Angelo Plessas, from Untitled Portrait Gallery, 2009
For those who Know Best their mirror,
a Conspiracy revolves around.
Silence from behind devours a relic from the past.
Life is usually attached to lengths of magnetic fields.
You might be Emerging as something else.
I might Switch Back. All I wish is that when I start up,
my life will be OkaY
Keep, Art was Stolen By a Masked man in thong.
I thank Obama because he\’s black,
he said We love Colors.
You are feeling suicidal now please stop.
Apocalyptic, I contemplate the Universe around us.
elated quilt establishes despairingly
victorious coma becomes elatedly
thoughtful income clips deprecatively
beautiful sidewalk checks long-windedly
combative pie cracks giddily
crowded haircut buzzes dazzlingly
quaint answer enhances garishly
A TYPICAL DAY OF DALI AND GALA
DALI, materialized in a apartment. Many persons in a single body. It was the
sixth game of attention. Behaving scarcely angered, DALI punched a ninja star,
but this certainly didn't encourage DALI deciding what to do in smart way. Out of
nowhere, DALI hoped that DALI's marginal fidelity is to be perpetually positive,
because hatred is born out of fear. Unconsciously DALI emailed GALA, DALI's
neighbor/accomplice 'Free yourself from common sense', said DALI. DALI must
have seen GALA for 20 hours in Tahrir square during the Revolution some of
them were modest diabolical and empirical inspirations. GALA was a nobody.
Many persons outside a single body. Between the line of black and white. GALA
was outgoing more or less... pestering. DALI called GALA 'Somebody has to
listen to me' he said. 'These are the symptoms of the liberal-democratic affluent
society', said DALI.
GALA hypnotized by lazy DALI. 'Why and for whom does philosophy work today
?' , said GALA. GALA ...
Christine Kelly, Apple 1 is an apple. Apple 2 is the idea of an apple, 2011
One or More Occasions
If the diviner,
when he wakes up to the sound
of his own trumpet,
or presents the
in moonlight, the wrong kind of bottle
we belong in the monosyllabic new
the diviner won’t embarrass
on fear of exits (this and an absence of such
fear are both aphrodisiacs)
stone cold absence
then the diviner becomes crooked
a bendy-neck swan totem stands in for
a subjective everything
feature: permanent hat
and guess what
this is a timeslot
a clutter among others
at which we marvel occasionally
into clean and empty
sing about the full
about means around
or in proximity to
timespace designations. Hey,
take it like a spittoon.
into the bloated order of cause and effect—
cranial piping is how I arrived
at permanent hat, actually
resembling a column of smoke
coming out of the diviner’s hat
I Baroque It
“DOES sport imply sanctity?” was a sporting question, which through no extension
other than the yawny, tragic phonetiks surrounding someone’s (I bet) snowmobile accident…
…less likely than a skiing accident,
more likely than a competitive taffy pull filling the interior of a milk hood shared by two school chums
with vacuum trident
Early incidence of dual ownership can create loquaciousness so drippy that it requires a dish.
OBLITERATE WET GENEROSITY
Shan’t discuss human sexual attraction in this one, but know, just know, know what you know,
when you hear those angels trumpeting: oxygen. 100% oxygen hands slip in from behind.
$527 Cobra Quiz [win again and again]
Cobra the yogic asana.
Cobra the health insurance for poor sods.
Alexandra Gorczynski, Bathroom in the Dark, 2011
March 23rd, 2011
Early mornings were never my thing. I mean, it’s not that artists are lazy. Or out drinking late most nights. Or not out last night, a Tuesday. Hungover. I go out with the dog. It’s still basically dark. A kind of dark blue fog, super cold and grey. A couple are out early, two middle aged men bundled up and both smoking with thick leather gloves. They are sitting on a bench in front of the takeout place on the corner. It’s way too cold to be sitting outside. I hear one say to the other as I pass them, “do you want the thing or the other thing.” And I think, this is true partnership, to have thoughts coalesce around the same object. Not a shared thought, but a coming together. The muffin or the bagel. Privileging someone else’s desires for a subjectless thing. Generosity. Just as likely the better looking half of an egg and cheese sandwich. I go in the store and order one for myself. Salt and grease.
Today in 1923 Tennessee became the first state to outlaw the teaching of evolution. Today in 1933 the Reichstag passed the Enabling Act, granting Hitler total power. Fittingly, today is miserable. Still basically dark, hail. The never ending domino fall of winter storms.
