Artists on Artists Lecture Series David Diao was born in 1943 in Chengdu, Sichuan, China. On the eve of the Liberation of October 1, 1949, his parents sent him to Hong Kong to live with his grandparents. In 1955, at the age of 12, he arrived in New York City to join his father. Diao first gained …
Artists on Artists Lecture Series
David Diao was born in 1943 in Chengdu, Sichuan, China. On the eve of the Liberation of October 1, 1949, his parents sent him to Hong Kong to live with his grandparents. In 1955, at the age of 12, he arrived in New York City to join his father. Diao first gained attention with his solo show at Paula Cooper Gallery, New York, in 1969. Two-person shows followed the same year at Leo Castelli Gallery, New York, (with Peter Young) and at Carmen Lamanna Gallery, Toronto (with Brice Marden). Since then, Diao’s works have been exhibited internationally and can be found in collections, including the Albright-Knox Art Gallery, Whitney Museum of American Art, Art Gallery of Ontario, and Museum of Modern Art of Saint-Etienne, France. In 2011, he had a solo exhibition tilted, 'David Diao: Da Hen Li House, I lived there until I was 6...', presented at Galería Marta Cervera in Madrid. In fall 2012, Diao mounted a two-person show with Walid Raad at Paula Cooper Gallery, and he was also included in the 20th anniversary presentation of Conceptual Abstraction at Hunter College, where, alongside earlier work, Diao presented his updated version of Barnett Newman: Chronology of Work, 2010. His many honors include grants from the Guggenheim Foundation and the National Endowment for the Arts. He has shown regularly with Postmasters since the opening of the gallery in 1985. He lives and works in New York.
Robert Kelly Robert Kelly is the co-director of the Program in Written Arts at Bard College. His first book of poems was published in 1961 and his most recent books in prose are the novel The Book from the Sky (North Atlantic/Random) and his fifth collection of shorter fiction, The Logic of the World…
Robert Kelly is the co-director of the Program in Written Arts at Bard College. His first book of poems was published in 1961 and his most recent books in prose are the novel The Book from the Sky (North Atlantic/Random) and his fifth collection of shorter fiction, The Logic of the World (McPherson & Co.). He has also written substantial texts responding to work by Brigitte Mahlknecht, Philip Taaffe, Nora Jaffe, Matt Phillips, Heide Hatry, Sherry Williams, Barbara Leon, Nathlie Provosty, Susan Quasha and others. Kelly lives in the Hudson Valley with his wife, the translator Charlotte Mandell.
But if you burn a log a wolf has pissed on
in deep winter but it’s summer now
some strange night cold sugars of his appetites
will dance in smoke above the franklin stove
filling the parlor with outrageous schemes
lust and bite and midnight chase
close that old book
old wolf is trotting still
no need for memory
forget the meat you bit or bite
don’t let melody resolve
so quick inside the harmony your head
the malady of intercourse
there are sentence patterns here
you have to learn from listening
the opal sky gives way to grey and then to pearl
a little rain a little wind and thou
asleep beside me be wilderness enow
I wolf my way through the light
guided by cloud contours
brisk northwind shoves the sky out to sea
secateurs and flowers
only voices here no people
bodies come later
after the linguistic conventions are established
it’s time for meat
and Entities come down to the surface of earth
to take up residence in the pronouns
to inhabit the language they had to make
flesho-mechanical bodies to manifest and control
the organs of articulation needed to speak
then ears to hear then hands to cover them
when the information grows too thick
and the Entity yearned for opalescent repose
east of the sea
where the strayed voluptuary tries to think of something else
only the images count
ignore the propositions
they’re just armatures
to wind our bright things on
that teach us how to be and touch and to mean,
only the images
the story’s for the sake
only of the instruments deployed
the scythe and the haystack, lipstick in the canoe.
I saw you part your lips last night
standing beside the bed I got in first
for a change you were putting lip balm on
standing there in your blue peignoir
and this is heaven I understood,
Eden was an accidental suburb of this moment
a cluttered Levittown of heaven,
heaven that is here now, thingly and will-free,
apocalypse of This.
