2011-2013 CALENDAR
Tuesday, April 2, 2013
Monday, April 1, 2013
Marjorie Welish and James Siena's Oaths? Questions? to be included in upcoming conference on The Spaces of the Book, Trinity College, Cambridge, Sept. 2013
 |
| (c) Kylin Lee Achermann http://kylinlee.com/project/oaths-questions/ |
Call for papers
Spaces of the book : materials and agents of the text/image creation
(XXth and XXIst Centuries)
Trinity College, Cambridge, 6 and 7 September 2013
The conference will consider the book as a space of creation in which text and image stand in dialogue (illustrated books, livres d’artistes, artists’ books), from the point of view of its medium (materials, format, folding, etc.) and the various agents (writers, artists, as well as typographers, printers, graphic artists, publishers, gallery owners/directors, booksellers) who play an essential role in its conception and distribution.
Click here for more information on the conference.
Sunday, March 31, 2013
Bibliography of/on Marjorie Welish's art work and art writing
ART
This web page
features
several links to essays on Marjorie Welish's art (and by MW on others’ art) as well as reviews.
Artist’s statement
and reprinted essays on the studio visit, The
Studio Reader, (eds. Mary Jane Jacob and Michelle Grabner), University of
Chicago Press, 2010.
ART Reproduced
The Opposite of Letting the Mind Wander, Keith Waldrop, Lost Roads, 1990
The Postmodern Sublime,
Joseph Tabbi, Cornell University Press,
Chicago Review 56
The Oxford Companion to Modern Poetry in English, (eds., Jeremy Noel-Tod and Ian Hamilton) Oxford University
Press, 2013
Poetics Journal Digital Archive(eds., Lyn Hejinian and Barrett Watten), Wesleyan
University Press, 2013
A Guide to Poetics Journal (eds, Lyn Hejinian and Barrett Watten),
Wesleyan University Press, 2013
SELECTED ART CRITICISM
BOOK
Signifying Art, Marjorie
Welish, Cambridge University Press, 1999
REVIEWED: Signifying Art,
Cambridge University Press, 1999. (A Book Selection of artnet.com from November
1999-April 2000. Review: New Art Examiner (July-August 2000; CAA.reviews
[e-zine], Craig Adcock, February 19, 2001; The Burlington Magazine,
Merlin James, May 2001; Cahiers 71, NANM, Sylvie Coellier, 2001
“‘The
Canvas Invites Writing’: Marjorie Welish on Cy Twombly,” by Terrence Diggory,
American Language Association, March 21, 2003
ANTHOLOGIES
“Big Julie Stepping Out,” Fernand
Léger, Skira, 2009. Papers given at an international conference on Léger, Dijon 2004, compiled and translated.
Other authors: Adami, Affron, Criqui, Lanchner, Lucie-Smith.
“Montage,
Encore: Une cible mouvante,” Le Montage Dans Les Arts Aux XX et XXI Siecles (sous la direction de Sylvie Coellier),Publications de L’Université de Provence, 2008.
Zig-Zag: The art of Olivier Gourvil.” Le Quartier, France, June 2003.
“Marked Site: Then...Now,” Peter Downsbrough Retrospective, Palais des Beaux Arts, Bruxelles
June 2003.
“How to Undo/Redo the
Object by Osvaldo Romberg,” Searching
for Romberg, Slought Books, Philadelphia, 2001
“Contratemplates,”Uncontrollable Beauty, The School of Visual
Arts and Allworth Press, 1998.
