Cole Swensen Symposium at Université Paris Est Marne-La-Vallée, Wednesday 11 December & Thursday 12 December

On Wednesday 11 December and Thursday 12 December, we will be hosting a 2 day symposium on Cole Swensen’s work at Université Paris Est Marne-La-Vallée, bâtiment Copernic, 2nd floor, room 88. How to get there? See here.

We will be meeting in the morning of December 11th at 10 am to prepare our sessions with Cole Swensen. Cole Swensen will be joining us at 2 pm on the 11th. She will also be with us all day on the 12th.

On Wednesday 11 December at 8pm, Cole Swensen, Nicolas and Maitreyi Pesquès will give a reading at the Maison de la poésie de 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: 

I.  Biographies and bibliography

> Bio from the Academy of American poets

http://www.poets.org/poet.php/prmPID/704

> Bio (from wikipedia) :

Cole Swensen (b. 1955, in Kentfield, California) is an American poet, translator, editor, copywriter, and professor. Swensen was awarded a 2006 Guggenheim Fellowship and is the author of more than ten poetry collections and as many translations of works from the French. She received her B.A. and M.A. from San Francisco State University and a Ph.D. in Comparative Literature from the University of California, Santa Cruz before going on to become the now-Previous Director of the Creative Writing Program at the University of Denver. She taught at the Iowa Writers' Workshop at the University of Iowa until 2012 when she joined the faculty of Brown University's Literary Arts Program.

Her work is considered Postmodern and post-Language school, though she maintains close ties with many of the original authors from that group (such as Lyn Hejinian, Carla Harryman, Barrett Watten, Charles Bernstein,) as well as poets from all over the US and Europe. In fact, her work is hybrid in nature, sometimes called lyric-Language poetry emerging from a strong background in the poetic and visual art traditions of both the USA and France and adding to them her own vision.

In the USA, Cole Swensen’s ninth collection of poetry, Goest (Alice James Books, 2004) was a finalist for the National Book Award.[1] Earlier works have been awarded a National Poetry Series selection, Sun & Moon’s New American Writing Award, the Iowa Poetry Prize via University of Iowa Press, the San Francisco State Poetry Center Book Award, and two Pushcart Prizes. Her translation of Jean Frémon’s The Island of the Dead won the 2004 PEN USA Literary Award for Translation. She has also received grants from the Association Beaumarchais and the French Bureau du Livre.

In France, Swensen has participated in readings and collaborative translation projects with such organizations as the Royaumont Foundation at the beautiful L'abbaye de Royaumont, Columbia University’s Reed Hall, the maison des écrivains et de la littérature [2] in Paris, Double Change [3][4] and Ivy Writers Paris.[5] Her life-long commitment to translation is a testament to her belief in the international exchange of words and language, and in the importance of radical and traditional poetries for contemporary society.

She is member of the Academy of American Poets, and a contributing editor for the periodicals American Letters & Commentary and for Shiny, and for many years was the translation editor for the online contemporary poetry and poetics review How2.[6]

She divides her time between Paris, Washington DC and Providence, where she is on the permanent faculty of Brown University's Literary Arts Program. She is also the founder and editor of La Presse, a small press dedicated to the translation and publication in English of contemporary French poetry (such as by Claude Royet-Journoud or Marie Borel).

Gravesend, (University of California Press, 2012)--Finalist for the Los Angeles Times Book Prize in Poetry, 2012.

Ours: poems on the gardens of Andre Le Notre (University of California Press, 2008)[7] --excerpt at POOL [8]

The Glass Age, (Alice James Books , 2007)[9][10]

The Book of a Hundred Hands (University of Iowa Press, Iowa City, 2005)[11]

NEF, a translation by Rémi Bouthonnier of Noon (Les Petits Matins, Paris, 2005)

Goest, (Alice James Books, 2004)[12]--Finalist for the National Book Award, 2004, and One of 12 books honored as the "Best Poetry of 2004" by Library Journal.[13]

Such Rich Hour, (University of Iowa Press, Iowa City, 2001)[14]

Oh, (Apogee Press, Berkeley, CA, 2000)--Finalist for the National Poetry Series, 1998.[15][16]

And Hand chapbook (a+bend Press series, San Francisco, CA, 2000)[17]

Try, (University of Iowa Press, Iowa City, Iowa, 1999)--Winner of the Iowa Poetry Prize, 1998, and Winner of the San Francisco State Poetry Center Book Award, 2000.[18]

