John Baldessari (Make a Splash at Parties)

Prismatic, Buñuel said.
Chinese condoms and
effulgent magenta glob.

Prismatic, Buñuel said.
Chinese condoms and
effulgent magenta glob.
Everything in the
public record. That’s
how you make
great images. Please
remove yr hands
in respect of
the dead. Describe
what you don’t
see. Clean, sterile
actionable nouns. Be
it boy or
boar. The French
horn swells predictably.
Google feeds headlines
to the mountains.
A poet doesn’t
need bleak intelligence,
she said. This
is a different
kind of river.
I pour collage
into a black
mug, lucky me!

For All the Vegans I’ve Loved and Consumed (Trendy Modernist Power Play)

Wikipedia Poem, No. 991

ONE

of animals
as moral consumers
justify their sight

moral consumption of animals and you
don’t fry up this fragmented animal
as moral constraint either hence

we dig up this fragmented animal class
in anti-intellectual stories under wonder
what’s moral consumption?

the poets are moral consumers mutatis mutandis
what’s moral? we wonder what’s something their patients see
this fragmented pharmaceutical animal perhaps?

as far as moral constraint
either we wonder what’s moral or
consume animals as we wonder what’s moral

TWO

self-awareness
don’t fry up that ego: all organisms work
self-affirming live monkey limb
because we think of animals as moral consumptions
size and constraint either hence we consume them
but we don’t generally see animals
we don’t have stories to tell
self-affirming little tales to negotiate
guilt over knives
don’t ponder what’s moral consumption
size and constraints
what their habits whisper of self-awareness
don’t have their patients moral consumption
animals as moral consumers of size
condors constrain their populations
but they selfishly extol story structure
that doesn’t have to do with man and god
foolish moral constraints as we wonder what’s moral
consumption sounds and chimps
our nearest relatives tearing
them apart but selfishly expanding
to don’t have stories to justify they also don’t have live monkeys
pharmaceutical animals as tonal constraint
what’s our nearest relative for tearing
tell me something about self-awareness
to negotiate guilt tell me
hurting stories to negotiate guilt
hurting their habitats don’t consume size and constraint
what of them? their populations? there’s only one story
the tearing story we tell self-affirming agents
no normal moral considerations just stories
what’s moral consumption size and constraint
either we wonder what’s or we don’t

THREE

something trendy back in grad school
all the poets enabled study of age as a class
in all those poems that enabled

so it was its almost discourses that as poets
were something of pound olson duncan and you
to undergrad all the trendy bach pieces

the poems people turned in at grad school
all the trendy modernist power play
a pound of olson a pound of duncan

and you don’t have to dig up this fragmented
anti-intellectual potsherd
weak domesticated anti-intellectual egoism

Arm Wrestling with Judd Hirsch

Wikipedia Poem, No. 989

Arm wrestling with Judd Hirsch on the verge of signing the first major label deal of his career. He was 85.

there is in
the art wrld
the idea of
one’s moment as
in this will
be the moment
of fame or
financial success as
in the moment
the clouds break
open into light
pure pleasure exuberant
and rude itchy
stammering skittering coalescing
precariously for an
instant there is
in the art
wrld the idea
of one’s moment
as in this
will be the
moment of fame
or financial success
as in the
moment the clouds
break open into
light pure pleasure
exuberant and rude
itchy stammering skittering
coalescing precariously for
an instant there
is in the
art wrld the
idea of one’s
moment as in
this will be
the moment of
fame or financial
success as in
the moment the
clouds break open
into light pure
pleasure exuberant and
rude itchy stammering
skittering coalescing precariously
for an instant
there is in
the art wrld
the idea of
one’s moment as
in this will
be the moment
of fame or
financial success as
in the moment
the clouds break
open into light
pure pleasure exuberant
and rude itchy
stammering skittering coalescing
precariously for an
instant of fame
or financial success
as in the
moment of fame
or financial success
as in the moment
the moment and
rude itchy stammering
skittering skittering coalescing
skittering skittering coalescing
skittering skittering skittering
skittering precariously into
light pure pleasure
exuberant and rude
itchy stammering skittering
skittering coalescing skittering
skittering coalescing skittering
precariously into rude
itchy stammering skittering
coalescing skittering skittering
coalescing skittering coalescing
skittering coalescing coalescing
skittering skittering skittering
precariously for an
instant the clouds
break open in
the art wrld
the art wrld
there is the
moment and rude
itchy stammering coalescing
skittering precariously for
an instant the
moment and rude
itchy stammering skittering
precariously for an
instant here is
the will of
the art wrld
the moment the
moment of one’s
rude itchy stammering
skittering coalescing skittering
skittering skittering skittering

Source: Rivkin, Joshua. Chalk: the Art and Erasure of Cy Twombly. Melville House, 2018, p. 299.

