She then flies to Art
Melding human form and furniture
Into a seamless whole
Valuing herself an unnatural bundle of hairs
All covered with Powder
No artists or poets without
A true desire to progress her
Exquisite handling of natural material
Shifts the ground of your polished
Mahogany and luminous opals
Idea of sociality the return to point zero
Where she studied under a number of notable
Where acting is the central point, not listening
The moment where the “I” ends
Puts on a Perriwig
And “the other” begins
Viewing contemporary art as a natural component
Of creating communal property—
A home
I was so continual an art designed by Michalengo©
Unnamable gallery a joy willow
Not separate stand-alone processes
They flow from the liberal arts core
Catastrophic forms of underbrushes, these sums'
Radical disarticulation to the root of
My journey – so authentic a ghost – scares another toast’s
Assumptions about the aesthetic autonomy
Between inside and outside
An institutionally cultivated sensibility
She is art
But you expect to hurry
Vestibules are inches
Farming art in abandoned lots
Most paint self-portrait projects
Twice demolished and snow has aged
Twice the beauty of recycled decay
Is the readymade as macho as the abstract painting?
When to practice is the balancing jet,
Has loss glanced?
Its artist is the branch
......................................(Frog Pond turns into a giant temple
......................................Made of “allure.” I had to
......................................Leave!
I'm excited to have contributed to your poem, so, I'm sure, is the Library of Congress!
ReplyDeletevery cool! i do feel a kind of kinship with the piece... : ) the title is quite resonant. the best line, given the collaborative context, is the perhaps self-reflexive "assumptions about the aesthetic autonomy." thanks for the invitation to contribute!
ReplyDelete