Myles’s poems walk and shift with all their pieces sloshing this way and that, and invite the reader for the ride.
Myles’s photographs don’t feel precious at all, though there is something relentlessly intimate in their flat-footed irreverence.
Afterglow is written in part from the perspective of the poet’s pit bull, Rosie.
“To spend this time was to enter a fear and let it come over me. I liked begging. But of course it wasn’t my life.”
Our poetry editor, Joe Pan, has selected four poems by Eileen Myles for his monthly series that brings original poetry to the screens of Hyperallergic readers.
Roni Horn has been traversing and transcribing Iceland since 1975, when she was still a student of art, first at the Rhode Island School of Design (RISD), then at Yale University, where she received her MFA in sculpture. Of course, her work is not solely about Iceland, but it seems to be so much a part of her consciousness that it’s difficult to understand her art without also acknowledging this aspect of it.
An annotated list of some of Albert Mobilio’s and John Yau’s favorite poetry books published this year.
Ridykeulous, founded by artists Nicole Eisenman and A.L. Steiner in 2005, describes itself as an effort to “subvert, sabotage, and overturn the language commonly used to define feminist and lesbian art,” primarily through exhibitions, performances, and zines. Attacking the marginalization of queer and feminist art as “alternative” cultures, they insist upon participating in mainstream dialogues about art and culture; in adopting the role of curators and organizing exhibitions, Steiner and Eisenman forcefully insert themselves and their collaborators into the spaces, both literally and figuratively, of the art establishment. Though not all of the artists in Readykeulous are female, nor do all identify as queer, they share an interest in disrupting the status quo.