Like those jellyfish that swell with future oxygen, / I live into my gender, balloon constantly rising

At sixteen, life is supposed to be safe. Things are supposed to be beginning. We are supposed to be weaning from the care and guidance of people who have raised us. We are supposed to be on the brink of our adult lives. We should be taking the reins and figuring out how to care for ourselves, and we should have our most basic needs met so that we can care for others. It’s a volatile, dizzying, restless age. It is not always sweet.

At once hermetic and worldly, ethereal and dense, this tightly focused exhibition reflects in its contradictions the difficulties and pleasures of Rockburne’s early career, which spanned from the late 1960s to the early ’70s.

We talked about light and dark, how to render it in paintings and drawings, and how it connects to spirit. We talked about Emerson and Thoreau. They connected their faiths to mine, to the pantheism I developed out there in the woods, and to art as faith. As I worked with artists in prison over the next couple of decades, I continued to see this transcendental connection to light and dark through their eyes.

It was night / Death slept naked / on God’s corpse

The buildings were rundown and whatever light came from them was like the leftover glow of an all-night party. Tonight, those same lights were electrified, lit up along the grid.

The job description was accurate: Assistant Needed for Commercial Body Modification Project was what it read, and Sherilyn was excellent at assisting, having done it most of her life.

And if they’re missing / in inaction, forgive them / Their useless pearls, nouns

Last March, Lucie Brock-Broido died at the age of 61. She left behind four collections, and the work within was characterized as “spooky,” “haunted,” or…

To “stet” is the act of making a textual change and then changing it back and so on and so forth. In the spirit of “stetting,” Stet also acts as…