All copyright © 2003 remains with the authors.
All copyright © 2004 remains with the authors.



Snapshots
Barry Alpert




CLAUDETTE COLBERT BY DOROTHY ARZNER

Coming from Washington.
Like you?
A year since I've seen you!
Understand what happened / what made you
do
everything I can.
Ten in your office.
Thanks again--a thousand times
everybody's sympathy--thanks to the newspapers.

Counted
on
love, loyalty,
bags later.
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .

Barry Alpert / Silver Spring, MD USA, 1:03 - 3:01 PM.
7/23/03

***


SUR WILLIAM KLEIN

seeing people you don't see anywhere else.
Under a policeman in a parade
roloflex

woman
in the crowd
like a soviet realist . . .
Like a kid riding on a bike
I am a fashion photographer,
anti-chic and absurdist
my . . .

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Barry Alpert / Silver Spring, MD USA / 7-27, 7-28, 7-29, & 7-30 (1:31 AM)

***


MARY ELLEN MARK

Make photographs that
are more intimate
running down with their umbrellas
young and naive . . .

Exists in so many cultures:
look for in animals
like humans they tried to be
enough.
Now what's happened with

magazines:
an image which they have to control.
Really. Allow you to see a world:
. . . . . . . . . . . . . . . . . . .

Barry Alpert / Silver Spring, MD USA / 9:58 AM

***


NICK RAY'S "MACAO" [uncredited]

Now we're even
I hear. Once is. Too often
charm never misses.
Kill someone! You'd probably call it "small change".

Ride lieutenant on a triple six
around the harbor in a sanpan.
You too,
shot. It turned out to be me.

Mind,
a warden dolled up in a negligee
carried me up here,
as we walk
out a few details.

Barry Alpert / Silver Spring, MD USA / (12:56 AM)



***


UNDERWATER PHOTOGRAPHY

Paper brushes leg.
Hand finds dollar
drawn to whirlpool's source.

Barry Alpert / "freely written" / Silver Spring MD USA / 8-27 (11:47 PM)

***


SNAPSHOT

"Egosearch" has
now achieved immortality in a dictionary.

Barry Alpert (found by Anny Ballardini)

Barry Alpert / Silver Spring, MD USA / 9-3 (2:42 PM)

***


PROMENADE BALTIMORE (with Helen & Newton Harrison)

although the situation doesn't
allow for its text,
a determined concentration
activates its conceptual range.

"Was dat?"

"Planning the interstices."

But then my altered foot demanded,
"Attention!"

Barry Alpert / Silver Spring, MD USA / (7:21 PM)



***


GAMING PRESENCE (via Douglas Dunn)

Scouting trees here,
not books.

They move
in what percept audible--
synthetic<>natural range.

Add live voice,
not yet verbal.

Though aesthetics
as lecture-demonstration
preceded,

the precedent of the critic's precedent reference
in the case of this bookish dancer, that is,

translated:
"Soya bean, speak!"

Barry Alpert / Silver Spring MD USA / 10-1 (1:03 AM)

***


CAN I WRITE OFF SCOTT BURTON?

Reappearing
between
arch
&
dec.

Rediscovering
artifactual
categories.

Rethinking
performance.

Fewer
stages.

TABLEAUX VIVANTS (via Scott Burton)

Parallel & independent
activity displaced
totally upon
instructed performers.


Real furniture
meant to be used
to get more suppleness
of mind in Omaha.

Barry Alpert / Silver Spring, MD USA / (9:49 PM)
***


BLOOD OF A POET [Jean Cocteau's]

Bouche de la statue,
lessons de vol.
One runs the risk
of becoming one himself.
Dargelos was the cock

of the walk.
Fist-blow was a snowball,

ainsi, at the heart,

profanation de la host,
of the nocturnal figure.
End elegance:
tedium of immortality.

