Two Poems and Two Paintings by Marjorie Welish

BOMB 104 Summer 2008
Issue 104 104  Cover

Discover MFA Programs in Art and Writing

Consecutive Studios

Valiant folding screens doubling back to distinguish COMPLETE from COMPLETED
strike at anthology’s information and friends, countless EXHAUST in debt to EXHAUSTIVENESS
EXHAUSTIVENESS INCONCLUSIVE. It is midnight. Modern signage and settings
in legendarily discrepant turf. “We walk past a storefront.” What is knowledge
to them who have it? The lower portion falling back selectively, and/or idiomatically
omnivorous: the wall.
                                  EXTREME PUBLIC SPACE
SUNDAY the supplement has now molted SUNDAY: A huge sheet within which unfolded
his retrospective dissimilar and unequal and nonpareil.


                                                                                           Proceeding to the next
anthology’s EXHAUSTIVENESS for an INCONCLUSIVE public, we are made late. Doubling back
across validity is this self. The TABLE OF CONTENTS “from top to bottom or from bottom to top”
indicates a prospectus of stoppages, a sketch which takes time distributes a serious attempt we read as
a built statement. In its wake, the sentence….


                                                                          An anthology’s EXHAUSTIVENESS, INCONCLUSIVE
entablature: completed not complete, not completed complete, not completed not complete, completed
                   Exhaustively happy, we open out the graphic
sonogram of the event that is the storefront, red and black.

Marjorie Welish 001


                                 AND IT CAME TO PASS
that the King died; then the Queen died of grief.
                                 CONSEQUENTS UNITE!
And the Queen died of grief, chafing against the antecedent
event, action, scene. And again the Queen died
in line, and so consecutive with respect to others who had died
prior to her.
                                  IT GOES WITHOUT SAYING
that the Queen died
                                  ONCE UPON A TIME
is of a different order of magnitude, the Donor said.

Marjorie Welish 02 Bomb 104

These images come from Painting as Diagram, Marjorie Welish’s recent show at Björn Ressle Fine Art in New York, while the poems extend her involvement with inscription, as in Isle of the Signatories, just out from Coffee House Press. Welish has received numerous awards from the Adolph and Esther Gottlieb Foundation and the Pollock- Krasner Foundation, among others, as well as a Howard Fellowship, the Judith E. Wilson Visiting Poetry Fellowship of Cambridge University, and a Senior Fulbright Fellowship. Of the Diagram: The Work of Marjorie Welish (Slought, 2003) documents a conference on her writing and art at the University of Pennsylvania.

Poem and Painting by Marjorie Welish
​Marjorie Welish 01
One Piece: Untitled by Johnny Abrahams
Johnny Abrahams Untitled Studio One Piece

The artist talks about the genesis, composition, and execution of a recently completed work.

One Piece: There’s a bright side somewhere by Alteronce Gumby
Alteronce Gumby Brightside

The artist talks about the genesis, composition, and execution of a recently completed work.

James Little by LeRonn P. Brooks
464937842 04142017 James Little Bomb 35

“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”

Originally published in

BOMB 104, Summer 2008

Featuring interviews with Meg Stuart, Karen Kelley and Barbara Schroder, Kalup Linzy, Peter Saul, Mike Davis, Boredoms, Will Eno, and James Timberlake.

Read the issue
Issue 104 104  Cover