Year 2: Month 11: Volume 1
enhanced monitoring procedures
Welcome to (Year 2: Month 11: Volume 1), the new exclusive collection for paid subscribers! Thank you again for supporting this project, I really appreciate it!
As always it’s absolutely bursting with contemporary art, fashion, music, literature, videos, and other uncategorizable materials…
ICYMI: The third mixtape is now available for free!! And in case you missed the previous two, here’s Mixtape #1 and Mixtape #2.
Don’t forget this newsletter will exceed most email limits, so you’ll need to click through to “view entire message” at the bottom of this email or click over to the website to enjoy the whole thing.
And remember, every entry comes with a link so you can explore more and more.
Now then, without further ado…
Vanessa Rossetto - You & I Are Earth (2019)
The Chrysanthemum’s change is a harp in the seemingly limitless range but rose circular petals of the chrysanthemum, not remembering what she’s said even as she’s speaking. But Petals replaces everything objects people silent with savaging. Mirrors for gold, they’re barely reflected in her rage oar not even reflected to her. Globate roses bob in the sea of rain on boughs. The rain hangs on women who out wearing folds that expanding are black velvet rain then. Neither forest or air are fractionation: The forest and long grass being silent, the fractionation, that isn’t the baby blue air either which quiet is later cobalt, is an oar in it. Same as the insurgents’ oar? Resistance.
— from “Floats Horse-floats or Horse-flows” by Leslie Scalapino, via Brooklyn Rail
Sierra Montoya Barela is an artist living and working in Denver, Colorado.
Molly Bounds is a printmaker, and muralist living in Denver.
My interests in hybrid literature, culture and race meant that I was always instinctively searching for a Black avant garde, and while I found many authors, there was never a single banner that united all these writers in the same way that “avant garde” encompassed an entire history of innovative writing by white people. Black experimental writers weren’t acknowledged in the same way as their white counterparts—both within the mainstream, and on their own terms. They were there, and yet they weren’t.
— from “Where Is Our Black Avant Garde?: On Creating a New Canon, and Responding to Old Denials” by Zinzi Clemmons, via Lit Hub
Diego Rodriguez-Warner was born in 1986 in Managua, Nicaragua
Tya Alisa Anthony “investigates themes of Modern Culture and Identity through photography, mined media and charged objects.”
Libby Barbee was born in 1981 on the southeastern plains of Colorado and currently lives in Denver, CO.
Laura Ann Samuelson (they/them) is an interdisciplinary artist working in contemporary performance, sculpture, and writing.
Vanessa Rossetto's "the dirt" from 'you & i are earth'
Video by Matthew Revert
Lauri Lynnxe Murphy is a bio artist, sculptor, curator and writer living in Denver, Colorado.
Rahul Mishra | Haute Couture Spring Summer 2023 | Full Show
Rochelle Johnson was born and raised in Denver, Colorado
Emilio Pucci | Spring Summer 2023 | Full Show
Sam Grabowska was born to two Polish parents some years ago.
Ramón Bonilla “is a visual artist working with reductive landscape art derived from combining geometry, color filed painting and abstract expressionism.”
Caleb Hahne Quintana “(b. 1993, Denver, CO) received a BFA in Fine Arts from Rocky Mountain College of Art and Design.”
Of course, there’s political and political—analysis is not action. Among the accusations frequently leveled at Derrida and Derrideans in those days was that his work, however acute in its understanding of the force, the lures, the self-deceptions of Eurocentric thought and power, offered no answers, no actual escape route from the metaphysical hall of mirrors. (This is different from the more common, and much dumber, assertion that Derrida didn’t believe in truth, or even in reality.)
— from “Hospitality” by Brian Dillon, via 4Columns
Clay Hawkley is an American artist.
esther hz is a self-taught multidisciplinary artist based in denver, colorado.
Within the framework of Baudrillardian hyperreality, Samuel Beckett’s Catastrophe stands out as capturing the sometimes indistinguishable threshold between reality and its own simulation, between the physical world and its symbolic representations. In the play, we watch a man, the protagonist, being put on display, physically manipulated by a director through his assistant. Seemingly stripped of all autonomy and reduced to a mere object, the protagonist comes to embody the barren, bland reality of the real.
— from “Better Shopping Through Living III: The Catastrophe of Postmodernity” by Frank Garrett, via minor literature[s]
Born in Tokyo, Japan, Naoko Ito is a New York-based artist working in sculpture, installation, and video.
Alice Notley reads from her recent book The Speak Angel Series, published by Fonograf Editions in 2023.
I think of autotheory as not too different from autofiction. Both are interested in the perceptual. Autofiction is more interested in the affective dimensions of what’s perceived; autotheory more the conceptual. It’s more interesting to think of autofiction/autotheory as tactics rather than genres, and as a continuity of tactics. I’ll call it the “autotextual”: These practices made this self. These institutions, these historical circumstances. It chanced these slings and arrows.
— from “Critical (Auto) Theory” by McKenzie Wark, via eflux
Taiko Chandler lives and works in Denver, CO.
The Alchemy Lecture: Five Manifestos for the Beautiful World
Vinni Alfonso was born and currently works in Denver CO.
Yinka Shonibare CBE, RA, is a British-Nigerian artist living in the United Kingdom.
Pharoah Sanders - "Kazuko" - Live
In an Abandoned Tunnel in San Francisco (Marin Headlands - close to the Golden Gate Bridge) 1982
“Louise Bonnet's absurdist paintings depict grotesque, contorted bodies.”
The expectation that there will be repetition and longing for the fulfillment of that repetition heightens the impact when a new anaphora appears. The ear (and the mind) are delighted by change, as well as by repetition itself. With a new anaphora, both of those are fulfilled. Using a novel anaphora to signal a change in the speaker or the subject sets the reader up to understand that the new anaphora at the end signals another change within the poem. The final anaphora hits like a double bass drum beat, or two fast punches, all the more effective because of all the hits that came before.
— from “THE USES OF ANAPHORA in Jason Schneiderman’s Poems Anger and Star Dust” by Adrie Rose, via Cleaver
RF Pangborn is an artist based out of Florida.
