Articles

Stanisław Dróżdż

From Conceptual poem to concept-shape

In 1977 at the Foksal Gallery in Warsaw, the artist and poet Stanisław Dróżdż (1939–2009) exhibited an installation piece titled między (“between”). It consisted of a rectangular white box, roughly eleven feet tall, seventeen feet wide, and twenty-three feet long. Inside and out, this box was covered with the letters m, i, ę, d, z, and y, carefully distributed and arranged so that at no point could a viewer spell out the word między horizontally, vertically, or diagonally.

The blackness of Holly Melgard's 'Black Friday'

One of the questions I want to ask given the failure of some recent so-called Conceptual poetry is, what are metaphors for the production and experience of black life that do not primarily reproduce the trauma of antiblack racism? What metaphors can be repurposed in the service of sustaining black life?

One of the questions I want to ask given the failure of some recent so-called Conceptual poetry is, what are metaphors for the production and experience of black life that do not primarily reproduce the trauma of antiblack racism? What metaphors, although historically part of the maintenance of white supremacy, can be repurposed in the service of sustaining black life? And how?

한 :: Concept : Spirit : Break

I am a Conceptual writer. I’m also “just” a “writer.” I’m a body and a mind and a woman and the child of immigrants, and I am sexual and sometimes contradictory and on the move. And I write.

The ways I hear “Conceptual writing” discussed often feel limited to me, given the capaciousness of the term “concept.” I hear it so often discussed under terms that seek to erase authorship through mechanistically procedural habits or found/repurposed language. There’s additionally a sad whiteness factor to who gets considered under such a banner. It’s an old problem. It persists, along with the way western values privilege abstraction as intelligence or “real” knowledge, demarking what is of noteworthy contribution.

I am a Conceptual writer. I’m also “just” a “writer.” I’m a body and a mind and a woman and the child of immigrants, and I am sexual and sometimes contradictory and on the move. And I write.

On 'Area Sneaks'

The original call for work for our journal Area Sneaks sought “to touch the live wire where language and visual art meet.” The very real divide between poetry and visual art, as we saw it in 2007, is where we discovered this metaphorical live wire. The figure of the area-sneak, a term borrowed from Charles Dickens, proved to be our principle guide.

A pale Usher

Lexicon-Cetus is a dictionary that compiles and defines every single unique word from Melville’s Moby-Dick; or, The Whale. There are approximately 16,000 “unique” words in Moby-Dick; about 5,000 of them are a mixture of common given names, plurals, infinitives, gerunds, and/or adjectival/adverbial forms of root words. If the root word is already defined in the lexicon, then any derivations thereof are for the most part excluded.