books
I WILL KEEP MY SOUL by Helen Cammock | A rhizomatic and particularly American story of art and activism, of culture and capital, of being and belonging, this prismatic artist’s book layers photography, historical documents, poetry and other texts, all rooted in the city of New Orleans.
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✼ natalie’s upstate weather report:
February 11: Oh! Another sojourn to Los Angeles, now in February bloom, evoking the memories of jasmine wafting through the open HQ office (garage) door, a publisher in shorts and flip-flops, a lazy dog moseying in and outside. Now, a return for beloved Helen Cammock’s first U.S. exhibition. On a warm Saturday afternoon in Leimert Park at Art + Practice: a marvelously thought-provoking film, some trumpet-playing and a rapt crowd.
[...]reviews
Times Literary Supplement | THE HOTEL by SOPHIE CALLE: “Is there judgement in Calle’s photograph, and if so, who is being judged?” —Lauren Elkin
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features
Air/Light (Interview) | Nicole Rudick and Sam Stephenson dive into the life of Niki de Saint Phalle and the nuances of shaping a biography
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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”
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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”
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✼ 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.
[...]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.
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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.
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✼ 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.
[...]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.”
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the improbable
No. 1 Time Indefinite — TRACIE MORRIS: “There are intersecting communities of experimental artists … We are perpetually in conversation with each other across, time, space, beingness, perspective and geography”
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excerpts
CECILIA VICUñA — Lucy Lippard writes: “Her art is a naturally fused amalgam of word and act in which she not only translates, but becomes an archaeologist of language, excavating, dissecting, recreating meaning”
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features
Tupelo Quarterly (Forum) | Danielle Dutton, Lucy Ives & Lisa Pearson participate Feminist Poetics of the Archive, curated and moderated by Karla Kelsey
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✼ elsewhere:
“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.”
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