12.03.2009

Artist Curated Projects presents
THREE WOMEN

Performances by
DAWN KASPER TAISHA PAGGETT NANCY POPP

DECEMBER 12th, 4-8 pm
@ the home of Eric Kim
2200 BRIER AVENUE, SILVER LAKE CA 90039

for more info please visit www.artistcuratedprojects.com

Taisha Paggett is a Los Angeles based dance artist and co-founder of the dance journal project itch. Her work and collaborations for the stage, gallery, and public sphere have been presented and supported by several venues throughout California as well as in Chicago, New York City and Utrecht, The Netherlands. She maintains an ongoing collaborative project “On movement, thought and politics” with visual artist Ashley Hunt and is a member of the audio action collective Ultra-red. She has worked extensively in the projects of Victoria Marks and David Rousseve/REALITY and holds an MFA from UCLA’s Department of World Arts and Cultures.

Nancy Popp is a Los Angeles-based artist working a range of media, including performance, video, drawing and photography. Her projects investigate the body as a site and a material, along with the risk and vulnerability of serious play. Recent exhibitions include Overflow at the Getty Research Institute, Untitled (Street Performances) at the Atlanta Contemporary Arts Center, The Audacity of Desperation at Gallery PS122 in New York, Documental at Pilot Projekts in Dusseldorf, and Cheking Point at The Rex Cultural Center in Belgrade. She holds degrees from Art Center College of Design and the San Francisco Art Institute.

Dawn Kasper is a Los Angeles based performance and mixed media artist actively investigating existing and created emotional structures. She has performed at the Migros Museum Fair, Genenwartskunst in Zurich, Switzerland, the J. Paul Getty Museum, Art Positions: Art Basel Miami Beach, shown video at Art in General in New York, sculpture at Raid Projects, installation at Anna Helwing Gallery, and photos at Circus of Books Gallery in Los Angeles.

12.01.2009

this is going to get shortened but

Statement of Plans
My creative writing plans are always to extend and expand my knowledge and practice in order to attempt to produce literature. This application period finds me both in the middle of some large projects and at the end of a way of thinking about my pursuits which has been productive, but leaves me with some important questions. In other words, it is time for me to reconsider my work and the ways I go about making it. I am well aware that the Stegner is not usually granted to mid-career writers. When I was still pre-book, but both pre- and post-MFA, I applied to you. I would benefit from and contribute to the life of the mind at Stanford and in the world by spending two years in supported workshops, library (research) access, and tuition. I am applying to you again that you might consider that I have a need and plan for two fellowship years.
My book Locket was accepted for publication six years before it was published and nine years after I wrote most of the poems I included in it. During this long wait, this sort of poem I write came to represent my concentration on the lyrical. My most recently-published book, Vauxhall, includes poems I began to write after I completed the first draft of Locket. Thus, it came to represent, to me, my continuing exploration of the lyric. What next? Two manuscripts, which I have excerpted in my sample, represent different sorts of lyric poems which have found their ways into journals more easily than the others, but yet not into books. Two variant groups of narrative lyrics I wrote and still write have gotten lost under my “lyric thread” rubric. As you know better than I could possibly know, Stanford has and has had a “perfect storm” of poets and critics working across aesthetics and theories deeply concentrated on the lyric.
Before Locket reached print, I wrote a project-based book, Heresy. It became the central volume of my trilogy DaDaDa. The response I received to DaDaDa was encouraging, and I expanded the project to chart the idea of the confessional together with women’s writing, modern technology, and 20th century poetics. The second trilogy, entitled OOD: Object-Oriented Design, has been accepted for publication. I am beginning to work on the next trilogy, Dea. This research-intensive writing marries form, theory/philosophy, and my technical knowledge, but it is perhaps most unusual in that it is very long, but not a life work. Or maybe it is unusual because I’m one of the few former software developers formally educated only in poetry.
I began to form a distaff trilogy of works related to the works in the long project. For example, a poem in this book consists of all of the etymological forms of mystic keywords in the device in the Heresy poems of DaDaDa. Some of these poems are in Paper Craft. As a designer, I was careful to write a book to exist importantly in print and as a printout. Many of the poems are dictionary definitions of paper objects folded into that object (plane, airplane, and aeroplane folded into paper airplanes), along with fold lines for creating meta-poems from the printout. A second book which continues to treat texts made of texts as peculiar objects is forthcoming. It is called Craft + Work. There’s another book accepted for publication called Heavy Rotation. I have shown the objects these poems are “read from” in gallery shows locally, nationally, and even internationally.
Another set of works made to take advantage of their .pdf publication uses a series of four Hello Kitty coloring books as source texts. The first, Secret Kitty, is a critique of flarf. The second, Kittenhood, is a collaborative exploration of Olson’s Dogtown and MS Word Art. The projected next volume, Calico Cat, thus far consists of various color-music scales, such as Madame Blavatsky’s, applied to text.
i've posted about leland hickman and temblor and douglas messerli's meetings-up-with-hickman here before, and so