Anna Moschovakis is a poet, translator, and editor. Her most recent books are You and Three Others Are Approaching a Lake (Coffee House Press, 2011), and The Jokers (New York Review of Books, 2010), a translation of La violence et la Dérision by Egyptian-French novelist Albert Cossery. She is also the author of a previous book of poems, I Have Not Been Able to Get Through to Everyone (Turtle Point Press, 2006), and translator of novels by Annie Ernaux and Georges Simenon. She teaches at Pratt Institute and in the Milton Avery Graduate School of the Arts at Bard College. Moschovakis is also a longtime member of Brooklyn-based publishing collective Ugly Duckling Presse. She lives in South Kortright, New York.
from Death as a Way of Life
1. Life is not fair
2. How can I be happy while others suffer
3. How can I not be happy while others suffer
4. Others will suffer whether or not I am happy
5. It is not the suffering of others that causes my happiness
6. It is not the not-suffering of others that causes my unhappiness
I have been attracted to the idea that naming is a form of violence
but does that mean we should go around calling everyone Hey You
which seems like another sort of violence
even though it is a way of recognizing the other
What can be said on this point?
$6 general admission; $3 Dia members, students, and seniors
With Svetlana Boym, David Graeber, and Tom McDonough Since Dia’s inception in 1974, the issue of monumentality has been a recurring object of examination, emerging in several landmark artist commissions. Dia’s sponsorship of outdoor works by James Turrell, Walter De Maria, Michael Heizer, and …
With Svetlana Boym, David Graeber, and Tom McDonough
Since Dia’s inception in 1974, the issue of monumentality has been a recurring object of examination, emerging in several landmark artist commissions. Dia’s sponsorship of outdoor works by James Turrell, Walter De Maria, Michael Heizer, and Joseph Beuys, as well as architectural interventions by Dan Flavin and Robert Irwin, demonstrates a sustained interest in promoting approaches to the monumental as a critical or truncated principle at work in public spaces. Moreover, critical revisions of the notion of monument are a recurrent motif in various Dia commissions and exhibitions, including Thomas Hirschhorn’s Gramsci Monument (July - September 2013) and the upcoming retrospective Carl Andre: Sculpture as Place, 1958-2010 (to open May 2014).
In 2013-14, the cycle of Discussions in Contemporary Culture will bring together artists, architects, scholars, and writers to address today’s monuments and counter-monuments as effigies of the multifarious forces at work in global society, and to examine the current possibilities—even the need—for a redefinition of this important concept.
Unbalanced tokens, check your syntax…
Ron Padgett was born in 1942 in Tulsa, Oklahoma. His poetry books include How to Be Perfect (Coffee House Press, 2008); You Never Know (Coffee House Press, 2002); Great Balls of Fire (Holt, Rinehart & Winston, 1969; rev. ed., Coffee House Press, 1990); His Collected Poems is forthcoming from Coffee House Press in November 2013. His most recent translation, with Wang Ping, is Flash Cards by Yu Jian (Zephyr Press, 2010). In 2012, Padgett edited The Collected Writings of Joe Brainard for the Library of America, and his collection of poems, How Long (Coffee House Press, 2011), was a 2012 Pulitzer Prize finalist. Padgett lives in New York City.
Whenever someone says
“He wants to have his cake
and eat it too” I know
what they mean
but wonder how someone
could eat their cake
without first having it.
Would it not be better
to say “He wants to eat
his cake and have it too”?
I think so, and I hope
that you will too.
Thomas Devaney was born in 1969 in Philadelphia, PA. He is a poet, teacher, and editor. He is the author of The Picture That Remains (The Print Center of Philadelphia, 2013); A Series of Small Boxes (Fish Drum, 2007); The American Pragmatist Fell in Love (Banshee Press, 1999); and the nonfiction book Letters to Ernesto Neto (Germ Folios, 2005). He is the editor of ONandOnScreen, an e-journal featuring poems and videos, and teaches at Haverford College, Haverford, Pennsylvania. He lives in Philadelphia, PA.
Diary found in a darkroom at Moore Women’s College of Art,
Tuesday September 19th
The fresh air will kill you.
Tuesday Sept 26th
The radio in the next room tuned to a classical music station
Tuesday Oct 2nd
Eskimo headgear in the Museum.
At Shelley’s drug-store kids rode up on their bikes and handlebars.
Tuesday Oct 9th
Fell asleep on bed while smoking, woke up to smoke everywhere,
ran outside with the smoldering navy comforter.
Tuesday Oct 16th
A piece of scrap paper found in my pocket: “But there is still time
to save the lives of your children” written in pencil.
My legs are dolphins that cut across the surf.
Tuesday Nov 2nd
Awake again: sleep, dream, the Andy William show, drink.
Some people came in wearing trench coats.
