#Marjorie Welish

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6

Insects are good creatures, bells dazzle. Flying insects paste themselves to streetlights. Splash knives on marble. Ashes, ashes for example.

Splash knives on marble to obtain a reply from the ladies and gentlemen interwoven. Paste chutes under ladders, paste napkins to bells.

Won’t you buy a few sprigs of rosemary from ladies interwoven like self-abolishing lace? Splash knives on marble; ashes, ashes for example.

Ladders leap to the chimney, spread the word. Insects fly fast through spaces arranged by ladders; bells dazzle.

I wish you a child pulling a pull-toy and all increase. All increased like knives on marble. Shove, stab and fall

across the human family who has commenced to extinguish itself. Paste chutes to ladders, paste napkins to bells, splash knives on marble: ashes, ashes, for example.

–Marjorie Welish

[stephanemroczkowski]

Subject to Change Michael Corris, Stéphane Mroczkowski, Marjorie Welish, Alexandra Pignol Mare et Martin, le Kremlin-Bicêtre, France Collection Anatomies de la modernité (dir. Stéphane Mroczkowski, Alexandra Pignol)

Second semestre 2023, disponible novembre 2023 144 pages, bilingue anglais-français, offset couleur, format 23,5 x 20 cm, cartonné cousu, design Fred Dupuis, 39€

LE LIVRE :

Un poème de Bertolt Brecht, écrit durant la guerre 39-45, sert de point de départ à un livre de créations graphiques et de textes échangés entre quatre auteurs et artistes de Dallas, New York, Strasbourg.

Un livre qui expose le processus de création et de recherche, comme une enquête au sujet de la maison de Brecht à Santa Monica et de son importance comme lieu de création.

Sujet To Change est un ouvrage collaboratif mêlant dessins et textes, qui prend appui sur le poème de Bertolt Brecht « Le Masque du Méchant » (1942). Ce poème, écrit en exil, porte sur un masque de théâtre Nô qui devient l’image même du mal qui sévit alors en Europe. Ce poème nous conduit donc à prendre en compte différentes disciplines : histoire, littérature, poésie, théâtre.

À ce bref poème, chaque artiste-auteur répond dans un registre distinct et avec un style graphique et une écriture particuliers. Les nombreux dessins se répondent et dialoguent pour questionner la personne de Brecht, l’artiste, le poème, et les lieux de création artistique. L’essai d’Alexandra Pignol apporte, sur un ton libre, une somme essentielle d’informations et d’idées sur l’époque de Brecht en exil, à partir d’une ironie sur les idéaux de fonctionnalisme du Bauhaus.

THE BOOK :

A poem by Bertolt Brecht, written during the 1939-1945 war, is the starting point for a book of images and texts exchanged between artists and writers living in Dallas, New York and Strasbourg (France).

The work proposes to reveal and deconstruct the process of creation, research and exposition through an investigation of professional and domestic aspects of Brecht’s exile in the United States.

The collaborative work in Subject to Change begins with Bertolt Brecht’s poem, “The Mask of Evil” (1942). The central image of the poem is a Noh mask that Brecht had traveled with on his journey to the United States. In a sense, the mask functions as the epitome of absolute evil that existed in Europe during the Second World War, and leads us to consider different disciplines: history, literature, poetry, theater, and philosophy.

Each of the participants in the project responded to Brecht’s poem in a distinct register and style, engaging in a dialogue questioning Brecht: the poet, the work, the circumstances of creation, and the man. The essay by Alexandra Pignol provides additional information and insight this period in Brecht’s life, drawing a connection between Brecht’s poems written during his U.S. exile and his writings on the Bauhaus ideals of functionalism.

Subject to Change explores the relationship between seeing and reading, art and knowledge, form and content. The project aims to make the research process visible. The aim is not to reconstruct a historical journey or moment (Brecht in Santa Monica), nor to illustrate Brecht’s poem. Rather, the aim is to draw connections between the past and the present.

Subject to Change is available through Mare et Martin Publishers (Paris). To purchase a copy :

[louderfade]

Gracias Khouw and Marjorie Welish

[bm-contemporary-art]

Collaboration Project Lodz, #5, #6, #7, #8, Marjorie Welish, 1997, Brooklyn Museum: Contemporary Art

Four sections, framed. Size: a: 14 × 17 in. (35.6 × 43.2 cm) b: 14 × 17 in. (35.6 × 43.2 cm) c: 14 × 17 in. (35.6 × 43.2 cm) d: 14 × 17 in. (35.6 × 43.2 cm) Medium: Oil on paper with graphite on vellum overlay

https://www.brooklynmuseum.org/opencollection/objects/224306

[smallpressdistribution]

10 Books to Peel the Scales from Your Eyes

IN THIS MONTH’S SPDCLICKHOLE by Trisha Low

From visionary writers to collaborations that shift our perspective, from work that sheds a light on injustice and dares us to face it, we’re happy to honor this month’s #SPDHANDPICKED theme - VISION - with a list of books that peel the scales from our eyes.

