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The White Review

The White Review
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Shifter Magazine | A topical print publication at the intersection of conte Asymptote magazine / archive | MOUSSE CONTEMPORARY ART MAGAZINE Recently, the Miami-based artist Jillian Mayer shared with me, a project that she, Erik Carter, and Tyler Madsen premiered in January 2014 at the Utah Museum of Fine Arts. The site is a real-time stream of images tagged #selfie on Instagram, a continuous cycle of faces from around the planet, at all hours, in all poses, in any number of social configurations: lonely teens in bathrooms, group shots in hallway mirrors, couples at dinner, bros at the game. The stream moves too quickly for any one selfie to stand out. Jesse Darling, Recuperation 2009-2013, 2013Courtesy: the artist Like selfies, the idea of poetics has found itself everywhere in the contemporary art world. Tyler Madsen, Erik Carter & Jillian Mayer,, 2014 Courtesy: the artists Darling’s poetics are explicitly rooted in the language of critical theory and directly challenge the textual and imagistic authority of objects circulated online. DIS, Courtesy: DIS Magazine

Ballardian Terremoto Paris Review Daily - Blog, Writers, Poets, Artists - Paris Review Donald Barthelme would’ve been, and should be, eighty-three today. It would be an exaggeration to say that I feel the absence of someone whom I never met—someone who died when I was three—but I do wonder, with something more than mere curiosity, what Barthelme would have made of the past twenty-odd years. These are decades I feel we’ve processed less acutely because he wasn’t there to fictionalize them: their surreal political flareups, their new technologies, their various zeitgeists and intellectual fads and dumb advertisements. But I’m losing the thread. I wanted to say something about lists. A zombie advances toward a group of thin blooming daughters and describes, with many motions of his hands and arms, the breakfasts they may expect in a zombie home. The list is the ideal vehicle here. INTERVIEWERWordsworth spoke of growing up “Fostered alike by beauty and by fear,” and he put fearful experiences first; but he also said that his primary subject was “the mind of Man.”

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