posted and written by caroline picard

What follows is the curatorial statement used for FLUXspace exhibit

“Isolated Fictions”

February 6 – March 6, 2010

Opening Reception: February 6, 2010, 7 – 10 pm  CLOSING RECEPTION TBA

Gallery Hours: Saturdays 12 – 4 pm or by appointment
Contact: Angela Jerardi, 202.258.9670 /

Image taken by friend and Philadelphia artist, Hiro Sakaguchi : This is what it looked like the day after the storm, the day after the opening....

ANTENNAS in the middle of a snowstorm

curatorial statment about Isolated Fictions

It has been snowing for the last several hours. In the short time I’ve been in Philadelphia, anticipation for that snow has been the main subject of conversation. It was the anticipation of that storm that made me think about imagination and the way we project ourselves into the future, building and sharing expectations.

Three nights ago, a stranger crossed my path at midnight. He shook his head repeatedly, “Snow, snow, snow, snow, snow…” he said. That’s when I knew. That’s when I knew it was going to be a big storm.

It’s fitting that Isolated Fictions would open with a storm; 189 years ago a group of sailors who created the original North Georgia Gazette were very cold. They were cold and they sat in the dark for many months, waiting for the ice that locked their ships into the Arctic Circle to melt. It’s fitting that an exhibition inspired by the Gazette would coincide with a hazardous storm. There are a number of comparisons worth noting.

Due to preventative weather conditions, almost two feet of snow, we expect a small turnout. The sailors were cold on a ship; we’re cold in a warehouse. The sailors made work, imagining the possibility of a future audience. We put up an exhibition—Rebecca Grady and I came from Chicago, Amanda Browder came from New York. We anticipate someone other than ourselves and our hosts at FLUX will witness it. Further, Isolated Fictions takes place in North Kensington, an out-of-the-way neighborhood with narrow streets, families, an occasional bodega, a bar, a hair salon. FLUXspace is a destination venue for contemporary art enthusiasts. Most of those would come from elsewhere—other neighborhoods in other parts of the city. The North Pole is also a destination venue, though it’s enthusiasts are, perhaps, of a different sort.
Obviously, it is absurd to draw any literal comparisons between the inhospitable, natural Arctic North and a contemporary urban art gallery. Yet perhaps in this show, in this place, there are echoes and refractions which, having extended out of Parry’s experience, muting and deviating through time, suddenly, and oddly, reappear here as a kind of temporary eddy.

In 2009, The Green Lantern Press reprinted and re-contextualized that 1821 newspaper. In addition to excerpts from the Captain’s journal and the newspaper itself (featuring original poems, play reviews, classified ads, etc.), the text is punctuated with images of work by contemporary artists. Both the design of the book and the interjection of those artists creates a bridge from an historical event to our contemporary present; from the world of the sailor/expeditionist to that of the artist.

Those sailors wrote from a place without a guaranteed audience. They had no way of knowing whether the papers they wrote, the experiments they executed, journals kept, would ever find their way beyond the arctic landscape. Nevertheless, they put on plays for one another, wore sometimes girlish costumes, published writing—investing in the idea of posterity. Creating something for a hoped-for audience, an audience that would only exist if they were to survive their conditions and escape the ice. To believe in such an audience is as life-affirming as the fictions they made for one another. Both are hopeful. I would argue that such an investment was essential to their survival. Considering the odds they were up against, Parry’s expedition was an unprecedented success. Only one man died.

Isolated Fictions picks up on the idea of communication; focusing on the action of (art)work. That desire to make work, to be heard, in order to communicate something specific. Each piece is evidence of such work, an attempt for an individual to communicate. Each piece demands its own terms, using different formal vocabularies using found material. The necessary idea behind each work is that, despite its idiosyncratic aesthetic language, both (art)maker and audience believe its meaning can be communicated. Similarly, the everyday speaker assumes his or her thought can be expressed in words, while the listener assumes he or she can grasp that same speaker’s thought. It’s remarkable, really. Impossible. Absurd.

And yet.  A suspension of disbelief is required in order to participate in the world. One must hope that the work can and will be heard, just as the work must hope that it is understandable. That hope is a kind of striving.

Jason Dunda’s The Tower, shows a painstaking care to brushstroke and detail;  he shows us an impossible construction, cartoon-like with intricate pattern and color. The tower looks like it’s constructed with a variety of found and various two x fours. From far away, the tower looks believable. On closer inspection, however, one sees the individual pieces of the tower are not connected by any nail or screw. At best, they are dubious load-bearers. The Tower demands a degree of imaginative participation from the viewer, asking that one imagine it can be used. It also points to a natural desire to climb above one’s perspective. Towers are erected to see from a higher vantage, for protection or knowledge. When creating a tower, one also creates a point of vulnerability, a place from which one is easily seen. The Tower is self-reflexive, in this way, pointing to the art making process—the illusory potential of materials, the demand of viewer participation (via imagination/projection), the desire to communicate and or see something greater than oneself. Even, the vulnerability of imagination.

