Arts, Media & Culture News with 'tude
A summer package for the avant garde:
‘BRION GYSIN LET THE MICE IN’ edited and with a foreword by Jan Herman and with an introduction by Douglas Field.
“MINUTES TO GO Redux’ edited and with an introduction by Oliver Harris.
‘THE EXTERMINATOR Redux’ edited and with an introduction by Oliver Harris.
‘BATTLE INSTRUCTIONS’ edited and with an introduction by Oliver Harris.
Last evening this is what showed up in our neck of the woods. Luckily it did not touch down.
Ed Ruscha‘s latest poster “EE-NUF! VOTE!” offers this commentary: “Get Richer” / “Bye-Bye Roe Vs. Wade” / “Highway to Hell” / “Fast Track to Facism” / “Gobble More Gas” / “Kids in Cages” / “EE-NUF EE-NUF” / “You’ve Got the Most to Lose” / “Green Light Pollution” / “Gateway to White Supremacy”
Van Dyek Parks tweeted the poster today with this comment: “We will weave civility into the torn fabric of our flag—-with illuminations from the arts—by the likes of So-Cal’s adopted son Ed Ruscha.”
‘Until recently, many Americans had never heard of the Tulsa Race Massacre.’ From The New York Times: ‘A Search for Hallowed Ground.’ Photographs by Joseph Rushmore and Gary Mason. Text by Campbell Robertson.
Readers wanted to know all about their celebrities, or at least about my encounters with them. From A-listers and B-listers right down to Z-listers. The whole stupid alphabet top to bottom. Names to be forgotten one day. They needed the publicity and I needed the job. I wasn’t a star fucker—I’ll say that, having come from the newsroom with no more interest in celebrities than any routine reporter. I was a stand-in for star fuckers.
This is what the people did back then: Infamous William M. Tweed, the corrupt 19th-century NYC power broker whose ring of cronies controlled the government purse, manipulated the legislature, and embezzled hundreds of millions of dollars, was booted from office in the election of Nov. 7, 1871. Thomas Nast depicted him in defeat as a bloated, gouty Roman consul clutching a broken sword, wearing a royal headband of threadbare dollar signs and a sovereign medallion off his miserable likeness on his fat belly. Fast forward to Nov. 7, 2020.
For more than 50 years Ben Vautier has worked “outside the walls,” embracing daily life in its multitude of contradictions. Now, in “Being Free,” an exhibition opening July 11 and running through October 11 in Chamarande, France (about 50 minutes south of Paris), he brings together more than 400 works which document his prodigious output.
Follow the countdown—the days, hours, minutes, and yes, even the seconds—to Blake Gopnik’s chat with Annalyn Swan about his biography of Andy Warhol. Well, it IS a big book. Big in page count (976). Big in subject (Warhol’s influence rivals Picasso’s.) Stellar in praise. (I’ve read only one review that dumps on it, persuasively.) So okay, a countdown.
FOR THÉOPHILE GAUTIER
This is what is——the serenity of now
suspended like cumulus clouds, the night
freshened with rain and shafts of white
moonlight so bright I can read you
by the window. This is the tide hidden
from the volcano’s molten flux.
Folio as ‘objet d’art’: “Death in Marseille” by Carl Weissner. Translated and edited from the German by Keith Seward & Jan Herman. Designed and printed by Gerard Bellaart on Handmade Barcham’s Greenpaper. Trim size: 328×220 mm. Edition limited to 12 copies.
Jeff Ball, collector extraordinaire of rare Burroughsiana, tells me he recently picked up a handful of relevant little magazines at auction in his seemingly endless quest to capture an intriguing slice of literary history. His collection also includes scattered ephemera which illuminate peculiar nooks and crannies of that literary history sometimes to telling effect. Have a look at a postcard to Herbert Huncke—signed by Allen Ginsberg, William Burroughs, Peter Orlovsky, and Gregory Corso—that he also recently acquired. The ironies abound.
The text, translated and edited from the German, has been produced by Cold Turkey Press in an edition limited to 12 copies, to pay tribute to the memory of Carl Weissner, who was born on this day, June 16, in 1940.
Register for this Zoom event (Thursday, June 18, 7:30 p.m. ET). As the COVID-19 pandemic has exposed gaps in the social safety net, protests in the aftermath of George Floyd’s murder have mobilized a powerful new movement for racial justice. Leading economic experts discuss the gaping disparities by race and class that have driven so many Americans into the streets, and examine the prospects for policy and institutional changes that could create a more equal society, starting today.
. . . after five-mile walk . . . in rural retreat . . . too bad the video does an injustice to the vivid colors of the leafy green cathedral of trees, the red-brown earth of the road and, most of all, to the rich scent of pine in the air.
Boredom sometimes works wonders . . . with teacher’s help.
Jeff Ball’s latest acquisition—a first-edition copy of “The Exterminator”— is not only signed by both William Burroughs and Brion Gysin but has original artwork that Gysin drew and signed on an inside page. “I’m giddy!” says Ball, whose collection of rare first editions by Burroughs and associated writers, includes some of the most hard-to-find materials anywhere.
This week, for a historical perspective on protest movements, The Graduate Center, CUNY, highlights a discussion with civil rights leaders of the ’60s from its video archive. The discussion is moderated by Carol Jenkins, host of Black America on CUNY-TV. Guests include Ruby Sales, a key figure in the Alabama “Freedom Summer” voter registration drive, and Reverend Herbert Daughtry, who played an instrumental role in the struggle for school desegregation. Clarence Taylor, professor of history at The Graduate Center and Baruch College, provides commentary.
