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Full-Text Articles in Art Practice
Doc/U/Ment: Affinities In 20th And 21st-Century Documental Poetics, Katherine Payne
Doc/U/Ment: Affinities In 20th And 21st-Century Documental Poetics, Katherine Payne
Dissertations, Theses, and Capstone Projects
This dissertation presents, analyzes, and builds on the existing literary genealogy of documental poetry. In 2020 Michael Leong proposed the term documental poetry to describe the turn toward source materials in 21st-century North American poetry, seen in longform research-based poems that explicitly incorporate documentation and seek to intervene in cultural memory. Using Ludwig Wittgenstein’s concept of family resemblance, I argue that there are clear affinities between 21st-century poets and their 20th-century literary forerunners, also that an expansion of the scope of documental poetics is needed. The three nodes of connection I examine are works …
Music Lessons, Cecilia-Rose Louise Bender
Music Lessons, Cecilia-Rose Louise Bender
Dissertations, Theses, and Capstone Projects
music lessons is a digital chapbook that explores the relationships between James Baldwin’s writing and Beauford Delaney’s paintings through music. From Delaney’s “Composition 16” (1954-56) to Baldwin’s “The Uses of the Blues” (1964), their collaboration with the core elements of jazz music gives their work rhythm and melodic contour that any/body can vibe with. Absorbing the influences of artists Ella Fitzgerald, Miles Davis, Ray Charles, and putting them to paint and text, music lessons demonstrates how music not only transforms the ways we experience and move our bodies but also the ways that we perceive space, relationships, and time. What’s …
To See Again: Vision And Revelation In American Poetics, Emily C. Raabe
To See Again: Vision And Revelation In American Poetics, Emily C. Raabe
Dissertations, Theses, and Capstone Projects
With this project, I am arguing for a particularly American visual poetics that dwells in the state of suspension implied by attention, quivering between wonder and contemplation, immobility and unfixity as it seeks to reveal, as Maurice Merleau-Ponty writes in his 1945 The Phenomenology of Perception, the world which is “always ‘already there’ before reflection begins — as an inalienable presence.”[1] Grounded in visual theory, the project pairs poets and artists, searching not for similitude, but rather examining resemblance, difference, and most important, relation. Susan Howe, one of my guides for this project, writes that, “immense perspectives …