* * *
Looking at Me With Magic
I know a few good songs still that we can sing
in dark and smelly places. People are telling
me about my arms like I have never seen
a crawfish before. Dude, they are falling from
my shoulders. They belong there. Because they
have always belonged there. We’ve got ground
to cover, so let’s think about arms differently.
Got new things to measure. New ways to win.
I mean, I don’t know how to fly over Texas
but I know I can. Sometimes you just have to
truss the bridge, you know? I’m hearing more
beautiful things through my too red ears. To say
I love you now seems like an odd warning for
the future. To sit on it just seems uncomfortable.
Back to those places. We call them New Orleans.
We call them this because our vocabulary limits
us yet we desire a more densely populated
specificity with an excited electorate and rich
cultural history. I don’t give a shit what seems
naïve. I can’t. The air is filled with warm and
there are potholes everywhere. If we talk at
all let’s talk about our ankles here. How we
keep them swollen and interesting. Mosquitoes,
(Musky-toes, says E____, is a sweet pun, but
that’s not what I wrote, I say, just how I said it)
dangling off our feet like feelings. I know I am
about to be the guy who takes on dancing.
I am taking on dancing like a boat. I’m singing.
My vessels, they are singing out catastrophe.
You won’t believe this. You never do. But I’m not
going down, I’m getting it. Here’s a secret. And
here is where someone invented the cocktail.
And here is where I wait for your hand to fall
slowly, like any waiting, onto my purple heart.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.