Insert Blanc Press

shhhh! it's poetry by Jon Rutzmoser

a short interview with the author, Jon Rutzmoser

 

What is the working title of the book?

shhhh! it’s poetry 

 

Where did the idea come from for the book?
I wanted to write a book about the “it” that is often (not) “gotten” in poetry—i.e. Do you get it? or I don’t get it.

 

What genre does your book fall under?
Poetry—although I was thinking about it as a performance score as well.

 

What actors would you choose to play the part of your characters in a movie rendition?
James Franco would play the lyric “I”.  He’d be wearing a David Wojnarowicz mask for the entirety of the film. 

 

What is the one sentence synopsis of your book?
The lyric poet is sifting through shit.

 

How long did it take you to write the first draft of the manuscript?
About two years, though I was working on other projects simultaneously. After the initial draft, I spent another year or so with the edits. 

 

Who or what inspired you to write this book?
CA Conrad’s Book of Frank was really important for the formal development of this project. Also, at the early stages of the project, I came across a video by Anna Molska—the one where she’s singing “Jesus Loves Me.” I wanted the same intensity and bodily reaction to sounds. Once the manuscript was finished and I was dealing with having to face what I’d done, I saw Richard Hawkins’ Third Mind at the Hammer. It gave me a lot of clarity and confidence to move forward with my edits.   

 

What else about your book might pique the reader’s interest?
Shit’s poetry. Also, I made a limited edition series of 9 prints that engage with the book’s content to varying degrees. 

 

Will your book be self-published or represented by an agency?
shhhh! it’s poetry was recently published by Insert Blanc Press. You may buy your copy here!

 

PreSale copies are starting to ship this week, get your copy before Valentine's day at the PreSale price!

 

 

 

shhhh! it's poetry
by Jon Rutzmoser
Paperback, 66 pages
Dimensions: 5.5" x 8.5" x 0.25"
ISBN: 978-0-9911092-0-3

Insert Blanc Press is pleased to announce the PreSale of shhhh! it's poetry by Jon Rutzmoser, accompanied by shhhh!, a limited edition of prints also by the artist. 

 

 

Beginning with the ‘it’ which is often (not) “gotten” in poetry (shhhh!)—ie. “do you get it?”—shhhh! it’s poetry by Jon Rutzmoser performs a contemporary ethics rooted in a process of seduction utilizing contemporary aesthetic discourses, childhood language games, open letters, and performance scores as combined technologies for understanding “subjectivity.” Centering around a “young male artist” at times evasive and at other times highly present, shhhh! it’s poetry, builds toward a quest for foundationlessness, moving the speaker through notions of Oedipal searching and psychoanalytic interpretation until he ultimately finds joy in the meaningful arbitrariness of language and performance. Often aligning this “young male artist” with the abject, Rutzmoser explores phallogocentricism in an attempt to reveal, revel (in), or rather revile (through) male shit. Obviously, this push towards metaphysics ultimately fails; nonetheless, it fails joyfully.

 

What in the hell is Jon Rutzmoser doing? I can’t tell you for sure, but if you’re ready to take a deconstructed joyride splattered with historical and socio-political provocations—dare I say seriousnesses—shhhh! it’s poetry is for you. If you take the ride, you may learn how to hear a mullet breathe, chuck your penis, dismantle/pay homage to the relationship between poetry and art, and become one joyful motherfucker. 
—Maggie Nelson

Self-documenting as both code and self-recording craze, preemptive of its own critique. Not Cartesian but Trecartian (as in Ryan): I record myself, therefore I am. Jon Rutzmoser’s kinetic poems start in medias res, no establishing shots for context: Is the she lover, mother, alter ego? Enter the slash: and as well as or and line break. As in voyeurism / exhibitionism / alphabetized exhibits. As in shhhh / piss / hush poems. It’s poetry. Not just poetry. Is poetry not just—? Thanks for asking. 
—Mónica de la Torre

Written by Mathew Timmons — February 07, 2014

Lounge Acts by Doug Nufer

Lounge Acts
by Doug Nufer

Paperback, 66 pages
Cover design by Gregory Coats
Dimensions: 5.5" x 8.5" x 0.25"
ISBN: 978-0-9814623-8-7

 

"Those are all names of drinks by the way. I didn't have to make anything up here!"
—Doug Nufer

Insert Blanc Press is pleased to announce the release of Lounge Acts by Doug Nufer, alongside The Lounge Acts lounge act, a 38 minute downloadable mp3 audiobook edition with Bill Horist on guitar, Wally Shoup on saxophone, and Doug Nufer on vocals, recorded by Robb Kunz at Barça Lounge, Seattle, June 27, 2013.

