Year 2: Month 9: Volume 1
a nervousness, nothing more
Welcome to (Year 2: Month 9: 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…
If you’re not yet a paid subscriber, now is the perfect time to start! Only $5 a month or $55 a year! That gets you two issues a month plus access to the entire back catalog.
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And remember, every entry comes with a link so you can explore more and more.
Now then, without further ado…
Tomás Sánchez is a Cuban painter and engraver, known for his landscapes.
Lillian Yvonne-Bertram's book of poetry is titled Travesty Generator (Noemi Press, 2019) in reference to Hugh Kenner and Joseph O'Rourke's Pascal program to "fabricate pseudo-text" by producing text such that each n-length string of characters in the output occurs at the same frequency as in the source text. By combining different authors through this algorithm, one might stumble across a travesty of "haunting plausibility" wherein James Joyce's writing becomes muddled with Henry James'. The pseudo-text's nonsensibility is simultaneously its transgression and its literary possibility, but for Kenner and O'Rourke and the many progeny of their program, those possibilities extend no farther than a formal curiosity or at best an insight into an author's poetic style.
— from “Code Critique / Book Review: Travesty Generator by Lillian-Yvonne Bertram” by Zach Whalen via CCS Working Group
Seminole and Cherokee artist Gerald Stone
One way to look at reading: as the lifelong construction of a map by which to trace and plumb what it has ever meant to be in the world, and by which to gain perspective on that other, ongoing map—the one that marks our own passage through the world as we both find and make it.
If all we can ever know comes filtered through the lens of our own experience, and if we are readers, some part of our very selves will be the result of what we have read—this is obvious enough. Good writers not only have read widely and deeply, but they continue to do so—not in order to be better writers, but because for them the act of reading is as inseparable from living as writing is.
— from “Another and Another Before That: Some Thoughts on Reading” by Carl Phillips, via Poets.com
“Shikeith is an artist and filmmaker from Philadelphia, PA. His work explores the psychological landscape of black masculinity and black manhood.”
Dave Holland (b) Sam Rivers (fl) Anthony Braxton (as/cl/cb-cl/sopranino) Barry Altschul (d)
Festival de Jazz d'Antibes Juan-les-Pins, Pinède Gould, July 25, 1974
“Jonathan Seliger is an artist living and working in Brooklyn, NY and Columbia County, NY. His objects are comprised of painted bronze and a variety of other metals, painted canvas constructions, works on paper and outdoor painted metal commissions; his sculptures range in scale from the hand-held, table-top, pedestal, wall and floor presentations, to the monumental.”
Thumbscrew Interview “The Anthony Braxton Project
“Mederic Turay (b. 1979, Abidjan, Ivory Coast, lives and works in Marrakech, Marocco) is a multidisciplinary storyteller who lives his art as a privilege and uses a plurality of techniques to create entities, sometimes figurative, sometimes abstract, which become the protagonists of his graphic stories.”
Brittany Miller is a painter who lives and works in Bronx, NY.
John Zorn and Milford Graves improvisation (ZoRN@MoMA April 24 2013)
Shane Tolbert (b. 1985, Corsicana, Texas, US) currently lives and works in Santa Fe, New Mexico.
Black Editions celebrates the release of Children of the Forest, a new double album of never-before-heard private recordings of the late Milford Graves (1941-2021) recorded in 1976 with the late Arthur Doyle (1944-2014) and Hugh Glover (1937).
“Kelli Vance’s photorealistic paintings often investigate psychological spaces where anxieties, sexuality and identity are explored as she sets out to produce images that are both seductive and alienating.”
It's a mental hospital in London, which is a brand new experience for me. I've only ever been hospitalized in America. It's important to try new hospitals.
— from “THE EXORCIST” by MYLES ZAVELO, via muumuu house
Ted Stamm (b. 1944, Brooklyn, NY; d. 1984, New York, NY) was a multi-faceted conceptual artist working in SoHo in downtown Manhattan in the 1970s.