Barry Alpert / Silver Spring, MD USA / 10-15 (12:08 PM)

***


FRANK GEHRY('s) WALT

from the inside out
remembers Disney coming home
and having the studioheads . . .
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(. . . . . . . . . . . . . . . . . . . . . . . . .)

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Barry Alpert / Silver Spring MD USA / 10-19, 10-22 (12:58 AM)

***


KREBS' SUNBEAMS,

kind the generated has, that century-
related computer maybe, except form
exhibit to try to,
before studio,
show first. Did.
'68 in Art Modern

show The. Shows key
undermining.
Not was It! Are they ineffective? How?
Being was It, way
effective! More and better.
Artists Washington
Memorial Jefferson
shape round.

Barry Alpert
Silver Spring, MD USA /(9:27 AM)

***


CHRIS. MARKER CATS

He plays piano,
listens to piano,
sees himself shot ('digital video').

Still shots.

Stretches to circuitry.

Barry Alpert / Silver Spring, MD USA / 11-8, 11/12 (5:42 PM)

First draft written during a screening of Marker's BESTIARE

***


SUNDAY MORNING ROSE
(“I'd like to keep going . . .
”--James Rosenquist)

Right there . . . all the colors in the universe
of paint,
so I never have to roll up canvasses.
Eye, then if we go across the room, it's a painting.

Barry Alpert / Silver Spring, MD USA / 11-16, 11-19 (9:17 AM)

***


SANDLER, IRVING

Side [synchronously, Grace Hartigan b-side]
part to part to whose
long racing line . . .
Mind to speak directly and objectively.
So-called primitive
delineated shapes,
solitary figure.

In the continuous surfaces
frame's edge intolerable.
Have a mythic or totemic picture,
horizontals,
legend & myth,
making it impossible to continue that boundless . . .

Barry Alpert / Silver Spring, MD USA / 11-26 (12:09 AM)

***


WYLER: ROMAN HOLIDAY

You could come
listen:
everything is so wholesome--
relations,

roses,
or not. I don't want
much. No thank you.
And buried
needs?

Happy? Never carry money.
One thirty. I must get dressed and go
live in a place like this.
I must go
do some of the things I
always wanted to do.
You do it.

Barry Alpert / Silver Spring MD USA / 11-29, 12-1, 12-3 (11:54 PM)

A good-hearted American paparazzi in Rome lets Audrey Hepburn (in her first
starring role) escape with her reputation unscathed. Subtle filmic
treatment of paparazzi shoots & stills. Seven years later, Fellini's
attitude toward Roman paparazzi in La Dolce Vita is much different. Every
word in my text exited the mouth of Audrey Hepburn, perhaps first written
by the scenarist Dalton Trumbo.
***


BROWNIE SPEAKS



De-dah cookin' daahound.



Lush, and yet,

like Rollins,

chastened,

melancholy.



Be-bop prosody implies an improvised melody--

harmonic and simultaneous.

Barry Alpert / Silver Spring, MD USA / 12-10

***


LONG TERM PROJECTS

[of Bruce Nauman]


Space is felt with your ears.

To force you to an awareness of your body.

A very strict kind of environment.

Being an amateur and being able to do anything.

Barry Alpert / Silver Spring, MD USA / 7-7-74, 7-3-75, 12-17-03 (8:52 AM)

***


WARM UP DONALD BURGY
[via Robert Horvitz]

When all the maps of all body levels are in order,
you have a set of instructions to be carried out.

The merging of site and audience
. . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . unfathomable
or, rather, non-locatable.

A model
through which man maps
himself into the universe
and the universe
into himself.

One looks through
rather than at.

Barry Alpert / Silver Spring, MD USA / 9-24-74, 6-29-75, 12-24-03 (9:37 AM)

Quarried from Robert Horvitz's article on Donald Burgy in Artforum

***


MANNY FARBER AT OK HARRIS, CLOCKWISE



Bamboo Curtain

Steel Helmet

. . . . . . . . . . . .

