Birds and Butterflies of the World~ Fine Art and Poetry

The grid demonstrates its variability and visual, rather than syntactic, comparisons remain one of the significant features of this work. Typing a sentence or phrase into a particularly sized rectangle requires pre-meditation. Andre must, a priori, manipulate the text to fit a visual form. In most instances Andre successfully generated his rectangular structures while maintaining the integrity of the phrase, yet upon closer inspection, mistakes become visible.

Page sixteen of the series, for example, contains multiple errors, which are inconsistent with the structure of the text. In a few places one finds that Andre duplicated a character, substituted an incorrect character or accidently forgot a necessary character for the legibility of a sentence.

For example, in two instances Andre mistakenly added a character at the end of a line, thus breaking the rigidity of the 7 x 9 grid structure, as seen on page sixteen fig. Yet, as it was Andre who generated the rule, it was also his rule to break. For instance, in Exercices de style , first published in English in , Queneau created 99 renditions of the same story, using a different style for each re-telling. In her essay on Oulipo, contemporary experimental poet Harryette Mullen writes: I think of poetry as the ultimate rule-governed writing because a poem is subject to all the rules of grammar, spelling, punctuation, rhetoric, and so forth that govern any text; on top of that the poem is also subject to additional rules specific to literature and poetry.

Nevertheless, Andre did not discard the work; the grid, or the ideal of perfection, does not prevail. That Andre broke his own formal rules and procedures, only further resonates upon reading Stillanovel. Additionally, the unconventional design substantially increases the difficulty of following the text. But, the reader who perseveres discovers a story more shocking than an inventory of typographic substitutions.

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The first page of the installed portion of the Stillanovel series begins with the following dedication: Additionally, both artists participated in numerous shows in the s at the Dwan Gallery. Fragments of a Tesseract. Here is an irksome paradox of public consciousness: Quoting Paul Valery, Frampton writes: This form of telling, though taken to be non-fiction, must always contain elements of the imagination. By designating his series as a novel, Andre encourages the reader to investigate historical fact with the understanding that people crave novelty.

Andre constructed almost the entire narrative of Stillanovel in the present participle. Instead of writing that Muybridge departed by steamer for Panama, Andre types: His prose reads as a compilation of captions for which photos are non-existent, for example: As captions without photographs, Andre provides the reader with a sense of temporality through his insistent use of the present participle.

From the end of through the beginning of , Ezra Pound composed the ten cantos that scholars now refer to as the John Adams Cantos To construct his ten cantos, Pound culled from the Works, selecting phrases, fragments and whole lines for inclusion in The Cantos. Though approaching history from radically different political positions, Andre also made the appropriation of history a central component of his poetic practice. For Andre, the failure to account for history spoke to Utopian bourgeoisie capitalism.

Speaking to this belief, Andre wrote: Critical Texts since , Andre increasingly references Quincy from the late s onward. In an interview from , Andre drew a direct correlation between growing up in an industrial city and his own use of industrial materials stating: Also the town of Quincy was historically a stone quarrying region…So that as a very young child my first recollections are of materials which I use today: Those recollections did have a great deal of influence on my own style.

The long history of the region permeates his work. Writing to his friend Reno Odlin in March , Andre argued for a recursive view of history: Marshfield, for example, was an early Pilgrim town, established in , but home to Native Americans for thousands of years prior. Massasoit, was Chief of the Wampanoag tribe of the Algonquin nation. As in Stillanovel , Andre generates a non-linear temporal structure in which time does not function on a continuum but surfaces in concurrent layers.

For example, on page two we read the following verbs, one after the other: The tense of each of the verbs suggest a manifold relationship to time. A registrar has added a cataloging number to the bottom-left side of the verso of each sheet. Andre used the symbol as his signature, transforming the typographic symbol into an ideogram and a self-portrait.

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As distinct from many of the works in Words, OVER 2 contains content on both the recto and verso of the 34 single sheets, making it difficult to install the work. The cases Andre designed allow for only one side of a page to be viewed at any time. The work therefore demands a unique format for presentation. Moreover, Andre left many of the recto pages blank, creating the following combinations: The flux between the presence and absence of text confuses the reading process, but also forces the reader to closely examine the poem.

