I am reading Rem Koolhaas's Delirious New York and I hit a patch on the skyscraper that made me immediately think of Andy Warhol. Now I am not going to Google "Koolhaas and Warhol" because I want to think that I was the first person to come up with this shit, but the link between the writings of Koolhaas and the films of Warhol seems to me to be such a no-brainer that I doubt it.As Koolhaas quotes on the Empire State Building, "Empire State seemed almost to float, like an enchanted fairy tower, over New York. An edifice so lofty, so serene, so marvelously simple, so luminously beautiful, had never before been imagined. One could look back on a dream well planned."
The Empire State Building as Dream Tower, which got me thinking of Warhol's 1964 film Empire. An eight hour five minute epic shot of the Empire State in slow motion. Empire is John Giorno's wet dream in Sleep, the 1963 Warhol film. The ever erect phallus of the skyscraper. I place the photo of Edie above as an ironic comment, because as Koolhaus makes clear in his section on the Basin Girl, the skyscraper must suppress biological function, the female. The Empire State will never ejaculate, will never deflate, and to do so as with proven by the World Trade Center is disaster.
In its infancy, the skyscaper, such as the Flatiron Building, the World Tower Building, or the Equitable Building, is merely a model of sheer multiplication. The repetition of the block or site upward. In homage to Warhol, Padgett creates literary skyscrapers, such as Nothing in that Drawer, which repeats vertically "Nothing in that drawer." Similarly, Joe Brainard constructs in a piece "Andy Warhol's Sleep Movie," his own Empire by stacking the phrase "I like Sleep." But the Empire State Building of the Mimeo Revoultion is C Press's 2/2 Stories for Andy Warhol, which consists of ten sheets of the exact same found text stapled together. The capstone is the thermofaxed Warhol cover, which links Empire with Blow Job by featuring a cropped and distorted photo of Ondine receiving oral sex in a bathroom. This photo is likewise stacked, one on top of the other, the two stories for Warhol which tell a tale of the Empire, Sleep, Blow Job, and the Basin queered.
JB
MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
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MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
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MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
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