Tony Albert | Mid Century Modern-Spear Fishing | 2016 | pigment print on paper | 50 x 50 cm | edition of 2 + 1AP
Image courtesy of the artist and Sullivan+Strumpf.
LAND Editorial: Jane Gibian and James Stuart
Artwork:
12 Pigment Prints on Paper by Tony Albert
Essays:
Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’ by David Brooks
Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast by Stephen Collis
Un(dis)closed: Reading the Poetry of Emma Lew by Ann Vickery
Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey by Nadia Rhook
World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation by Lucy Van
The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes? by Ben Walter
Concrete: A Shikoku Pilgrimage by J P Quinton
Scholarly:
Vorticist Portraiture in Mina Loy’s Anglo-Mongrels and the Rose by Urvi Majumdar
‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice by David Dick
Translations:
Three Translated Takako Arai Poems by Rina Kikuchi and Jen Crawford
Three Translated Nguyễn Man Nhiên Poems by Nguyễn Tiên Hoàng
Four Translated Gerhard Fritsch Poems by Vincent Kling
Petrus Augustus de Génestet’s ‘Peaen to the Netherlands’ by Fiona Graham
Interviews:
Archiving the Present: Ivy Alvarez Interviews Conchitina Cruz
‘The concept of risk is intensely personal’: Jonno Révanche Interviews Hera Lindsay Bird
It’s a neat twenty-five years since Jill Jones’s first book, The Mask and the Jagged Star, was published and in that time she has built for herself a reputation as a serious and ambitious poet whose work demands, and generally rewards, close reading. She is certainly not a poet of easy gestures or flashy effects.
Conchitina Cruz teaches creative writing and comparative – literature at the University of the Philippines in Diliman. Her book, Dark Hours, won the 2006 National Book Award for Poetry. Cruz is also the winner of two Palanca Awards: one in 1996 for Second Skin, and another in 2001 for The Shortest Distance.
In 1966 John Ashbery published Rivers and Mountains. The departure from the fractures of The Tennis Court Oath (1962) are immediately apparent: it is a return to a language still distinctly marked by Ashbery’s usual probing and misdirection, but without the direct dislocations committed to denotative meaning, form and syntax in the earlier book.
In Walk Back Over, Wiradjuri woman – read: poet, academic, historian, teacher – Jeanine Leane takes off our wallpaper to reveal the personal and political layers of a nuanced history.