Incorporating poems by Maureen McLane, Dorothea von Moltke, Geoffrey Nutter, Rowan Ricardo Phillips, Sal Randolph, Mónica de la Torre, and Monica Youn
I sat at the bar of the Zwiebelfisch in Berlin together with David Bell, the renowned Kant scholar; it happened to be one of his regular haunts and it was the only spot where we could have an undisturbed meeting whenever he was in Berlin.
The basic conceit of Warm Equations is that a book can abstract the space of conversation typically delimited in front of paintings, that the thematics of a painter’s practice, in this case Alan Reid’s, can be constellated through a chorus of related texts.
The art book has changed.
It was one year ago (June 25, 2015), at Poets House, right before the late Bill Berkson’s reading began, that I casually said hi to him and he, always a generous and prolific collaborator with artists, said, “Let’s talk.”
“I’m a believer in ‘the artist proposes and the universe disposes.’ On that meeting ground is where the important stuff happens for me, where a set of images, possibilities, dialogues with people both living and dead actually start forming.”
“I want the people I collaborate with to understand that they can move a way from the realities they’ve been placed into, that they can create a reality.”
“My imagination was shaped in a period of extreme rigidity in the social and political system. The apartheid system was about putting physical space between people. So an encounter with the other, with the neighbor or the stranger, has always seemed central to me.”
“Asymmetry is part of what makes us human, and it’s what makes our actions feel human. And we only know that because we can have a programmer make something play ‘perfectly,’ and it sounds terrible.”
“I liked thinking about the word occupy literally. To occupy something. To occupy a sensation or a history and then to be kicked out of it and be squatting near it and trying to reinvest in it.”
In 1946 the Russian astrophysicist Gamow, transported in a US Air Force plane from California to Canada, from there to Washington, and from there to Florida, on each occasion to deliver a lecture, saw WITH HIS OWN EYES—while waiting in a noisy café on New York’s Fifth Avenue during one of the few quiet moments he had to himself—the rotation of atoms and subatomic particles, their spin, the constant revolution of molecules and planets, the rapidly turning stars, galaxies and superclusters.
“They said, ‘You’ll be in charge of the children and the dogs.’ And I said, ‘Okay! But what does that even mean?’”
I scrape the snow or shovel the driveway before I go / casual flip of car on lawn spats abut fender’s sis
4 June 2010, Edinburgh. The brightness of the morning. Sky flat. No clouds. When he came into her room with coffee she was already awake.
A conditional archive or A score
for the past and future of
LIVING ROOM INDEX AND POOL
Images by Archie Rand with excerpts from John Ashbery’s FLOW CHART,
Artists generally fall into two groups: the makers (of objects) and doers (of activities). They survive, more or less, on the largesse of the art world.