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Poetics of Emerging
Last week I spent two and a half days at the “Asylum: International Jewish Artist Retreat”, which was terrific and enlightening on a number of levels. The retreat was heavily focused on “the business” of being an artist, and as a result of that, my anxieties were ballooning as they have not been in the longest time. And so, in the middle of one of the sessions, I began experimenting with “listening poetry”, a method that came together as a result experiencing Elisabeth Workman‘s work which I was lucky to encounter a few weeks ago – and also, reading and re-reading Kenneth Goldsmith’s tremendous “Uncreative Writing“. In brief, I was plucking words out of the panelists’ conversations in real time, and arranging them according to the rhythm that felt meaningful as the panel rolled on. You could say it was an exercise in spontaneous collaging, meant to aestheticize – and anaesthetize – the experience.
The business aspect of one’s artistic experience is not merely some bête noire, tasteless and tactless question that is directly antithetical to, as it were, art – which, of course, is supposed to be selfless, transcendent, anti-materialistic, non-entrepreneurial – ultimately, whatever that means, pure. A week later, as the dust begun to settle, it became clear to me that I haven’t been particularly forthcoming about the extent to which this actually is one of central concerns surrounding, and penetrating my practice. And, like all concerns that are central, and yet heavily repressed, perhaps even shameful, and contradictory to the spirit, it also offers a rich and still unmined potential – for poetics.
1.
because again and specifically
process
and also, then
being good
pop,
doesn’t have to be
about it –
(a skill)
how far down the road –
thinking there,
shy or not
if you can’t –
same with writing
we found other ways
I would just add that I agree
as someone who helps her
because we’re concentrating
current,
fed-back,
u don’t need –
what’s happening – should never be –
underscored – it’s just one point
my musician friends
you’d be shocked
defining
mid-career
2.
but I don’t know
we talk about it a lot
people come
beyond
and of course it’s curated
I couldn’t agree more
little space
in Bush-
wick
-power
dynamics
so yeah where
?
shifting,
filled,
& critics
that wasn’t there
instead of,
complaining about it,
u can feel it
“etikett”
we be attributed
-to have to remind them
longer life, it’s strategic
for sure for sure
we exactly the same
small subsidiary so perfectly
over-represented
3.
we all competing for audience
long-term doesn’t matter
you have to look for reasons
they don’t need us
that’s not our mission
that can’t always happen
didn’t know about me
odds higher
are we supposed to be annoying
all year?
“New York Experience”
called prototype new forms
heavily
curated
all that awesomeness
(small circle)
that’s how I know –
in your face – in a good way –
American Realism
& also Chamber
it’s a gamble
probably won’t make me
u know Rebecca
by submission
and so I ended up stepping away
4.
that way there’s more of you
“I’m an artist I’m an artist I’m an arti…”
at that point
I just wanted
to dictate
crap artists and thats fun but
institution –
she was a director
she loves both
as she can
in sessions & out
you have to be a clerk
you have to be two people
Jake Marmer 