Shock Corridor

Pickup On South Street

Park Row

China Gate

The Naked Kiss



Barry Alpert / Silver Spring, MD USA / 4-14-73, 5-25-76, 12-31-03 (1:49 AM)

***


A SCENARIO FOR ROBERT RAUCHENBERG



Tug Of War (Stretched Suspenders)

Beach Scene (With Inner Tube)

Sandbagged

Mosquito Netting

Leave A Thread

Summation

Old Fashioned Bath

Bell Tower (Snake Charmer)

Bricked In (The River)



Barry Alpert 4-14-73, 1-10-75, 6-30-75, 5-25-76, 1-7-04

***


THE THREE R'S
[via Teddy Roosevelt, Joshua Reynolds, & Robert Rauschenberg]

You never know a man
unless you've camped with him
while collecting material for the exercise of genius.

Invention,
strictly speaking, is little more than
a new combination of those previously deposited images.

Barry Alpert / Silver Spring, MD USA / 1-7-04 (6:39 AM)

***


TOTTEL'S

. . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . wrack my available texts


translating subaqueous qualities.
Fracas:    the miserable idea that
comes and remains while longing.

A dismissal of traffic as uneventful,
though "punk permitted" accidentally
what grafts onto the edge.

Fractions of ego are already too much;
we don't add much.
The idea should not be permitted more solidity than that . . .

Continuance makes its own future.
Please don't think of anything as regressive.

Barry Alpert / Silver Spring, MD USA / 5-?-77, 1-14-03 (8:32 AM)

***


FOUR ORGANS
via Steve Reich

punctuate by energy discharge
the piece of silence
and the programmatic.

Barry Alpert / Silver Spring, MD USA / 9-?-77, 1-21-04 (11:58AM)

***


PROOFING GRID
re Terry Riley
A fresh experience
of the garbage cans
outside you,

but the virtue of the recorded performance
is that
it is subject.

Barry Alpert / Silver Spring, MD USA / 9-?-77, 1-25-04, 1-28-04 (9:19 AM)

***


WE WILL BECOME MORE ATTACHED
via La Monte Young
to sound.
Precisely the right sounds
reinforcing the integral properties
resonating through structure.

"If people aren't carried away to Heaven,
I'm failing."

Barry Alpert / Silver Spring, MD US /(8:29 AM)

***


RESNAIS' PROVIDENCE

Running away from an army patrol
en bete.
Seem vulgar and must not.
Not overawed by the universe.
A sweat of guilt -
it has its poetic side; clomping there amongst
springing Claude on them.

Point about him. The attraction
randy when he had a hangover.
One thinks
violent.
It isn't the point.
Dress not the humble exterior
evidence to the contrary.
Needn't tell you that neither.
Compensatory bibles
excessive, don't you think?

Barry Alpert / Silver Spring, MD US / 2-6, 2-9, 2-11-04 (6:12 AM)

***


SERENE INTENSITY
via Ernie Gehr
Film, seeing, and consciousness converge
when film internalizes its reactions.

Deny it representation and
depend on the openness of the shutter
the sensitivity of the emulsion
the reflectiveness of the objects
to yield up an intensely spiritualized nervous system.

Barry Alpert / Silver Spring, MD US / 2-18-04 (11:34 PM)

***


RICHARD MISRACH

Right before
I
came over
here
a kind of epiphany.
Relatively few museum exhibitions
described as the archive of American landscape representation,

medium "A" as well,
installation art.
So did museum curators'
remarkable relationship--
all sorts of other sources.
Cancer Alley.
He was working in black & white;

Barry Alpert / Silver Spring, MD US / 2-25-04 (9:53 AM)

In fact, the photographer/subject of my text refused to allow me to "take" his literal image in the form of a snapshot after his lecture at the National Gallery of Art in Washington DC.

***


RICHARD MISRACH

Really important and again when you see
historical moment: the period of manifest . . .
Back so you can see how the comparisons work,
each of the Cantos, for purposes here
terrain: the most like Watkins' work,
different strategies,
hundred between 1983 & 1985.

