Little Fields, Long Horizons: Speaker Biographies
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Ian Hamilton Finlay Was Born in Nassau in 1925 and Moved To
IAN HAMILTON FINLAY Ian Hamilton Finlay was born in Nassau in 1925 and moved to Scotland as a young boy, his father having made and lost a fortune running a Bootlegging schooner in the Bahamas. In 1939 he was evacuated from the city of Glasgow to the remote Orkney Islands, where his relationship with the sea and a love affair with the idea of a pastoral idyll began. Finlay first became known in the 1960’s as a writer of short stories, plays and poetry and soon made his name as a leading figure in the international concrete poetry movement, producing prints booklets and cards under the imprint of his own Wild Hawthorn Press, which continues to this day. Indeed language has been the point of departure for most of his work over the past 40 years, in which time he has emerged as one of the most distinguished European artists of his generation and one of the greatest conceptual artists of all time. He is a poet; a philosopher; and a gardener, a man of letters, thoughts and ideas whose work (always executed by other artists and craftsmen after his designs) has been exhibited and collected by many of the world’s major museums. A reputation that seems remarkable given that he has never attempted to position his work in a contemporary context. If anything Finlay has striven to distance himself from the more obvious avant-gardes of the later 20th century, choosing to live and work in self imposed isolation at Little Sparta, the garden that he has built around his home on a bleak moor in the Pentland Hills, some 25 miles south-west of Edinburgh. -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
Ian Hamilton Finlay, 1925–2006: Sculpture As a Fusion of Poetry And
08-pointingsmerged.qxd 17/4/07 8:12 AM Page 102 Ian Hamilton Finlay, words and plant-ings to create a unique 1925–2006: sculpture as a type of environmental sculpture. Yet, as the word was always his starting point, fusion of poetry and place Finlay preferred to be described as a poet. It was the diverse contexts of display Patrick Eyres that always determined the scale and medium, whether an artwork was destined On Monday 27 March 2006, Ian Hamilton for a building, garden, park or landscape, Finlay died at the age of eighty. We lament or exhibition and publication. Similarly, it the passing of a Renaissance man: poet, was through the challenge of realizing his sculptor, artist, philosopher, landscape ideas with exquisite quality in the right gardener. This range of activity acknowl- materials that he initiated the practice of edges the interdisciplinary thinking that collaborating with artists, craftsmen and infused his creative process. However, in architects. Consequently his prolific out- view of his extraordinary achievement, it put encompassed prints, textiles, books, is a surprise to recollect that he was not sculpture and installations for a variety of trained in any of these disciplines. He did interior and outdoor sites.1 not attend university or complete any Whether engaged with the modernism course at art school. Instead he was self- of concrete poetry in the 1960s and 70s, or taught and won international recognition a neoclassical postmodernism, Finlay con- as a leading exponent of the modernist sistently upheld the traditional function genre of concrete poetry. Indeed it was of art as a repository and transmitter of through the visual dynamic of concrete meaning. -
Rob Tufnell Presents a Retrospective Exhibition of Printed Works Made by Ian Hamilton Finlay Between 1967 and 2002