1. Vision of the Children of Evil by Miguel Angel Bustos, trans. Lucina Schell (co-im-press)

"Like the tormented Peruvian César Vallejo or the Spanish madman-savant Leopoldo Panero, Argentina's Miguel Ángel Bustos ransacks the unconscious for its darkest revelations of the inexpressible. Like García Lorca forty years before in Spain, Bustos was murdered for his politics in 1976 by his country's military dictatorship. To render his hallucinated language and his dream-nightmare visions in credible English, Lucina Schell reaches for the edges of expression and introduces us to a strangely gifted, wildly imaginative, prematurely silenced twentieth-century voice."—Stephen Kessler 2. Tela de sevoya / Onioncloth by Myriam Moscona, trans. Antena: Jen Hofer with John Pluecker (Les Figues Press)

The narrator of TELA DE SEVOYA / ONIONCLOTH travels to Bulgaria, searching for traces of her Sephardic heritage. Her journey becomes an autobiographical and imagined exploration of childhood, diaspora, and the possibilities of her family language: Ladino or Judeo-Spanish, the living tongue spoken by descendants of the Jews expelled from Spain in 1492. Memoir, poetry, storytelling, songs, and dreams are interwoven in this visionary text—this tela or cloth that brings the past to life, if only for a moment, and that looks at the present though the lens of history.

3. Television by Claire Millikin (Unicorn Press)

"In this remarkable collection, Claire Millikin has made her own persistent music of a fully felt, fully experienced life in which 'what's broken never heals completely.' Often edging into what seems unspeakable, she finds a language that remains plain, steady, scrupulous, unsentimental and unshowy. Poem after poem registers the poet's 'battle for the moral world'—illuminating not only a single life but its human and environmental surroundings. As a motif draws us to the heart of a piece of music, Millikin's recurrent emblem is the centering fact and force of television: its role—fractured, phantasmagoric and familiar—in home and family, and in the wider world, where it may exercise its 'balm of blue light.'” —Eamon Grennan

4. Actualities by Norma Cole and Marina Adams (Litmus Press)

In this lambent collaboration, visual artist Marina Adams echoes the spareness of Norma Cole's language with delicate lines that contour muscular negative spaces, sometimes stark and densely foreboding, sometimes luxuriant with color. Norma Cole dialogues with Marina Adams with syncopated poems concerned with fragmentation, transformation, love, precarity, and the tenuousness of kinship between places, things, and being. In ACTUALITIES, poet and artist meditate in tandem, moving between anxiety and reconciliation, in a call and response with one another, and with a cosmos that continuously thwarts knowing, refusing to sit still.

5. Tucson Salvage: Tales and Recollections from La Frontera by Brian Jabes Smith (Eyewear Publishing)

This book is a chronicle of the overlooked and unsung, a collection of award-winning essays based on Brian Jabas Smith's popular column, "Tucson Salvage." "A true champion of the dispossessed and forgotten. ... I can't recommend this book highly enough."—Willy Vlautin

6. Bred from the Eyes of a Wolf by Kim Kyung Ju, trans. Jake Levine (Plays Inverse Press)

Equal parts poetry, drama, and sci-fi, award-winning poet Kim Kyung Ju's verse play BRED FROM THE EYES OF A WOLF follows a post-apocalyptic family of wolves (indistinguishable from humans) forced to taxidermy their own cubs in order to survive. An allegory for the degraded social relations of the present, Kim Kyung Ju's all-too-familiar dystopia partitions the male body into monetized parts while the female body is valued only for its reproductive ability. Various mythologies and science fictions layer one over the other—from Oedipus to zombies to a cybernetic police state—in this stunning depiction of family, alienation, and contemporary capitalism, translated from Korean into English for the first time by frequent collaborator Jake Levine.

7. Thirteen Ways of Looking at The Bus by Gizelle Gajelonia (Tinfish Press)

In THIRTEEN WAYS OF LOOKING AT THE BUS, Gizelle Gajelonia discovers her muse in Honolulu's TheBus mass transit system. She takes seriously (in this seriously funny chapbook) the notion of routes—routes through Hawai'i's history and geography, routes through American poetry, routes through languages spoken in Hawai'i. Many of the pieces parody canonical poems by T. S. Eliot, Wallace Stevens, Hart Crane, Elizabeth Bishop, John Ashbery, and Eric Chock. Out of her parodies come marvelous revisions. Among the figures included in Gajelonia's revised canon are Hawai'i's last queen, Lili'uokalani, Filipina nurses, and an honors thesis writer very like the author who dreams of Columbia University.

