Friday, September 02, 2011

"The New Us" in BOMB 117

The latest BOMB features a ton of poets on artists, poets' writing, and poets in dialogue with art, including work by Erica Hunt, Corina Copp, Danny Snelson, Mónica de la Torre, Matvei Yankelevich, and Alan Gilbert. It also includes a suite of poems I wrote last fall, "The New Us."

The new us starts from a dish
Not socialism, continues to grow
Sans system, an attention
To this consumption system, a local
Kissing of totality what will be value
And what's the use, in poking
Our heads out, food sovereignties
Produce this singularity

The new us, the new good life
Well being as muse and health
As wealth all we are saying's
The all new thing, new expression
Being shares this sense, of turning
Around a land, or land fills
Me up with emergence, political
Like a dish, we cannot help,
Gathering around, or con/tem/plating.

Monday, August 29, 2011

Rights of Participation IV: Gym Tan and Laundry

--for Dottie

Life is repetition
(Gym tan and laundry)
Riding like a House beat
Over the heart, membrane of
That romantic organ,
Snooky plays dumb at another
Stupid job in another
City any shore
Of the multitude where people
Fuck, where people fuck
And cry their eyes out
The passions are in excess
To anything we mean
To discover there late
Late late in this twilight
Called credit, called brand name
Called ban, little houses
They live in and excursions
That everyone can believe,
Life is real but not recordable
This is what it means for it
To escape us.

Sunday, August 28, 2011

5 Questions for Contemporary Practice with Gregory Sholette (@Art21)


Sholette’s dirty messianic approach also comes across in his appropriation of dioramas, window and museum displays, and souvenirs. Playing upon our familiarity with these 19th century formats, Sholette moves fluidly between sentimentality and criticality, ironic abandon and the recognition that, as Walter Benjamin famously wrote (and Sholette quotes through a particular work of his citing the relationship between John D. Rockefeller’s founding of the New York MoMA and management of his public image after a mining disaster): “There is no document of civilization which is not at the same time a document of barbarism.” Moving within the flicker of “civilization” and “barbarism,” Sholette tells history slant, through the eyes of the losers, the unrecognized (and unrecognizeable), citing the places where anomalies and antagonisms crucial to history’s retelling “flash-up.”