Jonathan Podwil Film Screening, April 28, 2011

Poets on Park Avenue

Laurel Sparks: Against Nature

Laurel Sparks
Crown of Creation
2008
acrylic, marble dust, glitter, paper mache, small objects, marker, pigment, unpainted canvas
60" x 45"



Laurel Sparks
Broken Witch
2005
acrylic, marble dust, glitter on canvas
50" x 34"



Laurel Sparks
Flaming Creature
2007
acrylic, marble dust, paper mache, enamel, small objects, watercolor, marker, pigment, unpainted canvas
58" x 46"



Laurel Sparks
Sister Morphine
2010
mixed media collage on archival print on paper, framed
19” x 13”



Laurel Sparks
Pleasantville
2010
mixed media collage on archival print on paper, framed
19” x 13”



Laurel Sparks
Poltergeist
2005
acrylic, marble dust, paper mache, glitter on canvas
72" x 72"



Laurel Sparks
Dani
2010
acrylic, marble dust, paper mache, silver enamel, small objects, marker, pigment, unpainted canvas
33" x 20"



Laurel Sparks
Liber
2010
acrylic, marble dust, paper mache, silver enamel, small objects, marker, pigment, unpainted canvas
33" x 20"



Laurel Sparks
Apache Snow Queen
2010
mixed media collage on archival print on paper,framed
19” x 13”



Laurel Sparks
Princess Coo Coo
2007
acrylic, marble dust, paper mache, enamel, venetian glass, watercolor, marker, pigment, unpainted canvas
65" x 46"

POETRY @ 4 4 3 P A S: John Coletti & Stephanie Gray, April 26, 2011, curated by Alice Whitwham

Poems by John Coletti & Stephanie Gray

Hazel Mayhall, lowly negative cutter, 1959

I think I can see what you see. To crop the world a million times over. To replace yesterday with today. To substitute my nostalgia for your déjà vu. You cropped yesterday’s heartbreak with the Empire State Building in the background of a big bulky taxicab. Perfection is forgettable. You tabled two scenes together and two more and two more until we got a two-hour movie. But really, you have to understand man, it’s complex. People are aware they cannot accumulate everything. But you did. Except what the director said not to. There’s a bin at the back of your brain of every outtake sitting in the middle of your best dinner at home with the company Yes: we really understand, man, it’s complex. Some days you forget what’s the real movie. All you remember is how long it took for you to cut out the scene. When you see the movie you see it but don’t see it you see it but don’t see it, instead of the kiss you see the laugh and bump into nose. The theorist couldn’t do it but you could: we need a new narrative. You turned the sky into a limpid blue. You saw the whole picture. It was stillness on the move. You trained yourself to notice what you see. You wished everyone bon voyage over and over again. You left them on a trip that never happened. You did the walk that nobody really sees. You had no clue what you were delivering. You dreamed of a day with no orders and no deadlines. You dreamed the outtakes remade themselves as the movie in the boardroom. Everything that didn’t happen, happened all at once back-to-back in one hour. It was an hour of nothing happening. If you can’t see it, is nothing there? This is what happens in slow times, it goes into slow motion. You can’t help the people who want their world back intact. You help to rule everything out into a particular shape. You made sure nothing ever registered until a few seconds after it past. I wanted to ask you if I could dive into your outtakes. If it would take me back to the same as it ever was, a loophole large enough to drive truckloads through. To see what historians want to see. To go back to the back up tapes erased. To erase the time cards. The crime is that people don’t know about this. To not be on a bridge to nowhere. Screams from countless girls who are too young to drive. Forgetting that this isn’t theater, but something like life. Filled with glimpses of catastrophe. It was all about just keeping everything at bay. It happened by pure accident. It was not a Tupperware party in Jericho Long Island. The last edit is the shrewdest hustle.

- Stephanie Gray






Progress Island

Out to nowhere heartening laying down meadow in yellow
Some silicone sleeping that we may stay fresh
Yearning to crumple a tender dugout
Possible person of low cloud aloft
Toledo song you’ve got to be business to risk evening news
In a fit of roses sleeping propellers can’t win all the time
Terrifies in me a special way assuming you’ll live
A hundred years the toilet cold & horses waiting
On off-topic prophets fat getting fatter
Cut-out male in America selling sweets on the course
Mascots rid of the wry therapeutic
Nightime at morning in terrible acts







Me & My Falcon

I’m reserving a copy
of Half-shaved Head
for you Clay
who haven’t looked into
your own face
for five lives now
just send back cupcake
cups of water
flattened down Wonder Bread
scripture & Guidelines
will I leave a half glass
on the counter?
I won’t. I’ll always
drink it up.


- John Coletti

Jonathan Podwil Film Screening: Thursday, April 28, 2011, 6-8 PM

Jonathan Podwil Film Screening
Thursday, April 28, 2011, 6-8 PM

Please join us for a special screening of Jonathan Podwil's short films, in conjunction with the exhibition Jonathan Podwil: The Golden Age of Cinema. Podwil's films are frame-by-frame animations of super8 film and are made using hand held plastic models, shot from a tv screen, live action, or a combination all of these methods. They are usually shown as projections alongside paintings.

