Specific objects. In his 1964 statement of that title, Donald Judd returns over and over to the same words to describe his art and his milieu: “the new three dimensional work,” “work in three dimensions,” “the use of three dimensions,” “three dimensions,” and so forth. There’s something about that phrase and what it points toward — not a movement, not a medium, not an art form, but a volume — that has resonated with me these past five or six years.
P. L. Wilson, “Pang Yang & the Publick Universal Friend” (2010).
I met Peter Lamborn Wilson in the late ’80s at Naropa Institute, and after acquiring his pamphlet Chaos, written under the takhallus Hakim Bey, became a devotee to his work. His support of DIY efforts was encouraging and validating, and We Press took up the invitation to “pirate” Chaos by way of corporate resources we had at our disposal at the time.
I met Peter Lamborn Wilson in the late ’80s at Naropa Institute, and after acquiring his pamphlet Chaos, written under the takhallus Hakim Bey, became a devotee to his work. His support of DIY efforts was encouraging and validating, and We Press took up the invitation to “pirate” Chaos by way of corporate resources we had at our disposal at the time.
The way the poetry of Tadeusz Różewicz (1921–2014) is used by the school system in Poland shows how we disfigure some poets to make them palatable. The educational package has it that his was an attempt to rebuild the basic powers of language after the catastrophe of human slaughter in this part of the world during WWII.
Like many a poet of his generation, Bonowicz has read Tadeusz Różewicz as both an apprentice and an interlocutor. After all it was the old master who, having cleansed his verse of what he deemed superfluous ornamentation, demonstrated that it was possible to write poetry after Auschwitz. In doing so, Różewicz aimed to make sense of our postapocalyptic existence by questioning the basic principles of human nature and language’s role as our would-be ally in the process of acquiring meaning.
