Mrs Meredith was tall and of commanding presence. Her poetry is no more than pleasant verse, but she had a true feeling for natural history and was a capable artist. Many of her books were illustrated by herself. Her volumes on New South Wales, Tasmania, and Victoria in the 1840s and 1850s, will always retain their value as first hand records.



"Women Artists on Immigration: Crossing Borders, Confronting
Barriers, Bridging Identities"

Opening: Friday, February 27, from 7-9 pm
Closing: Saturday, March 7, 12:30-2 pm
February 20 - March 7, 2009

Korean Cultural Center Art Gallery
5505 Wilshire Blvd. Los Angeles, 90036
323.936.714 www.kccla.org
Hours: Monday-Saturday, 9 am-5 pm

The Women's Caucus for Art (WCA) announces "Women Artists on
Immigration: Crossing Borders, Confronting Barriers, Bridging
Identities", a visual conversation featuring contemporary artworks
selected by MOCA Curator Alma Ruiz. Also on view are selected
immigration posters from the Center for the Study of Political
Graphics and a digital projection of images from many of the 125
artists who answered the call to participation will also be on view
in the reception area and online at http://waoi.blogspot.com.

The forty women artists in the exhibition captured a myraid of
expressions of the immigrant experience from first person accounts to
poignant family mementos to impassioned pleas for legalization and
reform. Collectively, the artwork sparks a necessary dialog about our
cultural, personal and political identities. A full color catalogue
accompanies the exhibition.

The Opening Reception includes Korean music and refreshments along
with a screening of the 5th WCA International Video Shorts Festival
in the upstairs theatre. The Southern California WCA (SCWCA) chapter
will host a Closing with Artists' Talks in celebration of
International Women's Day on Saturday, March 7, 12:30 - 2 pm. The
public is invited to attend.

The exhibition opens during the 2009 College Art Association
conference and WCA Art & Activism Confab in Los Angeles and is made
possible, in part, by a grant from the Los Angeles County Arts
Commission. More online at scwca.org.


Mariana Barnes, Yvonne Beatty, Alejandra Chaverri, Ching-Ching Cheng,
Gilda Davidian, Cosette Dudley, Dwora Fried, Shelley Gazin, Elizabeth
Gomez, Becky Guttin, Jennifer Maria Harris, Trudi Chamoff Hauptman,
Judy Johnson-Williams, Niku Kashef, Arzu Arda Kosar and Gul Cagin,
Patricia Krebs, Alexia Kutzner, Li 'n Lee, Lynn Elliott Letterman,
Viviana Lombrozo, Poli Marichal, Michelle Montjoy, Carol Nye, Amparo
J. Ochoa, Priscilla Otani, Lark (Larisa Pilinsky), Sinan Leong
Revell, Patricia Rodriguez, Sandy Rodriguez, Ann Storc, Yuriko
Takata, Luz Tapia, Tate Sisters, Linda Vallejo, Alicia Villegas, Sama
Wareh, Sarah Wilkinson, Holly Wong.

For more information contact Libby Hartigan at
libbyhartigan@scwca.org or 310-390-7478 or visit http://


I have received by permanent landfill ID (Scholl Canyon only)

working on the morals of flowers doc (it is all pdf on google)

-- and it is neat because the african american female hands which scanned the book are sometimes visible -- why did she scan the blank pages? I hope she was paid by the hour or page and not the book --

leads me to ponder something I mentioned in conjunction with Craig Dworkin's Eclipse site, which is, how / why to decide to make an image of one thing, and text of another, where he scanned as images in to pdfs many small press chapbooks, many on secial paper etc. -- so that these retained some of their qualities (although, if I remeber correctly, the were in black and white, and not full color scans), but made them ponderous to use

another thing this does is it makes the text difficult to extract and work with -- from quote by cutting and pasting between documents to otherwise manipulating... it as text

I view text as the sort of painting on canvas or codex or the online world -- itis just more efficient and nonproprietary

anyway, here is this public domain work of poetry --and I am about to find more of these, it is a special class of women's writing, where I had been looking at the largre woman's work -- anyway, part of the problem is that the plates in the books get ct out and framed, and the books get treated as picture books, and the text never gets treated as text

another case is the artist book -- the entire shading from sculture book to catalog, unreadable / irreplicable 3d object and thing that is mostly text with a nice design

(all this aside from concrete poetry, visual poetry, and the like: I am talking ore about text and image together, which gfets privileged, formats, why, etc.)


