Phillipson works through, a series of not-always-comfortable juxtapositions, the idea that our flesh and bones are alienated and indeed separated from the cognitive, social self. Phrases recur like refrains against different backdrops or sound tracks, their sense in contextual flux. This is a complimentary article. Everything and nothing, to be accurate. In his book Making Your Own Days:
Heather Phillipson is an artist and poet. Subscribe to access the rest of the issue and our online archives. Phrases recur like refrains against different backdrops or sound tracks, their sense in contextual flux. Poetry arguably solicits negative capability, that ever-elusive capacity, more directly than any other art form: If consumption here involves commodities in general and points to an accelerationist eschatology, Phillipson elsewhere places other, related subsets of contemporary distractedness in play.
Find what I’m looking for. As an artist, she exhibits nationally and internationally.
CARDIAC UNREST: THE ART OF HEATHER PHILLIPSON – Artforum International
Cavalier, acerbic, droll and disconsolate, the text is a self-incrimination, the noise of the intellect giving its mechanics away. Mostly, we do the opposite.
You navigated gingerly through these jutting artifacts toward nof short digital films. For the viewer-listener, much apprehension comes via receptive avenues arguably faster and more finely gradated than those used for rational cognition: Everything and nothing, to be accurate. Heather Phillipson is an artist and poet. Brexit on the Essex Coast Tom Bolton. Suspended and strung about the glass-sided nto space were clusters of popped-open red umbrellas, corpuscular crimson trash bags and hot-water bottles, tennis rackets and tennis balls, and deflated killer-whale inflatables.
Since those initial ventures into three dimensions, Phillipson has been producing what might be described as embodied, spatialized poems.
Heather Phillipson | Poetry Foundation
Find out more about Heather Phillipson. Down on the concourse, flanked by cutout sperm whales, a huge concrete-gray polystyrene foot rotated on a circular dais, like a chunk of Ozymandias. Outside the tent, serving as a sort of preview, was a fake pet grave, dog legs sticking out.
She heatehr her writerly aptitude while studying art in London: Poetry arguably solicits negative capability, that ever-elusive capacity, more directly than any other art form: This text starts with the personal and scales up, touching on among other things sex, Chopin, CNN, and airports, as haether moves from the death of a beloved canine to the tale of a police hot that was killed after being sent ahead of human responders to investigate apartments in the wake of the November terrorist attacks in Paris.
Would we like to press together in the dark?
Here, in a culture of consumption in extremis, Phillipson brought the buzzkill. This text stakes out a bodily territory in which bodies are inflated and denied. Pgillipson video by Heather Phillipson.
NOT AN ESSAY
Are we prepared for faces? Can we still cope with torsos? This is heathee complimentary article. Subscribe to access the rest of the issue and our online archives.
For instance, she takes up food ethics directly, if eccentrically: Around these video-sculptural assemblies, the leashed canines that New Yorkers enjoy bringing to the fair happily noshed on dog biscuits. Dangling amidships were black-edged ann cutouts of spermatozoa-like splashes, jagged lightning bolts, giant eyes with spidery lashes. These projects have steadily grown in scope. Her debut, full-length poetry collection, Instant-flex will be published by Bloodaxe in Connect with us Thank you for subscribing to our email newsletter, Marginal Notes.
The chronicler is contrary, fallible — a body among bodies, a nervous pbillipson, an overwrought brain, the awareness of open pores, clothed in subjectively awful trousers.
Her pamphlet was published heatheer Faber and Faber in Preoccupied with intimacy and its opposite, its narrator detours through the nightclub, the city graveyard, changing rooms, an overheated swimming pool, free jazz, public toilets, the in-house cinema, searching for — what?
And only on the heels of that realization did it become clear that most of these elements were doing double duty, evoking not only grist for some unimaginable appetite but also, more obliquely, various accelerants of the heartbeat: If consumption here nott commodities in general and points to an accelerationist eschatology, Phillipson elsewhere places other, related subsets of contemporary distractedness in play.
Phillipson works through, a series of not-always-comfortable juxtapositions, the idea that our flesh and bones are alienated and indeed separated from the cognitive, social self.