Signifying Art: Essays on Art after 1960 (Contemporary Artists and their Critics)

Signifying Art: Essays on Art after 1960 considers the work of a generation of "respondants" 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 works of Minimal and Conceptual artists, particularly Donald Judd and Sol LeWitt, who sought to make objective and theoretical artifacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in light of contemporary issues, Welish offers a fresh reevaluation of some of the major trends and production of postwar American painting.

Arts & Photography

Welish, Marjorie

History & Criticism

Cambridge University Press

Language that engenders sense rather than depicting sense is the poetic assumption of "Casting Sequences". By presupposing, like the Surrealists and the French Symbolists, that language is experience and not just a defective substitute for it, Marjorie Welish elevates the medium of words. In lyrics driven at times by sound associations, at other times by style and literariness, these poems move freely among matters germane to the writing and reading of poetry itself. Placing language at the centre of consciousness, Welish's lines bespeak her conviction that words are the medium by which we bring ourselves into being and then are extinguished. These poems offer the reader an array of encounters with the provocative play of language.

Casting Sequences: Poems (Contemporary Poetry Series)

Literature & Fiction

Poetry

Univ of Georgia Pr

Language that engenders sense rather than depicting sense is the poetic assumption of Casting Sequences. By presupposing, like the Surrealists and the French Symbolists, that language is experience and not just a defective substitute for it, Marjorie Welish elevates the medium of words. In lyrics driven at times by sound associations, at other times by style and literariness, these poems move freely among matters germane to the writing and reading of poetry itself.

Poetry. "THE WINDOWS FLEW OPEN is a collection long anticipated and now beautifully realized. It explores the inner landscapes of psyche and dream, but also the surface tensions and contradictory currents of the world before us. If, adrift on this flow or flaw, we are actually to go somewhere, as I think we must, then here are the words of the speaking boat, whose sail is a tongue"-Michael Palmer.

The Windows Flew Open

United States

Burning Deck

Poetry. ELSE, IN SUBSTANCE advances specific tactics for constructing poems of sequences, or parts of sentences. The title poem proposes that a word is put through trials of similarity and difference: The necessary dress/ The contingent dress.// For the thesis that/ realizing the ideal// cannot be/ in objects such as these// lexicons/ not self-identical,// as of forgetful Greece,/ say again,// say again,/ in memoriam// happens always, frequently/ in prophetic dress... Another poem, titled Possible Fires, compiles three procedures for rendering sentences from words, or rather, allows the relay, a variant of the relay, and an algorithm to do their work. These and the rest of the poems that constitute this book affirm Marjorie Welish as one of America's most challenging and rewarding authors. Welish is the author of AND THE WINDOWS FLEW OPEN (Burning Deck) and TWO POEMS (Z Press), both of which are available from SPD. Saddlestapled chapbook.

Else, in Substance

Paradigm Press

"A mastery of abstraction in language, deploying an eclectic and playful vocabulary" --Newsweek.

The Annotated "Here" and Selected Poems

Coffee House Press

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.

Word Group

“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 Ashbery
In 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 Okay Of or referring to antecedent future sentences in creases: as, insofar as, even as, yes! Of which antecedent 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.

Isle of the Signatories

Finished and finely wrung, this book is a linguistic experiment in active collaboration with matterthe dense data itself. Marjorie Welish, a painter in her multi-verse, leaves very little out though it may seem as if ruthless in being stark. But anaphora and lyricism lighten all passages. Her iridescent gray links her to Johns, and the very soft strophes of Morty Feldman. Her music may seem prolonged to some, but it is just long enough. I have been so impressed with her refusal of the dogmatic way. Her works are historical, social, and often lyrical in the desert, where the great dancers and the non-decorative architects meet, magically meet in one of our true baroque books of poetry. It’s not by accident that she appears in The Fold of Deleuze.” David ShapiroIn her new collection, painter, poet, and critic Marjorie Welish presents two books in one. In the Futurity Lounge” may be read as that de-centered laboratory of themodern futurity lounge where experimental works are in a constant state of being constructed. Her poems are written across, through, and at the expense of urban sites, themselves part architecture, part language, including Roebling’s Aqueduct, Wright’s Fallingwater, Diller Scofidio + Renfro’s High Line, and Rem Koolhaas’s student center at Illinois Tech. Asylum for Indeterminacy” is an extended zone of research devoted to translation constructed freely from a few given words from prior translations. Baudelaire’s Correspondences” is the provocation.

In the Futurity Lounge / Asylum for Indeterminacy

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Books by Welish, Marjorie

See the best price to sell, buy, or rent books by Welish, Marjorie. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Signifying Art: Essays on Art after 1960 (Contemporary Artists and their Critics)

Signifying Art: Essays on Art after 1960 (Contemporary Artists and their Critics)

Casting Sequences: Poems (Contemporary Poetry Series)

Casting Sequences: Poems (Contemporary Poetry Series)

The Windows Flew Open

Else, in Substance

The Annotated "Here" and Selected Poems

Word Group

Isle of the Signatories

In the Futurity Lounge / Asylum for Indeterminacy