It must be nice to own
A strong feeling.
To walk about the towns and fields of Earth
A man of taste, a woman
Who lacks confidence
In the public and its institutions
And is therefore serious
About art. About line and color
I feel very little.
Textures make me nervous:
The trunks of trees,
The flesh of the octopus, its
Suckers, hair and horns.
What is it about the abstract
Words for feelings that bother me? Is it
The dailiness of ecstasy
Or the ecstasy of dailiness?
Rage and integrity, why do they stun?
The plastic tub of bluets
In my neighbor’s backyard
Bodies embarrass me, as does the soul
When aflame, with grief or dolor.
A woodcut of the Magdalen,
Doughty and rough-hewn.
Though easily put off by feelings
I am not ashamed
Of my embarrassment. It is natural
To be petty about beauty,
To want to hold it in your hand
With purpose, and reduce it
To the size of a nut.
Trees in poems, especially trees
In my own poems
I am not ashamed to admit
It must be nice to live among them
Under a clear, blue sky
In October, my trees
Full of laughter and weeping,
Plagued by an idiom.
I do not envy them Poetry. Oh Lord
They can have it.
Literature is an invention; it was
Written by men to praise war.
Economy is tragic; the economy
Comedy. What the heart feigns
The mind rehearses, circles
A river on the map, as if to say
“Voilà! Now the non-linear
Has maneuvered the rational
Into position, and may rest.”
So we rewrite the old sayings—
That art achieves through effort
Ease; or that metaphor has
No prerequisite, like calling light
The data windows encrypt
And actually meaning it, right
Now, for example, to set down
Pen to paper, voice to verse
And claim that art itself is wholly
Suffix to experience, unheard
But not unheard-of. A universe
Gracelessly flashing forth.
* * *
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.