New York School
The real-time making of an artist.
Notley’s body of work consists of over thirty-five collections of poetry and prose. To consider her oeuvre, in her interlocutor’s words, is to court “cerebral and sensory overload.”
“Poems are practical:” Jason Dodge and Caroline Knox talk about art, poetry, and reading.
Twenty chapters of poetry compose Clark Coolidge’s Gesamtkunstwerk, the division between each a shoddy dam allowing themes to spill back and forth—geology, Zukofsky, Dalí.
The era is largely the 1960s—the Beats and New York School are active and on both coasts, poets and filmmakers are meeting in productive, transformative ways. In We Saw the Light, Daniel Kane distills these relations, referencing letters, social networks, historical group formations, and interactions between these men (and they are usually men)—whether as audience, scriptwriter, actor, collaborator, or even “houseboy.”
In the spring of 2001, a vast and (surprisingly) sustained retrospective of paintings, sculpture, photographs, lithographs, and tapestries by the Turkish born artist Burhan Dogançay was held in Istanbul’s Dolmabahçe Cultural Center, formerly a palace wing.
“If somebody does a portrait, how do you get the aura or the feeling of the face? You don’t do every eyelash, right? That kind of attention to detail doesn’t really do it.”
Famed writer, editor, filmmaker, and publisher Charles Henri Ford speaks of his early years in Paris, his theory of collage, and how he came to obtain a nude photograph of Robert Mapplethorpe and Patti Smith.