Devin King’s 2 squared + 4 = 8 samples sentences from different sources. He gathers these and reforms them onto a page, creating a poem, or a space, or a narrative. He borrows characters from the Gazette, “Hooper” for instance, is captured as he might have been in the Arctic, performing on stage. Splice that image together with Kathryn on the telephone curling the chord, or Victor Hugo’s proverbial octopus (what Hugo called “killjoys of the contemplator,”) to mixtapes and aggressive historicizing. King’s work actively lays out various examples of communication-attempts. By re-contextualizing them he disrupts the specific meaning of each original phrase. By creating a new surface with those phrases, the words become flat objects, the disjointed and intuitive narrative a spectral projection who’s meaning is ultimately subjective.

No Floe (2005), by Carmen Price, operates similarly, providing a space—revealing more than anything the work of an introspective process. The care of the graphite coloring, its texture, its soft mottled-ness—like fur almost—provides a means to measure time taken in the drawing’s completion. It seems almost like a landscape painted of a very particular inner space, one inaccessible to a larger audience beyond its present form, as a representation of that space, not a literal depiction of it. There are three distinct forms of mark-making or color that used. The first operates like a kind of wash, or pale blue sky. The ground is the graphite–a solid field of grey, textured by the directional lines its comprised by. Then too there is a floating overlay of triangular marks–these combine to read as a single structure, appearing in one sense like a floating iceberg. Yet her too, the combined meaning of these marks is projected, a result of the viewer making assumption, assuming even that each constituent family of mark making can be associated with the literal, physical world out the window. While the marriage is successful in composition, they could simply be doodles, a collection of found lines.

Iceberg is a soft sculpture by New York artist, Amanda Browder. In some way Browder creates a three-dimensional, tactile experience of what Price hints at in his drawing. Stitching one-dimensional fabric surfaces together, Browder creates a sense of depth, abstracted from the variant kinds of ice and surface that make up icebergs. Here too, she uses found, donated materials and the coalescent patterns, the gingham print on one facet of the structure, abutting the polyester pants-suit leg of another facet, topped with a crag of white stuffed animal fur, recontextualize mass-produced, factory materials into a singular object that mimics nature. Here too, the form points beneath itself, to the space it theoretically occupies underneath the floor, extending into the well-known metaphor that the tip of any given iceberg represents one tenth of its true size. Using this three-dimensional structure, Browder defines a phsyical space of abstraction. One which the viewer must then negotiate.

Deb Sokolow’s work creates a different kind of space for the viewer. While integrating text and images, she always uses the second person, teasing out paranoid fantasies. In this instance, however, she projects a specific relationship onto that viewer, controlling the viewer’s position by way of suggestion. “Is there a draft in the room?” she asks, imposing on you the role of Captain Parry. “Odd. There shouldn’t be.” Imposing on you again the beginnings of concern. Integrating historical events with rumor and suspicion, Sokolow builds a narrative as one might a house—composing her narrative around your head. It is as though she cannot be sure that you will understand her work as it might take place in her eyes. Instead, she controls what you see through your own eyes.

Rebecca Grady has a number of pieces in this exhibition. She made the framed grid at the bottom of the stairs. She also made the Arctic Map, where again, one sees the result of interpretation and fantasy projected onto an existing landscape—the earth. Her most curious piece is comprised of sheets of paper that hang straight down from a pipe parallel to the floor. The sheets curl under themselves. They are crinkled in places with devising topographies. It is likely the most cryptic piece in the show. The most demanding. And for all it’s simplicity, the most inaccessible. Here one must ask what the piece is asking; what the (art)maker is trying to communicate. A Fraction of an Instant Where Water and Human Ambition Collide creates a wall upon which we look, through which we cannot pass. It is constructed of usable material, material humanity can manipulate to express other things. And yet its largess, its emotional inexpressiveness is daunting. Reminiscent of sheets of ice or  a waterfall, the paper becomes a metaphor for natural elements beyond human control. The ice that locked Parry’s ships into a winter season of darkness.