The viewer wonders, why are there so many blank pages? One assumes that if a page is blank, there is no content. On the non-blank pages Andre typed a series of nouns that either designate a specific color or a degree of a color: Yet, what I have described as nouns, could as easily be read as adjectives. Andre occasionally typed one word singly on the page. In other instances he arranged the words in a non-strophic, seemingly non-structured relationship fig.

Whereas in other poems, such as One Hundred Sonnets , Andre calls attention to the fixed-width character setting of the typewriter, his visual arrangements in OVER 2 do not call great attention to this limitation. In all instances, he placed the words either near the center or in the top half of the page. If we consider this work to have 34 pages, with 68 surfaces, then over half the surfaces remain blank, devoid of typed text. Looking about the world, we know things. On a page of poetry there are set in motion the intelligible species of things. Words are solid, they are not ghosts or pointers.

The poet connects, arranges, defines, things: The blank page, simultaneously suggests no meaning and all possible meanings.

It is both red and not red at the same time. As Gavin Delahunty, the organizer of the recently announced Carl Andre: Around Andre began a correspondence with writer Reno Odlin. A devout Poundian like Frampton, Odlin established a small mimeographed literary newsletter, All Points Bulletin that regularly published the works of other Pound enthusiasts, including Frampton and eventually Andre. Although Odlin wanted to publish early dialogues between Frampton and Andre, not yet the 12 Dialogues , lack of resources prevented him from succeeding.

Instead, around Odlin reached out to Pound scholar Hugh Kenner to find a suitable publisher. At that time, Grove published many of the most important writers of the literary avant-garde, including Samuel Beckett and Bertolt Brecht. Only now do I realize that sending poetry to a poetry society is like sending garbage to the garbage disposal. Although Times is much longer, the poems include a shared vocabulary.

Next to barber bury. Next to barber bury china. Next to barber bury china glass. Next to barber and china.

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Next to barber and hurry. They bridge a gap. Additionally, as a signed and numbered edition of 36 sets, Seven Books does not conscribe to the democratic, unnumbered, unlimited quality of the contemporaneously produced artists books by Ed Ruscha and Dieter Roth. The Xerox Book presents twenty-five pages per artist in which the pages of the book are the artwork, not the reproduction of the artwork.

Although offset print and not Xeroxed due to cost, the first edition consisted of 1, copies that could be distributed inexpensively. In his essay for Conceptual Art: The Dematerialization of the Art Object.

Birds and Butterflies of the World Fine Art and Poetry

This critical misunderstanding only deepens as Andre exhibits his poems in conjunction with his sculptural work starting in at the Guggenheim. Although reproduced at the end of the exhibition catalog, Waldman makes not a single mention of the poems in her eighteen-page essay. In lieu of a private exhibition opening, which Andre found politically objectionable, Andre instead gave a public reading of his poetry fig.

My prejudice is general, however I simply like the sculpture better than the poetry. That is to say, its visual appearance, while important, does not reinforce linguistic meaning. Whereas previously Andre hung his poems in frames on the wall or distributed them in codex-like editions, for the Paula Cooper installation, Andre created a series of floor cases in which he placed the works fig.

The show then travelled to the Stedelijk Museum in Amsterdam where it was acquired a year later. Russell, the decommissioned military base that became the Chinati Foundation in Although each installation at the Chinati Foundation exists discretely, the addition of a new project alters and invigorates the relationships between works.

This site is implicitly relational and dynamic: In his sculptural practice, Andre endeavored to activate whatever site he placed his work. In the days of form people were interested in the Statue of Liberty because of the modeling of Bartholdi and the modeling of the copper sheet that was the form of the Statue of Liberty.

