Poets and Critics

2011-2014 CALENDAR

2016 CALENDAR

February 4-5 EILEEN MYLES > + Feb. 4 poetry reading


2015 CALENDAR

December 14-15 FRED MOTEN > + Dec. 14 poetry reading


2014 CALENDAR

December 15-16 ANN LAUTERBACH > + Dec. 15, 8pm poetry reading

May 12-13 ANNE WALDMAN > + May 12 Poetry Reading, 8pm, Maison de la poésie de Paris : Anne Waldman & Patrick Beurard-Valdoye


2013 CALENDAR

FINAL SYMPOSIUM Dec. 11-12 COLE SWENSEN > + Dec 11 Poetry Reading, 8pm, Maison de la poésie de Paris : Cole Swensen & Nicolas Pesquès

Sept. 26-27 CLARK COOLIDGE> + Sept. 26, 8 pm Poetry/Music Reading, CLARK COOLIDGE & THURSTON MOORE, Maison de la poésie de Paris

April 11-12 MARJORIE WELISH > + April 11, 7:30 pm Poetry Reading MARJORIE WELISH & JACQUES ROUBAUD, Galerie éof, Paris


2012 CALENDAR

December 13 & 14 LISA ROBERTSON> Thursday December 13 7:30pm poetry reading with Lisa Robertson, Anne Parian and Pascal Poyet, galerie éof, Paris.

September 27 & 28 REDELL OLSEN

May 29 & 30 PETER GIZZI

March 22 & 23 CHARLES BERNSTEIN


2011 CALENDAR

September 29-30 VANESSA PLACE at Université Paris Est Marne-la-Vallée

June 30 July 1 CAROLINE BERGVALL at Université Paris Est Créteil

June 15 DAVID ANTIN at Université Paris Est Marne-la-Vallée


Flash Labels by NBT

Friday, February 8, 2013

Slide show of Marjorie Welish's paintings

video
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.


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's entry in the Encyclopedia of the New York School Poets.


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.
or: In the Futurity Lounge, Minneapolis, Coffee House Press, 2012.
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