SCIENCE
Fiona, could I ask for even more detail on
projects?
"The means was performance, the participants all
disciplines. One was Madeleine Hirsch, a geomorphologist,
with whom the discussions on the nature of observation
and its relation to the observed were very exciting."
Could I ask more what happened? Did Madeleine Hirsch or/
any you come away approaching new work differently?
ART
> Or have we got a problem agreeing on a definition
> for visual work?
Great posting, cris! Full, as ever, of invaluable
recommendations. Do you know, or does anyone know,
how if at all any of these or other examples of
(sorry about this phrase) "gallery-standard"
work got received or reviewed? If it is the case,
as Ric says, that text can be "the reduction of text to
_just_ texture in those contexts, another form of readimix,
it might as well be that chunk of Ceasar they
use in type samples, or the bits of Bach they use on
headsquares and hankies...", I can imagine a piece
*getting in* to a review by its *surface* (some
poetry reviewing, in *every* circle, works like
that too) but with a bit then said about the text.
Robin asks: "must the visual artist`s work
suffer a first, secret translation into discourse,
before the word-artist translates into poetry?"
I don't think all poetry-experienced analysis
of art must work like this, or be dismissed as
if all analysis of it is, Robin. For example, it
seems to me that the tradition of text-setting in
music gives composers a certain discipline (not
the only discipline possible), and often leads
to wordless compositions which feel poetic/
syntactical/textual, and also *to that as an
expectation* in music audience and critic, something
that can be found in wordless music even if not
"put there". This poetry in the "wordless" is one
of the things I always look for in art, and don't
find in a lot of BritArt (which,
not for this reason alone of some severances from
its tradition, always get more press than BritNew
Music, which could be said to be just as less
frightening to media than poetry, just as non-verbal,
expressive, "you just use your senses" canard etc).
Ira
P.S. cris, great on punk too!
On Wed, 3 Dec 1997 23:59:30 GMT cris cheek wrote:
> From: cris cheek <[log in to unmask]>
> Date: Wed, 3 Dec 1997 23:59:30 GMT
> Subject: Re: "70's" type art/music/poetry now?
> To: [log in to unmask]
>
>
> >> "Could poets here collaborate with artists,
> >>or do it themselves, to produce "gallery-standard"
> >>visual work with words (or are there phobias against
> >>that as against commerce, hanging over from the
> >>70s?)?"
> >
> I've no phobias about this.
>
> Some already did this, and did it here.
> How about Dom Sylvester Houedard, Tom Edmonds
> (ok that's going back). David Antin's 'Sky Poems'
> written by aeroplanes? Henri Chopin (there's a
> Chopin retrospective in Norwich Gallery from Jan 14th).
> Aram Saroyan?
>
> Agree with Tony 100% about Jenny Holzer. She's a
> strong writer. Susan Hiller and her 'automatic writing'
> and 'dream rooms'?
>
> Or Drew Milne's 'How Peace Came' for
> the installation with Andrew James? How about
> Marshall Reese and Nora Ligorano's book video works?
>
> How about those poets who are also, or who have,
> practiced as visual artists:
>
> Allen Fisher, Ulli Freer, Maggie O'Sullivan, Bob Cobbing,
> Carlyle Reedy. Harry Hoogstraten, Franco Beltrametti,
> Michael Gibbs, Kenny Goldsmith, Tom Raworth and many
others ?
>
> and those for whom the book was a gallery, the page a
stage.
> Put Clark Coolidge's 'Space' or 'The So' or sections
> from 'Polaroid' in White Cube.
>
> What about visual poetries such as those of Brigid McLeer,
> Wendy Kramer?
>
> Newer collaborations emerging such as that between
> Gregg Whelan and Gary Winters.
>
> The answer is that the models are there now, Ira
> pick up on the spaces they are opening. That 'gloss'
> might be your sylthane shadow.
>
> Or have we got a problem agreeing on a definition
> for visual work?
>
> love and love
> cris
>
>
>
>
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