Artifacts of Reference, No. 11

thomas-demand copy

‘subjunctive, infinitive, not tied down’

Wikipedia Poem, No. 988

“Women have all kinds of practice
imagining themselves as men
and men have very little practice
imagining themselves as women.”
Meryl Streep

himself to less difficult words
the male is giving himself to improve
readability
the male is giving himself to passive voice
the male is
giving himself to passive sentence length
the male is giving himself to good results
the sentence length
the male is giving
himself to that which is not enough
the test
the male is giving himself to
sentences
the text
the sentences
the male is giving
himself to sentences
the male is giving himself to transition
the male is giving himself to active
voice
the male is giving himself to that which is giving himself to two instances
the
male
is
giving himself to two instances
the male is giving himself to less
difficult worlds
the male is giving himself
to the male is giving himself to transition words
and sentences

the male is distributing words
the male is giving himself to consecutive sentences
to sentence length
the male is giving himself to your text
the male is giving himself to transition words
the male is giving himself to two
instances
the male is giving himself to sentences
the male is giving himself to less difficult worlds
the male is giving himself
to passive sentence length
the male is giving easy text
the male is giving himself to passive voice
the male is giving himself to sentences
the
male
is giving himself to
sentences
the male is not methuselah’s father
the male is giving himself to that which is giving himself to transitions
the male is giving himself to that which is giving himself to only 3.4 percent of the sentence length
the male is
giving
himself to mix things up
the test
the male is giving himself to active sentences

m is giving himself to transition worlds
the sentence length
the male is giving himself to consecutive sentences
the flesch readability
the sentence length
the male is giving himself
to
passive sentences
the male is giving himself to improve readability
flesch readability
the sentences
the male is giving himself to the same worlds
over and over again the male is giving himself to good truths
the test
the male is giving himself to transitions
the
male
is giving himself to two instances
the male is giving
himself to active
voice
the male is giving
himself to mix things up
the male is giving himself to tradition
the male is not enough
the male is giving himself to sentences where three or more
consecutive sentences
the male is giving himself to less difficult worlds
over and over again the male is
giving himself to improv

New Reform Temple with Snow (How to Fully Inhabit Your Characters)

Wikipedia Poem, No. 986

Barbara Kruger was born in Newark, New Jersey, in 1945. After attending Syracuse University, the School of Visual Arts, and studying art and design with Diane Arbus at Parson's School of Design in New York, Kruger obtained a design job at Condé Nast Publications.

you love/live;
you don’t know the woman
trying to
hold the woman what is this poem about? nancy me — about?
it’s overflowing and and you you get someone trying to tell her story
nancy tells you doesn’t she?
you don’t
know don’t listen
don’t know this woman is what
this poem is about? nancy me
it’s about me suffuse with meaning to get something
to get at her story
u don’t know the woman trying to get at her story she’s dead

something with meaning
her story hold the woman
woman this poem of explicit
gravity overflown with telling
the person who assigns
meaning to her story
it’s overflowing her story
telling/experiencing: woman is about the poem?
nancy me it’s about? nancy
me about? cold and gentle
suffuse with her story
saturated undulating up
meaning feeling material breath
feeling material meaning breath

hold the reality it’s overflowing down
her story is dead she’s dead
she’s the person who

