News & Events
I wrote A Letter to My Male Friends Who May Not Know That They Are Women, about waking up female on November 9, in the immediate aftermath of the election.
As you are, I am stricken. I am devastated. I am unmade.
We have all felt a terrible blow. And yet, of course, we all feel it differently, and have different understandings of what has befallen us, and what is to come. What I fear now is that the extent of my sorrow and devastation will seem unaccountable to many who are close to me. That this terrible thing that has happened to all of us will divide me from those I hold most dear. I feel I must write to you, my closest and most important friends, so that when we are together you can understand why I am so changed.
I woke up on the morning of November 9 with a new body. The first thing I discovered, and it’s been a surprise, is that I am female. I stood in the bathroom and looked at my breasts in the mirror. How strange that these familiar shapes now mean something new.
Read more on The Rumpus
I’m delighted bring the Game of Art to Game Night at Denny Gallery.
261 Broome Street, NY
October 18, 2016
Game Night #5 will explore the theme of language with artists Sal Randolph, Chloe Bass, Sharang Biwas, and Max Seidman. Game Night, generously hosted by Denny Gallery, is organized by Anna Harsanyi and Sheetal Prajapati.
The Game of Art
The Game of Art is an instructional artwork exploded into an atomic state and reimagined as a game. Could there be a system that expressed every possible artwork as its instruction? A vast library of possibilities? Players in the Game of Art take on shifting roles as “artists” and “critics,” pitting themselves against each other in an attempt to imagine new possible and impossible works of art.
See also: Library of Art
Join us at the dispersed holdings library table in joyful, unofficial observance of the 2016 New York Art Book Fair. We are celebrating one of our favorite events by releasing our new book, Ever: Notes Towards a Dispersed Holding.
Out Table: Open House
Saturday & Sunday: 9/17 & 9/18
Noon to 9pm
134 Bowery, 3S
[ more info ]
I’m excited to be reading from & Drift at WordHack.
September 15, 7-10PM
137 W 14th St, New York, New York 10011
WordHack is a monthly evening of performances and talks exploring the intersection of language and technology. Code poetry, digital literature, e-lit, language games, coders interested in the creative side, writers interested in new forms writing can take, all are welcome here.
We also have an OPEN PROJECTOR (like an open mic for digital work) where anyone can come up and show their work (for 5 minutes). Signup starts at 6:45, and will fill up so get here early! Performers start at 7:15.
This month we will feature talks and performances by:
ALEJANDRO MIGUEL JUSTINO CRAWFORD (http://amjc.tv/)
SAL RANDOLPH (http://salrandolph.com/)
LAM THUY VO (http://lamivo.com/)
KEVIN ROARK JR. (http://www.kevinroark.com/)
Host: TODD ANDERSON (http://hotwriting.net/)
Lead Organizer: CLAIRE DONATO (http://somanytumbleweeds.com/)
SUGGESTED DONATION $5-10
[ more info ]
Announcing the 2016 ESTAR SER Joint Symposium held in conjunction with the Museum of Jurassic Technology in Los Angeles.
September 10, 2016.
I’m delighted that five poems to Frank O’Hara are in the 10th anniversary of Otoliths, Issue 41, Southern Autumn 2016
[ from Dear Frank ]
Dispersed Holdings is now on Soundcloud. Just a taste of a new project that has been in the works – more to come.
Set recorded live with Sal Randolph, David Richardson, and Audra Wolowiec, at Audra Wolowiec’s studio, November 8, 2015.
ESTAR (SER) presented a lecture performance as part of Transgression and Syncretism curated by You Mi at the Asian Arts Theater in Gwangju, Korea
The Trochilus Exercise: Marton Bialek and the Ecstasy of the Rülek Scrolls
A Performance Lecture and Workshop with ESTAR (SER)
New evidence strongly suggests that the Francophone Transylvanian philologist-explorer Marton Bialek (1889-1966) was an associate of The Order of the Third Bird, and that his work with syncretistic central-Asian trance texts known as the Rülek Scrolls drew on, and contributed to, his preoccupations with the Order. Scholars with an interest in these matters will present a brief biography and reveal Bialek’s fascinating Exercise of the Trochilus, a formal protocol for sustained attention to a work of art. Guided collective experimentation will be encouraged. All are welcome, regardless of their knowledge of Bird practices.
