posted by caroline picard
On Saturday, May 1st 2010 The Green Lantern will host a book release, celebrating three new titles from The Green Lantern Press: Devin Kings long poem CLOPS, a new translation of Rimbaud’s A Season In Hell* by Nick Sarno and The Concrete of Tight Places, an unusual guidebook by Justin Andrews that provides a“halucinatory tour of the world.” To commemorate this release, you are cordially invited to readings by Devin King and John Beer (Canarium Books, The Wasteland and Other Poems) at 7pm at the former Green Lantern Gallery space, 1511 N Milwaukee Ave., second floor, Chicago IL 60622.
During this event, all Green Lantern Press books will be available at a $5 discount.
*Proceeds from A Season In Hell will go to St. Jude’s Childrens Research Hospital
As per CLOPS. : Using lyrical language, repetition and abstraction, King retells the Odyssey representing the original characters as surface icons who move in and out of the first person. Implicating the reader in the action of war, King reforms the epic. Printed in an edition of 250 with color plates by artist Brian McNearney. Devin King lives and works in Chicago.
Other Forthcoming Events at 1511 N Milwaukee (whilst we keep looking for The New Space which will one day (fingers crossed) happen):
Friday April 23rd8pm
Tuesday May 4th 7pm
May 18th 7:30 pm
Jenny Boully will read as part of The Chicago Poetry Project’s on-going series.
June 15th 7:30pm
Brenda Cardenas will read as part of The Chicago Poetry Project’s on-going series.
for more information regarding any of these events please contact Caroline Picard at email@example.com.
April 6, 2010
posted by Caroline Picard
This is pretty sweet news! You can pick up a copy of CLOPS by going here.
jason – Posted on 06 April 2010
Last month Chicago’s Green Lantern Press released a new version of Devin King’s epic poem “Clops”. What makes this version unique are the images by Brian McNearney. He brings several images to this 50 plus page poem that add a visual element to this already visual descriptive piece.
What King does through “Clops” is elaborate on the tale of Odysseus and Penelope, but pulls it closer to modern times…to read the rest, go here.
September 30, 2009
To and For
of Helen & Penelope
And of the women he put them in respect to himself; and he said the city was for them and he left them behind in his city behind walls and each time he returned from the ocean he examined their teeth, examining their mouths, and of the horse he called a beast, and of the dog he made himself master and the stars he colonized with mathematics defining boundaries and bounds.
For thousands upon thousands of years, Odysseus has wandered through the Grecian islands, forever lost and found and lost again. Confined to the Mediterranean Sea, it may as well have been infinite.
Meneleaus the old goat
Menelaus King of Sparta
Ptolemy used Menelaus’ theorem as the basis for his spherical trigonometry in the Almagest. He set the times and signs of the zodiac, or so says Pappus.
“This little-papa, Papalie, the grandfather.”
Thousands upon thousands of years later HD, formerly Hilda Dolittle, sat on a couch, she stared ahead with cramps in her abdomen. She unwove her fortune to Freud.
“Again, I feel, lying on this couch that sort of phosphorescence is evaporating from my forehead and I can almost breathe this anodyne, this ether.
“Joan and Dorothy are rivals. Subsitutes for my mother’s love. It does not matter who they are.
“In my dream, there is a neat ‘professional’ woman with Lawrence and there is a group of children. Is the ‘professional’ woman a sort of secretary? I acted for a short time as a secretary to my father.
“I envied these women who have written memoirs of D.H. Lawrence, feeling that they had found him some sort of guide or master.
“I was thinking about what you said, about its not being worthwhile to love an old man of seventy-seven.’ I had said no such thing and told him so.
“The Professor asked me to interpret the dream of the blackbirds.
“Freud said the man in the dream had given me womanhood, so he charmed the birds.”
Before she knew any man, Helen broke her hymen with a hairbrush; exploring interior architectures. As a woman, when the city gaped at her congiegal bedclothes, she was quite proud.