March 29th, 2011
I live in America’s most bug infested city. There are bug infested mattresses all around my neighborhood this evening. It’s trash night and everyone has put the big stuff on the curb. Not just bug-ridden mattresses, also rugs, rotting Ikea cushions from a few seasons back, clothes of all kinds. I drop off my sheets at the laundry across the street and six o ...
I start by looking for images of parking lots. I’m thinking about finding the perfect image, or making one. I have to see an image of a parking lot with over-layed text that reads “Social Network.”
Then I move on to looking at images under the term crash. There are cartoon characters, crash dummies, airplanes in pieces, bodies, stills from the movie, cymbals, explosions. I open a new tab: Wikipedia – Crash. I’m redirected to collision.
A collision is an isolated event in which two or more moving bodies exert relatively strong forces on each other for a relatively short time. ¶ Collisions can be elastic, meaning they conserve energy and momentum, inelastic, meaning they conserve momentum but not energy, or totally inelastic (or plastic), meaning they conserve momentum and the two objects stick together.
It’s this last type of collision that interests me most, the totally inelastic one—when the two colliding objects merge into one and conserve momentum.
While cruising through the images I’m collecting, I think of Jean Baudrillard and then J.G. Ballard, retracing steps that I took three years ago, all in perfect recall. I make a new folder called parking-lots and drop in images with filenames like 5781586-aerial-view-of-an-empty-parking-lot, grantham-parking-lot-0951, Lot, Tel_Aviv_parking_lot, and zoo_lot2-750149.
It’s getting dark outside and my terminal is bathing this corner of the room and the front side of my knuckles in bluish light. My fingernails dimly reflect the screen. All the tiny parallel ridges reflect light in opposing directions, causing the reflection to appear matte.
I get up from my desk, look out the window, decide not to close the drapes, turn around and glance at the cat, then sit back down. My fingernails are long and hit the keys before the pads of my fingers. I ...
Image by altffour
Editor’s Note: “"Tricia u MUST join Twitter to network with Poets" *tricia joins twitter, falls in with a million Comedy Fuckers, forgets what poem even is*” — @TriciaLockwood, September 2, 2011
Patricia Lockwood is an actual poet—published in the New Yorker, even!—who has inappropriately touched the imaginations of a thousand followers with her “sexts.” Born around the time of the Anthony Weiner scandal, the genre congeals gobs of glowing poetry from networked life’s greasy stew of blunt spam copy, collaged pop culture, and constant little spells of titillation. This is a selection of Lockwood’s hottest sexts.
A ghost teasingly takes off his sheet. Underneath he is so sexy that everyone screams out loud
Do you smell like a mousetrap? I am a cruel woman and I simply adore the smell of mousetraps
A Teenage Turtle takes extreme pleasure from sticking his head in and out of his shell very slowly while a rat watches
Midnight. My wife and children are asleep. Breathlessly I begin to search for my favorite kind of porn: "Women Standing in Big Jeans"
THE BIGGEST WOMEN IN THE TIGHTEST JEANS!!! U WONT BELIEVE YOUR EYES! THESE WOMEN SIMPLY CANT GET ENOUGH STANDING AROUND IN BIG JEANS!
These jeansluts stand up really straight with their tits out, holding the jeans as far away from their bodies as possible! SO RAW
This girl wants a denim vest, a denim scrunchie, and denim Keds -- are YOU the sicko who's going to give them to her
You are miniature, and I put you in the bell of a saxophone and play a long soulful B-flat
I am Everest and I JO while a 100-year-old grampa tries to climb me. At the moment he reaches my peak I produce a thunderous rockslide...
United States of America
The Abrons Arts Center of Henry Street Settlement is proud to present DECENTER: An Exhibition on the Centenary of the 1913 Armory Show, curated by Andrianna Campbell and Daniel S. Palmer. Opening February 17, 2013 and on view through April 7, the exhibition celebrates the legacy of the Cubist paintings and sculptures in the historic 1913 Armory Show by featuring a group of 27 emerging and internationally recognized contemporary artists, who explore the changes in perception precipitated by our digital age and who closely parallel the Cubist vernacular of fragmentation, nonlinearity, simultaneity, and decenteredness. The show highlights the sponsorship of the 50th anniversary exhibition by the Henry Street Settlement in 1963, the occasion which announced the building of what is today known as the Abrons Arts Center located at 466 Grand Street, New York, NY, on the Lower East Side of Manhattan.