My work--how to reconcile the beauty . . .
History paintings. Transcends
resonance in a way it otherwise might not
near military bases . . .
Extraordinary delight, & feel that water
project the equivalent
impose[hose]d:

Barry Alpert / Silver Spring, MD US / 3-3-04 (10:43 AM)

I may have finished a series of 4 snapshots out of this photographer's words. Today's text is the third with the same title I've posted to the Snapshot Project. Next Wednesday I hope to present what appears to be the long-delayed conclusion of this serial poem.

***


RICHARD MISRACH

ruptures that and pushes it,
divine comedy,
uncommon in photography.
"Fight the good fight."
Anyway for me the desert is remarkably powerful and beautiful
runner I found that remarkable.
Worried, not so much about photographers, although

more about espionage or sabotage
digital video camera and film
just as documents. I'd like to film the factories spewing
terrible ear-piercing sound that goes all the time.
Companies will be there until . . .
Impractical vision I'm talking
published in a book. After that I always felt very uncomfortable.

Barry Alpert / Silver Spring, MD US / 3-10-04 (10:39 PM)

***


"THE MISUSE OF HYPNOSIS"
via Milton Erickson
Except under
precise conditions of that
waking performance,
extreme difficulty finding
(overlooked repeatedly)
mislaid glasses / mislaid letter.

Turning around
around in helpless fashion
turning blank pages over
then upside down.
Corrected:
spontaneously blind.

Corrected:
blindness returned.

Discontinue attempt.

Barry Alpert / Silver Spring, MD US / 3-17-04 (6:02 PM)

***


ABSORPTION & ADDRESS

                  via Michael Fried

Antithetic emphasis on what I shall call "address"
but nothing in previous painting matches.
Surface content
of a boy crying out in pain.
Right corner is often a highly-charged zone.
Petrarchan poetry . . .
To be enjoying the experience of posing
is the best way to cut
off a head.
Neither the heads nor any

advent of a new, more urgent, more interpolated
determining, anyway a
dominant role,
remain on the board
ever so slightly. From behind
sits facing directly out of the painting
stigmatized as "theatrical".

Barry Alpert / Silver Spring, MD US / 3-24-04 (7:26 PM)

***


"THE UNHEAVENLY HOST"
via Lars von Trier
THE KINGDOM
("poetic & captivating" - LvT)

As if someone were on top of the lift,
how long does the humiliation go on?
In his own way he’s rather an asset,
"Here is an illustration of the brain of a malingerer!"

With sublime generosity a corpse delivers;
the dead don’t mind giving us a bit of light relief occasionally.
I just meant mind your nose,
but what are things when the building starts to cry?

Barry Alpert / Silver Spring, MD / 3-31-04 (9:49 AM)

***

PAUL BRACH'S PICTURES
via Leo Steinberg
Pictures, their
vacated geometry suggests depleted voids, voided containers.
Snuffed out. Empty icons.
Wholeness; then imply oneness by sacrificial negations - as

Brach does - asking, and making me ask.
Drained in romantic renunciation until even the figure-ground [differential . . .
What varies most is the pigment's density & the pressure of buried color [below.
Circles: ashen disks in a strafing light,
portholes in a dark field. As you change position,
worldscape.

Barry Alpert / Silver Spring, MD US / 4-7-04 (9:47 AM)

***


OBSTRUCT JORGEN [LETH]
via Lars von Trier's
THE FIVE OBSTRUCTIONS
Occupied. Manually.
Be shot in Cuba.
Said it, "No set!"
The first one, then,
ruining it from the start.
Understand in a few days - -
can't see how you can.
That was vicious of me.

Jacket
old Leth--film
really on the ropes.
Give therapist the cards.
Ethics to the test.
Not describing something not there.

Barry Alpert / Silver Spring, MD US / 4-14-04 (4:52 PM)

***


OBSTRUCT JORGEN LETH
via Lars von Trier's THE FIVE OBSTRUCTIONS
OBSTRUCT JORGEN

Occupied.   Manually.
Be shot in Cuba.
Said it, "No set!"
The first one, then,
ruining it from the start.
Understand in a few days--
can't see how you can.
That was vicious of me.