IAN HAMILTON FINLAY ‘CARDS, FOLDING CARDS AND OTHER EDITIONED WORKS’ 17 JANUARY – 16 FEBRUARY 2013 Rob Tufnell presents a retrospective exhibition of printed works made by Ian Hamilton Finlay between 1967 and 2002. Primarily a poet, in 1961 Finlay founded the Wild Hawthorn Press to publish and distribute his writing. The following year the Press began to produce the journal of Concrete Poetry, ‘Poor Old Tired Horse’, and from 1963 posters and editioned prints and then later the postcards, folding cards, proposals, pamphlets, belles lettres, missives and broadsides from which the majority of the items in this exhibition are drawn. This exhibition focuses on smaller, more ephemeral works, spanning his career. Recurrent themes and subjects include the French Revolution, the iconography (and camouflage) of National Socialism, the Pacific theatre of the Second World War and improved landscapes – either historical or relating to his own: Little Sparta in the Pentland Hills, south west of Edinburgh. Other works relate to specific disputes: with the Strathclyde Regional Authority, the Scottish Arts Council, Catherine Millet (the founder editor of Art Press), Waldemar Januszczak (then art critic for the Guardian newspaper) and Gwyn Headley and Wim Meulenkamp (authors of the National Trust’s ‘Follies. A National Trust Guide’, 1986): all of whom engaged Finlay’s wrath through misrepresenting his work and motivations. Infused with poetry, philosophy and history Finlay’s work and choice of subjects can be seen to have been informed by his own personal history: his upbringing in the Bahamas (where his father was a seafaring bootlegger), his evacuation from and military service in the Second World War and early employment as a Orcadian shepherd and an advertising copy writer. -
The Public Gardens of Ian Hamilton Finlay in Relation to Little Sparta Patrick Eyres a a New Arcadian Press and Little Sparta Trust
This article was downloaded by: [Eyres, Patrick] On: 30 December 2008 Access details: Access Details: [subscription number 906863511] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Studies in the History of Gardens & Designed Landscapes Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100755 A people's Arcadia: the public gardens of Ian Hamilton Finlay in relation to Little Sparta Patrick Eyres a a New Arcadian Press and Little Sparta Trust, Online Publication Date: 01 June 2009 To cite this Article Eyres, Patrick(2009)'A people's Arcadia: the public gardens of Ian Hamilton Finlay in relation to Little Sparta',Studies in the History of Gardens & Designed Landscapes,29:1,115 — 132 To link to this Article: DOI: 10.1080/14601170701807088 URL: http://dx.doi.org/10.1080/14601170701807088 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Ian Hamilton Finlay Maritime Works
Ian Hamilton Finlay Maritime Works 23 March – 30 June Tate St Ives 2002 Notes for Teachers 1 Contents • Introduction • Ian Hamilton Finlay: a brief biography • Ian Hamilton Finlay: key themes and ideas • Gallery 1: Maritime works from the Tate Collection • Lower Gallery 2: Ian Hamilton Finlay Maritime Works • Apse: Ian Hamilton Finlay Maritime Works • Gallery 3: Ian Hamilton Finlay Maritime Works • Gallery 4: Ian Hamilton Finlay Maritime Works • Gallery 5: Ian Hamilton Finlay Maritime Works • Upper Gallery 2, Studio, Courtyard and Café • Resources available at Tate St Ives • Further Reading • Glossary • Appendix 2 Introduction This season Tate Gallery St Ives devotes its galleries to the internationally known Scottish artist and poet Ian Hamilton Finlay with a rare thematic exhibition presenting maritime works. This remarkable exhibition is perfect in the unique coastal context of Tate St Ives and brings together newly commissioned works and groups of works which have never been presented before in the context of this particular theme. Also on display is a selection from the Tate collection including Joseph Mallord William Turner, Christopher Wood, Oskar Kokoshka, Alfred Wallis and Barbara Hepworth So how do we approach these displays? As you work your way through the galleries you will be taken on a journey of intrigue and discovery. The exhibition offers a number of visual surprises, especially to those unfamiliar with Ian’s work. You will find a range of themes and ideas explored in a variety of ways and media. Many of the works are simple to look at but complex in meaning. You need to spend time and slowly explore the connections and puzzles. -
Poetics of Materiality: Medium, Embodiment, Sense, and Sensation in 20Th- and 21St-Century Latin America by Jessica Elise Beck
