Julie Patton

Russell Atkins on PennSound

Worldd Too Much: The Selected Poetry of Russell Atkins, edited by Kevin Prufer and Robert E. McDonough, was published by the Cleveland State University Poetry Center. Foreword by Janice Lowe. 

ID yous

ID yous, 2018, ink on cardstock, 13" x 4". Words, image, text mockup by Julie Eelle Patton, printed by Richard Orissa, edition of fifty.
 
Note: this piece, composed in 2018, evolved from an earlier text included in Solidarity Texts: Radiant Re-Sisters.

Julie Patton, Thars writing in them trees

a mouth in branches
(easy to spot)
F R E E 
jazz
shit & ship talk
sun top
dare (but I misplaced 2 letters)
The bush got swirly in
yellow
leg
ends
lichen
& frame
which reads:

Julie Patton on Close Listening

© 2016 Charles Bernstein / PennSound

Program one, reading (39:57): MP3
Program two, conversation with Charles Bernstein (45:29): MP3

On Program one, Julie Patton reads, performs and rips  "Car Tune," "Using Blue to Get Black," "Scribbling thru the Times,"  and "Notes for Sum (Nominally) Awake."

Panorama Reading at the Queens Museum of Art

Cecilia VIcuna drapes a fabric near the World Trade Center.

Queens poet laureate Paolo Javier created a day of poetry at the Queens Museum of Art, bringing poets and presses into the newly renovated museum for "Eterniday." Exhibited presses included Ugly Ducklng, Tender Button, Litmus, Nightboat, and Futurepoem. I curated a reading in the spectacular Panorama, with Cecilia Vicuan (top), Tracie Morris, Julia Patton, Shelley Hirsch, Tracie Morris, Tan Lin, and me. 

Discourse camping

Ecopoetics as transitional architectural system

Climate Camp, beside Yorkshire, England's Drax power plant; photo: John Giles/PA

Ecopoetics as remaking the household (oikos) may entail moving out of the house altogether, a shift from home-making to camping. For instance, in a remarkable (and painfully ironic) appropriation of refugee architecture, an urban tent city lines the median of Rothschild Boulevard in Tel Aviv—middle class Israelis protesting the high cost and scarcity of housing. (There are plans afoot for a similar occupation of Wall Street.) 

One of the best “art shows” I saw in recent years was the exhibit Into the Open, the official United States representation at the 2008 Venice Biennale. (I caught it at the New School, in NYC; the Slought Foundation also ran it in Philadelphia.) 

This show indicted modernist architecture as “an aesthetic style—an abstract form in a landscape, photographed aerially and devoid of social relations[, whose i]conic buildings, formalism, and myopic obsession with the upper class . . . became the hallmarks of much American architecture.” Into the Open’s installations ask architecture “to mitigate its current celebrity obsessed approach, encouraging instead a new type of collaborative thinking about design and space that highlights local, periphery, and even edge conditions.”

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