Tuesday Nov 9th
Susan said it’s forbidden for our pictures to echo
the objects they depict; nothing looks like that,
she said, but it’s allowed, it’s allowed
for the world to look the way it does.
Fine words those.
Tues Nov 16th
One more night, still here.
Tuesday Nov 23rd
Some nights you skip.
Tuesday Nov 30th
Cold Sunday afternoon grandmother’s block in Orange NJ: the
smooth slate pavements where I rollerskated as a kid are all broken
up by the massive roots of the old red oaks. Took many photographs.
The many sides of the sidewalk.
Tuesday Dec 6th
The tunnel leads to probably the deadest area in the city.
playing St. Thomas.
We are not found out.
Only Debbie’s dog Trixie and me
dancing the Calypso.
The rhythm and tune and Trixie’s large bright eyes.
She’s no dummy only a perfect patch-work
of black & white & brown.
Take a solo—upright bass tenor sax & drums.
No that’s not a real solo—that’s the bass, high hat
& Trixie—Saint Trixie herself!
Tuesday Dec 13th
Prints are not reproductions. Susan said this is a mistaken idea.
What you’re looking at is a photograph: how something looks there.
After class Lara said: “There are many good reasons not to quote
Julius Caesar. That is all I will say,” she said.
Glamour: a starlet in an Alp’s ski town.
It doesn’t just happen in novels; it doesn’t just happen in the movies.
“It's theater for somebody, somewhere.” And It loved to happen in
every diary I’ve ever read. Like Marcus Aureoles always said:
Be not too eager & Who needs speed? Thanks for the book Dad!
Two or three hundred color snapshots on the bathroom wall.
Flawless Sabrina through the door—
“No saints in three acts,” she declares.
On your mark, get set, pull back—
Jack D’s electrical tape face lift.
Two more Moore Menthols for the tall lady in the livingroom,
the top few buttons of her purple dress open, her hairy chest, beautiful.
She’s been getting a blow job for the past fifteen mins.
DD (who took me here to meet Jack) was checking around on the plants;
now he’s at the fireplace making (and partly burning) Jiffy Pop
buttered popcorn as it erupts through the tin-foil—
Peter Hujar’s reclining portrait of May Wilson: a photographic
Matisse—the color of the arabesque only richer in the silver print
I want to love in that world.
From the time I was twelve I wanted to marry Van Morrison.
What a jerk.
Avedon and Baldwin’s disturbing and gorgeous Nothing Personal.
(The black glossiness of the black borders). That we are all custodians
of something more—every face an argument against cultural suicide,
and suicide itself.
Vinegar, Mayo, Hardboiled Eggs. No Thanks.
A picture postcard from Ingrid:
Her light sail-boat penmanship on the back.
Steel Pier Atlantic City in soft watercolors on the front.
The watercolors are the color of water taffies.
Someone said that they made up all those flavors down there,
but it’s a lie, a beautiful lie.
$6 general admission; $3 Dia members, students, and seniors
Patrizia Cavalli Patrizia Cavalli was born in Todi, Umbria in 1949. She has written six collections of poetry: Datura (Einaudi, 2013); Pigre divinità e pigra sorte (Lazy Gods, Lazy Fate) (Einaudi, 2006); Sempre aperto teatro (The Forever Open Theater) (Einaudi, 1999); Poesie 1974–1992 (Poems) (…
Patrizia Cavalli was born in Todi, Umbria in 1949. She has written six collections of poetry: Datura (Einaudi, 2013); Pigre divinità e pigra sorte (Lazy Gods, Lazy Fate) (Einaudi, 2006); Sempre aperto teatro (The Forever Open Theater) (Einaudi, 1999); Poesie 1974–1992 (Poems) (Einaudi, 1992); L’io singolare proprio mio (The All Mine Singular I) (Einaudi, 1992); Il cielo (The Sky) (Einaudi, 1981); and Le mie poesie non cambieranno il mondo (My Poems Will Not Change the World) (Einaudi, 1974). She has also published translations of Shakespeare and Molière. My Poems Won’t Change the World (Farrar, Straus & Giroux, 2013) is the first anthology of Cavalli's poems to appear in English, with translations by Mark Strand, Jonathan Galassi, Jorie Graham, Rosanna Warren, J.D. McClatchy, David Shapiro, Geoffrey Brock, Gini Alhadeff and others. Cavalli lives in Rome.
How sweet it was yesterday imagining I was a tree!
I had almost rooted in one place
and grew in sovereign slowness there.
