* * *
& the engines swam against the gleaming
& the undreamt feathers winged forth, bodiless,
sketched amidst perfunctory clouds
the canvassed canvas clothed my essence,
the Blessed again, shrouded, immovable—
I post-scripted into History (riding gallantly, egalitarianly)
that Allegory, that unprovable object—
How those soldiers loved my finicky linens,
my rosepetalled metal,
the smelted whoop of a castiron charge
recharging in the lounge over at Central Command.
& the rocketships of the few erected the nightsky
& we silhouetted the by&by in those forbidden landscapes
architected by impetuous philosophes
& technical technocrats.
How the autodidacts soapboxed the masses
& the lathered latherer cleanly foamed.
Our disabled system radioed some future self:
Beware! Be war! Bear! Bear!
& the Automatic Pilot hurried back
from his dystopian phantasy
to the widened seats of the Business Elect:
‘O scattered matrices of my flitted flight pattern!
Splattered chapters of my lifestory
whither shall I wither now?
In which hypoallergenic sun?
Dear Valued Members: My tale has spun.’
& so the Riot Police teargassed the Innocent
& we wept for our Mythologies
& the Caretakers arrived at the fair Fairgrounds
restoring what ontology could be restored:
some oversized pumpkins, a funnelcake, & a Model A Ford.
& what should we tell the Inquisitors, I asked
the Forms of liquefied livestock
braying & baaing & mooing & clucking over the loudspeaker—
What airbrush remains? What face paint? What Fortune Wheel?
Which carousel horse shall now I ride
into these immaculate pastures of the Infranational?
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.