Poetics of Materiality: Medium, Embodiment, Sense, and Sensation in 20th- and 21st-Century Latin America By Jessica Elise Becker A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Francine Masiello, Co-chair Professor Candace Slater, Co-chair Professor Natalia Brizuela Professor Eric Falci Fall 2014 1 Abstract Poetics of Materiality: Media, Embodiment, Sense, and Sensation in 20th- and 21st-Century Latin American Poetry by Jessica Elise Becker Doctor of Philosophy in Hispanic Languages and Literatures University of California, Berkeley Professor Francine Masiello, Co-chair Professor Candace Slater, Co-chair My approach to poetics in this dissertation is motivated by Brazilian Concrete poetry and digital writing as models for alternative textualities that reconfigure, through their material dimension, what a poem is and how we read it. These writing models also invite us to think about the ways in which cognitive and physical processes generate meaning. With these insights in mind, this dissertation returns to a broad range of so-called experimental poetry, from Hispanic American vanguardista visual poetry and Brazilian Concrete poetics to present-day Latin American media writing. By emphasizing cross-national and cross-linguistic connections, I explore poetic intersections of verbal and non-verbal modes of signifying, from non-linear poetic texts to poetic images, objects, performances, events, and processes. These different poetic movements and styles are tied together through their foregrounding of materiality, which implies a meaningful engagement with the text’s physical characteristics and with the particular medium in which texts are produced, stored, and circulated in both creative and receptive processes. -
HOLOPOETRY Essays, Manifestoes, Critical and Theoretical Writings
HOLOPOETRY Essays, manifestoes, critical and theoretical writings Eduardo Kac New Media Editions Lexington 1995 © 1995 Eduardo Kac All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. First edition, 1995 For information, contact: University of Kentucky Department of Art New Media Area ATTN. Eduardo Kac 207 Fine Arts Building Lexington, KY 40506-0022 Prefácio Este livro reúne textos que apresentam este novo tipo de poesia visual que introduzí em 1983. Os textos selecionados aqui recolhidos foram reproduzidos, em sua maioria, na língua em que foram originalmente publicados. Estes textos tem por objetivo esclarecer as questões básicas da holopoesia e documentar obras que de outra forma seriam de difícil acesso. Espero que este livro sirva como encorajamento ao leitor para que este se interesse por ler os holopoemas eles mesmos. A teoria não substitui os poemas. Tampouco ela os antecipa; antes, ela se desenvolve e muda com eles. A teoria é o resultado direto das experiências textuais, e também uma arena na qual o poeta exercita a reflexão sobre seu trabalho. Então, se este livro cumprir seu objetivo, onde pode o leitor ver os holopoemas? A esta altura, apenas em exposições individuais ou de grupo em museus e galerias. Espero que no futuro – devo dizer, no futuro próximo – seja possível a publicação de um livro de holopoemas. Até lá, que o presente livro seja uma introdução e um convite ao leitor para que explore a escritura holográfica. -
Ian Hamilton Finlay
IAN HAMILTON FINLAY Biography 1925 Born in Nassau, Bahamas. Moved to Glasgow, Scotland as a child 1950 Moved to Edinburgh 1961 Founded The Wild Hawthorn Press with Jessie McGuffie 1962 Founded the periodical ‘Poor. Old. Tired. Horse.’ offset at the Wild Hawthorn Press 1966 Moved to Stonypath in the Southern Uplands of Scotland, where he immediately set about creating the world-famous garden ‘Little Sparta’ 1979 – 84 Founded the Saint – Just Vigilantes and planned and took part in the First Battle of Little Sparta, February 4, 1983 (between Strathclyde Region and Little Sparta) 1985 Shortlisted for the Turner Prize, Tate Gallery, London 1987 Awarded Honorary Doctorate by the University of Aberdeen 1993 Awarded Honorary Doctorate from the Heriot-Watt University, Glasgow 1999 Awarded honorary professorship from the University of Dundee 2002 Awarded CBE in New Year’s Honours Awarded Scottish Horticultural Medal by the Royal Caledonian Horticultural Society 2003 Scottish Arts Council Creative Scotland Award 2006 Died, Edinburgh Solo Exhibitions 2018 Ian Hamilton Finlay - The garden became my study, David Nolan, Gallery, New York, NY, US [forthcoming} 2016 St Paul’s Cathedral, London Ian Hamilton Finlay: Neoclassicism and Revolution, Pallant House Gallery, Chichester, UK Ian Hamilton Finlay: Early Works (1958 – 1970), Ingleby Gallery, Edinburgh, UK 2015 Ian Hamilton Finlay 1789 – 1794, Victoria Miro, London, UK 2014 Beauty and Revolution: The Poetry and Art of Ian Hamilton Finlay, Kettle’s Yard, Cambridge, UK Terra Mare, Sfeir-Semler Gallery, -