“We saw the chapel high on the slopes where it was reputed Zeus had been born, or nursed. The Professor said that we two met in our love of antiquity. He said his little statues and images helped stabilize the evanescent idea, or keep it from escaping altogether. I asked is he had a Cretan serpant-goddess. He said, ‘No.’ I said that I had known people in London who had had some connection with Crete at one time, and that I might move heaven and earth, and get him a serpent-goddess. He said, ‘I doubt if even you could do that.’”
The old goat sat slumped in a chair after dinner. After the war. His head nodded and snapped and nodded again. Until his wife the woman his wife the dangerous woman she wiped the corners of her mouth, rose and elegantly wheeled him away.
Before you could write the rape scene, you wrote about Penelope’s unweaving. You had to let yourself undo yourself
Surprisingly absent for being the cause, Helen makes only a few appearances in both the war and Odysseus’ consciousness. His conception of the war the same as its reality, for the way he recalls all things—memory traces a cool finger along the inside of his arm, the cleft of his back, arousing and pornographic—raising goose flesh, perplexity, dispair. Helen the signifier, the collective unconscious.
The City Opened And Took Me
She walked around the giant wooden horse. She walked around its periphery, in the moonlight, from within the city walls. Stooping a little, she pressed her nose to a fetlock and breathed deep the smell of knotted pine. She breathed deep and whether by smell or sense she sensed the men inside. The night air was cooler than the horse’s side for the side of the hollow horse was full of men who had to breathe and in breathing took up oxygen and in breathing released carbon and in releasing carbon raised the temperature inside the belly of the horse, thereby warming the wood. She chuckled at the thought of a centaur.
Helen put her hand on the side of the wooden horse. It was warm.
The sand on the ground was cool by the moon and it stole into her sandals, cooling her toes and she remembered the sounds of her old life, she remembered the sea. She remembered the dottering old goat in the yard. It always remarked on its face in the scullery window.
The City Opened And Took Me
Helen has the most least freedom.
Gods aside, she fled the old man with a handsome boy. She stole away, adventuress, inside of a ship. She wore a mask. She wore a hat. She dressed as a boy on board the ship. She made jokes with Paris and in the night he fucked her like a boy it was fun
The men came after her because they needed an excuse to do something.
Helen was not duplicitous so much as she was a child.
It was the very thing they: Menelaus, Nestor, Ajax, Paris, Odysseus, Agammemnon, Hektor, Aias etc., loved about her.
Her beauty was her character her flashing eyes her ecstatic mouth her life her life her life participating in every curve angle cleft of her body mind mood
At home Penelope struggled to maintain a position in the world. From within a city, from within a house, from within a family. She assumed her role, abandoned, threatened. By way of defense she inserted herself in a fairy tale.
She wove a shroud for Laertes—undoing it and undoing time and undoing her work; whether to bide her time before Odysseus came home or
“There was that same theme, that same absolute and exact minute when everything changed on a small passenger boat (as I remember) on the way to Greece. At an exact moment, by clock time, on an exact map, on the way to the Pillars of Hercules, on a boat that was bound for the port of Athens, there was a ‘crossing the line.’ I, the narrator of this story, did not know I had crossed the line.”
Helen walked around the Trojan Horse in the moonlight; the guards watched her. She laughed out loud. She clapped her hands. She talked to herself. Incantations.
The men inside had not heard a woman’s voice in years years years in ten years—Helen called them by name, imagining what their wives would say, the women banished banned from the horse, these pages, this war, Helen pretended to say what they would say. A marvelous game.
Listening to the vulnerable crouching men inside in the darkness in a womb they fashioned all themselves.
Menelaus : At that moment you came up to us; some god who wished well to the Trojans must have set you on to it and you had Deiphobus with you. Three times did you go all round our hiding place and pat it; you called our chiefs each by his own name, and mimicked all our wives -Diomedes, Odysseus, and I from our seats inside heard what a noise you made. Diomedes and I could not make up our minds whether to spring out then and there, or to answer you from inside, but Ulysses held us all in check, so we sat quite still, all except Anticles, who was beginning to answer you, when Ulysses clapped his two brawny hands over his mouth, and kept them there. It was this that saved us all, for he muzzled Anticles till Minerva took you away again.
