> Erasure.
> Editing.
> Separating the grain from the chaff.
> The erasure as art?
> As poetry?
>
> Reminds me of Rauschenberg's "Erased de Kooning Drawing, 1953"
Yes to all of these. I would not go as far as Faulkner who, I believe, said
Keat's Ode on a Grecian Urn was worth 27 grandmothers (or some such).
I guess F's statement is grounds for an argument for children to leave home
early - particularly if they are poets and artists. (Do the damage while I
am not looking kids!).
Oh well,
Stephen V
http://stephenvincent.net/blog/
!
>
> Also inevitably of the
> "undo" and "redo" buttons in Photoshop
>
> and each of us faced with the monstrous task
> of choosing
> over and over and over again.
>
>
>
>
> -Peter C.
>
> ARTIST'S BLOG - http://invisiblenotes.blogspot.com/
>
>
> -----Original Message-----
> From: Stephen Vincent <[log in to unmask]>
> To: [log in to unmask]
> Sent: Sat, 17 Dec 2005 18:34:31 -0800
> Subject: Re: The Poem as a broken object reassembled:
>
>> This is probably way off line, but it reminds me of those
> interviews David
>> Sylvester did with Francis Bacon, where Bacon speaks about his
> slashing the
>> canvas with paint and random "accidents" to prevent the painting from
>> becoming mere "illustration". Something that stuck in my mind and
> that has
>> entered in some way my own practice of writing.
>
> In actuality I suspect destruction (erasure) is at the "heart" and
> power of
> much writing & art. Combined with one's sense of being ravaged
> (unacknowledged) - or that some aspect of one, or one's interior
> 'vision',
> is so. The order (a new poem, painting) out of chaos - of destroying
> the
> rhetoric, the cliché - provides the 'creative' impulse. At least,
> these
> impulses seem to animate the the proces. And some innate trust that one
> is
> out to make something imaginatively worthwhile, healthy (not mere
> 'illustration') in the community.
>
> Yet, it's a strange power. Evangelicals of many persuasions are fond of
> notions of "creative destruction." If the US Government, or Israel, or
> Iraq
> or Iran, etc. could be destroyed, then we would have the Second Coming,
> the
> return of the Holiest Iman - beatific worlds for Muslims, Christians,
> you
> name it.
>
> So sometime I think what's good for the making of art (as a process)
> is
> not the prescription for actually altering the world. Tho I am sure some
> will say that Wars unhinge a countries dead parts and make possible the
> infusion of technologies and new opportunities and relations among
> people.
>
> But I think particularly of so much poetry in the USA - well built,
> sanctified, winning - is suffocating, boring, and only reaffirms and
> refines
> the familiar. It has such good manners and I am rarely drawn to read it.
>
> Alternatively I am very grateful for all the wonderful renegades who run
> their bulls through the poetry boutiques, keep their ears and eyes
> close to
> the ground, and make all these odd, wonderful musics to pierce the
> ordinary
> with new orders and visions of the ways of the world.
>
> Of course, my own language here can, in itself, get ethereal, and not
> convey
> much of substance (the examples!).
>
> Going back to the work of Cornelia Parker, sculptor, I suspect she is
> doing
> it. And, no Doug, I have yet to get down to see the actual work. Just
> opened. I hope my anticipation will not have destroyed it!
>
> Stephen V
> http://stephenvincent.net/blog/
>
>
>
>
>
>
>
>>
>> All the best
>>
>> A
>>
>>
>> Alison Croggon
>>
>> Blog: http://theatrenotes.blogspot.com
>> Editor, Masthead: http://masthead.net.au
>> Home page: http://alisoncroggon.com
>
>
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