affinities
Remembrance | DOROTHY IANNONE, 1933–2022: A self-taught artist who made exuberantly sexual, joyfully transgressive, and often autobiographical image+text works, radical in their inversion of binaries, and often tender in the incorporation of her lovers and friends.
[...]
books
You Who Read Me With Passion Now Must Forever Be My Friends by Dorothy Iannone — edited by Lisa Pearson with an essay by Trinie Dalton
[...]
excerpts
DOROTHY IANNONE — In her essay “Culminations,” Trinie Dalton writes: “Dorothy’s artwork … has obliterated practically every type of separation categorically, in both textual and material realms.”
[...]
excerpts
Dorothy Iannone — A short biography from the editor: “She is best known for her exuberantly transgressive, sexually explicit, mostly autobiographical image+text works exploring ‘ecstatic unity.’”
[...]
excerpts
DOROTHY IANNONE — From the editor: “The complexities of submission and dominance in the most sexually graphic aspects of her work have much … in common with medieval mystics.”
[...]
✼ natalie’s upstate weather report:
January 4, 2023 — Suddenly, not winter. At least for a day: sunny and an unseasonable 60 degrees. Some welcome light and warmth to offset the sadness of writing another remembrance. Two women hailed here at Siglio departed this earth at the end of 2022, a great, great loss. They couldn’t have been more different in so many ways—Bernadette and Dorothy—but both challenged the norms with gusto and persistence, also laughter and candor and insouciance, along with a little anarchy too. Nothing better than a meal with them, and of course, making a book that made them happy.
[...]affinities
Remembrance | Bernadette Mayer, 1945–2022, “GIANT of AMERICAN POETRY.” We share our sorrow with her family, friends and readers—all who knew a truth-teller, a risk-taker, a shaman of daily life when they saw one.
[...]
excerpts
MEMORy — by Bernadette Mayer: July 15, 1971: “what century & in what city do you see & do you see a faster way, find a faster way to get to the line that goes in all directions flame no continuing space a space to live in flame
[...]
books
MEMORY by Bernadette Mayer
[...]
✼ the improbable:
A miscellany of investigations, rants, manifestos, meditations, studies, lists, questionnaires, film scripts, and more in Issue 1, No. 1 Time Indefinite. We’re posting contributions, one by one.
[...]books
THE HOTEL by Sophie Calle | You do not read The Hotel: you step into it, lie down, feel and smell the personal items of the unwitting guests Calle, posing as a maid … documented with her camera and daily writing. —Frieze
[...]
reviews
Photo-Eye | THE HOTEL by SOPHIE CALLE: “Calle proves that few if any spaces are ours and ours alone” —Odette England
[...]
reviews
New Yorker | THE HOTEL BY SOPHIE CALLE: “What interests her most is the seduction and projection involved in knowing another person” —Lili Owen Rowlands
[...]
✼ elsewhere:
“How do you know where the boundaries of a life are? How do you know where to stop? Or when something doesn’t apply?” —Nicole Rudick in conversation with Sam Stephenson at AIR/LIGHT
[...]books
What Is Now Known Was Once Only Imagined: An (Auto)biography of Niki de Saint Phalle by Nicole Rudick | Saint Phalle wrote nothing for this book, and yet this book is written by her. Embracing that contradiction, Rudick enables the artist to speak for herself. —Bookforum
[...]
reviews
BOMB | What Is Now Known … Niki de Saint Phalle: “The narrative that Rudick presents is frank and unsparing” —Bruce LaBruce
[...]
✼ news:
“Hybrids of art and text that don’t respect boundaries but deal in the frisson created when collage cross-pollinates with fiction, poetry speaks through photographs, graphics accesses emotion the memoir can’t, and paintings remember what history forgets.” —Elissa Schappell writing about Siglio for Lithub.
[...]books
Rock of Eye by Troy Montes-Michie | Rooted in opacity and seek[ing] to evade a kind of visual capture—the need for Black men to be pinned down or stripped bare … it revels in contradiction, ambivalence, beauty, queerness, time, and place. —Alta Journal
[...]
excerpts
ROCK OF EYE — Brent Hayes Edwards talks with Troy Montes-Michie: “I’ve come to think of [El Paso] as my first experience with the language of collage … two very separate cultures colliding on every level”
[...]
books
“It Is What It Is”: ALL THE CARDS ISSUED TO DONALD TRUMP… by Richard Kraft
“A real-time diary that’s a dazzling testament to its subject’s basic incomprehensibility.” —The Brooklyn Rail
[...]
excerpts
“It Is What It Is” — Introduction by author Richard Kraft: “I made a drawing of a yellow card and a red card … a talisman through which I sought to exercise a silent — and completely ineffective — retribution”
[...]
✼ not stones, not stale bread:
“Not an object or a text but a name, a spirit: Jean Brown … The name ‘Jean Brown’ itself was, for me, the conduit of Howe’s “mystic, documentary telepathy.” When her name appeared on a citation, I sensed that this object or book had been carefully selected, cared for, considered, held.”
[...]features
Tupelo Quarterly (Forum) | Danielle Dutton, Lucy Ives & Lisa Pearson participate Feminist Poetics of the Archive, curated and moderated by Karla Kelsey
[...]
the improbable
No. 2 Time Is Elastic — J. MAE BARIZO: “This mode of translation, one that is enacted in the colonizer’s language, is not enough; we need to think about the violation this blur of identity entails, how it can also ruin and obscure.”
[...]
✼ natalie’s upstate weather report:
November 20, 2022 — Suddenly, winter. The inbox has 487 unread promotional emails. And our dear publisher has just sent another. 488, alas! This relationship between book, gift, commodity is a bit like a faulty, flickering lightbulb, or is the metaphor not quite right? Which is light? Which is dark? Which is electricity? Which is the leap of faith when one does not know how a light bulb actually works? Contemplating instead: desert, dessert. Where is my hat? My ears are cold!
[...]