Friday, October 31, 2014

Friday's Weekly Round-Up - 195

["William Burroughs with a Jack-O-Lantern he carved with a hatchet, October 31,1996" - Photograph by Philip Heying - c. Philip Heying via Burroughs 100]

October 31, it has to be said, always makes us feel a little schiz-y. It's the anniversary of the birth of the English poet John Keats and the celebration of that great Howling night, Halloween.

Regarding the former, we're happy to announce that the entire text of Allen's crucial essay, "Negative Capability - Kerouac's Buddhist Ethic" ("negative capability" is, of course, John Keats' memorable phrase) is now back and available on-line. Regarding the latter, well, here we go again:

[John Keats]

Canadian poet, Victor Coleman takes a look and gives a not-always-accurate but informative, mordant "personal" entertaining survey of "We Are Continually Exposed To The Flashbulb of Death", the show of Allen's photographs currently up at the University of Toronto Art Center - see here

Another review of the show (by Yoanna Terziyska for ARTslanT) can be found here 

"The goddess", as Coleman calls Anne Waldman and "Uncle Bill", as he refers to William Burroughs -  This weekend in Chicago the William Burroughs Centennial celebrations continue with Interzone - A Burroughs Birthday Bash (part of the Chicago Humanities Festival, co-sponsored by Lake Forest College, and featuring scholars, poets and musicians - Tony TrigilioDavis SchneidermanEileen MylesAnne Waldman, among others)

[Anne Waldman and William Burroughs]

and next Thursday, in New York, the opening of "Cut-Up", an exhibition (presented in conjunction with Emory University) at the Boo-Hooray Gallery.

next Wednesday in New York,  at CUNY and at the St Marks Poetry Project, Anne Waldman is center-stage once again - celebrations of the 40th anniversary of the Jack Kerouac School of Disembodied Poetics at Naropa 

next Tuesday, the release of the new old Bob Dylan


Eight days ago, Patti Smith reciting "Footnote to Howl" at Fondation Cartier in Paris

Thursday, October 30, 2014

Ezra Pound's Birthday

Two clips from the Pound Voices and Visions film today, since it's that time again -
Ezra Pound's birthday. 

Check out previous Pound Birthday postings on the Allen Ginsberg Project here, here and here. 

The centrality of Pound (il miglior fabbro")  and the "problem" of Pound  ("that stupid suburban prejudice of anti-Semitism", to quote the poet himself, in his rueful later years)  neither will go away.

Wednesday, October 29, 2014

Francesco Clemente

[Allen Ginsberg (Portrait)  1982-1987 - Francesco Clemente - Water-color on paper 14 x 20 ins]

Six beautiful images from Francesco Clemente's web-site today (all from the 'Eighties). One water-color portrait and five elegant collaborations (three from Black Shroud, one from White Shroud, and a concluding work, from "Images from Mind and Space"). No particular reason to be featuring Clemente today, other than that these are breath-taking images. Reason enough. 

A previous post on The Allen Ginsberg Project on Francesco Clemente, incidentally, may be seen here 

[from "White Shroud" - Allen Ginsberg &  Francesco Clemente, 1983 - Ink, pencil, water-color on paper 17 1/2  x 26 3/4 ins] 

[from "Black Shroud" - Allen Ginsberg &  Francesco Clemente, 1984 - Ink, pencil, water-color on paper 1o 1/2  x 13 3/4 ins] 

[from "Black Shroud"Allen Ginsberg &  Francesco Clemente, 1984 - Ink, pencil, water-color on paper 1o 1/2  x 13 3/4 ins] 

[from "Black Shroud"Allen Ginsberg &  Francesco Clemente, 1984 - Ink, pencil, water-color on paper 1o 1/2  x 13 3/4 ins] 

[from "Images from Mind and Space"Allen Ginsberg &  Francesco Clemente, 1983 - Water-color on paper 5 5/8 x 15  5/8ins] 

Camille Hog Xin (Art In America): Speaking of poetry, you collaborated with Allen Ginsberg on two books, Black Shroud and White Shroud. How did you come to collaborate?

Francesco Clemente: We both shared a passion for William Blake. We wanted ro make our own illuminated poetry. Ginsberg was very meticulous. He prepared the paper and he came to my studio and wrote. Then I illuminated the manuscript. At other times, he wrote after my images. For example, I had a show Ex Libris Chenoceau (Chateau de Chenoceau, France, 1995) with 108 pastels. He wrote 108 short poems called "Pastel Sentences" in 17 syllables, haiku style. His courage and simplicity were inspiring.

[An illuminating discussion, (recorded in July of 1992), between Ginsberg and Clemente may be heard here  (scroll down) on Allen's PennSound page (an essential Ginsberg resource)] 

Tuesday, October 28, 2014

Francis Bacon

Francis Bacon (1909-1992) on Allen Ginsberg: "I met Allen Ginsberg the other night. When I'd seen him in Tangier, he was with his boyfriend and said to me: "Will you paint a portrait of us on the job?". And I said: "Well, this is going to be awkward, Allen, how long can you hold it?" Anyhow, nothing came of it, and when I saw him the other day he reminded me of this and he  said: "Now I'm here for another month, will you do a portrait of me? Well, the thing is, he's got a very heavy beard now. I know good portraits have been done of people with beards, but I really am more interested in the actual structure of the face that hasn't been messed about by a beard. It's one of the reasons that I don't really like long hair in men, because I like seeing the actual skull. It may be one of the reasons I always find medieval art so boring because I hate the men's long hair because you can't see their skulls. I'm interested in Egyyptian things, not only for their extraordinary quality, but I like their short hair and I like the short hair of certain Greek things too."

Here's Bacon in 1966 (interviewed by David Sylvester)

Here's Bacon, from five years later,  on immediacy and violence 

Here's the South Bank Show (from 1985)  - his profile and interviews with Melvyn Bragg

Here's Bacon walking down the streets of London with William Burroughs

[Francis Bacon and William S Burroughs - Photo by John Minihan]