 

“Nufer tells the truth, even though he knows as well as the lord above knows: the truth is over-rated. Nufer is a poet who has you in the corner, eye to eye, giving you the skinny, or maybe he’s with you at the counter, sharing secrets, his hand grabbing yr arm the more he realizes yr ok. That’s how damn good a writer he is.”           
—Thurston Moore

“Lounge is by its nature a mixologist’s soundtrack, or, as Doug Nufer—no stranger to the fillies he—might crack, a track sound for the Gin Ricky playing back bar. And here, Nufer swings..”  
—Vanessa Place

“I can’t define that book. Sometimes I think it’s a book of poetry, sometimes I think it’s a reference book, sometimes I think it’s a conceptual art piece. It flows in and out of different contexts. I believe it will be received by the poetry world, by the writing world that I’m involved with. It got really juiced in the music world. We got major juice.”     
—Kenneth Goldsmith

 

Doug Nufer learned how to drink as a dishwasher for a seafood restaurant in Pt. Pleasant Beach, NJ, where he dumped the remains of incoming unfinished drinks into one cup and then chugged as he wiped off plates. Now he's a professional wine taster in Seattle and the author of six novels and three books of poetry. His novels include Never AgainNegativeland, and By Kelman Out of Pessoa. His poetry books include The Dammed and We Were Werewolves. He performs with the word band Interrupture, with musicians and/ or dancers, and by himself, on stages, in bars, in classrooms, and occasionally in fields and rivers.

Written by Mathew Timmons — November 22, 2013

shhhh! it's poetry

shhhh! it's poetry
by Jon Rutzmoser
Paperback, 66 pages
Dimensions: 5.5" x 8.5" x 0.25"

Insert Blanc Press is pleased to announce the PreSale of shhhh! it's poetry by Jon Rutzmoser, accompanied by shhhh!, a limited edition of prints also by the artist. 

Beginning with the ‘it’ which is often (not) “gotten” in poetry (shhhh!)—ie. “do you get it?”—shhhh! it’s poetry by Jon Rutzmoser performs a contemporary ethics rooted in a process of seduction utilizing contemporary aesthetic discourses, childhood language games, open letters, and performance scores as combined technologies for understanding “subjectivity.” Centering around a “young male artist” at times evasive and at other times highly present, shhhh! it’s poetry, builds toward a quest for foundationlessness, moving the speaker through notions of Oedipal searching and psychoanalytic interpretation until he ultimately finds joy in the meaningful arbitrariness of language and performance. Often aligning this “young male artist” with the abject, Rutzmoser explores phallogocentricism in an attempt to reveal, revel (in), or rather revile (through) male shit. Obviously, this push towards metaphysics ultimately fails; nonetheless, it fails joyfully.

What in the hell is Jon Rutzmoser doing? I can’t tell you for sure, but if you’re ready to take a deconstructed joyride splattered with historical and socio-political provocations—dare I say seriousnesses—shhhh! it’s poetry is for you. If you take the ride, you may learn how to hear a mullet breathe, chuck your penis, dismantle/pay homage to the relationship between poetry and art, and become one joyful motherfucker. 
—Maggie Nelson

Written by Mathew Timmons — September 10, 2013

General Projects: A Show for You: Closing Party & Performances

[image from Abercrombie and Fitch Quarterly, Back to School 2003 ($7) The Sex Ed Issue Text by Slavoj Žižek]

 


General Projects: A Show for You
Closing Reception & Performances
Saturday, August 17th, 2013 at 8pm
Email insertpress@gmail.com for address

 

Insert Blanc Press HQ / Chris Niemi Studio
Downtown Los Angeles 

 

We would like to invite you to the closing party for General Projects: A Show for You a summer show at Insert Blanc Press HQ / Chris Niemi Studio with performances throughout the evening. 

Doors open at 8pm 
John Hogan at 9pm
Christian Cummings at 10pm
Greg Curtis at 9pm

 

The show will consist of artists on Insert Blanc Press alongside various other artists we've recently met, and some who are relatively new to Los Angeles. Work in the show will consist of sculpture, photography, painting, video, performance and etc... Besides the opening we have scheduled dates for events to make room for time based work such as readings, lectures, performances, screenings and etc with Friday August 9th focused slightly more on video screenings.

