Jeremy Sigler is a poet, critic and teacher living in Brooklyn, New York. His long-awaited analysis of the poetry of Carl Andre is forthcoming from Sternberg Press.
MAY 2017 | Fiction
When I got bored of YouTubing Eagles and Chicago hits, I switched over to Eagles and Chicago NFL films. A subconscious link.
JUL-AUG 2009 | Poetry
On the occasion of the poets new book, The Importance of Being Iceland, Eileen Myles welcomed fellow poet Jeremy Sigler to her East Village home, where she has been since 1972, to talk about her new work and more.
OCT 2008 | ArtSeen
By now were all versed in the complexities of the performance document. While a single photograph can refer back to a primary action, it can never quite recreate the reality of that moment. It cannot bring a dead thing back to life.
FEB 2007 | ArtSeen
John Sonsinis paintings make me think like a Racist Pigthe same way de Koonings Women make me think like a Sexist Pig, or at least a very interested little Dutch boy whos taken a wrong turn somewhere in Amsterdams red light district But anyway, back to The Racist.
APR 2007 | ArtSeen
Am I attracted to Gillian Carnegie’s paintings, which were on view last month at Andrea Rosen Gallery in Chelsea, because I like paintings of trees?
JUN 2007 | ArtSeen
Even a non-reader knows that books stack up quickly and ravenously consume space. Once theyve taken the bookcase proper, they spread onto the secondary bookshelves: the desk, the dresser, the kitchen table, the back of the toilet, the car seat
OCT 2007 | ArtSeen
In his “Theatre of Cruelty” manifesto, Antonin Artaud spoke of his desire for theater to be brutal, passionate, and to express a “convulsive conception of life”—an “extreme condensation of scenic elements.”
DEC 06-JAN 07 | ArtSeen
Even when he was living, the maverick American Realist painter Neil Welliver (1929-2005) could have been considered an absentee artist. Absent from New York gallery openings, absent from the painting department that he chaired at the University of Pennsylvania from 1966 to 1989, absent from the discourse of generational rivals such as Alex Katz, and, in a way, hauntingly absent even from his own paintings.
JUN-JUL 2003 | Poetry
All the roads rush to one
AUG-SEPT 2002 | Fiction
In order for everything to run on schedule, it was important for me to be numbed seconds before the surgeon arrived.
MAR 2011 | ArtSeen
I received this moving e-mail from someone at Andrea Rosen Gallery. It starts like this...
MAR 2008 | ArtSeen
I went to Agnes Martins drawing show at Peter Blum Gallery not so much to see a comprehensive museum-quality retrospective of Martin on paper (which it most definitely is), but to satisfy my curiosity after receiving the shows announcement card, which pictured a single, 3-inch doodle. Not only was the curvy drawing entirely uncharacteristic of Martins mature style, but, more sensationally, the announcement claimed it was the last drawing the artist ever made prior to her death in 2004.
DEC 08-JAN 09 | ArtSeen
While Elizabeth Peytons paintings represent an undeniable achievementcoming to the fore during the recession of the early 1990s, staying on top over the course of several successive market bubbles, and now, at the onset of the current global crisis, tucked snuggly behind blue chip linestheres something about them that makes me question the importance of the show now on view at the New Museum.
MAR 2007 | ArtSeen
In 1966, when Brian Wilson titled his album SMiLE, he probably wasn’t attempting to give directions to his listeners, but rather to himself—a soothing whisper in his own head, reminding him to lighten up, cheer up, get it together. But for a guy who then spent five years morbidly depressed, more or less in bed, a quick, cheerful mood adjustment may have been an impossibly tall order. Anyone who has listened to Wilson’s tortured masterpiece knows immediately that behind this beachy, boyish auteur has always lurked the soul of a haunted artist—very bad vibrations, essentially.
MAY 2007 | ArtSeen
Dana Schutz has a way of making every painting work, and work for her. In her latest, highly anticipated show at Zach Feuer Gallery in Chelsea, there are big and very big cartoon-figurative paintings, smaller ones that are more like studies, a couple of abstractions, and even a few paintings hidden near the back of the gallery with shaped voids cut into the canvas.
JUL-AUG 2007 | ArtSeen
Last summer I introduced my one-year-old daughter to a new bin of art supplies and, within minutes, she was putting out a steady stream of fantastic assemblages, which I immediately pinned up around the room.
DEC 07-JAN 08 | ArtSeen
I first came upon Lawrence Weiners striking, sans-serif text-pieces when I wandered into his Displacement project at the old West 22nd Street Dia building in 1992.
SEPT 2005 | Poetry
With a flush/and a rush of/nocturnal swirl,/apes gape through…
AUG-SEPT 2003 | Poetry
How much does a barking tree overhear