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No Medium
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; ...
No Medium
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; ...
Against Expression
Charles Bernstein has described conceptual "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Editors Craig Dworkin and Kenneth Goldsmith chart the trajectory of the conceptual aesthetic from early precursors such as Samuel Beckett and Marcel Duchamp through major avant-garde groups of the past century, including Dada, Oulipo, Fluxus, and language poetry, to name just a few. The works of more than a hundred writers from Aasprong to Zykov demonstrate a remarkable variety of new ways of thinking about the nature of texts, information, and art, using found, appropriated, and randomly generated texts to explore the possibilities of non-expressive language. --Book Jacket.
Twelve Erroneous Displacements and a Fact
Craig Dworkin presents his entire corpus of 13 FACT poems (2005-16) for the very first time in his latest book, Twelve Erroneous Displacements and a Fact (2016).Dworkin's FACT series is an exact list of the ingredients that make up the constituent components of the materials used to inscribe the text of the poem and the object on which its is published, hence the blunt title of the work. It's a self-reflexive, deconstructed meditation on the act of writing and of publishing, with an emphasis on the materiality of language.Each time Dworkin displays the poem he researches the medium on which it's being viewed and changes the contents accordingly. It's a flexible work-in-progress, which has listed the make-up of everything from a xeroxed sheet of paper to compact disc to smartphone touchscreen to dyed wool Himalayan rug. The idea is written on and through the material form.Published on the occasion of the exhibition, Reading as Art at Bury Art Museum & Sculpture Centre (27 August - 19 November 2016)
Helicography
Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson's iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies. Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are ...
Reading the Illegible
A poet takes another's text, excises this, prints over that, cancels, erases, rearranges, defaces-and generally renders the original unreadable, at least in its original terms. What twentieth-century writers and artists have meant by such appropriations and violations, and how the "illegible" results are to be read, is the subject Craig Dworkin takes up in this ambitious work. Reading the Illegible explores such formal and structural manipulations in a wide range of exemplary cases: John Cage's and Jackson MacLow's practices of "writing-through" other texts; the intentional "cancellations" of text by book artist Ken Campbell and conceptual artist Marcel Broodthaers; Susan Howe's experiments ...
No Medium
Close readings of ostensibly "blank" works--from unprinted pages to silent music--that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he com...
The Perverse Library
The Perverse Library includes Professor Craig Dworkin's bibliography (2,427 titles), a supplementary bibliography of absent and imagined books, and an accompanying essay arguing libraries are in fact defined not by what they contain, but by what books they exclude or fail to include. The essay also investigates the histories of libraries, makes a theoretical argument about the relation of canons to architectural space, and explores the psychology of collecting – including the pathology of bibliomania: 'He had but one idea, one love, one passion: books. And this love, this passion burned within him, consuming his days, devouring his existence.' Although they present themselves as figures of rational organization, library catalogues and classification systems can only hope to distract from the aberrant chaos they cannot exorcise. Published to accompany the exhibition The Perverse Library at Shandy Hall, Coxwold, North Yorkshire, 4 September – 31 October 2010, curated by Simon Morris.
Parse
Poetry. PARSE is a translation of Edwin A. Abbott's How To Parse: An Attempt to Apply the Principles of Scholarship to English Grammar. First published in 1874, the book played a leading role in the pedagogic debate over whether English should be analyzed as if it were Latin, and thousands of copies were printed as textbooks in the last quarter of the 19th century. When Dworkin first came across the book, he was reminded of a confession by Gertrude Stein (another product of 1874): "I really do not know that anything has ever been more exciting than diagramming sentences." And so, of course, he parsed Abbott's book into its own idiosyncratic system of analysis.
Language to Cover a Page
Poems and other texts from the 1960s by a pioneering conceptual artist that show a continuity with his subsequent work in performance and video art. Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the...