We're in Downtown LA in a warehouse and have a fair amount of open wall and floor space. We live here and are excited to have our living area also function as a gallery and performance space! You may see a list of artists below and we will be adding surprise performances to the list. 

We would love you to join us for General Projects: A Show for You


Artists:
Lauren Cherry & Max Springer 
Andrew Choate 
Greg Curtis 
Christian Cummings 
Andrew Durbin 
Amy Garofano 
Alexandra Grant 
Doug Harvey
Katie Herzog 
John Hogan
Janne Larsen 
Jackie Laurita 
Chris Niemi
Steve Roden
Karin Stothart 
Ben White 

Written by Mathew Timmons — August 11, 2013

General Projects: A Show for You: Film Screenings & Fright Catalog Launch Party

[image from Abercrombie and Fitch Quarterly, Back to School 2003 ($7) The Sex Ed Issue Text by Slavoj Žižek]

 


General Projects: A Show for You
Film Screenings and Book Launch Party
Fright Catalog by Joseph Mosconi
Friday, August 9th, 2013 at 8pm
Email insertpress@gmail.com for address

 

Insert Blanc Press HQ / Chris Niemi Studio
Downtown Los Angeles 

 

upcoming
Closing Reception and Performances
Saturday, August 17th, 2013 at 8pm

 

Film Screenings and Book Launch Party
Fright Catalog by Joseph Mosconi 
Friday, August 9th, 2013 at 8pm

 

We would like to invite you to General Projects: A Show for You Film Screenings & Book Launch Party for Fright Catalog by Joseph Mosconi at Insert Blanc Press HQ / Chris Niemi Studio. 

Doors open at 8pm 

Film Screening: Karin Stothart 
and Book Launch Party at 9pm

 

image by Anna Drake

 

The show will consist of artists on Insert Blanc Press alongside various other artists we've recently met, and some who are relatively new to Los Angeles. Work in the show will consist of sculpture, photography, painting, video, performance and etc... Besides the opening we have scheduled dates for events to make room for time based work such as readings, lectures, performances, screenings and etc with Friday August 9th focused slightly more on video screenings.

We're in Downtown LA in a warehouse and have a fair amount of open wall and floor space. We live here and are excited to have our living area also function as a gallery and performance space! You may see a list of artists below and we will be adding surprise performances to the list. 

We would love you to join us for General Projects: A Show for You


Artists:
Lauren Cherry & Max Springer 
Andrew Choate 
Greg Curtis 
Christian Cummings 
Andrew Durbin 
Amy Garofano 
Alexandra Grant 
Doug Harvey
Katie Herzog 
John Hogan
Janne Larsen 
Jackie Laurita 
Chris Niemi
Steve Roden
Karin Stothart 
Ben White 

Written by Mathew Timmons — August 06, 2013

General Projects: A Show for You - August 3, 9 & 17 - Insert Blanc HQ / Chris Niemi Studio

[image from Abercrombie and Fitch Quarterly, Back to School 2003 ($7) The Sex Ed Issue Text by Slavoj Žižek]

 


General Projects: A Show for You
Insert Blanc Press HQ / Chris Niemi Studio
Downtown Los Angeles
Email insertpress@gmail.com for address

 

Opening Reception and Performances
Saturday, August 3rd, 2013 at 8pm

Film Screenings and Book Launch Party
Fright Catalog by Joseph Mosconi 
Friday, August 9th, 2013 at 8pm

Closing Reception and Performances
Saturday, August 17th, 2013 at 8pm

 

We would like to invite you to General Projects: A Show for You a summer show at Insert Blanc Press HQ / Chris Niemi Studio. 

The show will consist of artists on Insert Blanc Press alongside various other artists we've recently met, and some who are relatively new to Los Angeles. Work in the show will consist of sculpture, photography, painting, video, performance and etc... Besides the opening we have scheduled dates for events to make room for time based work such as readings, lectures, performances, screenings and etc with Friday August 9th focused slightly more on video screenings.

We're in Downtown LA in a warehouse and have a fair amount of open wall and floor space. We live here and are excited to have our living area also function as a gallery and performance space! You may see a list of artists below and we will be adding surprise performances to the list. 

