Stories and Art

Stories and Art Book Reviews between visual and verbal representation’ (p. 11). There quibble that nevertheless forces us to think about how we are chapters on Lawrence Weiner, in which his sculptural arrange models of influence and intellectual culture for a configurations of linguistic signs are scrutinised as ‘forms of poet like O’Hara. But one sure example was William potential’ by Katie L. Price; on Nancy Spero’s obstinate Carlos Williams, described by O’Hara as one of just three manipulation of text by Rachel Warriner, who is interested American poets who were ‘better than the movies’, and in the feminist manifesto as form as much as political in- whose ‘commitment to the vernacular of everyday tent; as well as Julie Phillips Brown’s account of Ann American experience’ is brought to bear in three of the Hamilton’s 1999 myein installation, which represented the collection’s essays (Blinder, Price, and Gander) (p. 11). United States at the Venice Biennale, as a ‘liminal struc- Williams’ pithy statement, that there are ‘no ideas but in ture, acting both as opening and enclosure, aperture and things’, is reprinted in G&G’s introduction and manipu- veil’ (p. 162). Moreover, in Gander’s essay, the conversa- lated by the editors to remind us http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oxford Art Journal Oxford University Press

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Publisher
Oxford University Press
Copyright
© The Author 2017. Published by Oxford University Press; all rights reserved
ISSN
0142-6540
eISSN
1741-7287
D.O.I.
10.1093/oxartj/kcx020
Publisher site
See Article on Publisher Site

Abstract

Book Reviews between visual and verbal representation’ (p. 11). There quibble that nevertheless forces us to think about how we are chapters on Lawrence Weiner, in which his sculptural arrange models of influence and intellectual culture for a configurations of linguistic signs are scrutinised as ‘forms of poet like O’Hara. But one sure example was William potential’ by Katie L. Price; on Nancy Spero’s obstinate Carlos Williams, described by O’Hara as one of just three manipulation of text by Rachel Warriner, who is interested American poets who were ‘better than the movies’, and in the feminist manifesto as form as much as political in- whose ‘commitment to the vernacular of everyday tent; as well as Julie Phillips Brown’s account of Ann American experience’ is brought to bear in three of the Hamilton’s 1999 myein installation, which represented the collection’s essays (Blinder, Price, and Gander) (p. 11). United States at the Venice Biennale, as a ‘liminal struc- Williams’ pithy statement, that there are ‘no ideas but in ture, acting both as opening and enclosure, aperture and things’, is reprinted in G&G’s introduction and manipu- veil’ (p. 162). Moreover, in Gander’s essay, the conversa- lated by the editors to remind us

Journal

Oxford Art JournalOxford University Press

Published: Aug 1, 2017

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