About ESTAR (SER): The Esthetical Society for Transcendental and Applied Realization (now incorporating the Society of Esthetic Realizers) is an established body of private, independent scholars who work collectively to recover, scrutinize, and (where relevant) draw attention to the historicity of the Order of the Third Bird. (www.estarser.net)
About “The Order of the Third Bird”: There remains some confusion about the history and practices of the body known as The Order of the Third Bird, but evidence points to its having been for some time a loose network of cell-like groups that engage in ritualized forms of sustained attention to works of art. The canons of secrecy around these activities — their structure and purposes — have traditionally been sufficiently restrictive as to leave some doubt as to whether any individual professing knowledge of the Order could in fact be genuinely associated therewith.
The “Trochilus/Rülek Working Group” includes D. Graham Burnett, Carla Nappi, Sal Randolph, Bruce Rusk, and Catherine Hansen.
ESTAR presented a lecture performance at the Akademie der Künst, Berlin as part of the finissage of the exhibition Without Firm Ground, Vilém Flusser and the Arts
Into the Universe of Technical History: An Expedition to the Fluvial Origin of the Apparatus in Brazil, 1825-1835
Lyric philosopher Vilém Flusser (1920-1991), the “rootless” exile who lived much of his life in Brazil, has been celebrated for his prescient vision of contemporary experience as dominated by the hallucinatory effect of “technical images” (pictures produced by “apparatuses” such as the camera, the computer, and now the smart phone). Created in the obscured chamber of the “black box,” these images can enspell if not properly decoded. Clues, in the form of a group of extraordinary objects recently uncovered in the “W Cache,” suggest the possibility of recovering from the historical archive lost methods of metempsychotic engagement with the apparatus and somatic attunement with its programatic codes. These boxes lead upriver in space and time to the fluvial origins of the photographic apparatus in Brazil during the years 1825-1835, and figure in a set of attentional rituals directed towards early technical images apprehended in the act of their enchantment.
The research consortium ESTAR (SER) will present its findings and further activate these recovered practices in a brief experiential workshop.
2940 Colerain Ave.
Cincinnati, OH 45225
Opening: November 28, 7-10PM
I Work Hard For My Money, an exhibition exploring the relationship between artistic labor and monetary value opens November 28th at Wave Pool
Focusing on the association between art and capital, this exhibition investigates ways to talk about money through artistic practice. The exhibit includes works by Nina Caporale, Lauren diCioccio, JEFF&GORDON, Sal Randolph, Jeremiah Jenkins, and Kevin White.
Local artist Nina Caporale will be presenting a series of new work in which she has painstakingly hand beaded a series of plush IKEA objects. She has recorded the number of labor hours it took her to create these items and then asks viewers to decide for themselves how much the pieces are worth. The series calls into question the value of labor. Are the pieces worth the same small wage per hour of artistic labor that the IKEA factory workers are paid to create them? Or are they worth the minimum wage in Ohio? Or perhaps some other artistic value is placed on them because they live as art pieces?
Lauren DiCioccio and Jeremiah Jenkins, both San Francisco Bay Area artists, both use ubiquitous items of day-to-day life to draw attention to and further derive meaning from these objects. DiCioccio’s pieces in this show focus on the monotonous quality of currency, heightening these objects through hand embroidery in a way that is both playful and intimate. Jenkins has several works in the show that use actual modes of currency (credit cards and check books) to create altogether different items to create surprising connections and messages regarding the financial system.