We would love you to join us for General Projects: A Show for You


Artists:
Lauren Cherry & Max Springer 
Andrew Choate 
Greg Curtis 
Christian Cummings 
Andrew Durbin 
Amy Garofano 
Alexandra Grant 
Doug Harvey
Katie Herzog 
John Hogan
Janne Larsen 
Jackie Laurita 
Chris Niemi
Steve Roden
Karin Stothart 
Ben White 

Written by Mathew Timmons — July 15, 2013

Interview with Boris Dralyuk, translator of A Slap in the Face

Hello Insert Blanc Readers! Recently, Saul Alpert-Abrams (an editorial assistant for the press) interviewed Boris Dralyuk, translator of A Slap in the Face: Four Russian Futurist Manifestos (now on pre-sale from Insert Blanc Press), over at the World Literature Today Blog

They talked about futurism, Russian politics, translation, and horses! Boris holds a PhD in Slavic languages and literature from UCLA and, among other things, is the translator of Leo Tolstoy’s How Much Land Does a Man Need (2010); co-translator of Polina Barskova’s The Zoo in Winter: Selected Poems (2011) and Dariusz Sośnicki’sThe World Shared: Poems (BOA Editions, forthcoming in 2014); and author of the monograph Western Crime Fiction Goes East: The Russian Pinkerton Craze 1907–1934 (2012). He is also co-editor, with Robert Chandler and Irina Mashinski, of the forthcoming Anthology of Russian Poetry from Pushkin to Brodsky (2015). He received first prize in the 2011 Compass Translation Award competition and, with Irina Mashinski, first prize in the 2012 Joseph Brodsky / Stephen Spender Translation Prize competition. I am sure you will enjoy his brilliant explanations and his bright new translations for Insert Blanc. 

 

Saul Alpert-Abrams: What did you translate, and where and when were these originally published?

 

A Slap in the Face

 

Boris Dralyuk: I translated four manifestos, each signed by one or more members of the most accomplished Russian futurist group, Hylaea; the first manifesto was published in Moscow, and the rest in St. Petersburg, or Petrograd, as that city was known during the Great War. Hylaea—which, as I write in my preface, never fully embraced the term “futurist”—fostered and fed off the talents of two great Russian poets, Velimir Khlebnikov and Vladimir Mayakovsky. Both Khlebnikov and Mayakovsky would prove too prodigiously talented and protean to be contained by any single group, much less by any collective manifesto’s declarations. And indeed, one of the interesting things to observe in this collection is the emergence of Mayakovsky’s voice; the first manifesto (1912) is signed by a core group of Hylaeans, the second (1913) by nearly the entire group, the third (1913–14) by the core members along with a newly inducted former antagonist (Igor Severyanin), and the last, “A Drop of Tar” from SEIZED (1915), is signed by Mayakovsky himself. 

SAA: The manifestos claim a clean break from literary tradition, and although little is mentioned outright about politics, the polemic is distinctly subversive. To what extent are these manifestos a call to political reform as well? What, briefly, was the social situation under which these were composed?

BD: More than subversive—these people didn’t see themselves as sub- anything. They were superversive! They had to drag “Pushkin, Dostoevsky, Tolstoy, and so on, and so on” onto the “steamship of modernity” just so they could toss them off. The Hylaeans were at the helm from the start.

As for politics, well, that’s complicated. The Russian intelligentsia—to which the Hylaeans belonged, whether they liked it or not—were a fairly radicalized group. Not all were bomb-throwing terrorists, of course, but there really were Russian bomb-throwing terrorists; it wasn’t just a European cliché. Most of the older and well-established intelligentsia were what was called liberal—that is, reformist, seeking to secure civil liberties, a greater space for civil society. Only a relatively small set were out-and-out Marxists, and they too had split into numerous factions by the early 1900s. Nonetheless, there was a general sense that the time for reform was long overdue. Russia underwent the first of its three revolutions in 1905, after its disastrous defeat in the Russo-Japanese War; initially, the reformers gained some ground, but it all proved too much for the tsarist authorities, who initiated a reactionary crackdown in 1907. By 1911, when the Hylaeans emerged, Russian intellectuals sensed that the country—if not the whole world—was on the brink of . . . that they were dancing on the precipice of . . . well . . . something. 