Jacket
old Leth--film
really on the ropes.
Give therapist the cards.
Ethics to the test.
Not describing something not there.


OBSTRUCT JORGEN

Of understanding in a few days:
but I don't think it followed the rules.
See where we can goad you and analyze it.
There's no doubt about it.
Ready to show me  /  ready to watch.
Unmarked
can give you
that feeling of a tortoise on its back--

just out of his head came this idea of a cartoon
of the kind we don't like.
Refuse to?  We must make something out of it!
Going to watch your little film.
Eat the damned caviar.
Narrate a script.

Barry Alpert / 4-7, 4-14, 4-21-04

Initially written one right after the other while viewing for the first time Lars von Trier's 2003 "documentary" on another Danish filmmaker, Jorgen Leth. I tried to restrict myself to a vocabulary pool of those words which exited Lars von Trier's mouth during the film. Each text was revised separately for posting to the Snapshot Project on 4-14 & 4-21. I'm amused to find the possibility "predicted" in a post to Poetryetc on 3-31.

***


REAL END GREAT WAR

[via Jerzy Kawalerowicz
"It is not the end yet" - JK, 1957]
Even got a decent piece of meat.
A handsome man --
let him in? Let him in!

Expensive &
no scent.
Determination

got burnt.
Remember the architects’ hall?
Effort
accustomed, even to his presence, to leave. And I left.

Would be such a burden;
a brain operation in the camp.
Roses and others, carnations?

REAL END GREAT WAR

Eyes and head ache.
A fine man once.
Love's flame as large as that frame.

Expect
nobody is going to harm you: . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . .
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. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .

Barry Alpert / Silver Spring, MD US / 4-28-04 (12:42 PM)

Written during my one viewing of this 1957 b&w film by a Polish director associated with the Lodz Film School, which included amongst its teachers and students Andrzej Wajda, Wojciech Has, Andrzej Munk, Roman Polanski, Jerzy Skolimowski, and Krzysztof Kieslowski.

***


THE IMPORTANCE OF BEING "DADA"
[via Marsden Hartley]
Be to not and pastime entertaining and
learn shall we game, sportsmanlike.
Glibly so who esthete "middleman" or go-between dreadful.
Shine will stars the that and tightrope
among vaudevillian satisfactory.

Dada-ist perfect, own your be. Will you? Your self
was art if
ordinary an or
greater any given or canvas or paper.

Barry Alpert / Silver Spring, MD US / 5-5-04 (12:11 AM)

This morning's impulsive homolinguistic translation from Marsden Hartley's Adventures In The Arts (NY: Boni & Liveright, 1921). Its title derives from Hartley's afterword to that book. My diastic editor worked its way through MH's prose text from end to beginning, needing only one outtake. Then I worked over the results, without rereading Marsden Hartley's considerable body of work in poetry but having viewed relatively recently a rather full retrospect of his visual work at the Phillips Collection. The quoted words and the half-Germanic "Dada-ist" are Hartley's. Thanks to the Pope for invisibly guiding me through heavy competition at a Catholic school book sale where I recently scouted my first copy in 35 years of Marsden Hartley's rare first book.

***

NIGHT TRAIN
[via Jersey Kawalerowicz]
NIGHT TRAIN

No point in fortune-telling--
I often read about such trials.
Get up quickly. There's an inspection.
He was in there with the girl.
They were on his trail.

The lady who was traveling with you,
restless, goes to all the beauty contests.
All he cares about. All the shoes.
I lost count.
Normally, what a clown. No longer matters.

NIGHT TRAIN

Now they're sure the husband did it.
I paid for my booth & I refuse to move.
Grey
human transgressions;
the tears will wash out the rest.

Thwarted -
romantic interlude,
as one does on a train.
It's just an addiction.
Nice. What made you think about it?

