Two Poems and Two Paintings by Marjorie Welish

BOMB 104 Summer 2008
Issue 104 104  Cover

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
complete.
                   Exhaustively happy, we open out the graphic
sonogram of the event that is the storefront, red and black.

Marjorie Welish 001

Spacing

                                 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
Related
Brenda Goodman by Clarity Haynes
Passing Through 72X60 Oil On Wood 2019

The painter looks back on five decades of experimentation and how that’s generated new levels of confidence and clarity in her art.

What’s Going On (or Some Violence To Get Some Good): Ben Jones Interviewed by Jessica Lanay
Ben Jones 11

Painting that works with politics and abstraction.

Studio Visit: Malin Gabriella Nordin by Lauren Moya Ford
Malin Gabriella Nordin1

Against inertia.

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