Monday, February 2, 2015

A's Visuality - New Book!

Pictures of my author's proof, which means my new book is done! The book is about two thirds poetry, and the rest is photo plates of two artist's books I made. These artist's books "wrote" the poems in the first section of the book. The second series of poems in the book were made out of the descriptions of paint colors at R&F Handmade Paints, where I've curated the reading series Cadmium Text for many years. 10,000 thanks to Geoffrey Gatza at BlazeVOX Books for generously publishing my new book. And to Carolyn Guinzio, Michael Ruby and Eileen Tabios for adding their lavish comments to the back cover. To Elizabeth Bryant for allowing me to use a terrific author photo she took.  Jenny Fox gifted me with a bottle of handmade walnut ink for some of the images. And to my good friends and family that provide shelter where these things can happen. Pre-orderable from BlazeVOX here

Saturday, July 12, 2014

"Beauty Speaks Like an Oracle:" Barragán Monotypes

After we got back from a trip to Western PA in June to see Fallingwater and the Andy Warhol Museum (!) and the birthplace of Gertrude Stein (by accident), I stumbled onto a New York Times article about the architecture of Luis Barragán.  It's like certain art prepares you completely for what comes next.  So I've become a little unexpectedly obsessed with Barragán's unexpectedly warm de Chirico-esque spaces come to life.  He often meant horses to run and water to flow through them.  To better understand Barragán, I started copying photos of his work, and making encaustic monotypes based on these architectural fields.  Obsessively fun, and also a way to really deeply look at these new (for me) spaces, and also practice the meditation of seriality.  

This first photo is a picture of a spent plate after the image has been pulled:

And the image on kitakata paper (16" x 20"), touched up with pastels:

Then I decided to document one piece start to finish.  

First the photo (on the left) of the Barragán space:

Then a drawing of the piece roughed out on kitakata.  Kitakata is my favorite paper so far for encaustic monotype.  It really pulls the details of the encaustic from the plate.

 The image drawn on my heated palette:

 The image printed onto kitakata:

The image touched up with soft pastels (something about the unlikely intersection of the wax and the chalk makes me crazy with happiness):

A close detail of the purple field:

 Spent plate:

It's possible that Barragán would roll in his grave, seeing what I'm doing to his contemplative spaces, making them into these swirling, undulating cartoons.  But it's pretty ecstatic.  I've done about 32 (I think) so far, and I can't quite stop.

Saturday, December 14, 2013

Text Event (with Water) #3

I've been thinking about how to do this for a while: send a long poem down a Catskills stream.  I knew the perfect spot - when we hike to Huckleberry Point in the Platte Clove, we follow the stream that bisects the U-shaped trail.  There are several beguiling points along the stream that are wide and flat and shallow, so shallow you can walk up it, and I thought these would be perfect environments for a floating, moving poem.  This floating world.

I floated (ouch!) this idea past my husband Peter Genovese and our friend, poet Nancy Huth a couple of weeks prior, wondering if they'd provide technical assistance, as well as document the event (as it turns out, I couldn't do much of the latter as I ran around the stream bank trying to keep everything moving).  One outcome I didn't foresee was that I couldn't keep the poem face up all the time and it twirled in the currents.  So the stream bed got to "read" the poem.  Plus there was the chaos of our dog Einstein, who at one point fortuitously stepped on one end of the poetic "line" and kept the poem in place for a moment in the rushing water.  And as pieces of the poem began to de-story (a typo I always make from the word "destroy") and tatter and float and cling to rocks, interesting moments presented themselves for us "read" the work.

 As I wrote to poet David Caddy a few weeks ago - "I like when things are very destroyed by the elements, forms of micro-ruinporn.  When the actual world has some kind of physical interaction with my work, it's pleasurable, because it's impossible to gauge any sense of "audience" in the electronic ether.  My questions lately center around how can my work actually touch the world?  How can it exist beyond the page?  Can the natural world be audience?"

So, I made a bunch of copies of my poem based on the perfume Patchouli 24 (made by Le Labo), liking the idea of a richly sensibilitied poem traveling in water.  Three copies were unbound.  The other three copies were "bound" serially with fishing line (to keep the work in its original "narrative" order).  I used regular photocopier paper, realizing that its short fibers would come part pretty quickly. 

We chose the day for this text event based on a wishful (and thus fabricated) idea of good weather.  Which was dashed by sleet.  Nancy got lost and was late, which worked to our great advantage - the bad weather moving past us.  We started our hike in rain ponchos, but were able to ditch them in about a half an hour.  All of our gear colors vibrant against the wintering hemlock forest.

As we gathered up the resulting detritus, and crushed the paper in our hands, we discovered it could look like this:

(photo by Nancy Huth)

Peter and Nancy videoed the Text Event and some of the footage is here with cameo appearances from our dog Einstein (aka, "Tiny").  And many, many additional photos on Facebook here and here.

