from Schoodic Point, Acadia National Park, Maine

Who are Deleuze and Guattari?
Or rather, who is Deleuze and who is Guattari?
Why am I running into their names everywhere?
What is their secret of working so productively together?
Did one of them want a solo career?

We were cross country skiing out in the blueberry fields this Maine morning in a lovely snowstorm. I asked Sam to take those pictures of the groupings of rocks – he was wearing the mittens with foldover tops that let his fingers work the camera.

Poetry at the Rubin Museum of Art

Featured Poets: Rick Benjamin, Margaret Gibson, Tom Morgan, Shin Yu Pai, and Andrew Schelling

February 2, 2008, 4:00 p.m.
Rubin Museum of Art, 150 West 17th Street, New York, NY
TBA
A reading of Buddhist-inspired poetry.

Featuring: Rick Benjamin’s poems have appeared in Watershed, Blackletter, The Journal of New Jersey Poets, Patterson Poetry Review, Berkeley Poetry Review and Creature Comforts;

Margaret Gibson is the author of nine books of poetry, including the newly released One Body;

Tom Morgan is the author of the poetry collection On/Going and co-editor of the anthology For the Time Being: The Bootstrap Book of Poetic Journals;

Shin Yu Pai is the author of six books of poetry including Haiku Not Bombs, which is forthcoming from the Booklyn Artist Alliance;

Andrew Schelling received the 1991 Harold Morton Landon Translation Award for Dropping the Bow: Poems of Ancient India (1991). His volumes of translation include For Love of the Dark One: Songs of Mirabai and The Cane Groves of Narmada River: Erotic Poems of Old India.

some by jackson mac low

Right away, some give enough of anything to anyone,
& some do things to make a meal …

Jasper Johns: Gray

… the exhibition tracks Johns’s application of gray for more than five decades—an investigation that provides a framework for understanding the development of the artist’s entire oeuvre.

Every one of Johns’s major iconic, serialized forms has been, at one stage or another, articulated in gray. The intellectual and emotional significance of this color in his work has changed remarkably since 1955, when he used it initially as a statement of skepticism, quietude, or anticipation. Gray has since evolved in Johns’s work as an agent in a profound examination of the very meaning of color itself. The predominance of gray in his recent Catenary series, which self-consciously summarizes the artist’s career, takes on new meaning in the context of this exhibition’s thesis.

Gray is further considered as a material condition. For Johns it seems the most appropriate hue or tone to present a “conceptual” art as it stimulates vision the least and therefore facilitates the presentation of ideas. Conversely, gray has been, for the artist, a vehicle for thinking about color through its absence. Indeed some of his most expressively rich statements are made in gray.