New York based artist Sal Randolph is more interested in the social interactions that come when money is involved. Her work, Free Money, which will be featured in the exhibition, calls into question the etiquette surrounding “free” money and uses a social practice format to explore this issue.
JEFF&GORDON and Kevin White both have works in the show that examine artistic labor as work. JEFF&GORDON, an artist duo from Los Angeles, created an 8 hour film which condenses their full workday as artists into a typical 8 hour work day. Their “workday”, which includes art making, administrative duties, teaching, and other jobs overtakes their entire day, from the time they wake up until the time they go to bed. This film reflects on what it means to be an artist and how the standard 8 hour work day that labor unions fought for does not apply to the life of a working artist.
Kevin White, a local Cincinnati artist, typically works a standard work day at his studio at Visionaries and Voices. He work evolves and changes daily as his creations take over and alter the immediate environment that surrounds him in a riot of color and pattern. During the course of the exhibition, White will be using a portion of the Wave Pool gallery as his studio space. The space will evolve and change throughout the course of the exhibition and his laborious artistic practice will become part of the exhibition, epitomizing the avowal that art is work.
The exhibition opens on November 28th at Wave Pool from 7-10pm and will remain on view until January 3rd, 2016. Wave Pool is open Thursdays, Fridays, and Saturdays 12-5pm.
Thursday, December 3, 2015
The Nachtigall Convolute: Metempsychotic Figuration and the Matter of Lost Objects
6:00pm – 7:30pm
Harvard Art Museums, 32 Quincy Street
At this compelling performance-lecture, members of the ESTAR (SER) research consortium will explore the group of mysterious documents known as the “Nachtigall Convolute”—ambiguous but remarkable materials that appear to detail the strange activities of an intimate sodality of scholars, artists, and intellectuals based in Istanbul in the early 1940s. Willing attendees will have an opportunity to experiment with the techniques of “figuration” that seem to be at issue in these puzzling sources.
From ESTAR (SER):
A bundle of 22 sheets rolled into a tube and tied with twine, the Nachtigall Convolute derives its name from a shared saliency of the documents thusly cylindricated: the majority allude conspicuously to an unnamed personage by means of a fetching cryptonym—to wit, “Nachtigall” (the German term for that familiar and musical bird known in English as the nightingale). Do these materials bear on the historicity of the Order of the Third Bird? It seems likely. Did this cosmopolitan cohort engage in ritualized practices of sustained attention to made things? There is evidence they did. And is it possible that their activities included the hitherto unattested effort to attend to an object not actually present—which is to say, a “missing” or “lost” object? Here is where things become urgent.
ESTAR (SER) is an established body of private, independent scholars who work collectively to recover, scrutinize, and (where relevant) draw attention to the historicity of the Order of the Third Bird. The “Nachtigall Convolute Working Group” for this occasion consists of D. Graham Burnett (Princeton University), Jeff Dolven (Princeton University), Catherine Hansen (American University of Beirut), Yasemin Nur (an Istanbul-based artist), and Sal Randolph (a Brooklyn-based artist).
This program is presented in conjunction with the Harvard Art Museums’ forthcoming special exhibition From the Philosophy Chamber: Harvard’s Lost Collection, 1766–1820.
The event will take place in Menschel Hall, Lower Level.
Free admission. Please enter the museums via the entrance on Broadway.
Complimentary parking available in the Broadway Garage, 7 Felton Street, Cambridge.
Meditations on childhood space
Edited by Matthew Burgess
Fresh off the press is our new title Dream Closet: Meditations on Childhood Space edited by Matthew Burgess. Burgess, a poet, children’s book author, and magical thinker, has brought together 50 writers and visual artists to respond to the topic of childhood spaces. These small spaces may be sites of solitary reverie, of privacy, of escape, of aesthetic or erotic self-discovery, of queer self-identification, of reading, of making; with each contributor interpreting the topic in their own way.
See the beautiful animated trailer by Matthew Sandager here.
