Like many others, I came to know Felix Bernstein through his videos on YouTube, his book of essays Notes on Post-Conceptual Poetry (Insert Blanc Press, 2015), and his book of poetry Burn Book (Nightboat Books, 2016).
Nick Bennett speaks with performance artist, writer, poet, and experimental theater maker Penny Arcade about artistic lineage, individuation, and the future of New York.
On a recent fall day we spoke for a few hours about Gibson’s incredible and diverse body of work, and in the edited conversation that follows we touch on the deep and shifting influence of one’s identity, and for Gibson, what it means to reimagine the objects and rituals surrounding powwows within Native history, indulging in kitsch and camp as strategies of protection for queer people, and allowing the complications of reality to be present and to confront binary systems.
The Blind Man is famously connected to Duchamp in its defense of his 1917 readymade Fountain, which was rejected by the Society of Independent Artists for its inaugural exhibition, a democratic show including over 2,000 works of art by 1,200 artists, the largest of its kind to date. This Society and exhibition were a reaction to the 1913 Armory Show, which introduced the people of New York, and later Chicago and Boston, to the myriad schools and theories of modernism active throughout Europe.
Deia Schlosberg's documentary The Story of Plastic discusses the dismal reality of the plastics' industry and its impact on the world, hoping to create change with a grassroots release.
In 1915, as a newly admitted member of the Italian Futurist movement, Fortunato Depero along with Giacomo Balla set out to reconstruct the universe, cheering it up and recreating it entirely. For Depero, this meant a lifelong output typifying a truly modern life.
Ugly Duckling Presse celebrates this centennial with a new facsimile edition of 1,000 of The Blind Man’s two issues, plus its successor, Rongwrong, along with other alluring ephemera.
His Name Was Master is a collection of five texts by P-Orridge from 1977 – 2017, including a “C.I.A. File” biography s/he wrote about Gysin’s career for h/er 1977 book Contemporary Artists (Gysin’s response: “Even the C.I.A. don’t know this much about me!”), a text written upon Gysin’s death in 1986, and others detailing the “magickal” processes and methods of Burroughs and Gysin.
Saul Fletchers first monograph, published by Inventory Press last December, begins with a quote from The Rings of Saturn by W. G. Sebald: The seasons and the years came and went and always one lost more and more of ones qualities, became less comprehensible to oneself, increasingly abstract.