Posts Tagged “Eileen Myles”

On the Contemporary: erica kaufman, The Leaves Changed and I Didn’t Notice: 10 Jilted Starts

11.20.2013  |  By
Filed under: Projects/Series

This fall, Open Space will feature a series of reflections by artists, writers, and curators on “the contemporary.” Today’s piece is by New York–based writer and teacher erica kaufman.

the leaves changed & I didn’t notice: 10 jilted starts

for N.E. and S.W.

1.  My initial response to this question of the contemporary was to turn to Gertrude Stein and her sense of the “continuous present.” In “Composition as Explanation,” Stein writes, “the time of the composition is the time of the composition.” The contemporary is the present tense, and so our experience and knowledge is always present tense. But, I feel unsatisfied beginning here, as if it is too easy, not because Stein is easy, but because I always turn to Stein.

2.  A first few thoughts on the contemporary: the government shutdown; Dana Yahalomi’s performance work; the Stolpersteine in Berlin; the turkey found wandering around Battery Park; Nicole Eisenman’s sculptures — refiguring figures; ... More

75 Reasons to Live: Anne Walsh on Unknown/Untitled

08.05.2010  |  By
Filed under: One on One

Anne Walsh is a visual artist. (And former Open Space columnist!) I can’t resist offering a bit of program back-story on her selection of this untitled picture by an unknown photographer: When I asked our speakers to participate, I sent them long lists  of every work expected to be on view during the Anniversary weekend, that is, hundreds a... More

Curatorial Romance

05.06.2010  |  By
Filed under: Field Notes

Wednesday, May 5: I’m on a San Francisco-bound plane, whizzing above the clouds at 440 mph. I’m avoiding writing my next Open Space blog post because I’ve made such a big deal out of it—hours of research, pages of notes, contextualizing up the wazoo. I’ve just spent four days in New York City, the second visit where I didn’t go see the Marina Abramovic show at the MoMA. But I’ve had many discussions with people who have seen the show. Someone told me that some guy grabbed the ass of one of the naked performers, and that guy w... More

Unknown/Untitled

02.25.2010  |  By
Filed under: Field Notes

In 2012, one of the recent rash of apocalyptic disaster films, the governments of a dying world band together and secretly build arks to brave the tempestuous seas of Mayan Armageddon. The film asks, rather feebly, who/what deserves salvation? The original list is restricted to the rich, world leaders, and the Mona Lisa. Humanists argue this is wrong, that the bellies of the arks should open to the throngs of ordinary people squirming on the docks begging entry. Cut to SFMOMA, January 17, 12:50 p.m.: a camera crew is setting up in front of ... More

Oh, Canada!

10.30.2009  |  By
Filed under: Field Notes

In the mid-90s, on the block of South Van Ness bordered by 16th and 15th streets used to be a little art gallery called Bewegung. It was the brainchild of Heather Haynes, a student at the San Francisco Art Institute. Heather lived in the back and the gallery was in the front. Heather was my best friend for a bunch of that decade, when I was young and just moved to San Francisco. I would come over to the gallery and Heather would be giving the whole space a spiritual cleanse, mopping it with a solution of like cow’s milk and blue crumbly b... More

Neo Benshi

06.07.2009  |  By
Filed under: Field Notes

Last week I went to ATA (Artists Television Access, 992 Valencia Street at 21st) to see a program of films and poetry headlined by two old friends Gary Sullivan and Nada Gordon. Gary is a poet and prose writer credited with the invention of flarf, a much talked about movement to reduce the lyric, epiphanic element of poetry and replace it with materials found by chance on the internet—google searches and the like. Nada Gordon is also a member of the Flarf Collective and has written many books of poetry and other sorts of writing. She is the youngest person to appear in the anthology of US poets theater work that David Brazil and I have been editing for Kenning Editions. The program last week was heavy on “neo-benshi,” right now the dominant nexus where poetry meets film—rather like Godzilla “meeting” Mothra, or Frankenstein “meeting” Abbott and Costello, there’s an element of the gladiatorial about it.

I first heard about the role of the benshi in Japanese and Ko... More