?Finished and finely wrung, this book is a linguistic experiment in active collaboration with matter?the dense data itself. Marjorie Welish, a painter in her multi-verse, leaves very little out though
Praise for Marjorie Welish:"[Welish] challenges 'prettiness' at an almost feverish pitch, working against a poem's anticipated flow even as she moves it along with jazzy verve." ?BookforumWelish uses
Bridging the gap between Language School poetics and New American Poetry, Word Group blends collage with dizzying grammar and a pyrotechnic display of surreal syntax. These new poems create music in v
“Public inscriptions are all around us. Their mystery and the lack thereof are the off-screen subject of Marjorie Welish’s gritty, beguiling Isle of the Signatories, to be pondered long after lesser i
This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.
This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.