Barry Alpert / Silver Spring MD US / 5-12-04 (9:39 AM)

Returning to the Polish director associated with the Lodz Film School whose 1957 film "The Real End of the Great War" yielded my snapshot of 4-28-04, I encountered far less difficulty quarrying serial acrostics out of Jerzy Kawalerowicz's 1959 thriller "Night Train". Another sort of frisson arose from recognizing three actors within the film from my earlier viewings of them in Wajda's "Ashes and Diamonds", Polanski's "Knife in the Water", & Kawalerowicz's own "Mother Joan of the Angels". In fact, JK's "direction" of his wife Lucyna Winnicka in all three films by him I saw at the American Film Institute had me thinking of Jean-Luc Godard's slightly later "direction" of Anna Karina.

***

VON TRIER IDIOTS

versions
of the others says it was not

the institution down the road.

Barry Alpert / Silver Spring MD US / 5-19-04 (10:06 AM)

I found the above text lying on the floor yesterday, and realized that although I had abandoned hope (during the screening) for a publishable poem out of my one viewing of Lars von Trier's THE IDIOTS, now 7 weeks later it strikes me as a presentable "minor work". Perhaps also an odd footnote to the serial sixteeners I carved out of Jesper Jargil's THE HUMILIATED, an intimate documentary on the making of THE IDIOTS. That text, "Talk, Lars von Trier", can be accessed at http://www.fieralingue.it/corner.php?pa=printpage&pid=390

***

MOTHER JOAN OF THE ANGELS
[via Jerzy Kawalerowicz]
MOTHER JOAN of the ANGELS

Monks want me.
One knows I was coming,
the gate open last night.
Holy maids eat pork like us?
Each<>other, and reporting reason to burn

just the same
on the stake like a pig,
and the man is left naked.
Now leave me alone with our guest,


a priest & sorcerer.
No devils in there at
great miseries.
Evil
laziness perhaps taking on the
shape . . .

MOTHER JOAN of the ANGELS

must know my inner life.
One is . . .
There were 5 drops of fragrant balm on my gown.
Happy to see a representative of the famous convent;
exorcisms brought us here
rather than a husband who would be a brute--

just that there are no angels.
Over your books
an evil spirit
no measure of

all that was written in the Zohar.
No exorcism
gives me joy
eternal,
lovers
scaring off the wolves.

Barry Alpert / Silver Spring, MD US / 5-26-04 (9:26 AM)

Jerzy Kawalerowicz's 1961 film won the Jury Prize at Cannes and featured his wife Lucyna Winnicka's stunning performance as the Mother Superior. Based on an "actual case" of demonic possession in 17th century Poland as well as the basis for Ken Russell's "The Devils".

***

TESTAMENT: COCTEAU
[photos en marge de film par Lucien Clergue]

TESTAMENT: COCTEAU

The filmmaker can make many people dream
era.
Send it
to the time from which I managed to escape
again. Excusez-moi
meeting with a person whose destiny I was complicating.
Explain
neither hear nor speak.
The professor's life hung,

caressed.
On
comprend?
Try to understand
(exacte)
all scientists
(us). Might I ask how you've managed?

TESTAMENT: ORPHEUS

Times not in chronological order
experiment: I must first kill you
sufficient
to ensure
a change of
me, and I'd better not follow,
etait mort
no longer.
That is how she passes by moonlight.

On
route
Pallas / Minerva.
Her goddesses are women after all.
Excuse me. I must be the victim of an hallucination.
Under our jurisdiction:
stars?


Not until viewing a show of still photographs at the Mexican Cultural Institute snapped by the eminent Mexican cinematographer Gabriel Figueroa while shooting footage for Luis Bunuel (among others) had I paid any attention to the art of movie stills. Recently, I was startled to register that Lucien Clergue, whom I had heard lecture about his photography, was credited by Jean Cocteau for the stills he had taken behind the scenes of the 1960 film, The Testament of Orpheus.