ENCYCLOPEDIA
"Donald Judd," "Ad
Reinhardt," Encyclopedia of Aesthetics (edited by Michael Kelly),
Oxford University Press , 1998
JOURNALS
“Rodchenko, Museum of Modern
Art,” Textual Practice , Winter
1999
"Jasper Johns," Bomb
, Fall 1996
"Lawrence Weiner," Bomb , Winter 1995‑96
"Word into Image" (interviews with Robert Barry, Martha
Rosler, and Nancy Spero), Bomb, Spring 1994
"Contextualizing 'The Open Work'," Sulfur
#32, Spring 1993
“Selected Writings of
Barnett Newman; James Turrell: The Art of Light and Space,” by Craig Adcock, Partisan
Review , Spring 1992
"Versions of Art History" (review of The Interpretation of Pictures by Mark Roskill), Salmagundi, Fall 1991
The art writing of John Ashbery and John Updike, Partisan Review, Autumn 1991
ON-LINE
Saturday, March 30, 2013
Selected Writing on Marjorie Welish’s poetry
Isle of the Signatories
Working Group in Contemporary Poetry conference notes by Richard Deming, October 9, 2009
War and Peace: Vision and Text, 2010, by Judith Goldman
For the Birds (online), August 25, 2008, by Allan Mozek
Word Group
Chicago Review, Autumn 2005, John Wilkinson
Jacket
(on-line), 2004, Meredith Quartermain
Boston Review (Fall 2004), Zach Finch
The Constant Critic (on-line), Ray McDaniel, 2004
The Annotated “Here” and Selected
Poems
Village Voice Supplement, December 2001, 25 Best Books List
The Gig
[Canada] December 2001, by Ian Hunt
Salmagundi, Summer 2001, by Terry Diggory
Jacket
(on-line), December 2001, by Chris Tysh
Chicago Review, Spring 2001, by Joel Bettridge
Bomb, March 2001, by Frances Richards
Casting Sequences:
"Imperturbable Things," Beth
Anderson, Impercipient Lecture Series, Vol.1 No.5, June 1997.
New York Newsday: Fanfare, August 15, 1993, by Geoff O'Brien.
Ohio Review #50, 1993, by Donald Revell.
The Windows Flew Open:
Denver Quarterly, Winter 1992, Janet Bowden.
American Book Review, December 1991, by Adam Craig Hill.
Two Poems:
Epoch,
Fall 1983, by David Lehman. Newsday, December 1982, by David Lehman.
Handwritten:
Poetry News, July 1981, by Dennis Cooper.
Parnassus,
Spring/Summer 1981, by Peter Schjeldahl
St. Marks Newsletter, June 1980, by Madeline Keller.
Of
the Diagram: The work of Marjorie Welish
“Faktura:The work
of Marjorie Welish,” by John Wilkinson, Chicago Review, September 2009
Saturday, February 9, 2013
Friday, February 8, 2013
Slide show of Marjorie Welish's paintings
Marjorie Welish’s abstract paintings are poststructuralist in their interplay of Repetition and Difference -- even of Deleuzean ‘differentials’ within one concept versus ‘differences’ between concepts, such as an interplay of two yellows as against not only ‘blue’ but two blues, or more recent diptychs wherein the color obtains across structural difference. Exemplary are the works in the series ‘Indecidability of the Sign Red Yellow Blue,’ which presumes the modernist topos of three primaries red/yellow/blue only to complicate it, for instance with a gradient consisting of the same yellow but with an admixture of black, producing an incommensurate palette —as a problem of ‘translation’ (i.e, ‘carrying-over’); or likewise, a palette of primaries whose differentials of a second red, a second yellow and two other blues, raise the question of which is the true red/yellow/blue. Besides recent diptychs on panels in the studio, the accompanying slide show illustrates certain exhibitions, including a show at the Denison University Museum, in Ohio, in which a painting from 1983-84, split between predetermined serial color sequence and ad hoc improvised chromatic (dis)order, is seen to lead eventually to Oaths, Questions, the recent artist-book collaboration with James Siena. Repetition and Difference are also seen in interplay in a small collaboration, The Napkin and Its Double, in which with, shown a proposal sketched by Buzz Spector on a napkin, Marjorie produced a copy on acetate with freehand addition of a phrase, which he, delighted, proceeded to title; after which this was produced as a multiple.)
April 11 & 12, Marjorie Welish symposium at Université Paris Est
On Thursday 11 April and Friday 12 April, we will be hosting a 2 day symposium on Marjorie Welish’s work at Université Paris Est Marne-La-Vallée, bâtiment Copernic, 3rd floor, room 15 (April 11) and room 6/8 (April 12). How to get there? See here.
