Further details here
ANATHEMA is a new reading series for experimental poetry and writing in Bristol, curated by Moot Press + Hesterglock Press + Sad Press
Poetry Reading in Bristol at the Arnolfini – More details here.
‘mox nox’ exhibited in BOOKMARE: project 2 of average sunlight
Exhibition until May 2017
Kingsgate Project Space 110-116 Kingsgate Road London NW6 2JG
Opening Event: 6-9 pm March 2nd
FRIDAY, 10 March
Drew Milne, Jeff Hilson, Redell Olsen
Drew Milne was educated in Edinburgh and Cambridge. He has previously taught at the universities of Edinburgh and Sussex and since 1997 he has been the Judith E Wilson Lecture in Drama and Poetry, Faculty of English, University of Cambrige. In 1995 he was poet in residence at the Tate Gallery, London. His books of poems include: Sheet Mettle (London: Alfred David Editions, 1994), Bench Marks (London: Alfred David Editions, 1998), The Damage: new and selected poems (Cambridge: Salt, 2001), Mars Disarmed (Barrington, M.A.: The Figures, 2002), Go Figure (Cambridge: Salt, 2003).
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
curated by Robert Hampson
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
Absract of Keynote Paper:
Frank O’Hara’s Poetics of Art Writing: ‘On Looking’ to the ‘Crowning of the Poet’ Redell Olsen
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.
See a Video of the Paper Here (Olsen at 4:09)
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.
28th of April 2016 – International Conference on Artistic Research: Writing
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.
Video of Paper here
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
Free entry and refreshments
- Judith E Wilson Drama Studio
The Faculty of English, 9 West Road
Cambridge, Cambridgeshire CB3 9DP United Kingdom + Google Map