"To look to the artwork for care, or gift or piety or, most simply, love, is to project a structure and an effect beyond the horizon of the artwork itself. It is to imagine an impossibly ongoing transgression of the circle - polis, oikos, both and at once - in order that those shapes remain, are preserved, to be tested. Social agency or amative connection only appear in the negative space cast by the jointed figure of work and life, and while this projects the artwork into space, it suggests a fugitive frame and directs us by saying 'Not here, not what you hold in your hands.' . . .
"This self-canceling void out of which the artwork impossibly proceeds (which is never available in the artwork itself) suggests that the act of art-making be read as the inverse, and not the expression, of the original urge."
- thus Andrew Rippeon, in P-Queue 5. I'm reading this thinking about the commemorative impulse in history-including art. And poetry shards.
At the New Orleans Poetry Festival, April, 2017 - Eileen Tabios, Tim Dyke, Lo Mei Wa and myself before the Tinfish Press reading.
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