Noon (Sun & Moon Press, Los Angeles, CA., 1997)--Winner of the New American Writing Award. Re-published with Green Integer [19]

Numen, (Burning Deck Press, Providence, RI, 1995) -- Named an “International Book of the Year,” Times Literary Supplement, and Finalist for the PEN West Award in Poetry, 1996. It also appeared in French translation as Numen, (Fondation Royaumont, 1994) [20]

Parc, a translation by Pierre Alferi of Park (Format Américan France, 1995)[21]

Park (Floating Island Press, Inverness, CA. 1991)

New Math (William Morrow & Co., New York, 1988) -- Winner of the National Poetry Series, 1987

It's Alive She Says, (Floating Island Press, CA, 1984)

Swensen's translations from the French

"La Vraie nature des ombres"by Jean Frémon : "The Real Life of Shadows", The Post Apollo Press, 2009

Physis by Nicolas Pesquès (Parlor Press / Free Verse Editions, 2007)[22]

Futur, ancien, fugitif by Olivier Cadiot, as Future, Former, Fugitive(Roof Books, 2004) [23]

Kub or by Pierre Alferi, asOxo (Burning Deck, 2004)[24]

Ile des Morts by Jean Frémon, as: Island of the Dead (Green Integer, 2002)--awarded the 2004 PEN USA Award for Literary Translation [25]

Bayart by Pascalle Monnier (Black Square Editions, 2001)

Natural Gaits by Pierre Alferi (Sun & Moon, 1995)

Past Travels by Olivier Cadiot (1994)

Interrmittances II by Jean Tortel (1994)

Other publications

Swensen has written critical articles on poets such as Susan Howe, Anne-Marie Albiach or Claude Royet-Journoud, as well as reviews of poetry for such periodicals and books as:

“The Boston Review”

“The Bloomsbury Review”

anthologies Moving Borders: Three Decades of Innovative Writing By Women edited by Mary Margaret Sloan, (Talisman Editions, New Jersey, 1998) and

Civil Disobediences (Coffee House Press, 2004)

American Hybrid: A Norton Anthology of Contemporary Poetry, (W.W. Norton & Company, 2008). Swensen co-edited (with David St. John) this anthology that includes 70 poets seen as creating cross-genre works, mixing traditional or modernist poetry techniques with experimental and postmodern writings

Contributions to periodicals

Contributor to periodicals in English: including Chicago Review, American Poetry Review, Boston Book Review, Common Knowledge, Conjunctions, Upstairs at Duroc, Grand Street, New American Writing, and ZYZZYVA.[26] She has also translated individual poems for print and online periodicals such as Verse, The Germ, 1913. Online at the extensive Chicago Modern Poetry website,[27] one can discover other poets Swensen has translated including Caroline Dubois [28] or Sabine Macher,[29] and Oulipo poet Michel Gringaud at the drunkenboat publication website [30] or at Free Verse.[31]

Individual poems by Swensen have appeared in French translation: in the reviews “Action Poétique,” "Java," "Vacarme," "Nioques," "Action Poétique," and “Hors-Bords.”

II. Websites

> Swensen’s page on Pennsound

http://writing.upenn.edu/pennsound/x/Swensen.php

In particular, her reading and discussion : the Cross-Cultural Poetics Series (2010)

> Find more about Cole Swensen’s small press La presse dedicated to poetry in translation :

http://www.lapressepoetry.com/about.htm

III. Interviews

> Christopher Nelson’s interview about Gravesend

http://nelsonpoetry.blogspot.fr/2013/03/interview-with-cole-swensen-on-gravesend.html

> Audio itw about Gravesend

http://www.litshow.com/archive/season-06/cole-swensen-interview/

> Questions to Cole Swensen :

http://12or20questions.blogspot.fr/2007/11/12-or-20-questions-with-cole-swensen.html

> Cole Swensen : a video about Iwoa

http://www.youtube.com/watch?v=yJMvErGPTHE

> Talk about « If a Garden of numbers » (from Ours)

https://jacket2.org/podcasts/where-real-exceeds-ideal-poemtalk-52

And Cole’s response to that talk : https://jacket2.org/commentary/cole-swensen-responds

IV. Reviews and Articles :

> presentation of Noise that Stays Noise : http://www.press.umich.edu/1903627/noise_that_stays_noise

> Donna Stonecipher’s review of Ours in Jacket

http://jacketmagazine.com/36/r-swensen-rb-stonecipher.shtml

> A review of Ours in Bookforum

http://www.bookforum.com/inprint/015_01/2263

> Article through Project Muse :

Ashby Kinch, "Re-Visioning History in Cole Swensen’s Such Rich Hour," Contemporary Literature 53.1 (2012)

How to get to Bâtiment Copernic, Université Paris Est Marne-la-Vallée > 2nd floor, room 88

Short instructions below. Long instructions “RER 101” here.