Barry Alpert / Silver Spring, MD US / 6-2-04 (12:49 AM)

***

OF GABRIEL OROZCO
[via Juan Carlos Martin]
OF GABRIEL OROZCO

First time I came to work,

great joy to learn how to
accept
beautiful accidents / surprising
roll camera
instance
exploration.
Look at this film. Again

offended, and took that piece as a sign of arrogance.
Residual: the remains of an action,
old &worn with what looks new.
Z
Convince, but example compels.
Of beginnings appeals to me.

OF GABRIEL OROZCO

Fragments of things they have found.

Goes down, and it turns, and again it holds,
already recording.
Benefits some and takes away from others.
Represent Mexico but not that's been promoted.
I think I am part of
experience
like that--The Penske Picker.

One can change the world with an apparently small gesture;
result is going to be interesting.
Of choosing--it ceases to be trash.
Zoom in. I like to date them.
Create a style: because then you are trying to do style,
on the roof of a building in Rotterdam.

This work was instigated by the experience of attending a poetry reading by the Hirshhorn Museum curator Phyllis Rosenzweig in which she read her poem-in-progress on Gabriel Orozco. That in turn led me to attend the film on Orozco by Juan Carlos Martin when it was screened at the National Gallery of Art months ago, without any connection to the forthcoming show at the Hirshhorn.

Barry Alpert / Silver Spring, MD US / 6-9-04 (9:51 AM)

***


GRIN WITHOUT A CAT
[via Chris. Marker's "Le Fond de l'Air est Rouge"]
reached maturity and the only thing at
issue . . .
No, we didn't believe it.

Wrong notes in music will save me /
images begin to tremble.
The radicals get a
hiding.
Others may represent a serious threat
under a tragic obligation to choose.
Tell me what you might be filming.

A bit of miscasting here, actually.

Crisis: your public image was based on
appropriation of the means
to a specific localized need.
[Think that ambiguity is generating a lot of anxiety.]

Barry Alpert / Silver Spring MD US / 6-16-04 (10:24AM)

I just couldn't resist the closing outtake, which I hope I've indicated is outside both the sonnet and the acrostic. For a Marker film with a cat, see "Bestiare", from which I quarried the following, posted months ago to the Snapshot Project:

CHRIS. MARKER CATS

He plays piano,
listens to piano,
sees himself shot ("digital video").

Still shots.

Stretches to circuitry.

***


PAINT JOHN CURRIN

any differently,
I think about myself almost all day long;
news day in history
to monkey with the eyes.

OWL
[via Chris. Marker's "Bestiaire"]
Who(')(s)(e) who?
Laissez-moi,
owl. Center

owl & pussycat,
not mall
owl not.

LOUISE'S PANDORA

Long way,
old garret. I'd have run away.

LOUISE BROOKS' DIARY

Leaving, today,
of all, days.

Barry Alpert / Silver Spring, MD US / 6-23-04 (10:58 AM)

***




Every Wednesday, Poetryetc members were invited to post short poems on any subject or in any form they chose. The idea was to make a poetic collage of instamatic “snaps” of that day that reflected the international membership of the list. The project has generated an astounding number of poems.

The first two runs, of six weeks each, and the first ten weeks of the third run, are archived at Wild Honey Press www.wildhoneypress.com under Poetryetc Project. The rest - amounting in all to a run of a year - are archived here.

Poetryetc, like its affiliate Salt Publishing (http://www.saltpublishing.com), was founded by Australian poet John Kinsella. Salt is managed by Christopher Hamilton-Emery (cemery@saltpublishing.com), while Poetryetc is owned by Alison Croggon (ajcroggon@bigpond.com). Poetryetc is now archived at http://www.jiscmail.ac.uk/lists/poetryetc.html. and anyone interested can join from that url.

To contact the listowner: Alison Croggon


These pages are designed, maintained, and hosted by Rebecca Seiferle, the Editor of The Drunken Boat. To email.


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