Kirjahaku

Alex Katz celebrates an old friendship, illustrating Brainard’s 1970s journals with charcoal flower drawings In this tender posthumous collaboration initiated by Alex Katz (born 1927), the artist embellishes journal entries by his old friend Joe Brainard (1941–94) with a new series of exquisite charcoal drawings of flowers (a popular motif in Brainard’s own art). Katz and Brainard often collaborated with poets—particularly those of the New York School, such as Ted Berrigan, Anne Waldman and Ron Padgett—on artists' books, poetry publications, book covers, writings and paintings. Brainard’s journal entries in this volume, written between 1971 and 1972, express this milieu, with accounts of conversations and expeditions with Waldman and Padgett as well as frequent mention of his appreciation for Katz’s work: “How Alex has remained so pure all these years is beyond me,” he notes in one entry, enumerating his favorite Katz works. Katz’s charcoal drawings are simple and clear in execution, matching the serene clarity that famously characterizes Brainard’s prose.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity.Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity. Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

In the mid-1960s, legendary artist and writer Joe Brainard (I Remember) teamed with poets such as John Ashbery, Frank O'Hara, Barbara Guest, Ron Padgett, Kenneth Koch, Ted Berrigan, and many more for these pioneering collaborative comic strips--unavailable for decades and collected here for the first time. "PEOPLE OF THE WORLD... RELAX " In the creative hotbed of 1960s New York, Joe Brainard was a whirlwind. He was a maker of paintings, assemblages, collages, book covers, poetry reading fliers, and more. But some of his most exciting work was done with his friends. In 1964, the twenty-two year old Brainard turned his talents to rewiring the lowly comic book form into something new and surprising. He invited his friends Frank O'Hara, Ted Berrigan, John Ashbery, Kenneth Koch, Peter Schjeldahl, Anne Waldman, Ron Padgett, and others--all of them New York School poets--to collaborate with him on comics that they would write and he would draw. The results were unlike any comics seen before. Previously available only on the rare-book market (at very high prices) but available here under one cover for the first time, the two issues of C Comics still feel as fresh as when the first page rolled off the mimeograph machine over sixty years ago. Brainard's energetic line and joyful humor charge across every page, illustrating Frank O'Hara's recasting of a cowboy as a mash note-writing lover, Ron Padgett's experiments with traditional cartoon sound effects (ROAR GRRR SKREE ), surprising cameos by Ernie Bushmiller's Nancy, and heaps of Dadaesque delights. This edition includes a foreword from Padgett and an essay by comics historian Bill Kartalopolous, who details the creation (and creators) of C Comics. A masterpiece of collaboration and spontaneity, C Comics is a testament to the vastness of Brainard's creativity and his ability to push any artistic form in a new and powerful direction.

Based upon the Chinese translation of the Dhammapada, of which approximately two thirds of the verses have been selected for commentary. This work contains chapters which quote a number of verses, followed by tales relating the events surrounding the origin of each verse.

Joe Brainards Jeg husker består av en strøm enkeltsetninger, som alle begynner «Jeg husker …». Men setningene følger ikke hverandre kronologisk, som man kanskje kunne forvente, men har i stedet en mer eklektisk struktur. En søkende og prøvende hukommelse. Boken mangler ikke fans blant mer kjente forfatternavn, en av disse er Paul Auster, som har uttalt: «I Remember is both uproariously funny and deeply moving. It is also one of the few totally original books I have ever read.» Dette til tross har boka, som første gang ble utgitt i 1970, fortsatt et beskjedent publikum i Norge. Kanskje kan denne oversettelsen gjøre noe med det.

Forfatteren og kunstneren Joe Brainards mesterværk I Remember fra 1975 er en moderne klassiker. Bogen kredser om opvæksten i Oklahoma, om venner, idoler og kunstnerdrømme i New York, om genstande og seksualitet, men efterhånden forstår man at disse erindringer, der ved første øjekast er personlige også er universelle – det er på en måde "alles erindringer". Bogen er blevet hyldet og kopieret siden udgivelsen af så prominente navne som Paul Auster og George Perec.