To come to the Université Paris Est Marne-La-Vallée, take the RER A4 line to the station “Noisy Champs.” You will have to purchase a special ticket Paris – Noisy Champs (you can do so in any metro station). In Paris you can board the RER A at the following train stations: Charles de Gaulle Etoile, Auber, Châtelet Les Halles, Gare de Lyon, Nation. See map of the line here.

*Châtelet Les Halles - Noisy Champs : approx. 25'.
*Gare de Lyon - Noisy Champs : approx 20'.
*Nation - Noisy Champs : approx 18'

Please board one of the front cars of the train: when you get off at Noisy Champs, you will be close to the exit leading to the University. Walk to the escalators. As you go up the escalators from the platform, take the exit located on your right. You want exit #3 "bd Newton" (see pic.)  Here’s a map of the campus.

Take Exit 3 turn right at top of elevators

As you leave the RER station, turn left, go straight. You will see the La Poste building. At the crossroads, turn right onto the avenue Ampère. 

Crossroads & beg. of Av. Ampère

Copernic bldg. / U.Paris Est MLV

Once on the avenue Ampère, you will see Piotr Kowalski's large metallic sculpture a.k.a. “the axis of the earth”. Walk to the roundabout where the structure is erected. Then make a left on boulevard Descartes. The Copernic building will be on your right. 


With Google Street View:
1. From RER Station to crossroads

View Noisy Champs RER A Station, Bd Ampère in a larger map


2. Walk past La Poste to crossroads

View Noisy Champs RER A Station, Bd Ampère in a larger map


3. At crossroads make a right

View Noisy Champs RER A Station, Bd Ampère in a larger map


4. Go straight

View Noisy Champs RER A Station, Bd Ampère in a larger map

5. Make a left at "axe de la terre" roundabout

View Noisy Champs RER A Station, Bd Ampère in a larger map 


6. Take second street on your left

View Noisy Champs RER A Station, Bd Ampère in a larger map


7. The Copernic building of the Université will be on your right.

View Noisy Champs RER A Station, Bd Ampère in a larger map



Inside Copernic...
Enter the bldg. Make a left and walk past the "Accueil".

Walk to left rear end of bldg

Walk to the rear end of the bldg, past the auditorium Maurice Gross and make a left. Walk down the corridor (see pic.) to the elevators.

Hallway leading to elevators

There are several elevators which will take you to the 2nd floor. Congratulations, you've made it! Once you exit the elevator, make a left. Room 88 will be down the hall, signs will be posted.

View Larger Map

Cole Swensen's Book of Essays *Noise that Stays Noise*

More information by clicking on cover below

Below, table of contents of Cole Swensen's book of essays

"Swensen reminds us that the old fashioned approach to extraneous (non-lyrical) data invading the text is called research." Ron Silliman on Cole Swensen's Ours/ Le Nôtre

On April 14, 2009, Ron Silliman wrote a review / essay on Cole Swensen's Ours and, more generally, on her work in relation to conceptual writing & American (& French) poetics. The essay addresses many of the issues Poets & Critics has been concerned with over the past three years.

Here's the beginning of the essay. The entire essay can be read on Ron Silliman's blog, by clicking on the icon below.

 “All conceptual writing is allegorical writing” argue Rob Fitterman & Vanessa Place in Notes on Conceptualisms, a fascinating little book with painfully small type. At the core of Cole Swensen’s Ours, published last year by the University of California Press, is the allegory of the garden, French gardens to be exact, and especially the work of André Le Nôtre (1613-1700), the “father,” to use Swensen’s term for it, “of the French formal garden.” Le Nôtre’s work most famously includes Versailles, as well as Chantilly, Saint-Cloud, Sceaux, Vaux-le-Vicomte & the Tuileries, where he himself was born, the son & grandson of royal gardeners. Le Nôtre, of course, means ours in French, but this isn’t the most important dimension of the pun tucked into the book’s title. Rather it is the logic of the garden, or of a certain type of garden, & the logic of the poem, our art. Or of a certain type of poem, the sort that Cole Swensen might be called upon to write. And beyond that, possession (or at least possessiveness) of the earth itself, such as royalty might imagine to be their “divine right.”