Comparable in kind to a framed work on paper, the framed, wall-hung poem loses the literary context often associated with a codex. The codex on the other hand, provides a definite and particular site, available for one person to experience at a time. Though the pages of Seven Books may be easily removed from their vinyl ring binders, the viewer understands the work as a whole through the unifying nature of the non-traditional codex. Whereas the cast iron interior structure of the Eiffel tour relies upon a series of interconnected parts, girders, cantilevers, and supports, the structure of the book also necessitates many discrete parts to form the whole, including the cover, binding, and pages.

Nevertheless, the place of the book is both localized within the hands of the reader and non-specific in that it is easily transportable. The mobility of the book allows for manifold sites in which the reader can choose to encounter it. This multiplicity alters the manner in which readers contextualize the book.

I think in a sense, that each piece supports a column of air that extends to the top of the atmosphere. This whole extends throughout the space to include the building itself. The installation engenders multiple experiences of duration. One reads the poems, one also moves around the poems. Part of a unified whole, the viewer encounters additional layers of composition that extend beyond the singular page and case by case design to the overall design of the installation.

Each of the thirteen rows runs the width of a courtyard enclosed on three sides. Although located on the same property, the Words building and Chinati Thirteener are not contiguous. Although encountered separately, the installations remain conversant. More importantly, this arrangement lessens the urge to fuse the poetry and sculpture into a unified practice, and instead allows for a singular appreciation of the poems outside of the rhetoric of dominance and submission.

Placing Andre within the context of the emerging artist-writer, Meyer argues in Cuts that the s and s served as a watershed moment for artists developing a significant relationship to writing within their artistic practice. Kotz is most successful when she describes the formal qualities by which Andre mapped poetry onto the visual arts. Right-naming, the materiality of language, and the ideogrammatic figure prominently into his analysis. Pope, known for his satirical verse and command of the heroic couplet, and Byron, recognized as one of the central figures of the Romantic movement, seemingly have little in common with Andre, whose poems feature few of the formal strategies that made Pope and Byron renowned.

Douglas and Alexander Pope. Andre generates his sparse homage through a process of winnowing. Satire or sense, alas! Who breaks a butterfly upon a wheel? In contrast to Lord Hervey, Pope writes of his own indebtedness to Truth, providing his own eulogy:. Writing to one of his publishers, Mr. Yet, Byron did not excerpt whole lines from Pope, but instead extracted key sequences of words from each of the lines, submitting these selections to Murray as a list, not as stanzas: The thing of silk.

Curd of ass 's milk. Bug with gilded wings. Painted child of dirt. Shallow streams run dimpling. The ear of Eve. Half froth, half venom, splits himself abroad. Fop at the toilet.

Introduction

Flatterer at the board. Now trips a lady. Now struts a lord. A reptile all the rest. Pride that licks the dust. As Andre asserted, the category of art becomes detestable when impoverished by miserly restrictions. For by this means, if they are not going where they wish, they will finally arrive at least somewhere, where they will probably be better off than in the middle of the forest. Instead, Andre, as well as many artists before and after him, chose to investigate language in their visual practices. Nevertheless, I have also categorized these works as poems for lack of an adequate term.

Equally visual, these works engage abstraction, geometry, materiality, space and time. Relegating them solely as works of language diminishes these essential qualities. This predicament of terminology also affects poets whose works equally engage the visual and the verbal. The works of contemporary poet Susan Howe, for example, cannot be sufficiently addressed or even understood without investigating the visual strategies of her poetics.

An admirer of Emily Dickinson, John Cage, and Carl Andre, Howe disrupts the boundary between poetry and art, proving any attempt at conclusive categorization futile. Moving to New York in , her first works were wall illustrations, combining photographs, found text, verse, and lists. Her lines offer no single proscribed direction, but many possible ways of navigating the page. To maneuver through these layers of words and phrases one must always have the book in motion, rotating and flipping and rotating and flipping again.

As Howe has stated, her use of mirrored text as a compositional strategy developed from an interest in the work of Marcel Duchamp: Duchamp was an inspiration to me when I was beginning to shift from painting to writing. At first when I used mirroring in my writing I was very sedate about it, and it involved repetition in a more structured way. But with "Thorow" I had done one scattered page and made a xerox copy and suddenly there were two lying on my desk beside each other, and it seemed to me the scattering effect was stronger if I repeated them so the image would travel across facing pages.

