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    Thursday, January 24, 2008

    Crouching Spider-Louise Bourgeois

    Crouching Spider-Louise Bourgeois, originally uploaded by kris497.

    "Louise Bourgeois’s monumental bronze sculpture titled “Crouching Spider,” on loan to the City by the artist, is currently installed by the San Francisco Arts Commission on the Embarcadero at Mission Street - Entry Plaza at Pier 14

    Originally produced in 2003, this cast from the artist’s famous “Spider” series was made specifically for display in San Francisco. Louise Bourgeois, 95, is considered to be one of the world’s most important and influential artists living today. She was born in Paris in 1911 and moved to New York in 1939 where her prolific career has spanned seven decades. Concurrent with the display on the Embarcadero, Ms. Bourgeois’s work is on a worldwide museum tour starting with the Tate Modern in London and traveling to the Centre George Pompidou in Paris, the Solomon R. Guggenheim Museum in New York City, the Museum of Contemporary Art in Los Angeles and the Hirschorn Museum and Sculpture Garden in Washington, D.C.

    The sculpture, courtesy of Gallery Paule Anglim, San Francisco and Cheim & Read, New York, will be on loan for eight months or longer. “Crouching Spider” is part of the San Francisco Arts Commission’s Sculpture in the City program, which brings both permanent and temporary sculpture installations by local and national artists to the City. This is a temporary project of the San Francisco Arts Commission and is placed on the Embarcadero courtesy of the San Francisco Port Commission. Art Enrichment funding is provided by the San Francisco Public Utilities Commission."

    Thursday, September 06, 2007


    opposition could suggest contradiction.  contradiction could suggest a negation of sorts.  do opposition and contradiction in fact = negation?  do they oppose each other so successfully that they succeed in negating one another?  wiping it out?  and existance once there and then no more?
    ex.  "why do you have no confidence?  why do you have confidence?"
    why go through the energy of saying both?  what is the motivating factor? 
    is it to have the words aligned in opposition or is it the idea of opposition that must be expressed rather  than the action?

    Tuesday, September 04, 2007

    call for papers on poets theater.

    CALL FOR PAPERS for "Contemporary Poet's Theater:  L-A-N-G-U-A-G-E and Beyond": A panel on critical approaches to poet's theater to be proposed to the 20th Century Literature Conference in Louisville


    Please respond with an essay abstract and bio by SEPT. 12.    A print project may be in the future on the poet's theater topic, so we are happy to learn of your interest.


    Description of panel proposal with submission instructions:


    In recent contemporary poetics, the term "poet's theater" has become linked with the "Language" group of writers and often directors of poetry-plays produced as low-budget staged performances in the late 1970's and '80's.   Today,  new  productions of classic "Language"-orientedpoet's theater abound, by writers   including Leslie Scalapino, Carla Harryman, Charles Bernstein, among   others.  Yet there are also many contemporary playwrights in other settings   doing work that is not only aesthetically related to  "Language"-oriented theater, but which might be productively critiqued in terms articulated by Language writers and others writing on avant-garde performance art.   These "other" are theater writers are those who are engaging in "poet's theater," by virtue of treating a written text as an act of performance -- the drama   thus emerging not from some external "signified," but from within the "signifier," the poetic language, itself.


    This panel is an attempt to ground a definition of the term "poet's   theater" in a potentially expanding notion of the contemporary working scene of today's American   theater, both through under-financed ssm all public venues (cafes or coffee houses or art-spaces) or in venues like Off-Broadway.  It is also an attempt to take the recent use of the term by the Language writers into other realms of "language"-oriented theatrical poetics.   We wish for presenters to look at what the embodied stage and poetic experiment have to offer one another, in practice and/or in conceptual theories.   We are proposing this panel to the Louisville conference directors (conference to take place in February '08), with the hopes that we can bring new perspectives into a discussion of an often under-considered form of contemporary poetics: that which is written to be staged.   We are looking for papers that consider specific poet's-theater works and their authors, approached from some knowledge of contemporary poetics theory or performance theory (or both).


    Since our topic concerns CONTEMPORARY poet's theater, please submit paper proposals only on poets of the theater who have emerged during or since the early stages of "Language" writing (including John Ashbery, Bernstein,  Ntozake Shange, Harryman, Scalapino, Amiri Baraka , Cherie Moraga, Tracie Morris; as well as "non-poet" playwrights like Adrienne Kennedy, Anna Deavere Smith, or Suzan-Lori Parks -- the latter of whose works are based in a non-linear use of lyrical language). Historical influences, however, are also of interest.


    Send a 250-300-word abstract and title describing your paper topic no later than SEPTEMBER 12, by e-mail, to Laura Hinton ( laurahinton12@gmail.com). 

    Accompany this abstract with the following cover-sheet information needed per conference requirements:     * 1)Name 2) Address (preferably home)   3) Telephone number 4) Academic or other affiliation (if applicable)    5) Personal Biographical note (100-150 words)


    Sunday, July 22, 2007

    nasal bones

    Nasal bones

    left standing

    as you dripped dry,

    bones, varying

    as we switch you and I

    not in size or form

    we shared one towel

    steam/dream like movements

    by their junction

    your smell hung to me

    a serrated, beveled chiseling of placement

    cuts deep, beneath bone

    placed side by side

    the bridge is concavoconvex

    a two faced mask looking to lie

    in a paradox, anomaly, enigma,

    to catch the

    we of absurdity

    Thursday, July 05, 2007

    remaining bone poems, then some new


    you are pithy and porous

    she is glistening and hard

    a red feather in your cap

    pompous boy playing at what?

    a deviation to dip in the septum

    creation of lateral masses, better yet


    which wind and create circular masses on my belly

    you trace with the tip top of a tongue

    yet these are mind games played

    out on paper with inked up letters

    smudge proof I am hoping

    so they can reach farther than me.

    I remain here, lying on my side

    light and spongy, maybe cubical in shape

    I will slide through

    Portions of all—

    Monday, June 25, 2007

    forever and a day

    been gone forever. slacker that i am. i have been doing this:


    poetry soooooooooooooooooooooooooooooon.

    Tuesday, February 27, 2007



    tear dropped finger nail

    a center within a face

    quick slap and then snaps, the hook is in

    she thinks hardly worth the mention

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