“Periodic Table” and three other Language Drawings are out now in Otoliths 38, Southern Winter, 2015.
I’m so delighted to be published alongside these wonderful poets & others. The list of contributors. Cecelia Chapman, Felino A. Soriano, Texas Fontanella, Heath Brougher, George McKim, Kyle Hemmings, Philip Byron Oakes, Jim Leftwich, Paul Summers, Annette Plasencia, Steve Dalachinsky, Karl Kempton, Vernon Frazer, Pete Spence, Eileen R. Tabios, Anna Ryan-Punch, Toby Fitch, Olivier Schopfer, Carlyle Baker, Lakey Comess, A. A. Kostas, John M. Bennett, Cheryl Penn, Joel Chace, Demosthenes Agrafiotis, Jack Galmitz, Ric Carfagna, Owen Vince, Keith Kumasen Abbott, Russell Bennetts & Rauan Klassnik, Marco Giovenale, David Greenslade, Chris Moran, Alyson Miller, Raymond Farr, John Pursch, Richard Kostelanetz, Michael Jacobson, hiromi suzuki, Tyler Pruett, Rosaire Appel, Lee Ballentine, Jessie Janeshek, Márton Koppány, Sal Randolph, Jim McCrary, John Lowther, Sabine Miller, Volodymyr Bilyk, Howie Good, John Martone, Tim Wright, Eric Hoffman, Bill Wolak, Jeff Harrison, David Adès, Kathup Tsering, Natsuko Hirata, Tim Gaze, Daniel Pilkington, sean burn, Patrick Williams, Rob Stuart, Amelia Dale, Spencer Selby, Tony Beyer, Cecelia Chapman & Jeff Crouch, Joseph Salvatore Aversano, Carol Stetser, Joe Balaz, Bobbi Lurie, Holly Friedlander Liddicoat, Ed Baker, Emma Corcoran, Sean Bolton, bruno neiva, Barnaby Smith, dan raphael, PT Davidson, Sheila E. Murphy, Cherie Hunter Day, A. Scott Britton, Marco Diotallevi, Willie Smith, Susan Connolly, SS Prasad, Michael Brandonisio, Johannes S. H. Bjerg, Mark Russell, Bob Heman, Ian Gibbins, J. D. Nelson, Lotto Thießen, Sam Langer, harry k stammer, & Katrinka Moore.
Ordinarily Unheard: An Evening of Performed Sound
Thursday, July 16, 7-9pm
Sal Randolph, David B. Smith, and Audra Wolowiec will each present a performed sound work integral to their broader practices, which include visual, textual, and sculptural projects dealing with themes such as language, imagination, and memory.
Sal Randolph Airport Scores for Drift
These Airport Scores are part of an experimental novel, Drift, being written on Twitter and other social media, with elements distributed in real space and on the web. They are “ambience scores,” transcriptions into language of the ordinarily unheard sounds of place; from this alphabetically rendered sound composition, places may then be performed in voice or imagination.
David B. Smith Forgetting Your Name (extended version)
Smith will lead a participatory ceremony where members of the audience are invited to speak a name of their choice as raw material for an electronic sound composition. The composition will unfold organically and unexpectedly and will waver between found sound and music, and between evolution and deterioration. The words the audience speaks will, like memories, fade in and out of legibility, repeating and building, yet obscuring and changing original meanings and intentions.
Audra Wolowiec ( )
( ) is a language based short film with two slide projectors and sound components. Held by punctuation, signals from two lighthouses begin to flash across the screen, communicating through fragments. As the sound of breaths continue to locate each other, waves allude that geometry is of no use to calculate a proximity that is felt. This work was first performed at the Poetry Project at St. Marks Church, Jan 2015.
