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Lecture

Matthew Day Jackson on Nancy Holt


Dia:Chelsea

Artists on Artists Lecture Series

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19/03/2019 18:30 19/03/2019 23:45 Europe/London Matthew Day Jackson on Nancy Holt Event DetailsTuesday, March 19, 2019, 6:30 pm Dia:Chelsea535 West 22nd Street, 5th FloorNew York City Free for Dia members; $10 general admission; $6 admission for students and seniors Advance ticket purchases are recommended. Tickets are also available for purchase at the door, subject to availability. Matthew Day Jackson was born in Panorama City, California, in 1974. He received his BFA at the University of Washington in Seattle, and his MFA at the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey. His multifaceted practice encompasses collage, drawing, installation, painting, performance, photography, sculpture, and video. Jackson’s recent solo exhibitions include: There Will Come Soft Rains at Savannah College of Art and Design in Atlanta (2015); Total Accomplishment at ZKM Center for Art and Media in Karlsruhe, Germany (2013); In Search of . . . at GEM Museum for Contemporary Art in the Hague, Netherlands (2012), Museo d’Arte Moderna di Bologna in Italy (2011), and Kunstmuseum Luzern in Lucerne, Switzerland (2011); and The Immeasurable Distance at the Contemporary Art Museum Houston (2009–10) and MIT List Visual Art Center in Cambridge, Massachusetts (2009). He currently lives and works in New York City and Wilson, Wyoming.     Dia:Chelsea FALSE DD/MM/YYYY Matthew Day Jackson on Nancy Holt
700 4

Poetry Reading

Rosa Alcalá and Laynie Browne


Dia:Chelsea

Readings in Contemporary Poetry

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16/04/2019 18:30 16/04/2019 23:45 Europe/London Rosa Alcalá and Laynie Browne Event DetailsTuesday, April 16, 2019, 6:30 pm Dia:Chelsea535 West 22nd Street, 5th FloorNew York City  Free for Dia members; $10 general admission; $6 admission for students and seniors Advance ticket purchases are recommended. Tickets are also available for purchase at the door, subject to availability.   Rosa Alcalá is a poet and translator originally from Paterson, New Jersey, who has published three books of poetry: MyOTHER TONGUE (Futurepoem, 2017); The Lust of Unsentimental Waters (Shearsman Books, 2012); and Undocumentaries (Shearsman Books, 2010). Her poems appear in American Poets in the 21st Century: Poetics of Social Engagement (Wesleyan University Press, 2018), among other anthologies. Recent publications include two edited volumes: Cecilia Vicuña: New & Selected Poems (Kelsey Street Press, 2018) and Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012). Alcalá has been the recipient of a National Endowment for the Arts translation fellowship and was a runner-up for the PEN Translation Prize. She teaches in the department of creative writing and the bilingual MFA program at the University of Texas at El Paso. Fashion’s Cycle            after Rana Plaza To be born is to riskthe ghost of a factory collapse  to try it on in intervalsin front of the mirror. I loved the baby dolldress like  no other. I can see it.I can see a hand reaching out to herbrother, as if to say: we will make itout of here. I wore it, I wore itout the  door. (originally appeared in The Nation, August 13–20, 2018) Laynie Browne is an editor, a poet, a prose writer, and a teacher. She is author of thirteen collections of poems and three novels. Her most recent collections include a book of poems You Envelop Me (Omnidawn, 2017), a novel Periodic Companions (Tinderbox Editions, 2018), and short fiction The Book of Moments (Presses universitaires de rouen et du havre, 2018), which was published in both English and French. Her honors include a 2014 Pew Fellowship for the Arts, the National Poetry Series Award for her 2007 collection The Scented Fox, and the Contemporary Poetry Series Award for her 2005 collection Drawing of a Swan Before Memory. Her poetry has been translated into Catalan, Chinese, French, and Spanish. Browne teaches at University of Pennsylvania and at Swarthmore College. Even if a woman sits at a loom  Slowly I learned that to pull her sentences apart was also to pull apart individual bodies. One had to learn them in relation. A sequence of words placed in one’s mouth become more intimate with familiarity. The charge deepens in texture, skin beneath the surface swells red.  Her words suffused my articulations until my tongue became that animal whose thirst betrayed a preference for complication. How might I transcribe thought when meaning itself is another sort of well, the original place of meeting?  We carry our vessels and return to the source.       Dia:Chelsea FALSE DD/MM/YYYY Rosa Alcalá and Laynie Browne