Wednesday, January 19, 2011
Video Documentary: Paul Muldoon, on poetry and the creative spirit
Five Dialogues, Paul Muldoon from Wunderkammer Magazine on Vimeo.
This inspiring interview of poet Paul Muldoon was recently released from Wunderkammer Magazine, filmed and directed by a friend, J.M. (Jason) Harper, and his colleague, David Michael.
Muldoon is the poetry editor at The New Yorker, and was one of Jason's professors at Princeton University. After being introduced by Jason to Muldoon's work this summer, I have plunged back into his Pulitzer Prize-winning Horse Latitudes (2006) recently, and it is a rewarding and stunning experience. Read aloud, it bewitches; read to oneself, it evokes laughter and invites revisiting. One of my favorite poems, Eggs, can be heard read by Muldoon in a 2007 NPR story here. It's worth it.
Note: Jason's other film projects (commercial, documenrary, music video, and narrative) can be found here. (My other favorite of his is Drug Police).
Sunday, January 16, 2011
Music: New singles from Seoul, by Peterson Goodwyn
The two new singles from his self-titled project, Peterson Goodwyn, can be found here. A side: Dream About, B side: Yes, English!
More to be released on February 1st and 15th!
Wednesday, January 12, 2011
Video: Well said, Jon Stewart (on Arizona)
| The Daily Show With Jon Stewart | Mon - Thurs 11p / 10c | |||
| Arizona Shootings Reaction | ||||
| ||||
Succinct, and poignant. Thanks, Mr. Stewart.
Sunday, January 9, 2011
Poem: "Alla breve"
Alla breve
Why do
painters, painters
of houses,
beards matching
pigeons, drink
five red
Coke cans,
flush, with
stories of
houses under
their nails?
In painted,
empty houses
they follow
hair, hair
floating to
final destinations,
tangle sticky
in distracted
spider decor.
Loose tufts
waft white
as milkweed
from fingers,
caught dry,
on hot
biscuit tongues.
How did
they seem
painters, painting
then, young?
Stand in
cotton, hair
blown, against
trees? Still
bright summer-noon
teeth, big
pie sliced,
bottom-lipped smiles,
cutting the
eye of
their grin?
- JVH
Why do
painters, painters
of houses,
beards matching
pigeons, drink
five red
Coke cans,
flush, with
stories of
houses under
their nails?
In painted,
empty houses
they follow
hair, hair
floating to
final destinations,
tangle sticky
in distracted
spider decor.
Loose tufts
waft white
as milkweed
from fingers,
caught dry,
on hot
biscuit tongues.
How did
they seem
painters, painting
then, young?
Stand in
cotton, hair
blown, against
trees? Still
bright summer-noon
teeth, big
pie sliced,
bottom-lipped smiles,
cutting the
eye of
their grin?
- JVH
Thursday, January 6, 2011
Video: The camera's turned back towards The Sartorialist
Scott Schuman of The Sartorialist fame was recently featured in an Intel-sponsored short documentary. It's beautifully produced (wish I knew who directed it!), and a fun insight into the mind of working blogger/ photographer.
Tuesday, January 4, 2011
Claudine Isé's MCA 12x12x100 review
As the Museum of Contemporary Art completes its 100th 12x12 exhibition in ten years with Jessica Labatte, critic Claudine Isé of Bad at Sports makes a cogent case for an MCA New Year's resolution: re-think it.
Claudine, thanks for vocalizing issues that are often overshadowed by the glamour and excitement of contemporary work appearing in an institutional context. They asked for your input-- now let's see if they listen up.
"And that’s the problem that I have with the 12 x 12 series as a whole. It’s too much about giving every artist their turn, and not nearly enough about ambition, innovation, and critical expansion of an artist’s practice (and an audience’s understanding of it). I’ll be even more blunt: 12 x 12 shows rarely feel special. The work by artists that is exhibited in this smallish gallery off the MCA’s main entryway is no better, and more often than not it’s significantly less good, than the work that that same artist has shown at a local gallery."
[...]
"The MCA needs to do more to make this opportunity count. 100 shows and almost 10 years is long enough to prove the Institution’s commitment to emerging local artists. Now, I think it’s time for the MCA to expand that commitment into something more lasting and meaningful by taking a long look at how they allocate their resources and at what they, and more importantly what their artists, truly want and need from a 12 x 12 exhibition."
Read the full review here.
Claudine, thanks for vocalizing issues that are often overshadowed by the glamour and excitement of contemporary work appearing in an institutional context. They asked for your input-- now let's see if they listen up.
"And that’s the problem that I have with the 12 x 12 series as a whole. It’s too much about giving every artist their turn, and not nearly enough about ambition, innovation, and critical expansion of an artist’s practice (and an audience’s understanding of it). I’ll be even more blunt: 12 x 12 shows rarely feel special. The work by artists that is exhibited in this smallish gallery off the MCA’s main entryway is no better, and more often than not it’s significantly less good, than the work that that same artist has shown at a local gallery."
[...]
"The MCA needs to do more to make this opportunity count. 100 shows and almost 10 years is long enough to prove the Institution’s commitment to emerging local artists. Now, I think it’s time for the MCA to expand that commitment into something more lasting and meaningful by taking a long look at how they allocate their resources and at what they, and more importantly what their artists, truly want and need from a 12 x 12 exhibition."
Read the full review here.
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