I took the breeze and the north wind,
caresses, blows—what difference did it make?
I was neither joy nor torment to myself,
I couldn't detach myself from my own center,
no decisions, no movement:
if I moved it was because of the wind.
Translated by Jonathan Galassi
Rosanna Warren born in 1953 in Fairfield, Connecticut. She is the Hanna Holborn Gray Distinguished Service Professor in the Committee on Social Thought at the University of Chicago. Her book of criticism, Fables of the Self: Studies in Lyric Poetry, was published by W. W. Norton in 2008. Her most recent books of poems are Ghost in a Red Hat (2011) and Departure (2003), both from W. W. Norton. She is the recipient of awards from the Academy of American Poets, the American Academy of Arts and Letters, the Wallace Foundation, and the New England Poetry Club, among others. She was a chancellor of the Academy of American Poets from 1999 to 2005, and is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. She lives in Chicago.
—when she disappeared on the path ahead of me
I leaned against a twisted oak, all I saw was evening light where she had been:
gold dust light, where a moment before
and thirty-eight years before that
my substantial mother strode before me in straw hat, bathing suit, and loose flapping
every summer afternoon, her knapsack light across her back,
her step, in sandals, firm on the stony path
as we returned from the beach
and I mulled small rebellions and observed the dwarfish cork trees
with their pocky bark, the wind-wrestled oaks with arms akimbo,
while shafts of sea-light stabbed down between the trunks.
There was something I wanted to say, at the age of twelve,
some question she hadn’t answered,
and yesterday, so clearly seeing her pace before me
it rose again to the tip of my tongue, and the mystery was
not that she walked there, ten years after her death,
but that she vanished, and let twilight take her place—
$6 general admission; $3 Dia members, students, and seniors
om Raworth Tom Raworth was born in 1938 in London. He is a writer, artist, teacher and publisher. He is the author of over forty books of poetry, prose and translation including Windmills in Flames: Old and New Poems (Carcanet, 2010); Earn Your Milk: Collected Prose (Salt Books, 2009); Collected …
Tom Raworth was born in 1938 in London. He is a writer, artist, teacher and publisher. He is the author of over forty books of poetry, prose and translation including Windmills in Flames: Old and New Poems (Carcanet, 2010); Earn Your Milk: Collected Prose (Salt Books, 2009); Collected Poems (Carcanet, 2003); Eternal Sections (Sun & Moon, 1993); and Tottering State: Selected and New Poems 1963-1984 (The Figures, 1984). His first book of poems, The Relation Ship (Goliard Press, 1966) was awarded the Alice Hunt Bartlett Prize. He has received a Cholmondeley Award, the Philip Whalen Memorial Award, and the Antonio Delfini Prize for Lifetime Achievement. He was the founder of Matrix Press and the cofounder of Goliard Press. He has been a visiting lecturer at the University of Texas, Austin; the University of California, San Diego; the University of Cape Town. South Africa; and has been Resident Poet at Kings College, Cambridge. He now lives in Hove, England. Despite all that he no longer weighs 144 lbs.
EMPTINESS RINGED BY FIRE
hold on to your fingers
here then not
a place redoubt redoubled
bombs mixing down
grew up quickly
death dream leaves blood
powdery dribble lingers
Jack Kimball was born in 1954 in Boston. He is an after-language poet and editor of Faux Press, Cambridge, which he founded in 2001. He has taught at Harvard University, the Massachusetts Institute of Technology, and in Japan. His books of poetry include Post~Twyla (Blue Lion Books, 2006); Manship (Detour, 2001); and Frosted (Potes & Poets Press, 2001). He lives outside Boston.
Where The Fuck Were You
Trulia voices wake me up.
It's too embarrassing
pulsing in is the deep mirror
a light snow performing butoh.
(Ethical and esthetic boundaries pertain.)
— I don't want any fun
or to get to know you
ultra-excited to be enthused / am..
web-mincing a response
one thinks on the way to
— the oppressor in his plumage
(I was up in the house
— I saw his softening machine)
how many pounds in a week?
I was hit in the face when he turned on himself.
I knew I am unhappy and not —
A toe-tap to signal potential
Demon Puffs that you are not occupied,
that you are on their side in the I-Be area.
A head with no moving parts, transfixed silhouettes,
plight dwellers' outlines — indexes to the gentle
varieties that keep steely details to a minimum.
$6 general admission; $3 Dia members, students, and seniors
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Publications by poets in the series can be found on diabooks.org.