"...Podwil's method involves a painstaking manipulation of his materials, especially in his digitally animated loops, which reveal acts of distortion to the original footage. ... (The)violence of everyday life hovers in the air. The images show how the "blur" can give the most seemingly mundane pictures a threatening quality - demonstrating at the same time that media cross pollination is as rich in possibility as ever."

- Gregory Williams, ARTFORUM

Futurepoem Event @ 4 4 3 P A S

Sherwood Forest Release Party
Tuesday, May 3rd 7:00 PM

Dear Futurepoem Friend,

You are invited to celebrate the release of our newest Futurepoem title, Sherwood Forest, by Camille Roy! The evening will feature readings by the author along with poets, Eileen Myles and Paul Foster Johnson.

Read more about Sherwood Forest in Michael Cross's recent interview with Camille Roy at The Disinhibitor!

Event Details:

Where: 443 PAS
443 Park Avenue South, Suite 604

When: Tuesday, May 3rd 7:00 - 9:00 p.m. FREE

Why: The Forest beckons.

Wine & Cheese Reception!

For more information about the event, visit our Facebook invite!

For more information about 443 PAS and their current exhibits, visit http://443pas.com/


ABOUT THE READERS


Camille Roy is a writer and performer of fiction, poetry, and plays. Her books include Cheap Speech, a play (Leroy), and Craquer, a fictional autobiography (2nd Story Books) , as well as Swarm, two novellas (Black Star Series), among others. Earlier books include The Rosy Medallions (Kelsey Street) and Cold Heaven, plays (O Books). She edited Biting The Error: Writers Explore Narrative with Mary Burger, Robert Glück, and Gail Scott (CoachHouse 2005, re-issued 2010). Roy has taught creative writing in multiple genres at several institutions, including San Francisco State University, California State University Summer Arts, and Naropa.


Paul Foster Johnson is the author of Study in Pavilions and Safe Rooms (Portable Press at Yo-Yo Labs, 2011) and Refrains/Unworkings (Apostrophe Books, 2008). With E. Tracy Grinnell, he is the author of the g-o-n-g press chapbook Quadriga. His poems have appeared in Jacket, The Awl, Cannot Exist, GAM, EOAGH, Fence, and Octopus. From 2003 to 2006, he curated the Experiments and Disorders reading series at Dixon Place. Beginning this fall, he will edit The Poetry Project Newsletter.


Eileen Myles was born in Boston and moved to New York in 1974. Her Inferno (a poet's novel) is just out from OR books. For her collection of essays, The Importance of Being Iceland, she received a Warhol/Creative Capital grant.Sorry Tree is her most recent book of poems. In 2010 the Poetry Society of America awarded Eileen the Shelley Prize. She is a Prof. Emeritus of Writing at UC San Diego. She lives in New York.

Hope to see you there!

Sincerely,

Futurepoem Editors

Laurel Sparks: Against Nature

Laurel Sparks
Babylon
2007
acrylic, marble dust, enamel, watercolor marker, pigment, unpainted canvas
72 x 48

Laurel Sparks: Against Nature
Curated by Chris Warrington
May 10, 2011 – June 3, 2011
Reception for the artist: Tuesday, May 10, 2011, 6-8 PM

4 4 3 P A S is pleased to announce Against Nature, an exhibition of large paintings by Laurel Sparks. Combining the ornate flatness of fin-de-siècle modernism with the gestural wildness of early Abstract Expressionism, Sparks uses theatrical iconography inspired by queer and psychedelic cinema, inventing an aesthetic lexicon akin to high femme drag.

Androgynous iconoclasts, from Luisa Casati to Ziggy Stardust, act as muses in Sparks’ abstract portraits of glamor and decay. Alluding to these glamorous figures, Sparks overlays linear silhouettes of Venetian chandeliers and perverse Christmas trees with an ambidextrous blind contour drawing. Icons take shape and dissolve within a carnival of color, glitter, and bejeweled protrusions.

Intense gestures celebrate baroque forms of artifice: theatricality, costume, cosmetics, and persona. At the same time, raw emptiness contradicts hedonistic adornment. Within each work there is a painterly call and response between poured white marble dust, bare canvas and decorative pattern. The surfaces oscillate between elegance and vulgarity. Pleasure, elegy, and irreverence co-exist in Sparks’ paintings, like the complex character of the muses they invoke.

Sparks holds an MFA from Bard and a BFA from the School of the Museum of Fine Arts, Boston. Her work was recently exhibited in the DeCordova Biennial (Lincoln, MA) and Dramatis Personae at Dodge Gallery (New York, NY). She lives and works in Brooklyn, NY.

4 4 3 P A S is open Monday-Friday from 10 am – 6 pm, Saturday and Sunday by appointment only.
For further information please visit us at http://www.443pas.com

Jonathan Podwil: The Golden Age of Cinema Opening Reception VII