* * *
What Year Are You Interested In?
I mean you’re not from the
unless you are. Are you?
It’s so hard to care
about anything unless one is in the shit.
I’m in the shit.
It’s impossible for me to write a poem
unless I can wrap my entire chest—
both tits— in my sadness
It’s impossible for me to get out of bed
without a deep pressure.
I feel shame in not doing.
I want to tell you a story about survival.
Once we had a huge fight.
I left Bennigan’s while he was in the bathroom
because fuck him, right?
And I was almost to the corner
(I knew he didn’t have even five dollars to pay his tab—
much less the $1.25 to get on the subway home.)
and out of nowhere
I heard three steps
and he pushed me to the ground
like we were in a football game.
And I looked at him
and knew I had to leave him.
He was a dog who pushed a woman to the ground.
He would tell you (citing philosophers
and psychologists) that it was not the act,
but he was trapped, it was “situational.”
He’d say he was heh heh the Bernie Goetz
of spousal abuse.
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.