Liat Yossifor, Wall I, 2017, 80 by 78
inches “Every one of us is, in the cosmic perspective, precious. If a human disagrees with you, let him live. In a hundred billion galaxies, you will not find another.” -Carl Sagan
Humanity is unique in its diversity. Unique in its ability to adapt and ask questions about the universe in which we find
ourselves. Every one of us comes from an experience no other has traversed and yet we find common ground when we choose to seek it. It is this common ground together with our individual perspectives that imbue artistic endeavors with the truly inimitable.
Philip Metres is currently involved in a number of projects. The More You Love the Motherland, a memoir about his time living in Russia is his particular obsession at this time. For Metres, a poet, writing in this format is an exciting
departure. Metres has a book coming out this fall called The Sound of Listening, a collection of essays about the role of poetic arts in our lives. It is Metres belief that art plays a critical role in creating spaces where politics can begin and being can happen in new ways. In writing this book, Metres sought to invite readers to rethink the boundaries they place around poetry. Metres is also finishing up revision on a work due out in 2020 titled Shrapnel Maps which examines the Holy Land from
various perspectives. While much of the resource material for this and other books Metres has written comes from documents, he believes in the importance of standing in the ground of his own experience. Metres poem from a sequence called Home Front touches upon the experience of post-9/11 air travel as an Arab, what that meant for him and how others looked at him deciding quietly who they thought he might be. It also touches on his own internal struggle and the inexplicable fear that in fact he
might be who they think despite knowing the reality of the situation. To hear more from Phillip Metres including readings of several poems, listen to the complete interview. Peter Mishler released his first book, Fludde, in May 2018. The book was a lengthy process of writing and revision and for a period of two years he worked almost
exclusively on preparing this book. He is now beginning to draft another manuscript having placed considerable energy into finding new ways to write his poems. While writing Fludde, Mishler couldn’t quite place what exactly the overarching message was. Once the book was complete and he had the opportunity to step back a bit, he was better able to see the intention of the poems. Reception for Fludde has been very positive and Mishler received the Kathryn A. Morton Prize in Poetry for the work.
Through his writing, Mishler has been able to connect with experiences that are beyond his own and to value this in his work. This has opened doors to his unconscious life outside the bounds of his day-to-day. For one work read during the interview, Mishler draws on the poetry of William Blake’s Songs of Innocence and Experience using the character of chimney sweep Tom Dacre to represent those who are harmed during their lives. To hear more from Peter Mishler including readings of some of his
poetry, listen to the complete interview. |
Weekly Grants &
Resources for Artists Every week you will find updated resources here to apply for grants, find residencies and
more.
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American lawyer and thinker Robert G. Ingersoll once said, “Strong people don’t put others down… They lift them up.” In this world where many of us live lives that are increasingly disconnected from others, it is more important than ever to reach toward one another and.... | Summer is a perfect time to take stock of what it is you are doing and where you’d like to be in the immediate and more distant future. Part of solving the second half of that equation is determining some opportunities that are worth applying for.... |
These are positive and / or negative reviews of galleries, art fairs, consultants, writers, online pay to play offers, residencies and more – all written by artists so that other artists can beware of situations where institutions treat artists badly, or that end up costing the artist money or are
outright scams.
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