4th Annual NAPOMO 30/30/30 :: DAY 30(!) :: Barrett Warner, Remembering Chris Toll
[script_teaser]And on the eleventh day, God created the Chris Toll.[/script_teaser][textwrap_image align="right"]http://www.theoperatingsystem.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-27-at-12.03.46-PM.png[/textwrap_image] And on the fourteenth day, God destroyed him. Such was the brevity of his national spotlight, which was made possible when Adam Robinson’s Publishing Genius Press issued Toll’s principle collection, The
3rd ANNUAL NAPOMO 30/30/30 :: DAY 28 :: BARRETT WARNER on RUSSELL EDSON's 'SHEET MUSIC'
[box]He was advancing into featherhood. At first a little eiderdown in the middle of his chest. Then some good-sized feathers coming out of his elbows. He wondered if there had ever been a bird in the family; some untalked-about ancestor. Perhaps
MUSIC / DANCE :: COMING TOGETHER / ATTICA at THE INVISIBLE DOG ART CENTER, JUNE 12-15
Highlights from Coming Together/Attica from Rebecca Lazier on Vimeo. COMING TOGETHER/ATTICA JUNE 12 - 15, 2013 The Invisible Dog Art Center 51 Bergen Street, Brooklyn Music by Frederic Rzewski (1971) Text by Sam Melville (1971) Performances: Thursday, June 13 at 7:00 p.m. and 9:00 p.m. Friday, June 14 at
2nd ANNUAL NAPOMO 30/30/30 :: DAY 4 :: FARZANA MARIE ON MIKHAIL, CARPENTER, AZZIZADA and POETRY IN SOCIAL CONFLICT
How does poetry grapple with the conflicts and social issues of our time? What can a poem do in the face of rocket-thuds, choking smoke, a child’s pink sandal in a blood-pool on the street? Can it find meaning in
FIELD NOTES :: No Instructions for Assembly :: Kameelah Rasheed's Photographic Memory
While an Artist in Residence at the Center for Photography at Woodstock this summer, I continued to work on the series Memories: No Instructions for Assembly. This series which has morphed into six evolving iterations - I, II, III, IV, V, and VI is born from my family's experience with displacement and loss. There is limited photographic evidence that my family ever existed. Photographs were lost when we were unlawfully removed from our home in 1998. Some photographs were water-damaged or accidentally trashed before we packed seven lives and accompanying articles into a burgundy station wagon and made our home in a 450-square foot illegal attachment where my grandfather died, alone, nine years prior of stomach cancer. An attempt to conjure my family back into existence, in Memories: No Instructions for Assembly, I weave together orphaned photographs found at garage sales, photos stolen from the Facebook pages of estranged family members, magazine pages, water-damaged images salvaged during my family's 10-year bout with homelessness, and original photography to re-imagine a lost family history. Working in the tradition of the archaeologist and the archivist, I sample as well as reorganize existing materials into a series of images to produce a non-linear narrative that dances between vivid and vague memories. ART: "Meet Miss Subways!" Photography, History and Identity :: Fiona Gardner
[caption id="attachment_1555" align="alignleft" width="493" caption="Angela Vorsteg Norris Miss Subways March 1950"]
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If you're not from around here, you may not know that Meet Miss Subways is more than a Ferlinghetti poem.
And, as such, you may not know that
"Miss Subways was a title accorded to individual New York City women between 1941 and 1976. The woman who was "Miss Subways" at any one time appeared on posters placed on New York City Subway trains, along with a brief description of her. The program was run by the ad agency "New York Subways Advertising".
To be eligible, a woman had to be a New York City resident and herself use the subway. Winners were usually chosen by telephone-based voting, from among a group of contenders whose photos were all placed on the subways; the nominees were chosen by John Robert Powers, a modelling agent."
{thank you, Wikipedia!}
I'm a sucker for New York memorabilia, and photographic projects examining identity, place, and culture, so when I happened upon Fiona Gardner's series -- in which she documents, via striking, technicolor-esque present day portraits and tells the stories of former "Miss Subways," alongside the now-dated newspaper clippings introducing these "girls" to an adoring city -- I immediately rang her (um, or, since it's not 1960, I messaged her on facebook, where I found her through our mutual friend, painter and herbalist Michael Viola).
