Marcel Broodthaers’s career has to be one of the most hermetically abstruse, at least to an American audience, of the 20th century, so it’s a signal event when a museum like MoMA, so vested in the pas de deux of Dada and Surrealism, celebrates one of that tradition’s most prodigious acolytes.
Nina Puro is a poet, human, & queer weirdo whose writing is in The Atlas Review, Guernica, the PEN/ America Poetry Series, & others. A member of the Belladonna* Collaborative; author of two chapbooks (Argos Books and dancing girl press); recipient of fellowships from the MacDowell Colony, the Brooklyn Community Pride Foundation, the Deming Fund, & Syracuse University (MFA, 2012), Nina cries and works in Brooklyn.
Todd Colby is the author of six books of poetry. His most recent book, Splash State, was published by The Song Cave in 2014. He was recently included in MoMA PS1's, Greater New York show.
Edwin Torres’ poetry collections include, Ameriscopia (University of Arizona Press), Yes Thing No Thing (Roof Books), and The PoPedology Of An Ambient Language (Atelos Books). Recent anthologies include: In/Filtration: A Hudson Valley Salt Line (Station Hill Press) and Angels of the Americlypse: New La[email protected] Writing (Counterpath). In March 2016, he started his participation in Open Sessions, a 2-year arts residency at The Drawing Center, NYC.
Art In Conversation
Nancy Davidson's large-scale, colorful, biomorphic inflatables unapologetically embody and destabilize pop culture tropes through humor, absurdity, and the grotesque. From April 30 through May 29, Lord Ludd in Philadelphia will present a solo exhibition of Davidson’s work, Ridin’ High, which will include sculptures from the nineties and new sculptures that parody themes of power and privilege. Davidson met with Ashley McNelis at her Tribeca studio to discuss her work, as well as Eva Hesse, modern feminism, and doing what you want, when you want.
The language of the trickster is always duplicitous, simultaneously pointing toward meaning and away from it. Duchamp famously said, “I have forced myself to contradict myself in order to avoid conforming to my own taste,” while Oscar Wilde, master of the ironic turn, wrote, “Lying, the telling of beautiful untrue things, is the proper aim of Art.” Doubleness, contradiction, and paradoxthese are the trickster’s mother tongues, the mythic embodiment of ambiguity and ambivalence.
Art and science: terminally uneasy bedfellows, or powerful partners in a new era of synergistic alliances? It’s a question that nags at anyone following the groundswell of enthusiasm for the convergence of these two fields.
In October 1941, Hedda Sterne arrived in New York as a World War II refugee. The artist rarely discussed details of her journey, but occasionally reflected that she had only narrowly escaped her native Romania in the face of Nazi persecution.
From the Publisher & Artistic Director
How grateful we are to have poetry in our lives! And what a privilege for the Rail to celebrate April Poetry Month with our Guest Critics Page!
Editor's Messsage Guest Critic
I live in poetry and this is some of my world. I’ve been repeatedly asking the question how is one contemporary with one’s time? And what does it mean to look unto the darkness of one’s time? Here are some of the results from a range of poets, artists, thinkers, as well as radical projects of innovation and archive.