The facing pages reflected and strengthened each other. Further, she draws from a number of historic, artistic, and poetic sources to generate her poems.

Mapping Poetry onto the Visual Arts — Impossible objects

The situation or categorization of these works is equally poetic and artistic; they evidence qualities of both activities: Accurate investigation demands a fluency in both fields and a refusal to oversimplify their qualities for the sake of reinstating the narratives of dominance and subservience. Chinati Foundation, Marfa, Texas, Figure 3 Carl Andre, Last Ladder , The Museum of Modern Art.

Western red cedar, 48 x 36 x 12 in. Figure 7 Carl Andre, Cuts , Concrete capstones, 4 in. Installation shot, Dwan Gallery, Los Angeles, Figure 8 Carl Andre, preface to my work itself , page 1 of 1, Oil on canvas, 36 x 36 in, Private collection. Figure 10 Marcel Duchamp, Fresh Widow , House paint, wax crayon, crayon and pencil, Figure 12 Stuart Davis, Visa , Oil on canvas, 40 x 52 in.

Oil on canvas, Hirshhorn Museum, Washington, D. Figure 14 George Braque, The Portuguese , Figure 15 George Braque, Homage to J. Poems of War and Peace University of California, Figure 27 Walt Whitman, Walt Whitman: Figure 28 Carl Andre, Shape and Structure , page 1 of 10, Figure 29 Carl Andre, Shape and Structure , page 3 of 10, Figure 30 Carl Andre, Shape and Structure , page 5 of 10, Figure 31 Carl Andre, Shape and Structure , page 2 of 10, Figure 33 Carl Andre, Shape and Structure , page 9 of 10, Figure 34 Bridget Riley, Pause , Emulsion on hardboard, x 99 cm.

Oil, water-based paint, graphite and metallic paint on wood panel with painted frame, Figure 37 Carl Andre, Stillanovel , Figure 38 Carl Andre, Stillanovel , Figure 39 Carl Andre, Stillanovel , Figure 40 Carl Andre, Stillanovel , Figure 44 Carl Andre, [ Over 2 ], Figure 45 Carl Andre, [ Over 2 ], Figure 46 Carl Andre, [ Over 2 ], Figure 47 Carl Andre, [ Over 2 ], Figure 48 Carl Andre, [ Over 2 ], Figure 49 Catalog for Primary Structures: Younger American and British Sculptors.

Figure 50 Carl Andre, Lever , The National Gallery of Canada, Ottowa. Exhibition records, A, Solomon R. Guggenheim Museum Archives, New York. Figure 56 Carl Andre, Chinati Thirteener, Translated by Mark Musa. Edited by James Meyer. Interview by the author. Carl Andre's apartment in New York City. Andre, Carl, and Hollis Frampton.

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Nova Scotia College of Art and Design, Carl Andre, Sculptor Krefeld at Home, Wolfsburg at Large. Andre, Carl, and Alistair Rider. Things in Their Elements. And everyone deserves a little sunshine. It goes where it pleases and it pleases wherever it goes. Indeed I know not if you sleep or feed. The butterflies are free. We would not think them so beautiful if they did not fly, or if they flew straight and briskly like bees, or if they stung, or above all if they did not enact the perturbing mystery of metamorphosis: At best, He's but a caterpillar, at rest.

To see these light, foolish, delicate, mobile little souls flitting about—that moveth Zarathustra to tears and to song. A Book for All and None , translated from the German by Alexander Tille, The green grass and the happy skies court the fluttering butterflies. A maxim as pernicious as it is ugly.

Whoever observes himself arrests his own development. A caterpillar who wanted to know itself well would never become a butterfly. The gaudy butterfly is sure that the flowers owe thanks to him. There's no better way to fly. Stafford, "Get To Me" The fluttering of a butterfly's wings can effect climate changes on the other side of the planet. Fifteen summits eight of which were 14ers! Whether you're building a new home theater or updating your current one, these Walmart Black Friday TV deals are about to make your project easier — and more cost effective!

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