The Russian Hylaeans had no clear political program. They were more left than right, but that was a general trend. (It would have been very difficult for them to proclaim full allegiance to the tsarist regime. That would really have been a provocation, but of a very different sort!) Khlebnikov was a utopian thinker, embracing his own brand of pan-Slavism, and would become increasingly engrossed in mathematical calculations that he felt would predict the future. David Burlyuk was vaguely leftist, as was Benedikt Livshits—but the former emigrated after the revolution of 1917, and the latter was executed as an enemy of the people in 1938. Mayakovsky was the most politically radical member of Hylaea, and the closest to the Bolsheviks; he had been a member of the Bolshevik faction as early as 1908 and, after the October Revolution of 1917, proudly served the cause by pumping out slogans for posters, candy wrappers, etc. In 1922 he and his post-Revolutionary “futurist” colleagues founded LEF—the Left Front for Art; the former Hylaean, Kruchenykh, was also an associate, if not a full member. The 1920s were the heyday of futurist-Bolshevik collaboration. Mayakovsky’s suicide in 1930 marked the end of that period. It also secured his installation in the Soviet pantheon; once he was safely dead, Stalin proclaimed him “the best, most talented poet of our Soviet epoch.”

SAA: Where did the pre-Revolutionary futurists stand in the estimate of, say, Trotsky—one of the more sophisticated readers and literary critics among the Bolsheviks? Here’s a passage from his Literature and Revolution (1923–24):

Russian Futurism was born in a society which passed through the preparatory class of fighting the priest Rasputin, and was preparing for the democratic Revolution of February 1917. This gave our Futurism certain advantages. It caught rhythms of movement, of action, of attack, and of destruction which were as yet vague. It carried its struggle for a place in the sun more sharply, more resolutely and more noisily than all preceding schools, which was in accordance with its activist moods and points of view. To be sure, a young Futurist did not go to the factories and to the mills, but he made a lot of noise in cafes, he banged his fist upon music stands, he put on a yellow blouse, he painted his cheeks and threatened vaguely with his fist.

The workers’ Revolution in Russia broke loose before Futurism had time to free itself from its childish habits, from its yellow blouses, and from its excessive excitement, and before it could be officially recognized, that is, made into a politically harmless artistic school whose style is acceptable. The seizure of power by the proletariat caught Futurism still in the stage of being a persecuted group.

And this fact alone pushed Futurism towards the new masters of life, especially since the contact and rapprochement with the Revolution was made easier for Futurism by its philosophy, that is, by its lack of respect for old values and by its dynamics. But Futurism carried the features of its social origin, bourgeois Bohemia, into the new stage of its development.

 

Futurist book covers

 

BD: So what did the Hylaeans have in common with the Bolsheviks? An explosive hatred for the old order, and a common enemy—the bourgeois. There are two renderings of the French wordbourgeois in Russian:burzhua, a more-or-less neutral word, phonetically transcribed without malicious tweaking into Cyrillic script, and burzhuy, an ugly epithet. Here’s Mayakovsky’s most famous couplet, from 1917: “Eat your pineapples, chew your grouse, / Your last day draws near, you bourgeois louse!” The original rhymes “chew” (zhuy) with “bourgeois” (burzhuy). And there you have it: the bourgeois as a fat, contented consumer, chomping on game birds and sucking the marrow from their bones. And we, the artists of the future, should cater to his whims, grovel for his patronage? Not a chance. There’s some economic component to this critique, to be sure, but it’s primarily a matter of taste. The bourgeois is, first and foremost, a class enemy for the Bolsheviks and an aesthetic enemy for the Hylaeans.

SAA: What was the real threat to which the futurists were reacting in writers such as Pushkin, Tolstoy, and Dostoevsky?

BD: Not all the Hylaeans were ready to toss Pushkin, Tolstoy, and Dostoevsky overboard. Benedikt Livshits refused to sign the first manifesto because, as Vladimir Markov writes, “he knew the past too well . . . and he considered it hypocritical to debunk Pushkin while keeping his books under the pillows.” In general, Pushkin presented little to no threat in himself; it’s what had been made of Pushkin, the “white-marbled” statue, which inflamed the Hylaeans. But what do you expect? Pushkin is Russia’s “strongest” poet, in the Bloomian sense, and each generation enacts its agons in its own ways. The slash-and-burn agon of the Russian futurists may now seem as comically pathetic as it was exuberant, but it did produce new strong poets: in this case, Khlebnikov and Mayakovsky, and perhaps even Kruchenykh. Kruchenykh’s step away from the Russian literary tradition was surely the most radical. He founded a new poetics, called zaum, which is often translated as “transrational”; it literally means “beyond-mind,” so Paul Schmidt’s “beyonsense” may be the best rendering. Zaum, which was christened in Kruchenykh’s “Declaration of the Word as Such” (1913), liberated the word from bondage, establishing its supremacy over “common” sense: “the new word form creates new content, not the other way round.” In the collection Pomade (1913), he offered some examples of his new approach, “3 poems / written in / (my) own language / it differs from others: / its words have no / definite meaning,” the most famous of which is: 