8. USO: I'll Be Seeing You by Kim Rosenfield (Ugly Duckling Presse)

USO: I'LL BE SEEING YOU is at its core a parable of performance and service. How does one perform/serve issues of identity, race, politics, and the essential vulnerability of what it means to be human? What is language in service of and when does it go too far? What degrades? What supports? What is heroic? What does it mean to put oneself at risk or in harm's way? This book speaks via the poetry of stand-up comedy to the U.S. involvement in the Middle East and the difficulties of naming the unnameable. 

9. War and Peace 4: Vision and Text, by Judith Goldman and Leslie Scalapino, Editors (O Books)

WAR AND PEACE 4: VISION AND TEXT is devoted to collaborations between visual works and poetry, includes collaborative works of Charles Bernstein with Susan Bee, Amy Evans McClure with Michael McClure, Kiki Smith with Leslie Scalapino, Denise Newman with Gigi Janchang, a film on paper by Lyn Hejinian, Alan Halsey's visual texts, Simone Fattal, and Petah Coyne. Judith Goldman interviews Marjorie Welish, Lauren Shufran interviews Jean Boully, Leslie Scalapino interviews Mei-mei Berssenbrugge. Also included are E. Tracy Grinnell's homophonic translations of Claude Cahun's "Helene la rebelle" and poems by Fanny Howe, Thom Donovan, and others.

10. How Do I Look? by Sennah Yee (Metatron) Through a series of flash poetry/non-fiction pieces, Sennah Yee's debut full-length book HOW DO I LOOK? paints a colourful portrait of a woman both raised and repelled by the media. With pithy, razor-sharp prose, Sennah dissects and reassembles pop culture through personal anecdotes, crafting a love-hate letter to the media and the microaggressions that have shaped how she sees herself and the world. HOW DO I LOOK? is a raw and vulnerable reflection on identities real and imagined. 

All #SPDhandpicked books on VISION are 20% off all month w/ code HANDPICKED

[speakerreetywadhwa]

Newsletter: Poem.com

October 19, 2021 Two Poems Marjorie Welish Itself Sedentary in another language is language as such Whether or not we can read it, sought Because home. Inscription composted space works this interrogation of me: “You have a nice listening face,” Inspection shining forth. You face + the animal kingdom. There was once transparency near the face Hexagonal in facets blown vehemently and so…

[moodoofoo]

Marjorie Welish Before After Oaths Gray 4, 2013 acrylic on panel (diptych) 20 x 32 inches

[inexhaleart-blog]

Artist: Marjorie Welish

http://www.art-3gallery.com

[tidrywall]

Roy Dowell and Richard Kalina: Standing their ground

Contributed by Marjorie Welish /  “Synchronicity: A State of Painting” an exhibition of paintings by Roy Dowell and Richard Kalina, on view at Lennon, Weinberg through December 23,  proves that the notion of standing one’s ground may be reason enough to create uncommonly interesting pairing and debate. Apart from a schematic approach to matters, their diagrammatic … read more... "Roy Dowell and Richard Kalina: Standing their ground"

[nofomoartworld]

Hyperallergic: Reader’s Diary: A Poetry of Alternate Takes

The other day on the subway I caught sight of a sign that read what if everyone in New York was reading the same book at the same time and fell into a deep funk. It almost made me want to give up reading forever. Luckily, I was able to rally my spirits and stick my nose in a book I had with me, one I could feel pretty sure everyone else wouldn’t be reading at the same time. Later, not on the subway, I started to read one that struck me, not as a book everyone wouldn’t be reading at the same time, but one that couldn’t be read by everyone — or even by two people at once — because it could never be the same book for any two people, or maybe not even for the same person twice. Yes, they’d be reading the same words, but not the same book. Probably that’s true of any book, but some of them make more of a point of it. So What So That, Marjorie Welish’s new collection of poetry, is that kind of book — one “constituted       of alternative takes,” to quote a poem titled “You Needn’t,” which (given the various musical references embedded in it) I take as an allusion to Thelonious Monk’s “Well, You Needn’t.” But you might see it differently. My So What So That will inevitably be different from yours. Somehow permeable to its reader, it finds its form only in a sort of chemical compound with whatever spirit any individual brings to it. Welish’s poetry, like Monk’s music, is a montage of moving parts in which you’d be wise to expect the unexpected. It’s hard to locate oneself inside this poetry, and yet it never seems confused. I recently came across these words from Henry James, quoted by the novelist Adam Thirlwell in an essay on Henry Green: “The muddled state too is one of the very sharpest of the realities.” Like Green and James, Welish is sharp about the muddle that is almost everyone’s daily lot. She doesn’t entirely regret that muddle, and certainly rejects the claimed literary antidotes to it: “Word away are the armaments: / some speak through aphorism, others harangue; still others enlist reasoning arguments / wanting the hearer to do something.” So, in fact, you’ll find no arguments, harangues, or aphorisms here. Nothing meant to line up all readers into a unity. Just what another poem calls “Looking nonstop” as a way to “devise notation for the ambient sounds / and transcribe unbound pages from the age of reason.” (Evidently it’s not reason of which the poet is suspicious, but of “reasoning arguments” with what Keats called “a palpable design on us.”) It strikes me now that something like those “unbound pages” might be what I’ve been looking for, so often, in what might seem unlikely places, the bound pages of books. (“The geneticist / concluded: my search involves the greatest difference that matters to the smallest divergence,” writes Welish.) I’m going to keep looking, but for now, at least, I’m going to put the diary of my search on hiatus. It’s been fun keeping this Reader’s Diary but, well, I needn’t. “Because life — or a different song with a similar beginning / then becoming that companion to on off on of — / is short shrift.”

