Marjorie Welish
New titles and reissues highlighted by Justin Taylor, Chelsea Hodson, Paul La Farge, Emmalea Russo, Alexandra Kleeman, Ted Dodson, Dan Sheehan, Kristen Radtke, Daniel Saldaña París, Marjorie Welish, Tobias Carroll, Jonathan Lee, Scott Esposito, and Lauren LeBlanc
Syntactical adventure and rolling ruminations in Clark Coolidge: Selected Poems 1962–1985
Palimpsests and invocation in Marjorie Welish’s So What So That
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.
Marjorie Welish on the work of Joe Fyfe.
If there is any one thing that distinguishes Dieter Roth’s anarchic dadaist assemblages from all else that has come on the scene since, it is that their inflection of a radical practice is coextensive with Roth’s own life.
Sixteen Polish installation artists take on the titular theme of Architectures of Gender in varied ways, from confronting viewers with oversized statistics to transforming Bauhaus design principles into a utopic living room.
Marjorie Welish explores the theoretical implications of Guillermo Kuitca’s large-scale paintings of imagined CD covers for his favorite recordings of Wagner’s Ring Cycle.
The Neuberger Museum of Art is immediately memorable, if for no other reason than the galleries are singularly broad and deep: proportion and scale of this acclaimed modernist space are eloquent, not overbearing.
Racing thoughts: Artist and poet Marjorie Welish speaks to the legendary painter on the eve of his Fall 1996 retrospective at the Museum of Modern Art.
Regrettably, you put it near me
Weiner, whose work is currently on view at Beyer Projects, discusses the imperatives of need in language, in life and in getting the job done with the poet Marjorie Welish.
“I don’t believe in progress in art. Prehistoric art can’t be beat! Sophistication isn’t progress. It’s just that now there’s a realization and an analysis on our part.”