ISBN 978-0-9913772-0-6, Blank Verse
2009-2015, is a collection of poems composed by rearranging and collaging reviews and publicity materials into mostly metrical, unrhymed lines of blank verse, removing any form of attribution,
systematically ‘blanking’ the subject as well as the originator of each poem. The poems are credited as being a
number of well-known critics and art writers, presumably the writers of the originary texts.
Prima Sakuntabhai – L.E.H.M.
Published in conjunction with a performative lecture, L.E.H.M. (Le Corbusier Entering Hadrian’s Mausoleum, 1965).
A narrator with an ambiguous accent and gender identity weaves together disparate facts in a performative lecture. The narrator uses three overhead projectors and collages of various architectural elements on transparency to illustrate the story. Central subjects of the presentation are two cylindrical structures built two thousand years and six hundred miles apart; Emperor Hadrian’s Mausoleum in Rome (135 AD) and Le Corbusier’s Obus Plans for Algiers (1933-1942). Jorge Luis Borges states in “The Circular Ruins” that the circle is a site for a man to procreate another man. Through the cipher of architecture the narrator draws a through-line between classical and modernist thought as material evidence of westward expansion and colonial conquest. The narrative is framed by the death and internment of the father of modernism as well as the plans for his final project, which was designed for Algeria, the final resting point of Hadrian’s conquest of the East.
Mirrors, which typically produce a crisp static image for the overhead projectors are used to duplicate and distort the projections. The narrator introduces hand-held external mirrors to embody a reversal of the reflected images. Projected light moves across walls, ceiling, and floor and occasionally breaks out of the bounds of the architecture to the street level. The narrator holds the act of reflection in their hands, both in the physical use of mirrors and in the allegorical conveyance of ideas. This challenges the legacy of the West seeing itself through “the other” and questions who can claim ownership and inheritance of classical and modernist thought.
Prima Jalichandra-Sakuntabhai lives and works in Los Angeles.
Edition of 100.$
Monica Rodriguez – Las Antillas para los Antillanos
Las Antillas para los Antillanos considers Puerto Rican nationalist Ramon Emeterio Betances’ call – Antilles for the Antilleans – for the foundation of the Antillean Federation to proclaim the independence of the Caribbean countries. The project is a collective of material contributions by Caribbean artists and other cultural producers. A selection of material contributions from the projects first iteration is now housed at Los Angeles Contemporary Archives (LACA).$
Molly Surazhsky – Mashacare
Mashacare: Home of the Freaks, Misfits, & Weirdos
This Lookbook draws upon the Mashacare SS19 Collection and uses sci-fi narratives to construct an imaginary floating city named after Surazhsky’s Babushka, Masha. Mashacare exists in a post-glacial future that Molly Surazhsky has created and fashioned clothing for, as a way to envision the inhabitants of a matriarchal and post-capitalist reality.
Text contributions by Scott Benzel, Hailey Loman, and Serena Aurora Day Himmelfarb.
Design by Síta Valrún.$
The Mountain School of Arts: The First Ten Years
Is a collection of 217 application essays submitted to the school between 2005 and 2015. The essays were colleced from the MSA’s incomplete archive, and are unedited but anonymized. They include both students who were “accepted” to the program, and those who were not.$