Dyr bul shchyl
ubesh shchur
skum
vy so bu
r l ehz

Some of these combinations of letters are impossible in Russian orthography (shch and y in“shchyl”); others are standard Russian words (vy is the formal/plural “you”; so is “with”) that lose their meaning in the new context. In a manifesto written later in 1913 and titled simply “Word as Such,” Kruchenykh and Khlebnikov claim that there’s “more of the Russian national [in ‘Dyr bul shchyl’] than there is in all of Pushkin’s poetry.” This new “beyonsense” poetry—an extreme form of askesis, if we’re to stay Bloomian about it—is a dead end, of course. For one, it requires headnotes and manifestos written in more or less comprehensible Russian, a language to which both Khlebnikov and Kruchenykh eventually returned. But the radical departure did its work, pushing Russian literature in a new direction at precisely the time when the old idols were in decline. Tolstoy had died in 1910, symbolism—the dominant poetic and literary movement of the preceding two decades—had entered into a “crisis” that same year, and the world to which both had responded was about to change utterly.

SAA: Today we are used to the manifesto as a genre, but in the early twentieth century it was a brand-new endeavor. What was so radical about the genre in and of itself, in this case? And who was its audience?

BD: Yes, the manifesto was a radical genre! A manifesto was not only a declaration of beliefs, but a declaration of war on all other movements. Who was the audience? The simplest answer is anyone who cared to read it—or to listen. As Mayakovsky writes in “A Drop of Tar,” these were speeches “to be delivered at the first favorable opportunity.” The futurists were masters at drawing crowds. Their yellow blouses, painted faces, suspended grand pianos “and so forth, and so forth,” represented the latest advances in épater la bourgeoisie but were also calculated to bring la bourgeoisie out in droves to their lectures and performances. Futurism became a fashion, and you can see the Hylaeans straining against this in the later manifestos. But they’d asked for it. Hell, Trotsky was right about futurism’s “social origin”: “bourgeois Bohemia.”

SAA: As David Shook says in the preface, “translation is literature’s salvation from provincialism, from the stagnancy that flourishes with insularity.” This brings to mind two questions. First, with a new and more experimental translation, what relevance will it have for readers now? 

BD: Simply put, these manifestos are a lot of fun. And people interested in the movement—who want to know why it appealed to so many people, why it proved so provocative—deserve a translation that captures some of the originals’ spirit, energy, and charm. I like what David says about translation. I’ll add what Pushkin, the Hylaeans’ bête blanc, said on the matter. He called translators the “post-horses of enlightenment.” That’s not an insult; we get the message across. And horses are noble creatures. Even Mayakovsky urged us to have “A Good Attitude to Horses,” to treat them well, in his poem of 1918:

Horse, don’t cry.
Horse, please listen –
Why should you think you’re worse than they are?
Little one, look:
all of us are to some extent horses,
each of us is a horse in his own way.
(tr. Angela Livingstone)

And here’s another poem from an almost unknown futurist, a young man from my hometown, Odessa, who wrote under the pseudonym Anatoly Fioletov (1897–1918). It likely inspired Mayakovsky’s longer poem. Fioletov was gunned down by bandits who may have mistaken him for his brother, a famed detective and con artist named Osip Shor.

How admirably self-possessed –
these horses of a lower class,
who show complete indifference
to the troubles of existence. 

How did we get on the subject of horses? I suppose it’s because I don’t really like talking about translation.

SAA: What is the significance of publishing this with Insert Blanc Press, a press focused on experimental literature?

BD: I think Insert Blanc is the perfect press for these manifestos. The proto-Hylaeans published their first collection, the original Trap for Judges, in 1910. They ordered the book to be printed on wallpaper. An extravagant choice, which drove the printers up the wall. On top of that, they couldn’t scrounge up the money to pay for it, so most of the copies stayed at the printers’ warehouse and eventually disappeared. There was no “art for art’s sake” at that print shop. At Insert Blanc, I’m blessed with a publisher who’d leap at the chance to work with wallpaper, and doesn’t expect me to shell out any cash. What more could I ask for? 

Ultimately, the choice hinges on sympathy and solidarity. Insert Blanc has the right spirit—a commitment to the new, in whatever form it may take, as well as a respect for the history of innovation. There’s nothing quite as sad as thinking one is breaking new ground when that ground has long been broken. It behooves the avant-garde of today to know in whose hoofmarks they follow. 