Rebecca Hey, The Morals of Flowers

this book is on the public domain, and available in its entirety via google books, but I have been unsuccssful thus far in getting a text file out of it -- the text

a moraliser, Hey researched the meanings of the flowers, and then wrote the poem; unusually, the flower illustrator is a man (William Clark)

she went on to do a similar book about trees

in a related search, there's a new crtical work out about botony, flowers, nd women's writing that the lapl doesn't have. by samantha george.

anyway, a remarkable assortment of beyond commonplace book to anthology selection of quotes from (mostly british) poets, sources, other research, musing on eymologies, and verse on flowers or assortments -- while ostensibly versified in order to accompany a female friend's drawings, finally, drawings commissioned

i.e. a coffee table book (actually, more a pretty home library collection book; the coffee table having replaced a room or set of shelves and tables for display of aesthetic and knowledge objects)

the poems themselves then have many of the qualities of the riddle poem and "sourced" poem -- not a modern collage or finding, but very much more than an inspiration or relationship, or creative trigger -- while quotes and phrases are not embedded, words and ideas which tie directly to the epigraphs and preceding-text-as-epigraph are

in this sense, I think the work has a great similarity -- not formally, for this is rhyming verse -- to poems as varied as Elena Byrne's MASQUES and some of the very indebted to fairy tale poems -- Jenn McCreary recently

and again some of my "riddle girl" poems which are colors, materials, patterns (and more than a few flowers -- and I think the bird poems -- in VAUXHALL -- are more polyvalent in their effects

has a great similarity in decorum, strategy, relationship to source

as such, it also relates to Carolyn Wells' nonsense verse

and none of this comment adequately deals with the later section of the book, which deal with tropical plants which have come to represent parts of the new testament, rather than mostly northern european flowers / british poets --> Hey's vision of christian morality -- the pssion flower and palm tree sections promise to be stranger


victorian emoticons

WOMEN OF FLOWERS is indicating that it is *not* that anonymous is a woman, but rather that books -- such as DIY AND SUBSIDIZED WORKS OF THE TYPES PUBLISHED BY WOMEN (and while men self published, mostly poems and such, rather than expensive to produce initially object books) -- were rpublished without author name in violation of copyright law, and it is this second and subsequent editioning that's by "anon"
evolution in the modesty topos
when I was little I was sick a lot -- scarlet fever, tonsilities, ear infections, mono (impossibly twice)

I like having an excuse to stay hydrated in bed, reading

I remember the paint by numbers, I vastly preferred these things that were board and glue and colored rocks and string

but I got I think the complete series of how to draw ___? large format books, basically breaking down drawing anything into charcola sketch of basic forms????

I am interested in this because I am interested in how women are told to paint x y z, to follow, learn, rather than observation of sexy nature, for example


too close to the constraint on imagination metaphor imposes, this floral / herbal thing I've only been working on for 15 years...
Grover Beach

for Stan Apps

Rolling hills dotted with sagebrush and stagecoaches,
the place where the tide lands and the rails meet,
site of a Multimodal Transportation Facility, a.k.a. "The Train Station":

D.W. Grover laid out streets in a grid, naming them for beaches,
yet not
"grandest summer and winter seaside resort on the Pacific Coast"
"home of the average man"
grew until the redundant "City of Grover City"
was renamed "Grover Beach."

Grover, let us be true to one another!
The world, which seems to lie
before us like a pile of sand,
has trains, and busses, and sagebrush,
and Grover has a beach.


Event: ALOUD with Sarbanes, Gonzalez & Place
What: Performance
Host: Los Angeles Public Library
Start Time: Wednesday, March 4 at 7:00pm
End Time: Wednesday, March 4 at 8:30pm
Where: Central Public Library