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George Albon's Momentary Songs sound the possibilities of forwardness ana hope in a surrounding twilight of unprecedented venality. Using a variety of registers-lyrical inquiry, Blakean exhortation, the satirical spiel of Morgenstern's Gallows Songs - they search for alternative states (public ones, affective ones) as well as offer a probe on what has come to pass: "In this eclipse are we the inclement for placing it?" A reading pole can also be a door, a tree trunk, the wall of a barn. It's the itinerant's edge-of-town bulletin board, where shared message-symbols are drawn and heeded: Good town, bad town, okay place to stay, don't stop here. The poems of Reading Pole both comment on and embody the heart of these messages - quick news on the open-ended route.
In Dorothea Tanning's Eine Kleine Nachtmusik, an enormous sunflower lays across an upper floor landing. A pubescent girl with undone blouse leans against the landing's wall, enduring an experience, or savoring one. Another girl, her back to the viewer, looks down the hallway, her long tresses freed from gravity and tendriling toward the ceiling. Sunflowers will do that.
Seven Admissions offer variations on a name, and revel in the world between the letters. Inspired by Frank O'Hara's acrostic-poems to Edwin Denby, these admissions are playful and austere by turns, but always putting forth Eros as challenge to the death-making predicates of the title sequence.
In Dorothea Tanning's Eine Kleine Nachtmusik, an enormous sunflower lays across an upper floor landing. A pubescent girl with undone blouse leans against the landing's wall, enduring an experience, or savoring one. Another girl, her back to the viewer, looks down the hallway, her long tresses freed from gravity and tendriling toward the ceiling. Sunflowers will do that.
Seven Admissions offer variations on a name, and revel in the world between the letters. Inspired by Frank O'Hara's acrostic-poems to Edwin Denby, these admissions are playful and austere by turns, but always putting forth Eros as challenge to the death-making predicates of the title sequence.
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