SAA: Finally, in A Drop of Tar, Mayakovsky addresses the problem of the death of futurism. To what extent do you believe that “today, all are futurists. The folk is a futurist”?

BD: This is a thoroughly ambiguous statement. In his own day, it may have meant that the people had caught up with futurism thanks to the conflagration of the Great War, which was rapidly destroying the old order. The war had already begun to take a toll on Russia; people were grumbling, and they’d soon do more than grumble. As for today, no, I don’t feel that the folk is a futurist. Maybe it could use a slap, if we could just get it all in one place at the same time.

Los Angeles, May 2013

Written by Saul Alpert-Abrams — May 13, 2013

Insert Blanc Press Seeking A Brilliant Intern

 

Insert Blanc Press Seeking A Brilliant Intern

Insert Blanc Press is currently seeking a brilliant intern. We've got a couple brilliant editorial assistants, find out more about them on our about page, and maybe you can be a brilliant intern too. Please post and share this widely and be in touch insertpress@gmail.com

 

An internship at Insert Blanc will offer you a glimpse into the secret insides of small press art and literary publishing from a not non-profit perspective. As an Insert Blanc Intern you will be at the center of the day-to-day workings of a small press, assisting with editorial decisions, book design and production, copy-editing and proof-reading. You will gain the experience of ushering work from initial idea to fully realized, beautifully produced and finalized project. You will also have the opportunity to assist in event planning for readings, special events and press benefits. You will gain a holistic perspective of the arts and literary landscape in Los Angeles as well as nationally and further abroad while working on publicity & marketing to promote Insert Blanc Press' various books, art series and other projects. You will assist in developing print projects through press releases, tracking and logging reviews and you will work with and help to develop the press' media assets to create web content, web updates and newsletters while building out various social networking platforms. You will gain a broad understanding of the publishing world while submitting books and publications for awards and working to increase book sales through developing partnerships with art and literary bookstores worldwide and locally while reaching out to larger institutions to encourage them to support the press and become subscribing members.

 

Please be in touch thru insertpress@gmail.com and in a few short paragraphs explain why you would be a brilliant Intern for Insert Blanc Press. Interest in contemporary art and literature is a plus and so are excellent writing and communication skills. Knowledge of InDesign, Illustrator andor Photoshop and some familiarity with audio/video editing is a big plus. Those with adept abilities in the social media sphere are also sought after.

 

This position requires the ability to meet face-to-face and so any brilliant intern must live in Los Angeles and be willing to meet in the downtown Los Angeles area on a periodic basis.

Written by Mathew Timmons — July 08, 2013

PARROT Summer Sale! 2013!!!

 

PARROT Summer Sale! 2013!

For a Limited Time Only!

While Supplies Last!

 

It's Summer again, For REAL! and we're doing a PARROT Summer Sale 2013 style! Like last year we've reprinted a small quantity of our back catalog to make them available again for you to purchase at a 15% discount. Get a Subscription or pick up a pandemonium of parrots at a 15% discount by using the code [[ ParrotSummerSale2013 ]] during checkout. It's that easy, no sweat, good times, good PARROTS!!!

 

 

Hooray for Summer and the PARROT Summer Sale 2013!

Get your copies of PARROT 1-19 while supplies last! PARROT 1 My Beautiful Beds by Stephanie RiouxPARROT 2 A House on a Hill (A House on a Hill, Part One) by Harold AbramowitzPARROT 3 All Bodies Are The Same and They Have The Same Reactions by Allison Carter, PARROT 4 But On Geometric by Joseph MosconiPARROT 5 Loquela by Allyssa Wolf, PARROT 6 Viva Miscegenation by Brain Kim Stephans, PARROT 7 On the Substance of Disorder by Will Alexander, PARROT 8 I Fell in Love With a Monster Truck by Amanda Ackerman, PARROT 9 Politicized Pretty Picture by Stan Apps, PARROT 10 I Can Feel by Teresa Carmody, PARROT 11 Forcible Oral Copulation by Vanessa Place, PARROT 12 Fried Chicken Dinner by Janice Lee, PARROT 13 Tramps Everywhere by Amina Cain, PARROT 14 Fur Birds by Michelle Detorie, PARROT 15 Kept Women by Kate Durbin, PARROT 16 Pieces of Water by Michael Smoler, PARROT 17 Airline Music by Amarnath Ravva, PARROT 18 My Little Neoliberal Pony by K. Lorraine Graham, PARROT 19 Break Bloom Burn by Maximus Kim.

