Poetry
After A Self-Portrait by Francis Picabia
A french fry sticks its tongue out at you
Blue, swollen, unfathomable
As hot air stirs local economy
The carbuncle mayor invites your double to join his delicious nightmare
Blue, swollen, unfathomable
Stuck on scraps of an umbrella
The carbuncle mayor invites your double to join his delicious nightmare
This is not the landscape painting I ordered from The Optimist Factory
Stuck on scraps of an umbrella
A phantasmagorical ode to human suffering
This is not the landscape painting I ordered from The Optimist Factory
A phalanx of lackeys entering backwards
A phantasmagorical ode to human suffering
Written by a mechanical pencil known as “The crimson moon kimono”
A phalanx of lackeys entering backwards
I started drawing children clapped in moldy fireplaces
Written by a mechanical pencil known as “The crimson moon kimono”
I drive a car as big as a wolf’s ravenous eyes
I started drawing children clapped in moldy fireplaces
Excellent mental symptoms occur at the boundaries
I drive a car as big as a wolf’s ravenous eyes
A french fry sticks its tongue out at you.
Excellent mental symptoms occur at the boundaries
As hot air stirs local economy
RECOMMENDED ARTICLES
Nell Zink: Doxology and Suzette Haden Elgin: Native Tongue
By Yvonne C. GarrettOCT 2019 | Books
Addressing perceived injustice and giving us metaphors to understand suffering and redemption is some of the work modern fiction can do. Two recent novels that work to do this are Suzette Haden Elgin’s Native Tongue and Nell Zink's Doxology.
Hiwa K: Blind as the Mother Tongue
By Yasi AlipourNOV 2018 | ArtSeen
Hiwa K’s experimental art meditates on everyday life of his hometown, Sulaymaniya, a Kurdish city that is stuck by the border of Iran and Iraq—historically burdened by the turmoil of two oppressive nation-states yet robbed of its own nationhood.
Tetsuya Ishida: Self-Portrait of Other
By Jared QuintonNOV 2019 | ArtSeen
In the more than 70 works by Tetsuya Ishida now on view at Chicago’s Wrightwood 659, the late Japanese artist offers anxious visions of the individual within consumer capitalism. The haunting, darkly fantastical paintings depict men flayed, devoured, and exploited by industrial manufacturing and the fruits of its production.
Betye Saar: The Legend of Black Girl’s Window
By Ann C. CollinsNOV 2019 | ArtSeen
The exhibition’s centerpiece is a pivotal work in the Saar’s career that blended the mystical imagery the artist was using in her ongoing printmaking practice with political and biographical elements to form a self-portrait assemblage.