Cole Swensen's rich "Ours" in French: Le Nôtre, éditions José Corti, 2013

original American edition

From The University of California Press website: 

These poems are about gardens, particularly the seventeenth-century French baroque gardens designed by the father of the form, André Le Nôtre. While the poems focus on such examples as Versailles, which Le Nôtre created for Louis XIV, they also explore the garden as metaphor. Using the imagery of the garden, Cole Swensen considers everything from human society to the formal structure of poetry. She looks in particular at the concept of public versus private property, asking who actually owns a garden? A gentle irony accompanies the question because in French, the phrase "le nôtre" means "ours." Whereas all of Le Nôtre's gardens were designed and built for the aristocracy, today most are public parks. Swensen probes the two senses of "le nôtre" to discover where they intersect, overlap, or blur.

From the éditions José Corti website:

Cole SWENSEN | Le nôtre

éditions Corti, 2013

Traduit de l'anglais par Maïtreyi & Nicolas Pesquès

Troisième livre de poésie de Cole Swensen chez Corti, Le nôtre conclut ce que l'on pourrait appeler sa trilogie française (après « Si riche heure », 2007, qui traverse notre 15ème siècle en s'appuyant sur l'iconographie des Très Riches Heures du Duc de Berry, et après « L’Âge de verre », 2010, qui considère l'histoire du verre et de la fenêtre à la lumière de l'oeuvre de Bonnard et de quelques autres).
Le livre évoque la personne, l'œuvre et l'époque d'André Le Nôtre (1613-1700), l'inventeur du jardin à la française. C'est une déambulation attentive parmi les espaces créés de toutes pièces par notre célèbre jardinier dont les services furent très recherchés à la Cour des Grands du 17ème siècle. Et si, curieusement, tous ces espaces furent composés pour le plus grand plaisir d'une classe dominante, ils sont de nos jours presque tous devenus des jardins publics, d'où l'ironie du nom de notre héros et du titre de ce livre.
Revisitant ses principaux jardins (Vaux le Vicomte, Chantilly, Saint-Cloud, Versailles, le Luxembourg etc.) Cole Swensen en profite pour faire coulisser l'histoire et la géométrie, tailler ses vers au cordeau, ouvrir et biaiser les perspectives. Elle y affûte le charme et l'aigu de sa prosodie. Résolument contemporaine, son écriture chevauche rigueur constructive et éclats morcelés, sa tranchante élégance restant en phase avec le Grand Siècle qu'elle traverse. Cole Swensen ne manque pas d'interroger à sa façon les raisons et conséquences de ce qui fut à l'origine de l'invention du paysage, qui reste, aujourd'hui encore, profondément attachée à nos manières de regarder le monde. La fabrication de la perspective, le choix des masses et des couleurs : le monde est ainsi modelé et chacun peut alors se l'approprier comme une création domestique.

Cole Swensen in La Baule @ écrivains en bord de mer festival, July 2013

Reading, with Vincent Broqua:

   

 On Creative Writing, with François Bon, Thalia Field & Laura Kasischke - interviewed by Bernard Martin:

30.5.12 Lecture / reading Suzanne Doppelt & Cole Swensen Part 1, galerie éof, Paris

Cole Swensen and Suzanne Doppelt read for double change on the occasion of the publication of their books Gravesend and La plus grande aberration.

Cole Swensen: Difference and/or the Lack of It / De la différence et/ou de son absence : quelques réflexions sur la littérature contemporaine en France et aux États-unis.

De la différence et/ou de son absence : quelques réflexions sur la littérature contemporaine en France et aux États-unis.

Cliquez sur l'image pour accéder au texte intégral. For English version scroll down.

Please click on image to access full text. 

26.9.13 Clark Coolidge and Thurston Moore at Maison de la poésie de Paris

Thursday 26 September: Poetry Reading and Musical Performance by Clark Coolidge and Thurston Moore, Maison de la Poésie de Paris

On Thursday 26 September, Clark Coolidge and Thurston Moore will give a reading / perform and improvise music (C. Coolidge, drums, T. Moore, guitar) at the Maison de la Poésie de Paris at 8 pm. Tickets: 5€ at the door. The Maison de la Poésie is located Passage Molière, 157 rue Saint Martin, 75003 Paris. It's right around the corner from the Centre Pompidou.