So much good stuff. So Much Good Stuff!

 

 

Issues of PARROT 20-23 still forthcoming! PARROT 20 The Missing Link by Jen Hofer, PARROT 21 Pre-Symbolic by Brian Ang, PARROT 22 Erotic in Czech Republic by Ara Shirinyan, PARROT 23 Complex Textual Legitimacy Proclamation by Mathew Timmons!

Yes! All that stupendous wonderfulness!

You should probably subscribe to the series Now!

 

Written by Mathew Timmons — July 01, 2013

Ruin Upon Ruin by Ben White

 

Ruin Upon Ruin
by Ben White
Essays by Doug Harvey and John Hogan
Hardbound, full color
Dimensions: 8.75” x 11.5” x 0.5” 110 pages approx.

 

The Insert Blanc Monograph series continues with Ruin Upon Ruin by Ben White accompanied by a Limited Series of paintings available for sale from Insert Blanc Press. 

 

To Celebrate we're offering a 25% discount on previous volumes from the Insert Blanc Monograph series. Use the discount codes [[ Herzog25 ]] or [[ Russell25 ]] during checkout when purchasing either Katie Herzog: Object-Oriented Programming or Pattern Book by Christopher Russell.

Ruin Upon Ruin by Ben White collects a number of White’s paintings into a single body of work from over the past four years, featuring over 20 paintings along with numerous details and images from his sketchbook. A large format, full color, hardbound edition of approximately 110 pages with essays by Doug Harvey and John Hogan, Ruin Upon Ruin by Ben White is forthcoming in fall 2013 and available now at a special Pre-Sale price of $45.00.

 

Noah sends forth a chendytes lawi after coming to rest atop the Library Tower, 2011.

 

Ruin Upon Ruin
Paintings by Ben White
Acrylic and enamel on panel
35” x 42” x 3”
2010-2013

 

Ruin Upon Ruin, Ben White’s Insert Blanc Press series, is a group of 15 original paintings to accompany White’s artist monograph, Ruin Upon Ruin, forthcoming in fall 2013 and available now for Pre-Sale. Each painting will come with a signed copy of Ben White’s artist monograph, a large format, full color, hardbound edition of approximately 110 pages with essays by Doug Harvey and John Hogan.

 

Thomas Jefferson Sets Himself On Fire in the Parking Lot 
of the Blockbuster Video Near The Creation Museum, 2010.

 

“Ben White conflates figures from American history and folk tales with contemporary box stores and roadside attractions, pointing to the relativity of cultural import and the collapsible nature of intellectual, philosophical and religious “progress” in America.” 
- John Hogan, Art21, May, 2012.

“Ben White's paintings merge anachronistic personages, events, biblical narratives, and popular culture to create a fantastic, nonlinear interpretation of history. … The incongruencies are absurd, and the absurdity itself pulls them into the present. ... It becomes our history again, on equal terms with the present and once again acceptable as subject matter for contemporary painting. Historical gravity, leavened by wit, becomes a source of pleasure and fascination.” 
- Lara Bank, California Contemporary Art, Summer 2010

 

Franco and Deitch are Thrown from a Phoenician Trading Ship, 2011.

 

Born in 1978 in Jacksonville, FL, White studied painting, drawing, and printmaking at the Florida State University School of Art from 1997 to 2001. Two of those years were spent studying, researching, and creating work in Florence Italy, where he first began to develop a visual language that spoke to the recondite nature of established historical narratives and the visual propaganda which creates those narratives. White was accepted into the Fine Arts program at California Institute of the Arts in 2001. While earning his M.F.A. at CalArts, he developed a more intellectually sophisticated painting practice, which, while still speaking to the oppressive political and ideological uses of evolving historical narratives, became heavily influenced by, and indebted to the writings of Walter Benjamin, Roland Barthes, as well as other writers, artists, and musicians engaged in critical discourse.

White's work and curatorial design have been shown in numerous group and solo exhibitions at venues such as Blythe Projects, The Torrance Art Museum, Sea and Space Explorations, the Santa Monica Museum of Art, and many others. White is the a recipient of the Pollock-Krasner Foundation Grant for 2011-2012, and his collaborative work has been seen in Flaunt magazine. He co-produces and hosts the art and culture show "The People" on KCHUNG radio 1630AM, and currently lives and works in Los Angeles, CA.

Written by Mathew Timmons — June 22, 2013