She drugged the man she drugged the goat.
Repossessed she returned a quiet woman
In Penelope’s wandering tapestry, she sp n a room fu l of flax, the f ax of h r hair into the tap st y, she spun s cr t pa sage , t oughts, she s un t e wo an raped by a sw n he spun the co rse of her v sions she sp n a g lden ap le, her s cr t contempl tive life, plac d prec rio sly between fidelity and misg vi g, sense a d n nsense sh s un th cl th for La rtes to keep him f v r you g, h r protect r a d tter ng o d goa she spun a d her f ngers kn t the c ords fi rcely and s e sp n and in th n ght th re was nly he s und f t e l om as in the n ght of HD’s house t ere as o ly he so nd of a c ock as in the n ght H l n c lled ut t m n, b rr wing t e voic s of fo got en w v s, as t e sirens ca led out a he c ty c lled ut as t e z di c call d o t as p rallel lines called out to one another and met at last at l t at l st a d f r ver th hy t r c l wand i g w mb om , t e worl und ne w th the s n in th c nt r n t man n t man ot man w b t e w rld r und a l st at la
December 13, 2008
posted by Caroline Picard
I don’t know what you all are up to tonight in Chi-town, but I’ve got two things I’m headed to. 1) screening at Elegant Mister Gallery and 2) the Crystal Ball fundraiser for threewalls.
Their 4th annual holiday ball & fundraiser:
1513 N Western Avenue, 3rd Floor
December 13th, 2008
Doors at 8 pm, auction at 9:30 pm
Drinks, dancing, live music
$20.00, unlimited drinks
$30.00, includes one piece of ltd. edition stemware (your choice)
CHICAGO: Mark your calendars! Its threewalls annual holiday ‘ball’ on December 13th, 8pm at 1513 N Western Ave, 3rd floor.
This year’s party, Crystal Ball, will take you to a fantasyland of ice palaces and wizards, snow queens and magic. So start working on your costumes and training your fantastic beasts for our best holiday party to date, featuring our yearly art auction, famed photobooth, fortune telling and dancing, as well as best fantasy tattoo and a special appearance by The Christmas Wizard.
Our auction is shaping up to be a blockbuster event with original artwork, multiples and editioned prints by local and regional artists and past residents of the threewalls residency. This is the opportunity to start or add to your collection or buy a special holiday gift while supporting the local visual arts.
Scott Speh of Western Exhibitions will play auctioneer, so be ready with for a raucous time when he auctions off work by Amanda Curtis, Amanda Ross-Ho, Anne Wilson, Aron Packer, Bebe Krimmer, Brian McNearney, CamLab, Carmen Price, Carole Lung, Caroline Picard, Chris Hefner, Chris Millar, Cody Hudson, Craig Doty, Craig Yu, Dani Leventhal, Daniel Barrow, David Noonan, Deborah Boardman, Deborah Slabeck-Baker, Diana Guerrero-Maciá, Edra Soto, Ellen Rothenberg, Eric May, Jason Lahr, Jeanne Dunning, Jesse McLean, Judy Ledgerwood, Julia Hechtman, Ken Fandell, Lisa Krivacka, Maren Erwin, Matthew Rich, Melanie Schiff, Michael Dinges, Molly Schafer, Monika Bartholomé, Nevin Tomlinson, New Catalog, Peter Hoffman, Rebecca Ringquist, Robert Reinard, Selina Trepp, Sterling Ruby, William Cordova and more…
Ready and waiting to be filled with potion are our annual limited edition glassware, a set of etched stemware by 2007/08 SOLO artists: Ann Toebbe, Caleb Jones Lyons, Cayetano Ferrer and Heather Mekkelson. Each artist’s glass is a limited edition of 24 pieces. Glasses are $30.00 each with free entry to Crystal Ball, or a set for $100.00.