View Larger Map

In June 2013, Ambrose Bye of Fast Speaking Music released a wonderful recording of musical collaborations between Clark Coolidge, Thurston Moore and Anne Waldman.

Art work (c) George Schneeman Design (c) HR Hegnauer; cover image from http://www.hrhegnauer.com/

Listen to some excerpts here.

Clark Coolidge's Page at the Electronic Poetry Center with links to poems and texts

Clark Coolidge's page at the Electronic Poetry Center, edited by Tom Orange, provides an extensive list of poems and texts. Please click on image below to access the EPC.

Clark Coolidge Symposium at Université Paris Est Créteil Thursday 26 September & Friday 27 September

On Thursday 26 and Friday 27 September, we will be hosting a 2 day symposium on Clark Coolidge’s work at Université Paris Est Créteil, salle 117, Maison des Langues. How to get there? See here.

We will be meeting in the morning of September 26 at 10 am to prepare our sessions with Clark Coolidge. Clark Coolidge will be joining us at 2 pm on the 26th. He will also be with us all day on the 27th.


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.

Photo (c) Kevin Killian

Clark Coolidge was born in Providence, Rhode Island. Though associated with the Language Poets, his work predates the movement and despite close contact with many of them he remains distinct from any movement, literary or political. His primary literary influences are Rilke, Beckett, and Kerouac, but jazz, geology, and painting also play a large part. This poetic purist shares with many avant-garde artists of the 1950s and 1960s the belief that art is discovery, and so creates an exploratory ‘improvisational momentum’ in its composition which aims to ‘tell the story that has never been thought before’ in a writing which is itself the primary focus, rather than its subject matter. The author of more than 20 books of verse and prose, including Own Face, At Egypt, The Crystal Text, The Maintains, Solution Passage, and Mine: One That Enters the Stories, he is also the editor of Philip Guston: Collected Writings, Lectures, and Conversations (The Documents of Twentieth-Century Art), 2010.

Online works available :

Clark Coolidge books at Eclipse Archive online. Click on image below.

Pascal Poyet on Clark Coolidge's Polaroid

Les couvertures des deux livres - américain, 1975 et français (2 cd audio), 2007

« Polaroïd par Clark Coolidge »

L’éditeur est aussi le traducteur ; l’un et l’autre se doublent du même lecteur.

Eric Pesty a traduit de l’anglais, lu et publié en deux CD le livre, Polaroïd, publié par Clark Coolidge aux Etats-Unis en 1975. De ce texte, l’auteur avait d’abord lui-même diffusé le seul enregistrement. «Transposition», plutôt que traduction, selon le terme employé par le traducteur dans le texte du livret accompagnant les deux CD, «dans la mesure où une traduction semble, à l’épreuve, ne pas pouvoir rendre compte du projet d’écriture, dans son articulation formelle et syntaxique» ; on pourrait cependant tout aussi bien dire «traduction», si on l’entend dans le sens où, comme l’a écrit Antoine Berman, traduire serait faire qu’une langue excelle dans ce qui lui est le plus opposé.

Qu’entend-on sur ces deux disques ? Le poème-livre, en vers, de Clark Coolidge est composé essentiellement de mots grammaticaux (prépositions, articles, conjonctions, etc.). Quelques rares mots lexicaux se font entendre, épisodiquement, extrêmement minoritaires, vers la fin du poème : plaire, rester, péri… Evidemment, traduire un poème «agrammatical», composé de mots «insignifiants», qui «ont pour caractéristique commune de n’actualiser une signification que relativement aux mots lexicaux» (quasi absents de ce texte, donc), mots que les chinois comptent entre autres — peu d’autres — parmi les «mots vides», peut paraître très improbable. Ce serait comme traduire la seule grammaire. Au moins ici le traducteur ne pourra-t-il pas tomber dans le travers de traduire ce qu’il a cru comprendre. Si chaque mot n’est pas porteur d’une signification en propre, il est toutefois susceptible d’être différencié ou rapproché des autres selon plusieurs paramètres : morphologie, prononciation, usage. Une sorte de machine est convoquée : il s’agit d’établir ce «différentiel» par le classement de l’ensemble des mots du texte — «renvois», «différentiel phonologique» et «différentiel sémantique» de ce corpus qu’il faut bien appeler dès lors le lexique grammatical complet du texte. Alike n’est pas same n’est pas some, est différent de any n’est pas many. Un tableau exposant le classement réalisé par le traducteur des mots du texte de Clark Coolidge a été publié alors que la traduction était en cours, dans le troisième numéro de la revue Issue, en octobre 2003. Voici les «mots vides» composant le texte de Clark Coolidge hissés au rang de lexique. Traduire sera traduire, autant que faire se peut, ce différentiel.

