"State of the Art" was presented at the 1990 Poetry Project Symposium, as a keynote along with lectures by Amiri Baraka and others. The essay was collected in A Poetics, which was published by Harvard University Press in 1992.
Miles Champion grew up in England and moved to the U.S. in his early 30s. His books include Compositional Bonbons Placate, Sore Models, Three Bell Zero, and, just out from Pressed Wafer, How I Became a Painter: Trevor Winkfield in Conversation with Miles Champion. He lives in Brooklyn, NY.On this show, Miles reads his new book, How to Laugh, which is forthcoming from Adventures in Poetry.
Program One: Champiom reads How To Laugh: (24:16): MP3 Program Two: Conversation with Charles Bernstein:(28:52): MP3
Jennifer Ashton, From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century (Cambridge: Cambridge University Press, 2005). [Michael Golston's review was originally published in the William Carlos Williams Review, Volume 28, Number 1-2, Spring/Fall 2008. Reprinted by permission of the author.]
I once had the good fortune to take a course with U.C. Berkeley’s Julian Boyd on the history of the English language. Occasionally, as a student in the class struggled with the finer points of deontic modality or the differences between “shall” and “will,” Boyd would suddenly glare at whomever was speaking and announce with mock sternness, “You are exactly wrong.”
Allegorical micturition has swept the guest halls of the art galleries and the undermasses wail in the background to iambic beat. Sludge is proclaimed sludge, hairdos hors d’oeuvres, as the soiled face of inverted cardioerasty—a.k.a. genital fetish—rears its mushy brow. ––from “Ambliopia” in The Sophist (1987)
The Jeff Koons retrospective at the Whitney Museum of American Art is to big art shows what The Little Mermaid is to big Broadway musicals: bright, breezy, and tuneless. Koons's art is a product of the Disnification of Warhol (and decidedly not the other way around). The show is worthwhile seeing as a monument to the most commercially successful aspects of the New York art market. As with the proverbial Chinese restaurant, with food shot up with MSG, you leave the show aesthetically hungry.