Poetry Reading: Runnymede Festival

FRIDAY, 10 March
 
Poetry Reading
 
Michael Heller, Jeff Hilson, Redell Olsen

Michael Heller has, for many decades, been an important American poet and critic. In 1985 he established himself as an expert on the Objectivist poets with his book, Convictions Net of Branches, and he has subsequently published separate works on George Oppen and Carl Rakosi. His critical work has also addressed contemporary avant-garde poetry, Jewish and post-Holocaust poetry and poetics. He published Uncertain Poetries (2005), a collection of essays on twentieth-century poetry. His own poetry has been widely published and collected in Exigent Futures: New and Selected Poems (Salt, 2003) andThis Constellation is a Name: Collected Poems 1965-2010 (Nightboat Books, 2012).

Jeff Hilson has been a prominent figure in London poetry since the 1980s. His publications includestretchers (Reality Street, 2006), Bird Bird (Landfill, 2009) and In the Assarts (Veer, 2010). He editedThe Reality Street Book of Sonnets (Reality Street, 2008) and runs the reading series Xing the Line. He teaches at the University of Roehampton.

Redell Olsen is a poet and visual artist whose work includes performance, writing and installed texts. Her recent publications include Secure Portable Space (Reality Street, 2004), Punk Faun (Subpress Books, 2012) and Film Poems (Les Figues, 2014). She was, for many years, the editor of the influential online journal HOW2 (How2journal.com), which promotes modernist and contemporary innovative poetry by women. She was Judith E. Wilson Fellow at Cambridge for 2013-14, and she is Professor of Poetry and Poetics at Royal Holloway.

7.00-8.45     11 Bedford Square, London WC1

Runnymede Festival 
curated by Robert Hampson
All Welcome

Minimalism: LOCATION ASPECT MOMENT October 14-15 2016

Keynote performance lecture – Professor Redell Olsen 

I See/You Mean: The Minimalist Roman[ce]

Taking as its starting point the post-Minimalist nouveau roman, ‘I See/You Mean’ by Lucy Lippard this lecture will explore Minimalism in the visual arts and writing. It will consider aspects of critical discourse on Minimalism as itself encoding forms of romance and propose a counter series of poetic interventions by way of response.

Redell Olsen is a poet and text based artist whose visual work involves live performance with stills or moving image. Film Poems (Les Figues, 2014) collects the texts for her films and performances from 2007–2012. Her previous books include: ‘Punk Faun: a bar rock pastel’ (Subpress, 2012), ‘Secure Portable Space’ (Reality Street, 2004), ‘Book of the Fur’ (rem press 2000), and, in collaboration with the bookartist Susan Johanknecht, ‘Here Are My Instructions’ (Gefn, 2004). From 2006-2010 she was the editor of How2, the international online journal for Modernist and contemporary writing by women. In 2013-14 she was the Judith E. Wilson visiting fellow in poetry at the University of Cambridge. She is currently Professor of Poetry and Poetics at Royal Holloway, University of London. redellolsen.co.uk

THE PHOTOS

Frank O’Hara Symposium at the ICA – 24th July 2016

Absract of Keynote Paper:

Frank O’Hara’s Poetics of Art Writing: ‘On Looking’ to the ‘Crowning of the Poet’ Redell Olsen

Grace Hartigan ‘Crowning of the Poet’ (1985)

Grace Hartigan ‘Crowning of the Poet’ (1985)

Frank O’Hara’s writing on art is diverse and crosses multiple genres from criticism, poetry to collaborative and visual works. In addition to critical writings on artists he often wrote poems on paintings, dedicated his poems to painters and made reference in his own poems to particular paintings from a range of art historical periods that included his own. In its diversity O’Hara’s art writing contributed to the conditions of mutual influence that emerged between the poets and writers who were his contemporaries. Grace Hartigan’s painting the ‘Crowning of the Poet’ (1985) demonstrates the ongoing effect of the poet on the artist nearly twenty years after O’Hara’s death. This talk will examine a number of paintings and works of art that relate in very different ways to O’Hara’s poems and explore the ways in which these paintings, when read in conjunction with O’Hara’s writings, might help us to re-imagine and to rethink the traditional modes used to describe the constellated and inter-related practices of poetry and painting.

Programme

See a Video of the Paper Here (Olsen at 4:09)

Contemporary Poetry: Thinking and Feeling, University of Plymouth, 2Oth -22nd May 2016

Abstract Keynote: Redell Olsen

‘Proposals For Landscapes: and other mutual antipathies’
This talk will offer a series of proposals For landscapes, a recalibration of the optics for a poetics of the conceptual. This reading will explore these possibilities across multiple registers of the material and linguistic possibilities of felt-thought. It will assert a space for itself between the symptomatic dismissal by the visual arts of poetry as ‘literary costume’ and the more recent neglectful mis-readings of conceptual art by writing at the expense of the conceptual histories of the lyric genre.

Programme Here

Hague: International Conference on Artistic Research: Writing

28th of April 2016 – International Conference on Artistic Research: Writing

The Hague

Keynote: Redell Olsen

  ‘A Column of Air: Flickers/Writing/Painting’

     28 April 2016, 14.15 till 15.00 — Royal Academy of Art

In 1967 Art and Language designated a column of air ‘art.’ The place of writing as and in place of painting seemed assured. When you begin to look away from seeing and reading the dematerialised art work, there emerges a new possibility, a poetics of flickers. In 2016 this column of written air flickers with art forms very different from the art critical language associated with conceptual art. What does this flickering reveal? Poetics and the visual arts flicker with glimpses of this not not-conceptual-art, and not not-writing­-as art. My performance/lecture will explore how writing might engage with a flickering ekphrastic turn to landscape painting and its spin-offs. Timothy Morton questions whether ‘Nature’ was ever really there as more than a flickering ghost. I will nevertheless resist the double bind associated with simplistic definitions of ekphrasis, undoing the binary logic of writing as a half-glimpsed phantom of another ‘proper’ subject. The possibility of the filmic will be registered across the boundaries between the documentary, the poetic, and the visual-as-writing. Tracing this exploration through existing works and images, this lecture/performance hopes to enact a writing of paintings for paintings and an aesthetics of art that flickers in writing.

http://www.sarconference2016.net/rc/index.html#archive

Video of Paper here

Poetry Reading

Globe electrical machines 1760-70

Peter Gizzi
Redell Olsen

Judith E. Wilson Drama Studio

8pm Monday 9th November 2015

Please join us in welcoming Judith E. Wilson Poetry Fellow Peter
Gizzi, who will be reading with past fellow Redell Olsen

http://redellolsen.co.uk/

http://www.petergizzi.org/

Free entry and refreshments

Venue

Judith E Wilson Drama Studio
The Faculty of English, 9 West Road
Cambridge, Cambridgeshire CB3 9DP United Kingdom + Google Map
 

17.12.14 Print Screen Writing and the Image

17.12. 14

10-5 pm.

The Photographers Gallery, 16 – 18 Ramillies St, London W1F 7LW

Performance / reading as part of Print Screen Writing and the Image: This in-depth symposium in collaboration with University of Westminster addresses current thinking on the relationship between writing and the image, with particular emphasis on connections across the fields of experimental literature, photography, and film.

Presenters / Speakers include:  Laura Mulvey, Patrick Keiller, Jonathan Long, Redell Olsen, Daniel Kane and Leigh Wilson. Organised by Dr. Georgina Colby and Professor John Beck in conjunction with The Photographers’ Gallery, London.

http://thephotographersgallery.org.uk/print-screen-writing-and-the-image#-INFO