Marjorie Welish – författare

This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.

This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.

Bridging the gap between Language School poetics and New American Poetry, Word Group blends collage with dizzying grammar and a pyrotechnic display of surreal syntax. These new poems create music in verbal tapestries of abstract ideas and precise observations. As C.D. Wright said of the author, “there may be no known correspondences for Marjorie Welish’s mind. She’s a little bit scary.”Poet, painter and critic, Marjorie Welish teaches at the Pratt Institute in Brooklyn and as a visiting art critic and poetry professor at Brown University. She is the author of The Annotated “Here” and Selected Poems which was a Lenore Marshall Poetry Prize finalist and a Village Voice Best Book of the Year. She lives in New York City.

“Public inscriptions are all around us. Their mystery and the lack thereof are the off-screen subject of Marjorie Welish’s gritty, beguiling Isle of the Signatories, to be pondered long after lesser inscriptions have given up their secrets.”—John AshberyIn her latest collection, Marjorie Welish invents a world of public inscriptions. From graffiti to scholarly dedication and from historical placards to words etched in granite, she employs a variety of fonts to explore the dangers of rhetoric, the mysteries of coded language, the enigmas of form, the powerful gift of dedication, and the strange sense and substance of both new and dying literary conventions.Are all contingencies still in effect?Okay Okay OkayOf orreferring to antecedent future sentences in creases:as, insofar as, even as, yes! Of whichantecedent future increasing salvage do we write?Recipient of the Judith E. Wilson Fellowship, the Howard Foundation Fellowship, and other prestigious awards for poetry, Marjorie Welish is the author of Word Group, most recently, and also The Annotated “Here” and Selected Poems, which was an Academy of American Poets Lenore Marshall Poetry Prize finalist and a Village Voice Best Book of the Year. She lives in New York and teaches at Columbia University and Pratt Institute.

Praise for Marjorie Welish: "[Welish] challenges 'prettiness' at an almost feverish pitch, working against a poem's anticipated flow even as she moves it along with jazzy verve." --Bookforum Welish uses the page--not as a surface upon which to buoy language, but as a core construction of the poem, in visual and kinetic relationship with text. One of our most challenging and rewarding poets, the pleasure is to simply marvel. From "Vamp ('avant pied')": In laughter you acquit the betwixt divided by half and half helped into the indecent parentheses brooding on reasoning, resonance--too much reverb lay in the epilogue