
Hanne Darboven, 24 Gesänge (24 Chants), 1990, Schellmann Art
Four-part silkscreen on rag paper, one with collage, with two music tapes. Overall size 155 x 532 cm (61 x 209.4 in). Signed and numbered on print 4.
Signature: Signed and numbered

Hanne Darboven, 24 Gesänge (24 Chants), 1990, Schellmann Art
Four-part silkscreen on rag paper, one with collage, with two music tapes. Overall size 155 x 532 cm (61 x 209.4 in). Signed and numbered on print 4.
Signature: Signed and numbered
Cy Twombly,
Natural History Part I: No. VIII, 1974; Natural History Part I: No. X, 1974; Natural History Part I – Mushrooms (No. II), 1974
/ l’Altissimo /
Sick
Peter Tillessen, 40 Jahre Kernspaltung (40 years of Nuclear Fission), (2012)
Press release: “40 Years of Nuclear Fission looks like an old scientific textbook that explains the origins of nuclear fission, illustrated by captivating black and white photographs of sculptural shapes. In fact the book is not an academic but personal compilation by photographer Peter Tillessen. The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich. The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer. The number 40 is in this compilation no accident: Tillessen took the pictures on his –rainy– fortieth birthday for one of his best friends to pay off his debts from a bet – as he wasn’t a father of a big family (like his father) at the age of 40. That’s what he had pretended to his friend at the age of 27. The design of the book in the book accentuates the biographical fission within the big context of the atomic age: particularly the way the photographer examines the father’s book to reflect his own situation and to become aware of the earth’s fragility”

Johnny Damm
Constructed out of illustrations from 19th century science textbooks and manuals, these diagrams are pieces from a larger series, Science of Familiar Things. The works offer a fragmented view of a relationship and together form a type of clear-eyed love poem.

Bas Jan Ader, broken fall (organic), 1972
Bas Jan Ader, notebook entry (date unknown) Inset: Michelangelo Buonarroti (1475-1564), The Sistine Chapel:
Bas Jan Ader notebook entry (date unknown), Paper and newspaper clipping,William Blake, English (1757-1827), The Temptation and Fall of Eve (Illustration to Milton’s “Paradise Lost”),
1808, Pen and watercolor on paper, 19 9/16 x 15 ¼ inches, Courtesy of The Bas Jan Ader Estate & Patrick Fall of Man, Photo Credit: Erich Lessing
Epigraph | Joni Murphy | Double Teenage
June Jordan | Who Look at Me
Angela Carter | Penetrating to the Heart of the Forest | Burning Your Boats: The Collected Short Stories
Lisa Robertson | [It was Jessica Grim the American poet…]
Autumn Royal | She Woke & Rose
Lisa Robertson | [Sometimes I want a corset like…]
Nina Auerbach | Our Vampires, Ourselves

Nancy Spero, “Another Normal Love” at Barbara Gross (Contemporary Art Daily)

Kiki Smith (American, born Germany, 1954). Butterfly, 2000. Dimensional iris print with collage
Phaedra | Seneca: Six Tragedies | Translated with an Introduction and Notes by Emily Wilson
Jenny Holzer | Survival
Phaedra | Seneca: Six Tragedies | Translated with an Introduction and Notes by Emily Wilson
Lisa Robertson | Lisa Robertson’s Magenta Soul Whip
Phaedra | Seneca: Six Tragedies | Translated with an Introduction and Notes by Emily Wilson
• Found art is the most conservation-minded of the arts, for it recycles the waste of the past and reuses it in a surprisingly different way, thereby giving the original a new lease on life. “Collage seems to me the one medium most suited to the age of conspicuous waste,” painter Harold Town wrote, “and it’s marvellous to think of the garbage of our age becoming the art of our time.”
• An especially valuable function of found art and found poetry in particular is its ability to make us respond aesthetically to the universe around us, not just to those separate parts of the world called works of art. It is possible to act as if the universe itself were an immense piece of art, a collage perhaps. But does this spell the doom of art? As the Czech poet Miroslav Holub wryly observed, “There is poetry in everything. That is the biggest argument against poetry.”
