor Professor Michael Ling Supervisor Senior Lecturer Lynn Fels Internal/External Examiner Associate Professor Faculty of Education David Jardine External Examiner Professor Faculty of Education University of Calgary Date Defended: August 20, 2014 ii Partial Copyright Licence iii Ethics Statement iv Abstract Concerns have been expressed for decades over the impact of an increasingly media-saturated environment on young children. Media education, however, occupies a somewhat marginal place in compulsory schooling, and its theorists and practitioners have given relatively little attention to the question of how to teach the media to elementary school children. This question is explored through an auto-ethnography and métissage spanning more than twenty years of media use, media studies, and media education. Three shifts in emphasis are particularly central to the thesis. The first is a shift from a protectionist to a more open, albeit critical stance with respect to children‘s media use. The second is a shift from conceiving of media education in terms of a pre-packaged curriculum towards the co-construction of learning experiences with the students, guided by Egan‘s theory of imaginative education.
    [Show full text]
  • Feminist Perspectives on Curating
    Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism.
    [Show full text]
  • Pop up 1 Montauk Final
    FOR IMMEDIATE RELEASE Press Contact: Prentice Art Communications 212.228.4048 [email protected] Fabiola Beracasa and Art Production Fund In association with Gary Carrion-Murayari and Joyce Sitterly present Pop Up 1: Montauk August 1 – September 8, 2013 (Montauk, NY) – Fabiola Beracasa and Art Production Fund, in association with Gary Carrion-Murayari and Joyce Sitterly of the New Museum, are pleased to present Pop Up 1: Montauk, an outdoor pop-up exhibition featuring site- specific installations by artists Anya Kielar, Virginia Overton, and Olympia Scarry. On view from August 1 to September 8, 2013, the exhibition will be located on an undeveloped lot at 333 Old Montauk Highway. It will be open to the public Thursday-Sunday from 12-6 p.m. and by appointment on the remaining weekdays. A public opening reception for the artists will be held on August 1 from 6-8p.m. "By commissioning three emerging contemporary artists to engage with the site and local community, we aim to honor Montauk's artistic legacy and continue its fertile cultural dialogue," said gallerist Fabiola Beracasa. Anya Kielar will present a series of new fabric paintings made of gauze, tulle, and ripped canvas that will hang from clothing lines installed on the lot. Envisioned by the artist as a mise-en-scène, the transparent paintings feature stylized portraits of women and encourage viewer interaction. The outdoor site prompted Kielar to incorporate elements of nature in her production process, including a sun printing technique used to weather the fabric. Virginia Overton will produce a new sculptural piece conceived specifically for the Old Montauk Highway site.
    [Show full text]
  • The Poetry Project at 50
    The Poetry Project december 2016 / january 2017 Issue #249 The Poetry Project december 2016 / January 2017 Issue #249 Director: Stacy Szymaszek Managing Director: Nicole Wallace Archivist: Will Edmiston Program Director: Simone White Archival Assistant: Marlan Sigelman Communications & Membership Coordinator: Laura Henriksen Bookkeeper: Carlos Estrada Newsletter Editor: Betsy Fagin Workshop/Master Class Leaders (Spring 2017): Lisa Jarnot, Reviews Editor: Sara Jane Stoner Pierre Joris, and Matvei Yankelevich Monday Night Readings Coordinator: Judah Rubin Box Office Staff: Micaela Foley, Cori Hutchinson, and Anna Wednesday Night Readings Coordinator: Simone White Kreienberg Friday Night Readings Coordinator: Ariel Goldberg Interns: Shelby Cook, Iris Dumaual, and Cori Hutchinson Friday Night Readings Assistant: Yanyi Luo Newsletter Consultant: Krystal Languell Volunteers Mehroon Alladin, Mel Elberg, Micaela Foley, Hadley Gitto, Jessica Gonzalez, Olivia Grayson, Cori Hutchinson, Raffi Kiureghian, Anna Kreienberg, Phoebe Lifton, Ashleigh Martin, Dave Morse, Batya Rosenblum, Isabelle Shallcross, Hannah Treasure, Viktorsha Uliyanova, and Shanxing Wang. Board of Directors Camille Rankine (Chair), Katy Lederer (Vice-Chair), Carol Overby (Treasurer), and Kristine Hsu (Secretary), Todd Colby, Adam Fitzgerald, Boo Froebel, Erica Hunt, Jonathan Morrill, Elinor Nauen, Laura Nicoll, Purvi Shah, Jo Ann Wasserman, and David Wilk. Friends Committee Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Viki Hudspith,
    [Show full text]
  • 5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
    $5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD.
    [Show full text]