You're invited to a publication party for
Tiresias: The Collected Poems of Leland Hickman
published by Nightboat Books & Otis Books/Seismicity Editions

with brief readings by Bill Mohr, Stephen Motika & Martha Ronk

Saturday, December 12, 5-7pm
Arundel Books
8380 Beverly Blvd, 3 blocks east of La Cienega Bl.
Phone: 323-852-9852

Los Angeles poet and editor LELAND HICKMAN (1934-1991) was the author of two collections of poetry: Great Slave Lake Suite (1980), which was a finalist for the Los Angeles Times Book Award, and Lee Sr. Falls to the Floor (1991). He was the editor of the poetry journal Temblor, which ran for 10 issues during the 1980s. This new volume collects all of the poems published during Hickman's life as well as previously unpublished pieces. The volume, edited by Stephen Motika, features a preface by Dennis Phillips and an afterword by Bill Mohr.

!!!!
yes, my gmail was somehow used by spammers... apologies...

11.29.2009

LANGUAGE ARTS LIVE presents THEODORE ENSLIN

reading from his work at 7:30 pm on Monday 11/30 in the Skelton Lounge at Bates College (Chase Hall 205, 56 Campus Avenue, Lewiston, ME)

Theodore Enslin has published 118 books of poetry, most recently Then and Now: Selected Poems, 1943-1993 (National Poetry Foundation, 1999) and Nine (National Poetry Foundation, 2004). Enslin's 119th volume, a prose collection, I, Benjamin, A Quasi-Autobiography, is due out from Macpherson & Co. in 2009. Enslin lives in Milbridge, Maine, where he recently completed a 20-CD series of readings from his work of the past sixty years.

This reading is made possible by support from the Department of English, the Environmental Studies Program, the Humanities Division and the John Tagliabue Fund for Poetry at Bates College.

LANGUAGE ARTS LIVE, FALL 2009
BATES COLLEGE, LEWISTON, MAINE

http://languageartslive.wordpress.com/

All readings free and open to the public
CAROL
THOMAS MERTON
( 1915-1968)

Flocks feed by darkness with a noise of whispers,
In the dry grass of pastures,
And lull the solemn night with their weak bells.

really wonderful sound in this first stanza; makes it dramatic -=- really makes the whole poem

The little towns upon the rocky hills
Look down as meek as children:
Because they have seen come this holy time.

sorta boring, as a stanza

God's glory, now, is kindled gentler than low candlelight
Under the rafters of a barn:
Eternal Peace is sleeping in the hay,
And Wisdom's born in secret in a straw-roofed stable.

And O! Make holy music in the stars, you happy angels.
You shepherds, gather on the hill.
Look up, you timid flocks, where the three kings
Are coming through the wintry trees;

really interesting, as it is the pronouns in this stanza and the next that can be usefully cut, all are here in service of drawing an unnecessary contrast between "you" and "we" -- which is already made more subtlely by theme

While we unnumbered children of the wicked centuries
Come after with our penances and prayers,
And lay them down in the sweet-smelling hay << sweet hay
Beside the wise men's golden jars. , or just golden jars
A Wreath

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A wreathed garland of deserved praise,
Of praise deserved, unto thee I give,
I give to thee, who knowest all my wayes,
My crooked winding wayes, wherein I live,
Wherein I die, not live : for life is straight,
Straight as a line, and ever tends to thee,
To thee, who art more farre above deceit,
Then deceit seems above simplicitie.
Give me simplicitie, that I may live,
So live and like, that I may know thy wayes,
Know them and practise them : then shall I give
For this poore wreath, give thee a crown of praise.