North American Sound Poetry in the Digital Age
The Mechanic Ear: North American Sound Poetry in the Digital Age María GOICOECHEA & Víctor SALCEDA Universidad Complutense de Madrid Departamento de Filología Inglesa II [email protected] [email protected] ABSTRACT This essay provides a revision of North American sound poetry from the perspective of the digital culture. In an effort to describe the role that sound plays in digital literature creations, we have tried to find points of suture between the practitioners of sound poetry of different decades and the contemporary practices of sound and digital poetry. The main objective is to establish a relation between these poetic genres, as they both emphasize the aural dimension as well as challenge academic categorization and print tradition alike. We discuss the work of three seminal practitioners of sound poetry: Jerome Rothenberg, John Cage, and Jackson Mac Low. We examine their proposals alongside those of contemporary artists that belong to what we describe as the posthuman phase of sound poetry: Jim Andrews, Christian Bök, and Tracie Morris. Through the comparison of seminal sound poetry practitioners of the 1960s with contemporary North American poets that have recuperated poetry’s performative dimension, we explore the new poetical effects produced by the digitalization of the human voice alone or in combination with other sounds, images and text. From Native American chants to the digital poetry found on the Web, we explore the influence of the medium as well as other cultural factors influencing the production of oral poetry and its dissemination. Digital poetry nourishes itself from previous literary traditions as well as from the multimedia convergence favoured by the digital medium. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis 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. Concrete Poetry in England and Scotland 1962-75: Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing Greg Thomas PhD in English Literature The University of Edinburgh 2013 3 Abstract This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. -
VISUAL POETRY: a Brief History of Ancestral Roots and Modern Traditions by Karl Kempton
VISUAL POETRY: A Brief History of Ancestral Roots and Modern Traditions by Karl Kempton INTRODUCTION A visual poem may be defined simply as a poem composed or designed to be consciously seen. The modern visual poem is generally composed with disassembled language material. This stuff of language includes word, text, note, code, petroglyph, letter, phonic character, type, cipher, symbol, pictograph, sentence, number, hieroglyph, rhythm, iconograph, grammar, cluster, stroke, ideogram, density, pattern, diagram, logogram, accent, line, color, measure, etc. Today’s minimalist visual poet, or the post World War Two term, concrete poet, generally composes with fissioned language material to create new and free particles, and/or sonic patterns, clusters, densities, and/or textures. The visual poet composes with these freed particles and generally weds or fuses them to one or more art forms. By doing so, by crossing art form boundaries, the visual poet composes in a field of multimedia or borderblur or intermedia. The modern visual poem is a poetic form reinvented by various avant-garde movements and influenced by abstract art. It is the contemporary expression of the pre-1900 visual poem handed down through millennia under a host of forms such as acrostics, anagrams, colored or illuminated text, emblems, labyrinths, and pattern and shaped poems. The pre-1900 visual poems are found throughout various language families around the world with numerous types, functions, and intentions. Many remain in use to this moment.1 Except for the impact of modern technology, it is probably safe to say that all approaches to the visual poem after 1900 can be found somewhere in the past from rock art to proto-writing and ideogrammatic, hieroglyphic and alphabetical writing on fixed and portable objects.