Summer 2015 at Mildred’s Lane
Attention Lab with The Order of the Third Bird
July 20 – 26, 2015
In this week-long session, indiscreet associates of The Order of the Third Bird (including D. Graham Burnett, Jeff Dolven, Jac Mullen, Leonard Nalencz, Sal Randolph and Audra Wolowiec) will continue their investigations into experimental protocols of Practical Aesthesis and methods of Sustained Attention. The Attention Lab is part guerrilla seminar and part meditative and kinetic practicum. A discipline of the senses is pursued. Temporary metempsychosis can occur, but must not become permanent. Investigations during this year’s session will take us deeper into the territory of our relation with the natural world, including animal life and animal senses, ecological hyperobjects, and the effects of mobilizing historical modes of observation, witness, and awareness in contemporary periods of crisis. Beginning with available traditions and protocols of the Order, the group’s aim will be to develop and test new experimental practices of attention.
About the Participants
D. Graham Burnett functions as a lose New-York-based collective. Members have included Yara Flores, Eigil zu Tage-Ravn, Frumento Combusti, Dusty Keelson-Maar, Molly Gottstauk, and Sanelma Nicht. Participants have taught at Princeton, Yale, and Columbia Universities, and authored several books, including Descartes and the Hyperbolic Quest (2005), and The Sounding of the Whale (2012). Others have recently shown work in the “Island” exhibition at the Dairy Art Center (London) and the Emily Harvey Foundation (New York). More at dgrahamburnett.net
Jeff Dolven teaches Renaissance literature, poetry, and poetics at Princeton University. He is the author of Scenes of Instruction (U of Chicago Press) and a book of poems, Speculative Music (Sarabande), and he is an editor at large at Cabinet magazine.
Jac Mullen is the executive editor and co-founder of the American Reader, a monthly journal of literature and criticism.
Leonard Nalencz has worked as an organizer for an international trade union, a professor of Classical and Romance Languages and Literature, a Liguria-based Cicerone, and as a short order cook (in Ocean City, New Jersey). His current projects include a work of literary criticism focused on figures of resuscitated youths in Early Modern epic romance poetry and the development of new protocols of sustained attention to digital images.
Sal Randolph is an artist living in Brooklyn. Her Money Actions have been featured in the 2011 Biennial of Graphic Arts in Ljubljana, Slovenia, the Live Biennial, and in Cabinet Magazine. Other projects have been exhibited at the Göttingen Kunstverein, Röda Sten, and Manifesta 4. She has recently been doing research and teaching on the topic of attention as a visiting fellow at Princeton University and has shown new work at Raygun Projects in Toowoomba, Australia and Moore College of Art and Design in Philadelphia. More information: salrandolph.com
Audra Wolowiec is an interdisciplinary artist based in Brooklyn, NY. Her work has been shown at Art in General, Magnan-Metz, Reverse, Socrates Sculpture Park, Norte Maar and The Poetry Project. Featured in Modern Painters, Brooklyn Rail, Time Out NY, thresholds (MIT Dept of Architecture). Recent artist residencies include Bemis Center for Contemporary Art and the Physics Department at the University of Oregon. Wolowiec currently teaches at SUNY Purchase and is the 2015 Artist Educator in Residence at Dia:Beacon. www.audrawolowiec.com
The Order of the Third Bird
There remains some confusion about the history and practices of the body known as The Order of the Third Bird, but evidence points to its having been for some time a network of cell-like groups that engage in ritualized forms of sustained attention to works of art. The canons of secrecy around these activities—their structure and purposes—have traditionally been sufficiently restrictive as to leave some doubt as to whether any individual professing knowledge of the Order could in fact be genuinely associated therewith.
Be that as it may, public activities conjectured to be not utterly dissimilar to doings of the Order have been reported variously at the Art in General What’s Now? symposium, Centre Pompidou, Chalet Society, Dairy Art Centre, Emily Harvey Foundation, Guggenheim Museum, Harvard VES, ICA Philadelphia, Institute für Raumexperimente, Mildred’s Lane, Milwaukee Art Museum, MoMA Studio, Palais de Tokyo, PS1, RISD, and the Santozeum on Santorini Island.