Currently threewalls only annual fundraiser, the holiday ball helps provide Chicago and region artists with one of the only application based solo exhibition opportunities in the city, a residency that brings national and international artists to Chicago to make new work and network in our community, as well as helping support publications like PHONEBOOK and Paper & Carriage.
Over the past year the success of the SOLO program has brought international attention to our first of 7 exhibiting artists, we have expanded our residency program to become a mobile collaboration with other art and community organizations in the city and we worked with artist John Preus on the renovation of our gallery space in order to create a bookstore for the distribution of artist publications and multiples.
We believe in promoting Chicago as an integral site for contemporary art by cultivating relationships between local artists, residents, visiting curators, thinkers and writers. threewalls applications and the success of our program have been fueled by word of mouth: Chicago is a great place for contemporary art!
Crystal Ball is essential to the development and maintenance of threewalls, and by helping threewalls, you help cultivate and support the artists that depend on us.
Join us this year for Crystal Ball and you will make this fundraiser a success and even a greater time!
threewalls is a nonprofit 501(c)3 organization dedicated to contemporary art practice and discourse. Through the residency program(s), SOLO project and quarterly publication Paper and Carriage, ThreeWalls aims to provide opportunities for experimentation, chance, critical dialogue and context for artists, curators and writers who are at pivotal points in their careers. www.three-walls.org
December 3, 2008
posted by caroline picard
these photos were taken by Shira Leon
this post is dedicated to James Gilmore, who sat patiently waiting in Baltimore
The Goddess of Scale Outside of Her Temple
here are some images….
this is not all the work, mind you – i couldn’t get some of the photos to line up straight, so you’ll have to sit up on the edge of your seat for the rest….
October 13, 2008
The Green Lantern Gallery & Press is pleased to announce the solo exhibition of Chicago artist Brian McNearney, “The Goddess of Scale Outside of Her Temple.” This show will be on view from Saturday October 18th until November 15th. There is an opening reception on Saturday the 18th from 7-10pm. This event is free and open to the public. Nice Cream ice cream will be at the gallery sampling their brand new ice cream flavor Banana Bread with Dark Chocolate Chips and Temptations from Chicago Soy Dairy will (fingers crossed) be sampling their Chocolate Soy ice cream. Homemade cupcakes provided by friends and staff and, (drum roll) the Moscow Mule will be available for drinking. Donations are much appreciated.
“The Goddess of Scale Outside of Her Temple”
solo show by Brian McNearney
“The Goddess of Scale Outside of Her Temple” is a project based around the full – scale replica of The Parthenon in Nashville, Tennessee and the copy of the cult statue of Athena located within. It is particularly grounded in the history of the statue since the original no longer exists and the Nashville version was scaled up to 42 feet from a composite of small Roman Kitsch objects that are still extant, (these were the equivalent of small concrete Mary statues found in Catholic’s yards today). Taken together, the scale
and material shifts from the lost Greek original made out of gold and ivory, to the provincial mass produced Roman versions, through to the plaster and gold leafed modern copy, and finally the numerous souvenir figures that are scaled back down from said copy and sold, allow for a very odd study of the degradation of a monumental image over the course of centuries. The Goddess of Scale Outside of Her Temple is an
installation exploring this weird continuum.
Official Bullet Point History of The Parthenon
• Greek Parthenon completed 438 BC
• Chryselaphantine Athena Parthenos inside Parthenon “disappears”, (Christians took it and melted it down) c. 400 AD
• Greek Parthenon made a church c. 600 AD
• Greek Parthenon made a mosque 1458
• Turks use Parthenon as a powder keg, Venetians blow it up and “ruin” it 1687
• Nashville Parthenon first constructed 1 year late in “The Athens of the South” for Tennessee’s centennial exhibition 1897