We will be meeting in the morning of April 11th at 10 am to prepare our sessions with Marjorie Welish. Marjorie Welish will be joining us at 2 pm on the 11th. She will also be with us all day on the 12th.
On Thursday 11 April at 7:30 pm, Marjorie Welish and Jacques Roubaud will give a poetry reading at galerie éof, 15 rue Saint Fiacre, Paris.
On Thursday 11 April at 7:30 pm, Marjorie Welish and Jacques Roubaud will give a poetry reading at galerie éof, 15 rue Saint Fiacre, Paris.
So far, we’ve tried to focus on the writer’s own (creative and critical) work on the first day of the P&C symposia and on broader issues of poetics and practice-based criticism with the writer on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Bio, bibliography & links:
Marjorie Welish is an artist/critic whose practice encompasses both painting and poetry. She conceived the project that eventually became Oaths? Questions? (2009), an artists’ constructed book, she and James Siena doing both visual and verbal text http://www.granarybooks.com/product_view/1130/oaths?/ . Similarly, and prompted by a proposal drawn by Buzz Spector, she created a graphical artifact of visual and verbal components. She is the author of In the Futurity Lounge / Asylum for Indeterminacy (2012), Isle of the Signatories (2008), Word Group (2004), and The Annotated 'Here' and Selected Poems (2000), this last a finalist for the Lenore Marshall Prize from the Academy of American Poets. All are published by Coffee House Press. Earlier books are published by Burning Deck, University of Georgia Press, among others. Welish has received poetry grants and fellowships from the Djerassi Foundation, the Howard Foundation, the MacDowell Colony, and New York Foundation for the Arts. She was the Judith E. Wilson Visiting Fellow in Poetry, at Cambridge University in 2005. A conference on her writing and art at the University of Pennsylvania in 2002 resulted in Of the Diagram: The work of Marjorie Welish http://slought.org/content/11008/ More information may be found at http://epc.buffalo.edu/authors/welish/ and http://coffeehousepress.org/authors/marjorie-welish/ Her essays and reviews of poetry (on Joshua Clover, Norma Cole, Barbara Guest, Carla Harryman, Nathaniel Mackey, George Oppen, Michael Palmer, John Taggart, Barrett Watten, and others) have appeared in Bookforum, Denver Quarterly, Jacket, Partisan Review, San Francisco Chronicle, and Textual Practice.
Marjorie Welish has recent shows in New York, Chicago, Philadelphia, the Denison University Museum, Granville, Ohio, and at the Miami University Art Museum, Oxford, Ohio. Of two-person shows is one she shared with Olivier Gourvil, Slought Projects, Philadelphia (“Paper Architecture/Architecture de Papier,”) September-October 2005; she has also been paired with Peter Downsbrough and with Helmut Federle. For further information, see http://marjoriewelish.com/Home.html She has received many grants and fellowships for her art, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In July, 2010, she was an artist-in-residence at The School of the Art Institute of Chicago. In 2006, she received a Fulbright Senior Specialist Fellowship in art, to teach at the University of Frankfurt, where she also worked to complete a limited-edition art book, in collaboration with James Siena, published by Granary Books in 2009; with a Fulbright, she taught and worked at the Edinburgh College of Art in the spring of 2010; the constructed book Oaths? Questions? appears in the exhibition and project entitled "Sous nos yeux" (Before our eyes) at La Kunsthalle Mulhouse, France in collaboration with Radio 22; Oaths? Questions? also appears in the exhibition and conference on innovative artists’ books at Cambridge University, organized by Jan Khalfa, to take place September 2013. Of the Diagram: The Work of Marjorie Welish (Slought Foundation) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania, devoted to her writing and art. Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press), and she has written on abstract expressionism, pop, minimal and conceptual arts for Art in America, Art Monthly, Bomb magazine, Partisan Review, Textual Practice, and the Oxford Encyclopedia of Aesthetics. She contributed “Marked Site: Then...Now,” Peter Downsbrough, Palais des Beaux Arts, Bruxelles, June 2003; Zig-Zag: The art of Olivier Gourvil.” Le Quartier, France, June 2003; “Marked Site: Then...Now,” Peter Downsbrough Retrospective, Palais des Beaux Arts, Bruxelles, June 2003; she contributed “Montage, Encore: Une cible mouvante,” Le Montage Dans Les Arts Aux XX et XXI Siecles (sous la direction de Sylvie Coellier), Publications de L’Universie de Provence, 2008. “Big Julie Stepping Out,” Fernand Léger, Skira, 2009. Papers given at an international conference on Léger, Dijon 2004, compiled and translated. Other authors: Adami, Affron, Criqui, Lanchner and Lucie-Smith In 2012 she conceived a collaborative seminar with Olivier Gourvil, Dominique Absensour and Joseph Masheck, realized at the Elizabeth Foundation for the Arts http://www.delapeinture.org/publications/voyage-a-new-york/rencontre-avec-m-welish-j-masheck
Marjorie Welish has taught at Brown University, Columbia University and Pratt Institute, and currently teaches at Brooklyn College. She serves on the board of the International Studio and Curatorial Program.
