Author: Admin

6×6 event photos

Man Playing Guitar Man Playing Guitar Album 6x6 event photos Knockdown Center Disco Ball Knockdown Center Disco Ball Album 6x6 event photos Crowd Shot 3 Crowd Shot 3 Album 6x6 event photos Male Poet Reading Male Poet Reading Album 6x6 event photos Crowd Shot 2 Crowd Shot 2 Album 6x6 event photos Female Poet Reading Female Poet Reading Album 6x6 event photos Outdoor Shot Outdoor Shot Album 6x6 event photos Duckling Press Editor Reading Duckling Press Editor Reading Album 6x6 event photos Jimmy\'s Thrift Sign Jimmy\'s Thrift Sign Album 6x6 event photos Crowd Shot 1 Crowd Shot 1 Album 6x6 event...

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Greg Stewart – On Location/New York

Currently the circulation of Esopus is about 30,000, with readers in all 50 states and 23 countries. The very loyal base of subscribers is about 2,000. The consistent success of Esopus has been its ability to provide the readership with an eclectic mix of art, as well as the good publicity that has been following it since its early editions. It has been reviewed in The New York Times, along with many international publications which have spread it around the globe.

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BOOKS and More Books/September 2017

    Floating Tales by Jeff Friedman ISBN 978-1-941196-46-5 $21.95, paper. Plume Editions, MadHat Press Asheville NC https://madhat-press.com/collections/plume-editions   Floating Tales by Jeff Friedman With an introduction by Daniel Lawless   Reviewed by William Doreski Although the tone and mood of the prose pieces in Jeff Friedman’s new book vary from the witty to the incongruous to the zany, his subject is a serious one: the hulking presence of the absurd in ordinary lives. In his semi-fictional world bees have souls, Adam becomes the snake, someone pulls a singing clown from a hat, and a horse watches TV with a child. Friedman’s work is resolutely contemporary, but rooted in twentieth-century surrealism and Dada, To place himself in a genre context he prefaces his book with a quotation from the remarkable Russian absurdist Daniil Kharms.  And all three blurbs on the back of this vivid little collection link Friedman to Russell Edson. But while he has certainly learned much from Kharms and Edson and others, Friedman has a distinctive voice that resembles no one’s, and his wit, compression, and sense of structure are often superior to those of his predecessors. “Chair” illustrates these strengths. It begins, “When the man rises from a chair, after reading the newspaper, his body is shaped like a chair.” This compact, rhythmic sentence lays out the entire prose poem to follow. After further distortions occur,...

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Painting Rust & Blood and Salsa – Tom Bradley Review

Full disclosure: Jonathan Penton is this reviewer’s fraternal twin. That’s right. The author currently under examination was parturated clinging onto my red-hairy ankle. He entered upon this particular incarnation all primed to fuck me out of my birthright for some dribbles of lentil soup the color of blood, salsa and unpainted rust. So, how have I managed, in this strange critique, to approach my rival sibling’s stuff with such an unjaundiced eye? Is it due to the magisterial disinterestedness of my critical faculty?

Perhaps it’s just because—as I’ve suddenly come to realize, now that Bradley’s Complaint has been duly lodged and I’ve delivered myself of my authorial pet peeve—I don’t give a fuck. I don’t even recognize the notion of birthright.

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Barbara Rosenthal: A Crack in the Sidewalk

    A Crack in the Sidewalk Barbara Rosenthal   — NYC, Sept 1, 2017. My monthly column A Crack in the Sidewalk is by this first sentence here now, back upon the Earth. Greetings, dear readers! The column logo is what it looked like when it first launched, in 1963 for The Franklin Square Bulletin when I was fifteen. It’s back, and you are reading it now as a result of several factors (as are all phenomena that make it into reality). The intervening 54 years notwithstanding, my old Bulletin column and new one here in Ragazine are a continuum. The column will continue its “large” view approach, looking at its topics in strata. In Franklin Square my ambience was an “upper-working class” neighborhood; in NYC it is the “undercurrent” artworld. A Crack in the Sidewalk will address the practice and politics of this segment, and if you read Ragazine it is OUR segment. The word “undercurrent” comes from the cozy artspace at 215 E. 5th St. run by Katie Peyton, where a chance conversation out on the sidewalk a few months ago (Jan. 11, 2017) sealed my mind to take a crack at it again. I emerged up the narrow wrought-iron steps from Savannah Spirit’s strident, daring curatorial in the basement clubhouse. Following me up the stairs was legendary gallerist Sefan Stux. On the sidewalk was painter Mike...

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History…

The name Ragazine was coined in the mid-’70s in Columbus, Ohio, as the title of an alternative newspaper/magazine put together by a group of friends. It was revived in 2004 as ragazine.cc, the on-line magazine of arts, information and entertainment, a collaboration of artists, writers, poets, photographers, travelers and interested others. And that’s what it still is.