Marjorie Welish’s So What So That: Poems (2016) is published by Coffee House Press and is available from Amazon and other online booksellers.

The post Reader’s Diary: A Poetry of Alternate Takes appeared first on Hyperallergic.

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[stephanemroczkowski]

Stéphane Mroczkowski, Alexandra Pignol (dir.), David Diao. Peinture et document/painting and document

Paris, Mare & Martin, mars 2021 format 15 x 21 cm, 273 pages, 13 textes, 56 illustrations

Résumé Figure majeure de l’abstraction conceptuelle, David Diao questionne les usages et les institutions du monde de l’art. Les documents d’archive, photographies, listes, chiffres de ventes, biographies, carrières d’artistes — dont la sienne — bouleversent l’approche que l’on a de la peinture. Reproduits sur un fond monochrome très élaboré, les documents ont une valeur informative tout comme une valeur esthétique. Diao donne à la peinture une dimension conceptuelle effective : focalisée sur l’information et le contenu. Et s’il donne un rôle central à l’information, il affirme aussi la présence irréductible de la peinture, qui rend le rôle des documents plus complexe à définir, comme le montrent les essais du présent ouvrage.

Avec les textes de Hélène Chouteau-Matikian, Michael Corris, Felix Gmelin, Catherine Grout, James Harithas, Jean-Marc Huitorel, Marjolaine Lévy, Joseph Masheck, Stéphane Mroczkowski & Alexandra Pignol, Marshall N. Price, Ramon Tio-Bellido, Hiram To, Marjorie Welish

[francescacolson]

Lawrence Weiner

"Lawrence Weiner." Guggenheim. THE SOLOMON R. GUGGENHEIM FOUNDATION, n.d. Web. 27 Feb. 2017.

Smith, Roberta. "The Well-Shaped Phrase as Art." The New York Times. The New York Times Company, 16 Nov. 2007. Web. 27 Feb. 2017.

Welish, Marjorie. "Lawrence Weiner." BOMB Magazine. N.p., 1996. Web. 27 Feb. 2017.

[rickilanders]

Inhaling and Exhaling: Marjorie Welish’s Abstract Paintings at Art Gallery 3 Urge Us to Reconsider What We See

Inhaling and Exhaling: Marjorie Welish’s Abstract Paintings at Art Gallery 3 Urge Us to Reconsider What We See

Inhaling and Exhaling: Marjorie Welish’s Abstract Paintings at Art Gallery 3 Urge Us to Reconsider What We See Source: Art Magazine Through February 5 in New York Read More Inhaling and Exhaling: Marjorie Welish’s Abstract Paintings at Art Gallery 3 Urge Us to Reconsider What We See

[2mares-carlalamoyi]

Postée par Dos Mares

[tidrywall]

Roy Dowell and Richard Kalina: Standing their ground

Contributed by Marjorie Welish /  “Synchronicity: A State of Painting” an exhibition of paintings by Roy Dowell and Richard Kalina, on view at Lennon, Weinberg through December 23,  proves that the notion of standing one’s ground may be reason enough to create uncommonly interesting pairing and debate. Apart from a schematic approach to matters, their diagrammatic … read more... "Roy Dowell and Richard Kalina: Standing their ground"

[nahhhlina]

Figure | Marjorie Welish

The poet redirected my likeness. She said, "Not his decadence, which is a question." "Time," she said, declining his epidemic.                                               As if serrated, initiatives lost modernity: aura reared up although bracketing pages in comparative matters.                                                            "What time is it?"                                                                                 "Perspectivism." Which is a question.                        As if serrated, "as if" bracketing pages. And time again, the timing of a wrecking ball—                                                       Which is an overture.