Frank Bidart, from "To the Dead"
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@thesingingknives
Frank Bidart, from "To the Dead"

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(...) art is part of a universal force. It has no less purpose or meaning than science, religion, philosophy, politics, or any other discipline, and is as much a form of intelligence or knowing as a first kiss, a last goodbye, or an algebraic equation. Art is an energy source that helps make change possible; it sees things in clusters and constellations rather than rigid systems. It is both a bridge to a new vision and the vision itself, a medium or matrix through which one sees the world. It grants that pleasure is an important form of knowledge. Art is not optional; it is necessary. It is part of the whole ball of wax. These thoughts, partly inspired by the moral philosopher Mary Midgley, are an attempt to get around all those dogmatists, ideologues, academics, and theorists who demonize and belittle art as a gratuitous, semi-mystical, merely beautiful, purely formal amusement. These aesthetician-scientists regularly reduce art to simplistic, supposedly objective dualisms like mind-body, abstract-representational, reason-imagination, political-apolitical, thinking-feeling, and so on. But all thinking is fed by feeling, and all genuine feeling involves reasoning. As Midgley observes, “It’s like saying that shape and size are competing opposites when they’re complementary aspects of a larger whole.”
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Art Is Life (Jerry Saltz)
Margaret Atwood, from “Corpse Song”, Selected Poems: 1965-1975
/ Nick Hedges, Liverpool, 1968 - 1972
Art is two parts agency and one part inner heat. The artist loves going down rabbit holes, working toward and against something at the same time, translating sensory and extrasensory impressions that all have their own sovereignty or joy, each of them on a journey to bring something back from a personal underworld, to build a new body out of disparate parts and materials. In this way, art is something like an undoing of death. Art allows us to ask big questions, to think in languages beyond words. It makes us reckon with uncomfortable things, compels us to look for difference, to glean the pressures of necessity, and to notice the monumental in details: how a girl’s pearl earring can become the center of the world, or how the image of a famous face, rendered in Day-Glo silkscreen, might become an avatar of the damned. Art can be talisman or comfort, used to heal or to make people kill. At the same time, art cannot be understood in terms of purpose. As the sculptor Charles Ray has said, art is “for absolutely nothing.” To make, or experience, art is to enter a kind of free zone; it slows us down, places us in some epistemological estuary, takes us into the wild. We make art from our flaws, fragilities, perversities, from our need to communicate or be entertained or stave off death, to create our own mating dances, to deliver our own children, to mourn. Art is bigger than mere subject matter. It is as big as life.
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Art Is Life (Jerry Saltz)

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acrylic medium transfers on molded concrete
jaripeo 16x1x21”
virgencita 16x3x14”
Disable your ad blocker? For him?, gouache on paper.
Dear World
After Maya Stein
You are a June bug and a legally blind genius and a single calla lily. You are a wooden bench dedicated to a surfer taken by a wave, and you are a coral snake. You are also a bowl of salty peanuts and white lace curtains and fizz in the nose from ginger ale on ice. You are a Carolina reaper chili and a glass of milk. You are the bubble man and the cookie lady. You are a Slabside Cobra and a rice paddy. You are the one who opens the door to the process server. You are a waterfall and the well the little girl fell into. You are the melon rose and the bag of chicken wing bones leaking grease. World, we need to talk. I’m trying to understand relativity and singularity. I’ve given up wondering what magma is doing inside the volcano. World, your rate of speed confounds me. I’m looking back at you from Earendel. I’m adding dignity and mashed fennel to stew. I finally threw out the broken printer and crushed some oak leaves. Let’s do this. Let’s fly moth-like toward the light. Let’s dance like Elaine. Let’s love the lady slipper orchid and the black-billed hummingbird, but not too much. You know how we can be, dear world.
—Pam Davenport (x)
ANDROGYNOUS — hand-cut vintage paper collage with dry-transfer lettering, 2025
replacements-inspired valentine made for my partner this year
fuck it.... paul westerberg gender post....

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Summertime Blues | Eddie Cochran
Hollywood Forever Cemetery
Rowland S Howard of The Birthday Party
ELEGY FOR THE LOVES THAT DIDN'T LAST
after Corey Van Landingham For the first boy who broke my heart and the first boy whose heart I broke. For the boy with soft hands. The boy with calloused hands who knew how to use them softly. For the one who always came back. For the one who left. For the one who couldn’t let go and the one who taught me how. For the boys with eyelashes longer than mine. For your mothers who let me come over a little more than I should have and your fathers who were never there. For your big hands. For babe and for baby. For the one who wore jeans and men’s cologne because I told you that I liked them. For your bedroom and our hotel rooms. For the numbers 8 and 19. For the summers we didn’t spend together and the weekends we did. For the serendipity of it all. For the one I said I’d stop writing about and the one I know I’ll never stop writing of. For my little forevers. I still think of you when airplanes fly by, but I don’t wish on them anymore. We had a good run. Thank you.
(Kim Visda)
London

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WUTHERING HEIGHTS (2011) dir. Andrea Arnold
Fifteen
after Jean Valentine
Another way of saying young, or sapling, or hapless: green, as a blade of grass among countless other grasses, bookbag slung over a nonchalant shoulder, or a shoulder full of trying to be nonchalant, there on the corner of Brattle Street and Eliot, steel-toed boots laced tight, poems blooming in my heart like mute swans, like acorns. I tried to force life into them, but they wouldn’t speak, leaned away from me with their long necks, their hard shells, with their meat hidden from me and any listener, but still my feeling that they should be poems, the way learning to bicycle is something you can try but not make happen until at the last moment you don’t fall, a swoop in your stomach the arc of a dark bird rising above rooftops, black against the sky, its wingspan a kind of bridge between effort and what happens at the edge of knowledge. The stumble that wasn’t, nested inside of the flight that was. That was 1987, Harvard Square the hub of cool, buskers with their open cases, a bustling world within a world that I would visit and try to belong to, with what sophomoric friends I traveled there with on the train. It was summertime, our hours our own, our grasp on each “I” of us inexact and blurred, to ourselves and to each other. How could I pin it to the page, when to be alive and growing was such an exercise in being lost? That wobble, on the curb’s edge, that posture of daring, or not caring, or not knowing much of anything at all. Had I found myself able to look into a mirror and see my self, I would have met what is my soul, the tail end of a good dream, dissipating at the brightness in a morning window. Impossible to hold—light on the surface of a lake. A huddle by the newspaper stand on the corner, clutching our record store and thrift shop finds, we just stood there, not yet us but trying to be, and watched.
—Rebecca Hart Olander (x)