The exhibition commences on the 100th anniversary of the Armory Show, Sunday, February 17, with a 1913 Armory Show Centennial Event, which will feature panel discussions about the 1913 exhibition, as well as the theme of perception and art in the digital age, followed by an opening reception. The show exhibits a group of artworks in the gallery, and also features digital works displayed at www.decenterarmory.com. The site launches February 17.
At the 1913 Armory Show, the Association of American Painters and Sculptors showcased the “New Spirit” of modern art. A backlash of scathing criticism showed how baffled the general American public was by the seeds of abstraction in the Cubist artworks, which quickly became a shorthand expression for the structural changes precipitated by modernity. They not only redefined artistic practice, but also altered our understanding of the process through which we perceive the world. On its 100th anniversary, we will celebrate the Armory Show by posing the question: What is the legacy of Cubism in the hundred years since the Armory Show’s radical display of modern art, and especially, how has this become relevant today?
Accordingly, this exhibition celebrates the centenary of the groundbreaking Armory Show by assembling artworks that analyze the digital revolution and the ways it has affected our perception of the world. Artists as varied as Sara VanDerBeek, Gabriel Orozco, Liz Magic Laser, and Abrons AIRspace residency program alumna Amy Feldman evoke the formal innovations of the historic avant-garde but differ through an embrace or flirtation with digital mediation. Artists today like Andrew Kuo, Tony Cokes, and Cory Arcangel are inspired by the inter-cultural circulation of images, ideas, and data in a worldwide network. While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis.
Although the far-reaching historical significance of the Armory Show was examined through a partial re-creation on its fiftieth anniversary in 1963 (sponsored by the Henry Street Settlement), even then, scholars acknowledged that the exhibition’s social import could not be replicated simply by re-staging the show. In order to honor that “New Spirit,” and the collaborative process through which the 27 members of the Association of American Painters and Sculptors organized this radical exhibit, the 2013 show will inhabit all available exhibition spaces at Abrons and also feature a corresponding online component of digital works. This web-based portion of the show, accessible at www.decenterarmory.com, will grow as artists invite others to contribute in a process that highlights the diversity and expansiveness of the 1913 show’s legacy as it relates to our world today.
This event celebrates the 1913 Armory Show, exactly 100 years after its doors opened to the public. What is the legacy of the exhibition, and how has it been understood and misinterpreted? Is there a “new aesthetic” brought about by perceptual shifts in the digital era? How do these changes align with the formal innovations of the historic avant garde? These two discussion panels, organized in conjunction with Abrons Art Center’s “Decenter: An Exhibition on the Centenary of the 1913 Armory Show,” will address the legacy of the 1913 Armory Show, and the ways that perception and artistic practice in the last hundred years has been radically transformed by our digital era.
Panel Discussion: The Legacy of the 1913 Armory Show:
Charles Haven Duncan (Collection Specialist, Archives of American Art)
Franklin Evans (Artist, New York)
Andrea Geyer (Artist, New York)
Marilyn Satin Kushner (Curator and Head, Department of Prints, Photographs, and Architectural Collections, New-York Historical Society; Co-curator of The Armory Show at 100)
Mary Murray (Curator of Modern and Contemporary Art, Munson Williams Proctor Arts Institute)
Panel Discussion: Perception and Art in the Digital Age:
Introduced by: Israel Rosenfield (City University of New York)
Ethan Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, Sara VanDerBeek
Moderated by: Brian Droitcour
1) Several people have asked me about submitting videos of readings, or video works where words appear as images. The Wordworks series is mainly about writing, rather than performance, video, or other mediums. Any submission should have a core of text that people don't have to press "play" to read. I welcome the inclusion of diverse media objects in submissions as complements to text, but not as replacements of it.
2) Submissions should be able to fit in a Rhizome blog post, without requiring readers to go to another site to read it. I'm aware of the strong traditions of electronic literature, hypertext, interactive fiction, etc., where writers make use of the entire browser window, from the background color to the forward and back buttons. I read and enjoy works like that, but for Wordworks I'm looking for writing that does not exceed the format of the post. This is just an arbitrary decision that I have made in order to maintain continuity throughout the series.
Thanks for reading and responding!