“Donald Baechler (b. 1956) emerged in the 1980s as part of New York City’s East Village art scene alongside such luminaries as Jean-Michel Basquiat, Keith Haring, and Kenny Scharf. Born in Hartford, Connecticut, Baechler studied at the Maryland Institute College of Art in Baltimore, then Cooper Union in New York City.”
An Evening with Fred Moten and Jericho Brown
“Brendan Cass (b. 1974, New Jersey) is inspired by impressions and memories from postcards and images from his travels to created all-over expressionistic landscapes using layers of rich color. His landscapes are reworked to become dream-like, imaginary places. He is best known for his large-scale landscape paintings in acidic colors.”
“Anne Deleporte (b. 1960, Corsica, France) is a New York-based, multi-media artist who has always been fascinated with the phenomena of disappearance. True to Deleporte’s signature practice of covering up to reveal, her videos, paintings, and photos engage themes of identity and enigma.”
“A major figure in the New York art scene of the 1980s and 90s, DAVID ROW (b. 1949, Portland, Maine) is well known for his distinct approach to non-representational geometric abstraction. For Row, abstraction allows the work to exist and evolve on its own terms while permitting it to be interpreted in a plethora of ways.”
AARON PARAZETTE (b. 1960 Ventura, California) holds an MFA in Painting from the Claremont Graduate University.
“Henrique Oliveira is best known for his immersive and site-specific large-scale installations, such as his architectural Baitogogo at the Palais de Tokyo in Paris, and his 2009 Tapumes at Rice University Art Gallery.”
“Christian Eckart incorporates highly-refined industrial materials such as aluminum, steel, automotive lacquer and glass to produce objects that continue his investigation of the sublime, as well as the implications of a "meta-sublime" in the context of a post-modern condition. In Eckart's artistic language, his continual explorations are founded in an interrogation of various tropes of 20th Century abstraction, while attempting to delve into underlying imperatives that have persevered in certain types of "art making" since the Renaissance, including a need to address the ineffable and unrepresentable.”
Art Works Podcast: Conversation with Keith Jarrett
“TERRAN LAST GUN’s (b. 1989) is a Piikani (Blackfeet) visual artist and printmaker whose work reveals fragments of time, history, and Indigenous Abstraction—an art form that has persisted for tens of thousands of years.”
Big Satan (Tim Berne - Marc Ducret - Tom Rainey) @ Centro Cultural Kirchner, Buenos Aires 04-03-2018
Donna Green is a sculptor, potter and photographer, who holds a degree in Industrial Design from the Sydney College of the Arts in Australia.
Cleve Gray (1918-2004) “was an American painter, sculptor and writer who lived and worked in Connecticut. He is most known for his Lyrical Abstraction completed on a large scale and in vivid colors.”
Alvin Lucier - Music On A Long Thin Wire (1980)
Paul Laurenzi was born in Antibes, France.
I Dream You Dream of Me by Jennifer Reeder
Katsumi Hayakawa is a Japanese Asian Modern & Contemporary artist who was born in 1970.
The ruined factory stood three stories high in an otherwise featureless landscape. Although somewhat imposing on its own terms, it occupied only the most unobtrusive place within the gray emptiness of its surroundings, its presence serving as a mere accent upon a desolate horizon. No road led to the factory, nor were there any traces of one that might have led to it at some time in the distant past. If there had ever been such a road it would have been rendered useless as soon as it arrived at one of the four, red-bricked sides of the factory, even in the days when the facility was in full operation. The reason for this was simple: no doors had been built into the factory, no loading docks or entranceways allowed penetration of the outer walls of the structure, which was solid brick on all four sides without even a single window below the level of the second floor. The phenomenon of a large factory so closed off from the outside world was a point of extreme fascination to me.
— from “The Red Tower” by Thomas Ligotti, via Weird Fiction
Brian Eno – January 07003 - Bell Studies For The Clock (2003, Full Album)