Finally, Nick Butcher’s piece Grain Advance is a mirror replica of an original, vintage historic record. Butcher pours woodglue on the record, applies paper to the back and, when dry, the paper pulls the woodglue cast. That cast is then played. The sound is ghostly, full of pops and static. The needle gets stuck in tracks and loops over and over itself. Here too the meaning of the original record is lost. A shadow remains and that shadow creates a new audio space, one the viewer inhabits. The audio space, the way it repeats itself, is also a measure of time, whereby the repetition, the tireless monotony, influences our experience of progression. I always find myself imagining that the record is very old. I project myself into a past that presumably exists, in as much as the record is evidence of it. And yet. That record is false evidence. It has been fabricated.

Each piece reflects a process of making just as much as it reveals an earnest intention to communicate. We are here now, standing in an idiosyncratic space, in a part of the city generally overlooked by upwardly mobile denizens with annual subscriptions to the New Yorker. Nevertheless it is such bizarre and focused and marginalized activities as these that make life interesting. As a final note on communication, I thought I’d pull a quote that Devin sited during the book launch for the Gazette. At one point, Victor Hugo spoke to the ocean. Hugo asked it to write a piece of music that described itself for the flute. This is what it said, rapping on a table:

“Your flute pierced with little holes like the ass of a shitting brat disgusts me. Bring me an orchestra and I’ll make you a song. Take all the great noises, all the tumults, all the fracases, all the rages that float free in space, the morning breeze, the evening breeze, the wind of the night, the wind of the grave, storms, simoons, nor-easters that run their violent fingers through the hair of trees like desperate beings, rising tide on the beaches, rivers plunging into seas, cataracts, waterpouts, vomitings of the enormous breast of the world, what lions roar, what elephants bellow with their trunks, what impregnable snakes hiss in their convolutions, what whales low through their humid nostrils, what mastodons pant in the entrails of the earth, what the horses of the sun neigh in the depths of the sky, what the entire menagerie of the wind thunders in its aerial cages, what insults fire and water throw at each other, one from the bottom of his volcanic yap the other from the bottom of his abysmal yap, and tell me: here is your orchestra—make harmony from this din, make love from these hates, make peace from these battle, be the maestro of that which has no master.”

Poet Twins

April 12, 2009

posted by Caroline Picard


I came across a pretty great article on some Poet twins in New York City. You can read a synopsis by going here, though you’ll have to check out the original magazine (library?) if you want to read its entire. You can also listen on-line to both Michael & Matthew Dickman reading their poems by visiting “From the Fishouse” an audio archive of emerging poets.  Allegedly, one of them made out with Ginsberg, which, allegedly, was the beginning of a career. Setting all the flash of brotherhood aside, it’s well-worth checking out some of the readings; I certainly enjoyed those more than the poems in the article, which I think played more on the trope of their twin poet practice than it did their craft. From what I gather, their poems interlock, or respond back and forth, while at the same time being totally autonomous.

The article is nevertheless worth checking out, mulling over, fetishizing, rebuking, unfetishizing, considering, and concluding. All I know is I feel like I’d rather these fellows be in my tabloids than Brittany, Angelina or Simpson combined. Wouldn’t that be marvelous? Front and center of the Enquirer “Poet Twins Fall Out Again,” in which the whole article would be dedicated to the argument they had over continental breakfast, revealing how one signed a book deal without the other. Beside the Enquirer, OK! reports that the twins are going to have a double wedding, they are already pregnant, composing poems to haughty and ardent eyebrows. STAR says one twin is in the middle of a nervous breakdown and the other can’t write anymore.

See? It would be brilliant. The punchline could always go back to wincing muse.

Of course, the brand of twinship is problematic, and as far as I can tell has always been problematic to every twin. So if the New Yorker does it, does that make it OK?

posted by Caroline Picard

I happened upon two articles today that seemed in keeping with Nick’s recent blog thread about memoirs, strategies for publication and the ever-looming albatross: The Publishing Industry.

To that end, I’d recommend checking out this haughty “Shout & Murmus” letter entitled “My Holocaust Memoir,” published recently in the New Yorker.

And too, this article in Newsweek where speculation of how much Bush might be able to get for a memoir post presidency (apparently Clinton got a mere $10 million where Bush’s is apparently going for a rate of $2). Of course I’m not too worried about a president becoming a pauper, since there will likely be some people out there interested in what he has to say, and right so, afterall the man ran the whitehouse, right? I can’t imagine turning down a drink opportunity, but of course I’m curious about all people, whether I agree with them or not.

Point being, it’s interesting that such a speculative article would take stock of the flagging publisher’s market…which, as I said, has been a regular topic of interest on our little blog.

posted by Caroline Picard; the original site for this post is available here.

Andre Aciman. (1998) Letter From Illiers-Combray: In Search of Proust.      The New Yorker, December 21.


