Earlier this summer, I met up with my friend Gregory Laynor at the corner of 14th and Union in Seattle. We walked down to the Frye Art Museum to see the show Your Feast Has Ended, which featured the work of Maikoiyo Alley-Barnes, Nicholas Galanin, and Nep Sidhu. The show had been getting a lot of interesting reviews, and the posters advertizing it, which we were seeing all around town, featured a taxidermied wolf. In the picture the wolf looked distressed: its back half was flattened, splayed out as a rug. But its front half was stretching forward and flexing its paws. It looked like it was trying to get up.
KG: Your work as a curator seems to happen in and around interdisciplinary nexii. Maybe I see it that way because of my sense that in the contemporary moment we’re seeing increasingly blurred genre boundaries. I wanted to talk to you mainly to get a sense of whether or not you think of your work as inter-generic curating. You've curated talks, films, live drawing performances, sometimes all in the same event; you curated for a couple of years for the Segue Poetry Series; within your art curation there have been books, art with language and writing as a major feature.…
KS: Over the past few years I've produced exhibitions and events under a wide spectrum of parameters—from simple one-artist exhibitions (or two-poet readings) to collaborative models that I formulate and solicit participation for, to freelance curating where the work is pre-selected and I'm expected to synthesize, manage, and optimize the presentation. Each particular matrix of strictures and priorities has been productive and hugely rewarding for me, in terms of flexing my muscles as a facilitator of discourse in different contexts. So beyond focusing on formal variety among the cultural material I work with, I’m more interested in talking about the inter-structural status of my organizing itself—especially per curated events in a museum context, which for me have a bearing somewhere between poetry reading and exhibition.
The focus of the Poems & Pictures exhibition I curated in 2010 for the Center for Book Arts in New York City was primarily on collaborations between visual artists and poets, primarily in book form, between 1946 and 1981. I fondly refer to these thirty-five years as a ‘renaissance’ in the art of collaboration, a rich period of revitalization that was often made possible by adventurous publishers who, in various ways, made such collaborations and ways of exploring and complicating the relationship between word and image possible. The history of the book often sidesteps art history and criticism, while a close examination of the work itself tells another story, its own story, distinct, but not dissociated from other artistic and literary traditions. In these years, arguably for the first time, Americans created the first books that broke from the principles of European book design, while rivaling the experimental works of the Dadists, Futurists, and Surrealists of the early decades of the twentieth century. Some of the books included in this exhibition were: Joe Brainard’s C Comics; Wallace Berman’s Semina; Robert Duncan & Jess’ Caesar’s Gate; Tom Raworth & Jim Dine’s Big Green Day; Larry Eigner & Harry Callahan’s On My Eyes, Kenneth Patchen’s Panels for the Walls of Heaven; Ted Greenwald & Richard Bosman’s Exit the Face; Charles Bernstein & Susan Bee’s The Occurrence of Tune; Bill Berkson & Philip Guston’s Enigma Variations; Joanne Kyger & Gordon Baldwin’s Trip Out & Fall Back; and various collaborations between Ron Padgett & George Schneeman. And a whole lot more.