Marjorie Welish is an artist/critic whose practice encompasses both painting and poetry. She conceived the project that eventually became Oaths? Questions? (2009), an artists’ constructed book, she and James Siena doing both visual and verbal text http://www.granarybooks.com/product_view/1130/oaths?/ . Similarly, and prompted by a proposal drawn by Buzz Spector, she created a graphical artifact of visual and verbal components. She is the author of In the Futurity Lounge / Asylum for Indeterminacy (2012), Isle of the Signatories (2008), Word Group (2004), and The Annotated 'Here' and Selected Poems (2000), this last a finalist for the Lenore Marshall Prize from the Academy of American Poets. All are published by Coffee House Press. Earlier books are published by Burning Deck, University of Georgia Press, among others. Welish has received poetry grants and fellowships from the Djerassi Foundation, the Howard Foundation, the MacDowell Colony, and New York Foundation for the Arts. She was the Judith E. Wilson Visiting Fellow in Poetry, at Cambridge University in 2005. A conference on her writing and art at the University of Pennsylvania in 2002 resulted in Of the Diagram: The work of Marjorie Welish http://slought.org/content/11008/ More information may be found at http://epc.buffalo.edu/authors/welish/ and http://coffeehousepress.org/authors/marjorie-welish/ Her essays and reviews of poetry (on Joshua Clover, Norma Cole, Barbara Guest, Carla Harryman, Nathaniel Mackey, George Oppen, Michael Palmer, John Taggart, Barrett Watten, and others) have appeared in Bookforum, Denver Quarterly, Jacket, Partisan Review, San Francisco Chronicle, and Textual Practice.
Marjorie Welish has recent shows in New York, Chicago, Philadelphia, the Denison University Museum, Granville, Ohio, and at the Miami University Art Museum, Oxford, Ohio. Of two-person shows is one she shared with Olivier Gourvil, Slought Projects, Philadelphia (“Paper Architecture/Architecture de Papier,”) September-October 2005; she has also been paired with Peter Downsbrough and with Helmut Federle. For further information, see http://marjoriewelish.com/Home.html She has received many grants and fellowships for her art, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In July, 2010, she was an artist-in-residence at The School of the Art Institute of Chicago. In 2006, she received a Fulbright Senior Specialist Fellowship in art, to teach at the University of Frankfurt, where she also worked to complete a limited-edition art book, in collaboration with James Siena, published by Granary Books in 2009; with a Fulbright, she taught and worked at the Edinburgh College of Art in the spring of 2010; the constructed book Oaths? Questions? appears in the exhibition and project entitled "Sous nos yeux" (Before our eyes) at La Kunsthalle Mulhouse, France in collaboration with Radio 22; Oaths? Questions? also appears in the exhibition and conference on innovative artists’ books at Cambridge University, organized by Jan Khalfa, to take place September 2013. Of the Diagram: The Work of Marjorie Welish (Slought Foundation) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania, devoted to her writing and art. Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press), and she has written on abstract expressionism, pop, minimal and conceptual arts for Art in America, Art Monthly, Bomb magazine, Partisan Review, Textual Practice, and the Oxford Encyclopedia of Aesthetics. She contributed “Marked Site: Then...Now,” Peter Downsbrough, Palais des Beaux Arts, Bruxelles, June 2003; Zig-Zag: The art of Olivier Gourvil.” Le Quartier, France, June 2003; “Marked Site: Then...Now,” Peter Downsbrough Retrospective, Palais des Beaux Arts, Bruxelles, June 2003; she contributed “Montage, Encore: Une cible mouvante,” Le Montage Dans Les Arts Aux XX et XXI Siecles (sous la direction de Sylvie Coellier), Publications de L’Universie de Provence, 2008. “Big Julie Stepping Out,” Fernand Léger, Skira, 2009. Papers given at an international conference on Léger, Dijon 2004, compiled and translated. Other authors: Adami, Affron, Criqui, Lanchner and Lucie-Smith In 2012 she conceived a collaborative seminar with Olivier Gourvil, Dominique Absensour and Joseph Masheck, realized at the Elizabeth Foundation for the Arts http://www.delapeinture.org/publications/voyage-a-new-york/rencontre-avec-m-welish-j-masheck
Marjorie Welish has taught at Brown University, Columbia University and Pratt Institute, and currently teaches at Brooklyn College. She serves on the board of the International Studio and Curatorial Program.
Links:
Marjorie Welish's page at the Buffalo Electronic Poetry Center. Includes texts (poems and essays), paintings, essays, audio & video recordings and interviews. Of note: long interview conducted by Judith Goldman.
Marjorie Welish's home page with interview at Coffee House Press.
Marjorie Welish at the Slought Foundation with recording.
Marjorie Welish's art work. Includes selected art criticism.
De la peinture, un réseau de recherche. Rencontre avec Marjorie Welish et Joseph Masheck here.
Bibliography:
You will find a bibliography here.
Isle of the Signatories, Minneapolis, Coffee House Press, 2008.
Art and Language Writes an Epitaph, New York City, Belladonna Books, 2005.
Word Group, Minneapolis, Coffee House Press, 2004.
The Annotated Here and Selected Poems, Minneapolis, Coffee House Press, 2000.
Else, in Substance, Providence, Paradigm Press, 1999.
Casting Sequences, Athens, Ga., University of Georgia Press, 1993.
The Windows Flew Open, Providence, Burning Deck,1991.
Handwritten, New York, Sun, 1979.
Signifying Art: Essays on Art after 1960, Cambridge, Mass., Cambridge University Press, 1999.
A collaboration with James Siena:
Oaths? Questions? New York City, Granary Books, 2009.
SOME REVIEWS
In the Futurity Lounge/Asylum for Indeterminacy
http://www.raintaxi.com/online/2012winter/welish.php
Isle of the Signatories
Word
Group
SOME WRITING ON POETRY AND
POETICS
“Inscriptions,” [Norma Cole,
Nathaniel Mackey, Barrett Watten] American Poet37, Fall 2009
“Fast Intertext: Barbara Guest,” Chicago
Review/Jacketmagazine (on line), 2008
“The Double Dream of Spring
Would Like to Make a Few Statements” (John Ashbery) Conjunctions 49,
Fall 2007
“A Test of:
Spacing,” [poem as notebook] The George Oppen Memorial Lecture Denver
Quarterly, Fall 2007
Review of The Totality for
Kids [Joshua Clover] Jacket 33, 2007
Review of Spinoza in Her Youth
[Norma Cole] Jacket 31, 2006
“Science into Poetry” [Raymond Queneau] Boston Review,
July-August 2006
The poetry and essays of Barrett
Watten Textual Practice (England), Spring 2000
“Underworld Overcoat: A Note on
the Drawings of Philip Guston” (relating to themes of Ernest Hemingway) Sulfur
23, 1988
Reviewing
for The San Francisco Chronicle: Barrett Watten, February 5, 1989;
Michael Palmer, May 21, 1989;
August Kleinzahler, July 30, 1989; Robert Hass, August 6, 1989; Carla
Harryman, January 14, 1990
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