Ariana Reines

"Just a few months after the publication of her prize-winning, instant classic debut The Cow, Ariana Reines self-published this stunning book-length poem, now a cult object among readers of truly contemporary poetry. Coeur de Lion is an intensely personal, monologic meditation on longing, sex, and love between a speaker and the object of all her passions, which include thinking and writing."

"Corrected slogans represents a vital discourse on conceptual practices in contemporary art and poetry. In conjunction with the exhibition, 'Postscript: writing after conceptual art' organized by the Museum of Contemporary Art in Denver, the online magazine Triple Canopy hosted a series of public conversations between some of the most innovative artists and poets working today. The symposium 'Poems for America' asked how conceptual strategies of writing have transformed conventional notions of expression. 'Automatic reading,' a seminar-style roundtable, focused on reading as a creative practice, and the book as a material object and signifier. Corrected slogans features annotated transcripts of these events along with contributions, new essays, artworks and writing"--P.4 of cover.

Collected in this volume are Chelsey Minnis's first two books: Zirconia (winner of the Alberta Prize) and Bad Bad. Zirconia introduced a speaker described as half-smirking, half-weeping" by the Village Voice. Minnis heralded the gurlesque, a term coined for the occasion and defined as "a feminine, feminist incorporating of the grotesque and cruel with the spangled and dreamy." Bad Bad ushers Zirconia's juvenile persona into unblushing womanhood. The poems are equally clownish and fuck-offish, taking on with equivocal weightlessness the lexicons and trimmings of fashion, as it applies to the Self and the garments that clothe the Self, and self-obliteration. Minnis addresses the inner needs of the poet - "the purpose of poetry is to seem as lifelike as possible so that you actually exist.""

"A timely reassessment of the artist’s early performances and feminist sculptures, affirming their radical engagements and art historical significance. This volume is a focused look at two bodies of work, the Tirs (“shooting paintings”) and Nanas (“dames”), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930–2002). Alongside a poetic response to the work, four essays treat Saint Phalle’s oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle’s life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle’s increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement."--