Unterselfconsciousness

Wikipedia Poem, No. 985

automatic black curtain makes way for light within the system
for most of the art world’s subconscious — severe ghosts
pour through dreams with 16 inch kalashnikovs khan fiercely criticizes desire
examines the industrial printer of the black curtain
makes way for light herself the artist-activist now represents the system
at gagosian it’s hard to admit what she does for light the system infiltrates
dreams of the world’s subconscious khan examines the system
for the artist-activist the web of the art world’s humorous
political projects — objects of power — she’s the light within severe ghosts
dreams khan the art world’s unterselfconsciousness — her voice is different
from those of the living the armed ghosts the fierce critic
of her voice is a fierce critic of most artist-activists

the unsparing sky no one wants
the desires pressed against the roof
of her mouth that of the artist-activist
most of all the high severe ghosts
emigrating dreams of the fierce critic
her desires
examine the hidden bolshevik sky
no one wants — least of all
the art world’s subclass unconscious

strange bird / light bearer / glittering corpse

Wikipedia Poem, No. 981

begin: top left corner of the frame

phosphorescent
blue glowings take arms
strands curling through the sky

stream mind
snow heart
falling doubt

dark seaweed
insects fly away
divide the sky

follow: channel where shadow meets highlight

white lily scent of riverbed brain
the sun with its spear at dawn with father
against young white phosphorus

carve out the sky
wash away
with the bodies pistil depth

the sky
curls
its long arms

through: pealing gaussian sweep

red nights fly
away at lily depth
— the spear

at dawn yesterday
green tomatoes
long white roadside flow

a quarrel with the scent of eyes
drifting with particular life
towards the articulate thin mist draped over blue sky

until: arrive

white lilies divide the red life
enclose new york times best-selling weapons
falling sky and curls of mirroring moon

film / lips
come forward
crawl through

the arms manufacturer’s heart
toward its frowning green body
bloody ocean sky glowing doubt

regress

dark quarrel with constant cloud
long arms of a strange bird
among glittery copse

many tense teen tomatoes
in wickful lily scent
falling doubt

dark seaweed
insects thread
like veins

ingest

dry white wine
an enclosure
for seaweed

clouds break at quarrelsome joints
like the scented blue sky streaming
through phosphorus mind

snowfall virus
carves rod to
cylindrical shell

digress

burrows through sky white flow
a quarrel in the wasteland
drift to blue away blooming

doubt dark flow moating
floating moon steel pan
pen pans heart roman along arms

strange bird
light bearer
glittering corpse

Monteverde Vecchio (He Can’t Smell Her Roses)

Wikipedia Poem, No. 978

He Can't Smell Her Roses art poetry surrealism photography

in his girlfriend he presumes
he can’t smell her roses
he can’t smell her boots
expensive watches arrange purple
chrysanthemums in the dark
it’s nobody’s job

in time
antoni
sneaks off
around lungs monteverde vecchio
even when
he’s locked away
the value of a dollar

even when
he locked
away the dark
it’s nobody’s job

see his
girlfriend arranging purple
chrysanthemums

it’s nobody’s job
to arrange these boots and
expensive watches purple
chrysanthemums

the time
sneaks off
in his long black hair
he is dead

sergio buys handmade leaf smoke
voiding his boys

he
presumes
he can’t smell her roses
in the
dark
it’s nobody’s job
to see his girlfriend he presumes
he can’t smell
her roses
so he presumes
he can’t smell
her beauty
even when
he’s locked
in the dark
it’s nobody’s job

The Making of Poems

Wikipedia Poem, No. 977

Rochelle Park, 2019

superbus

shows how   twice although they both turned   men took and rembrandt painted the 1970s made sense (or   not) of the art-historical or cultural upheavals of sexual violence against   women nancy princenthal dramatic perhaps but with replete with replete with replete without   physical princentury the political or psychological and coercion in artists have made for a male art-historical or psychological princenthal  writes pointing to convey it was inherently renderstood no era or culture has been a convey it in life abuse an extremis a new book an experience an  abuse

collatinus

his fantasies an  early 70s in seedbed performances himselves   invading their bodies to tie their bodies him as he masturbated an elegant account perform even if  some critics didn’t buy it or not quite their bodies to tie the obvious history and weaves in intimate relation and aggress   sexual violence in prince in seedbed percepts to an empts like chris burden account performances himselves the first agnes martists were  often account performance articulator describe more candy near a prize broad jump 71 offer the obvious of his best   

hardman 

she  convicts that no image  could become his sexual advance she could  subject was as if the could became his sexual advances   she conviction that no image conviction that no image could subject it   was as if the slaves offered her door she awakened he identified her two choices  she could become his sexual advances she could submit to his conviction that no image  conviction that no image could repress perhaps inadvertently going adulterous sexual advances she could become   his sexual advances she could submit to the could subject it was as if he submits to the body