I went to Brown in March as an “artist in residence” for Interrupt3, a three-day conference on the intersection of art and text and digital things. I was anxious when I arrived because in the days before leaving people had asked me repeatedly what I would make once I got up there. I had no idea.
As soon as I arrived in Providence, I began seeing signs with the words “Imagine Brown” everywhere. They were on lampposts and banners and posters all over Brown’s (quite white — qhite?) campus.
Still from Voice Exchange Rates. Walter Benjamin notes that the image of the skull is especially fit for allegory in that it poses “not only the enigmatic question of the nature of human existence as such, but also of the biographical historicity of the individual.”
“Talk-It,” the speaker-cum-software bot of Heriberto Yépez’s video-poem “Voice Exchange Rates,” describes itself as a technology “designed to help poetry return to the righteous path of the avant-garde” by automating the poetic endeavor: the program reads, translates, and composes in a variety of languages and registers in accordance with the preferences of its human user.
Heriberto Yépez, Voice Exchange Rates, 2002. Is unoriginality already the preferred condition of USAmerican experimentalism?
The first issue of 'Art in America,' which appeared in 1913, and Theresa Hak Kyung Cha's 'Exilée and Temps Morts: Selected Works.'
I am going to discuss three examples of Conceptual writing. My purpose in doing so is merely to define one of a larger set of questions. Defining questions is going to be more productive than pretending to have answers. I don’t want to even seem to be making an argument about these examples; that would truly be shortchanging the artists’ efforts. The brevity of this essay requires that I forego the summation and close reading, the kind of exposition we use to support a fully fledged thesis.
Mexican writer and academic Cristina Rivera Garza introduced the term disappropriation (desapropiación) in her essay book Los muertos indóciles (Tusquets Editores, 2013). Based upon the idea that language is a common good, the term indicates that the writer who works with documentation is actually disappropriating that language in order to give it back to the community. For the benefit of the collective. This testimonial is the poetry of the people. The question “Is appropriation OK?” has been rendered pointless.
If, as Miranda July messaged, “texting is tacky,” “calling is awkward,” and “email is old,” then Snapchat, insofar as Irish composer Jennifer Walshe’s Milker Corporation has come to utilize its API, is tasteful, adroit, and original.
Doggedly conceptual, impishly ephemeral, hers is an MMS all so simple:
1. Go to “My Friends” 2. Tap the “+” sign 3. Search for user “milker_corp” 4. “Add”
Hannah Weiner (left) and Vito Acconci (right). Portrait of Vito Acconci courtesy of the photographer Gesi Schilling.
Before she matriculated to clairvoyant grande dame of the Language poets, Hannah Weiner was a Conceptual writer, performance artist, and lingerie designer on the Lower East Side. In light of Divya Victor’s call for this forum, I want to briefly address her Conceptualism. The tricky part is that little record of her early activity has survived. Her collaborator John Perreault reports that she set fire to the documentation of her Street Works and performance projects of the 1960s.
One curious aspect of so-called Conceptualism is the form’s latent interplay of excess and insufficiency. If a given Conceptual work privileges dissolution, then what precisely is being dissolved? Is the text meant to serve as the deleterious excretion of a corrosive authorial edifice? Or is the authorial edifice also in on the decay, and so reified? And if dissolution is part of the game at all, then why is its published output so frequently beholden to relative girth and overload?
Reproduction of Adrian Piper's 'Calling Cards' (undated), which Piper distributed when racially insensitive statements were made in her presence. Calling cards also addressed sexual harassment and other issues.
Dear Divya,
You conceived this forum in the midst of attacks on Conceptualism for being a pain machine wielded by and for white people. I wondered whether your goal was salvific: could Conceptualism’s reputation and potential be rescued, could its soil be aerated and fertilized, could histories, lineages, practices, and ideas not normally associated with the current branding of Conceptualism become part of our sense of it.