Or une fois chaque vide du lexique poussé dans ses retranchements, et une fois l’espace entre les mots organisé, un autre vide va apparaître sur la ligne du syntagme, dans le vers, car entre les mots vides il y a encore un vide, qui n’est pas un mot et que le traducteur comme l’auteur pose en même temps que les mots : il y a une espace. C’est ce vide qu’on va maintenant franchir, ou plutôt, ce vide qui à son tour va être hissé sur le même plan que les autres. Le vers est l’instrument. Tous les mots sans exception, tous les mots vides retranchés que l’on vient d’évoquer, sont donc lu liés – toutes les finales traitées comme il se doit dans la lecture d’un vers français classique, les e muets pareil, et toutes les syllabes ramenées peu ou prou sur un même plan. Le support de l’enregistrement s’impose au traducteur-éditeur. Cette lecture est la dernière dimension de la traduction, où le discours se révèle sans jamais toutefois se fixer, pour employer deux termes de photographe — où se réalise l’instabilité de l’original.

Mais si cette plane énonciation fait qu’on perd de vue le plus souvent la limite de chaque mot sur la chaîne du vers, il y a des limites que l’on n’omettra pas de nous faire entendre : celles des vers, toujours séparés par la pause adéquate. Ce sont les limites d’un autre mot, le «mot phonologique» dont parlent Jean-Claude Milner et François Regnault (Dire le vers, Verdier, 2008) ; mot qui, ici, a été traduit syllabe après syllabe.

Un seul autre bord est l’occasion qu’on s’y repose, et c’est le bord de la page, celui de chacune des cent pages du poème-livre, qui nous est indiqué par trois hors-champs ponctuant le texte lu : le changement de plage sur le disque, le bruit de la page qu’on tourne, une profonde respiration prise par le lecteur-traducteur.

De cette lecture du vers tenu au-dessus de ses vides, un étrange discours semble par moments faire surface, émerger comme par percolation, l’image lentement révélée à la surface d’un polaroïd.

Pascal Poyet

-écouter Polaroïd (lu par Eric Pesty) :

les pages 1-5

les pages 51-53

les pages 70-71

-le site de l'éditeur français : ici

-lire le livre en anglais : ici

-le site PennSound : ici

-écouter Polaroid (lu par Clark Coolidge)

première partie

seconde partie

This essay was originally published on Françoise Goria's blog Picturediting, 25 April 2011. Many thanks to Françoise Goria and Pascal Poyet for allowing us to post the essay on the Poets & Critics blog.

Marjorie Welish's Website

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.

Bibliography of/on Marjorie Welish's art work and art writing

ART

http://marjoriewelish.com/Art_Criticism.html

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.

http://www.bookforum.com/inprint/017_01/5386

ART Reproduced

The Opposite of Letting the Mind Wander, Keith Waldrop, Lost Roads, 1990

The Postmodern Sublime, Joseph Tabbi, Cornell University Press,

http://www.cornellpress.cornell.edu/book/?GCOI=80140100150110

Chicago Review 56

http://humanities.uchicago.edu/orgs/review/index_56_2_3.shtml

The Oxford Companion to Modern Poetry in English, (eds., Jeremy Noel-Tod and Ian Hamilton) Oxford University Press, 2013

http://ukcatalogue.oup.com/product/9780199640256.do

Poetics Journal Digital Archive(eds., Lyn Hejinian and Barrett Watten), Wesleyan University Press, 2013

http://www.upne.com/0819571205.html

A Guide to Poetics Journal  (eds, Lyn Hejinian and Barrett Watten), Wesleyan University Press, 2013

http://www.upne.com/0819571236.html

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

http://observer.com/author/marjorie-welish/?-company=&solrsort=created+desc&keys=Commercial+Observer&sftid=63761&sfexclude=113534%252C113531%252C113529%252C113499&sort=featured