ANTHONY MCANN is the author of Thing Music and three other collections of poetry. He lives in the Mojave Desert.
Sayre Gomez: Renaissance CollectionBy Jake Romm
SEPT 2022 | ArtSeen
Los Angeles based painter Sayre Gomezs exhibition of new work, Renaissance Collection, currently on view at the Fondazione Sandretto Re Rebaudengo in Turin, Italy consists of five paintings focused on the eponymous collection of apartment buildings by developer Geoff Palmer. Palmer is notorious for being both a sleazy and rapacious figure in the LA real estate scene, and also, something of an idiot, having once claimed that The Italians actually settled LA before the Spanish and Chinese.
Dick Higgins’s A Something Else ReaderBy Jennie Waldow
FEB 2023 | Art Books
The Reader models how contemporary artists and publishers can build on and subvert the communicative forms of the recent past. It collects excerpts from the multifarious output of its namesake press: event scores, concrete poetry, conceptual collages, philosophical essays, and reprints of classic modernist publications.
ARTUR SCHNABEL AND JOSEPH SZIGETI PLAY MOZART AT THE FRICK COLLECTION (APRIL 4, 1948)By Lloyd Schwartz
JUNE 2023 | Poetry
Lloyd Schwartz is the Poet Laureate of Somerville, MA, the Frederick S. Troy Professor of English Emeritus at UMass Boston, the longtime music and art critic for NPRs Fresh Air and WBUR, and an editor of the poetry and prose of Elizabeth Bishop. His awards include the Pulitzer Prize for Criticism and Guggenheim Foundation, NEA, and Academy of American Poets fellowships in poetry. His poems have been chosen for the Pushcart Prize, The Best American Poetry, and The Best of the Best American Poetry. His latest collection is Whos on First? New and Selected Poems (University of Chicago Press). He was born in Williamsburg.
Channeling Robert Ashley: Object Collection at The BrickBy Dan Joseph
DEC 22–JAN 23 | Music
At its core, Automatic Writing is a kind of ritual magic rendered on magnetic tape. Imbued with a sense of occult-like mysticism, it transforms sound and language into a surrealist psychological space. Developed in the studio over a five year period, Ashley wrote that Automatic Writing became a kind of opera in my imagination that conjures a set of four shadowy characters. It is this hallucinatory auditory space, this imaginary opera, that Object Collection sought to animate on the stage.