November–December 2018

Volume 8, Number 4.

Print and Poetry

For millennia it was humanity’s highest expression—words arranged to give eternal life to ineffable experiences and aspirations. Sometime in the 20th century, however, “poetry” became a punch line: a place holder for the effete or impractical; the thing every parent supposedly dreads to hear mentioned in the same breath as “career plans.” Cast in the role of the moody cousin to the socially gregarious novel, poetry has something in common with printmaking in its persona as painting’s underperforming stepchild. The artists who choose to work with poets, and the poets who conspire with artists, are not in it for the public glory. They are in it because in the expectant gap between word and image lies a universe they want a part of.

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