It was by train that I had always imagined arriving in Illiers-Combray — not just any train but one of those drafty, pre-World War, rattling wagons which I like to think still leaves Paris early every morning and, after hours of swaying through the countryside, squeek their way into a station that is as old and weather-beaten as all of yesteryear’s provincial stops in France. The picture in my mind was always the same: the train would come to a wheezing halt and release a sudden cloud of steam; a door would slam open; someone would call out “Illiers-Combray”; and finally, like the young Marcel Proust arriving for his Easter vacation just over a century ago, I would step down nervously into the small, turn-of-the-century town in Eure et Loir which he described so lovingly in “A la Recherche du Temps Perdu.”

Instead, when I finally made my way to Illiers-Combray, late last year, I arrived by car with Anne Borrel, the curator of the Proust Museum there, who had offered to pick me up at my Paris hotel that morning. In my pocket was a cheap and tattered Livre de Poche edition of “Swans Way,” which I had brought in the hope that I’d find a moment to read some of my favorite passages on holy ground. That was to be my way of closing the loop, of coming home to a book I had first opened more than thirty years before.

I had bought it with my father, when I was fifteen, one summer evening in Paris. We were taking a long walk, and as we passed a small restaurant I told him that the overpowering smell of refried food reminded me of the tanneries along the coast road outside Alexandria, in Egypt, where we had once lived. He said he hadn’t thought of it that way, but, yes, I was right, the restaurant did smell like tanneries. And as we began working our way back through strands of shared memories — the tanneries, the beaches, the ruined Roman temple west of Alexandria, our summer beach house — all this suddenly made him think of Proust. Had I read Proust? He asked. No, I hadn’t. Well, perhaps I should. My father said this with a sense of urgency, so unlike a him that he immediately tempered it, for fear I’d resist the suggestion simply because it was a parent’s.

The next day, sitting in the sun on a small metal chair in Lamartine Square, I read Proust for the first time. That evening, when my father asked how I had liked what I’d read, I feigned indifference, not really knowing whether I intended to spite a father who wanted me to love the author he loved most or to spite an author who had come uncomfortably close. For in the eighty-odd pages I had read that day I had rediscovered my entire childhood in Alexandria: the impassive cook, my bad-tempered aunts and skittish friends, the buzz of flies on Sunday afternoons spent reading indoors when it was too hot outside, dinners in the garden with scant lights to keep mosquitoes away, the “ferruginous, interminable” peal of the garden bell announcing the occasional night guest who, like Charles Swan, came uninvited but whom everyone had nonetheless been expecting.

Andre Aciman. (1998) Letter From Illiers-Combray: In Search of Proust. The New Yorker, December 21.

Posted by Nick Sarno




This comes from Ask the Librarians at I just realized that trying to summarize this would take just as long as the actual piece, so I’m going to be lazy and cut and paste. But I don’t want you to be lazy…when you’re done, click on the link above, where you’ll find many more interesting factoids like this:

Q. Is it true that at some point in the seventies, Goings On About Town used the listings for The Fantasticks to serialize James Joyce’s Ulysses?

Jon writes: Yes. The New Yorker began serializing Ulysses in the November 23, 1968 listing for The Fantasticks, which famously ran for 17,162 performances, or nearly 42 years. That issue quoted the copyright information from the third printing of the novel (London, Egoist Press). The book’s opening words-“Stately plump Buck Mulligan came from the stairhead bearing a bowl of lather on which a mirror and a razor lay crossed”-appeared in the Dec. 21, 1968, issue. The serialization lasted almost three years, ending in November of 1971, and encompassed the entirety of the book’s first chapter. By the end, Ulysses had spread to the listings for other long-running musicals such as Hello, Dolly!, and Fiddler on the Roof. For about six months prior to serializing Joyce’s novel, the magazine had filled the Fantasticks listing with geometry (“The sum of the squares of the two other sides”), grammar (” ‘I’ before ‘e,’ but not after ‘c’ “), instructions for doing your taxes (“If payments [line 21] are less than tax [line 16], enter Balance Due”), and other nonsense.

In 1970, New Yorker editor Gardner Botsford explained to Time magazine that he began the serialization of Ulysses because he got bored writing the same straight capsule reviews week after week. Asked about reader response to the serialization, Botsford observed, “Many are delighted they can identify the excerpts, but others think we are trying to communicate with the Russian herring fleet in code.”

Time noted that Botsford might have been inspired by one of The New Yorker’s own writers. Robert Benchley handled theatre listings for the original Life magazine in the twenties, and once wrote of the long-running Abie’s Irish Rose: “One, two, three, four, five, six, seven, eight, nine, ten.”


(P.S. I’m sorry about that image above. It was a good idea, but would have taken hours to to well. I hope neither James Joyce nor The New Yorker is too, too offended.)