Poetry of the Week: "The fox had no face the loggermen said" and "A Red Tricycle in the Belly of the Pool" by Karyna McGlynn

November 23, 2009 4:21 AM

Karyna McGlynn is the author of three chapbooks: Scorpionica (New Michigan Press, 2007), Alabama Steve (Destructible Heart Press, 2008) and Small Shrines (Cinematheque Press, forthcoming). Her first full-length collection, I Have to Go Back to 1994 and Kill a Girl, received the 2008 Kathryn A. Morton Prize for Poetry (Sarabande, 2009). Her poems have appeared in Fence, Gulf Coast, Willow Springs, Indiana Review, Denver Quarterly, CutBank, and Ninth Letter. She lives in Austin, Texas, with multimedia artist Adam Theriault.

The fox had no face the loggermen said

they rolled a barrelful of something muffled
down the back of a mountain

Artists Write: Thinking While Making Things, David Reed Part 2

Posted by Mark Staff Brandl

November 20, 2009 1:02 PM

Artists Write: Thinking While Making Things

Jackson Pollock and Piero della Francesca Ride Lonesome, Part 2

-- David Reed

The alternation s in this film between day and night both marks time and shows changes of mood. Day is for moving; night is for contemplation and conversation. These scenes are 'American night,' shot during the day with filters. Thus, although supposedly 'night,' there are strong, eerie shadows in the darkness, making night look like darkened day, daytime with an awareness of evil and destruction. Shadows cut across limbs and eat into figures, separating heads from torsos and limbs from bodies. At Dobie's corral, Boone talks to Wid and his head keeps dipping into shadow where it is deformed by the unexplained ultra-darkness.

...

Kenneth Tin-Kin Hung: Crypto-anti-Zionism? Crypto-anti-Semitism?

Posted by Paul Germanos

November 18, 2009 12:12 AM

A (1) Passion play; in which the lead carries not a cross but rather a dollar sign made to resemble a (2) swastika; upon a floor tiled with (3) Stars of David; before a backdrop depicting (4) banking crises? Well, that's what Kenneth Tin-Kin Hung seems to have presented in his work In G.O.D. We Trust, on display through January 9, 2010, at Monique Meloche Gallery. Why?

Hung is a collage artist; his collage is animated; colorful shapes pass across a singular wall-mounted video screen. And in that psychedelic motion, the most readily identifiable figure appears to be Hung's protagonist: President Barack Obama. It's through a series of graphic vignettes that Hung causes Obama to incarnate again-and-again as a prominent religious figure: Jesus, Buddha, Eshu [Nigerian], the Virgin Mary, Krishna, Mohammad, and finally Abraham. Sorry Moses!

One wonders how many consumers of Hung's work fixate upon the foreground, noticing only Obama. In fairness, the video's vivid hues and queer pace--if not also the smiling face of the President--are hypnotic. So that it's good to stop the action, examine a still frame, and ask: What is this fellow doing?

Poetry of the Week: "And Snow Is What Snow Has Always Been" and "Infinity and the Implications of the Word" by Adam Clay

Posted by Simone Muench

November 16, 2009 7:01 PM

Adam Clay is the author of The Wash (Parlor Press, 2006), and A Hotel Lobby at the Edge of the World, which is forthcoming from Milkweed Editions. His chapbook In a World of Ideas, I Feel No Particular Loyalty is available from Cinematheque Press. He co-edits Typo Magazine and lives in Michigan.

And Snow Is What Snow Has Always Been

Of course a quilt is a house—

And of course you can become so enamored
with an image that you become it:

Portrait of Juan Chavez

Posted by Ursula Sokolowska

November 16, 2009 5:58 PM

Juan Chavez, Elevator at his Studio, 2009

More information on Juan's work can be found here

"Insider Trading" Arises to Haunt the New Museum

Posted by Mark Staff Brandl

November 12, 2009 8:54 PM

DEBORAH SONTAG and ROBIN POGREBIN in the New York Times, William Powhida's Brooklyn Rail Cover and more.

as Paddy Johnson writes at Art Fag City:

A few more quick responses to NYMagazine's head critic Jerry Saltz, who generally holds more sympathy than most towards the New Museum's rather complex web of insider relationships. He breaks those down as follows:

[Dakis] Joannou, a New Museum trustee, is friendly with Lisa Phillips, the museum's director. Her curator, Massimiliano Gioni, has worked previously with Joannou, and he oversaw the current three-floor Urs Fischer show. [Editor's note: Gioni is also apparently close with Joannou and they speak weekly]. Urs Fischer has curated shows for Joannou; Joannou also owns a good deal of Fischer's work. Fischer's art dealer is Gavin Brown, who also represents Elizabeth Peyton, Jeremy Deller, and Steven Shearer, all four of whom have had solo shows at the New Museum since it re-opened less than two years ago.

Let's face it, that doesn't look great for the museum. It's not a great idea to be so closely associated with one commercial gallery.

Continue reading here.

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Poetry of the Week: "The fox had no face the loggermen said" and "A Red Tricycle in the Belly of the Pool" by Karyna McGlynn

November 23, 2009 4:21 AM

Artists Write: Thinking While Making Things, David Reed Part 2

November 20, 2009 1:02 PM

Kenneth Tin-Kin Hung: Crypto-anti-Zionism? Crypto-anti-Semitism?

November 18, 2009 12:12 AM

Poetry of the Week: "And Snow Is What Snow Has Always Been" and "Infinity and the Implications of the Word" by Adam Clay

November 16, 2009 7:01 PM

Portrait of Juan Chavez

November 16, 2009 5:58 PM

"Insider Trading" Arises to Haunt the New Museum

November 12, 2009 8:54 PM

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