In some ways this was a mediation between monumentality and intimacy, the longterm and the short, tiny pieces of paper wrecked on rocks, and the eversearch for new ways of reading and looking. 

Tuesday, October 8, 2013

"Will Work for Love" Opens October 10th

Apparently my poetry bra (along with a work in encaustic called "Test Piece 4") will make an upcoming appearance in the exhibition Will Work for Love (aka, Movin' it, Framin' it) at SUNY Ulster's Muroff Kotler Gallery.  You will also be able to take a page from my latest manuscript of perfume poems home with you.  SUNY Ulster Artist-in-Residence and Curator Keiko Sono compiled work and personal items from a bunch of different artists she has done video collaborations with, and created this installation. 

You can see our collaboration here with Wayne Montecalvo:

The blog for the show updates regularly here:

Opening Thursday, October 10
Artist's Presentation at 7pm
Reception immediately following...

October 10 through November 8, 2013

Participating Artists

Alicia Mikles, Anne Gorrick, Beth Humphrey, Christy Rupp, Damon Wolf, Dave Hebb, Jacinta Bunnell, Keiko Sono, Marlon DuBois, Michael Asbill, Neal Hollinger, Polly M. Law, Wayne Montecalvo

Will Work for Love is a blog documentation of Movin’ It and Framin’ It, an art installation at Muroff Kotler Gallery at SUNY Ulster County Community College. The show illustrates the richness and vibrancy of the arts community of the Hudson Valley, while actively contributing to such richness by making and strengthening connections within and beyond the arts community as we build the installation.

The project questions the separation between art and life, between individuals, and between work and love, and focuses on the connections rather than elements.   The installation will take the form of a three-dimensional and interactive diagram of our community, with collaborative projects produced at Flick Book Studio (a stop-motion animation studio in Saugerties) as the starting point.

Artists who made collaborative animation in the past, or in the planning of one, are presented in this show, not only by their animations and their artworks, but also by little segments of their lives. Visitors will see a transplanted corner of an artist’s studio, a sampling of wardrobe from another’s closet, etc., demonstrating that creativity is not confined to finished products. They will also see how we are connected in many different contexts—through schools, families, jobs, activism—creating a strong web of social structure.

The show will be interactive and informational, providing samples of different types of animation, video, and media communication, including a station where visitors make their own stop-motion animation.

Monday, September 16, 2013

Poetry Bra or an A-bra-cedarium

Several years ago, I read in a poetry reading series curated by Reb Livingston in Washington, DC called the Burlesque Poetry Hour.  I remember the tiny backroom in a cocktail lounge as covered in red velvet, packed with people.  The idea was to create a poetry-related piece of clothing that each poet could take off, and would then be auctioned off to make a little money for each poet.  Reb told us specifically that ties and scarves were NOT allowed - too easy, she said.

So I made a poetry bra, an "a-bra-cedarium" that consisted of a list of words having to do with breasts - a word for each letter of the alphabet.  This was not entirely easy, and I had to poll friends to fill in the gaps.  I made two of these objects - one to auction, and one to keep.

I brought the project to a local t-shirt printer to find out how we could do this, along with the artwork for a separate project (t-shirts for my husband's business).

Me: "I have an easy job, and a weird one.  Which one do you want to talk about first?"
T-shirt guy: "The weird one, of course."

So I explained what I wanted to do, and he said it couldn't be done.  But I nudged him.  I appealed to his sense of adventure.

T-shirt guy: "Get a plain all cotton bra, print the words repeatedly to cover a sheet of paper, and we'll see what we can do."

Did I mention the t-shirt guy looked like Elvis and played in a rockabilly hand?  I could tell he was slightly appalled by my unmanly request. 

A week later, I returned.  He was able to put the text on pieces of heat transfer paper, and add them to the bras I found at Marshalls.

T-shirt guy (holding the bra up to himself): "Look, I got the word "nipple" in exactly the right spot." 

Once in a while, when I

give a poetry reading, I'll wear my poetry bra...

Monday, April 1, 2013

Chisos Basin - 9 Encaustic Monotypes

We went to Big Bend National Park for almost two weeks this past February, and basically, all we did was hike.  The longest hike was up Emory Peak (12.8 miles to about 7,800 feet).  Almost every night, we'd drive up to Terlingua Ghosttown, grab a beer and face east to watch the sunset light up the Chisos Mountains, while all sorts of musicians noodled and sang on the porch.  There were many friendly dogs, lots of tennis balls, and those electric pink mountains.  So today I made a series of encaustic monotypes on Japanese kitakata paper with the Chisos in mind and their dagger yuccas, blind prickly pears, creosote bush, and ocotillo.  Click on the images to see their waxy melodies a little closer.  Viva Terlingua!

 A series of encaustic monotypes on kitakata paper (16" x20")

Saturday, December 29, 2012

Tiny Present on Copper #10

Gift to my  Maria Gorrick and Tim Whistler - Gouache, ink and collage on antique copper printing plate, 6" x 7.5", 2012.