Photographing the Dead: The History of Postmortem Photography from The Burns Collection and Archive
FIRST BOOK BROOKLYN HOLIDAY PARTY & FUNDRAISER
OPERA ON TAP/Roulette Sisters.
Troubadour Kaul is a collaboration project between the two people exploring poetry, travelogues, prose, photography and music. Their art-words have appeared in various magazines and journals. Their poetry is forthcoming in print issues of Full of Crow, Pyrta Journal, Redaction: Poetry & Poetics, Alligator Stew, Micro Poetry Anthology, Mud Luscious Press and elsewhere in Fall 2012. Troubadour Kaul is also a Guest Editor and Poetry reviewer at Cha: An Asian Literary Journal and will be the on the masthead of the Golden Sparrow Magazine’s upcoming ‘Best of’ print edition.Despite a 2011 Best of the Net + two Pushcart Prize nominations + winning the Golden Sparrow Poetry Prize 2011 and being shortlisted as a finalist in the Best Short Writing in the World in 2012, their ranking in the Indian arranged-marriage-market remains dismal. An MFA in Poetry and promoting their first full length collection of poems seems to be the modus operandi for a happily ever after in 2012.The series “Letters to Samārā” are excerpts from Troubadour Kaul’s first collection of prose-poetry. His body of work explores the themes of existence, love and identity through the headset of a wayfarer writing to his beloved back home. The work draws its allegories from the Bhagwad Gita, German philosophy and pop-culture precepts with an occasional foray into European mythology.
From #occupy to revolution
Robert Ashley:That Morning Thing
The Oven: AND HUMBABA CAME FROM HIS STRONG HOUSE OF CEDAR
Citizen Cartography Workshop: Build a Virtual Atlas of New York
THE STORY COLLIDER: BODIES IN MOTION
The Underdeveloped and Overexposed Life and Death of Deena Domino
Aid and Abet: Working With NGOs
99% – The Occupy Wall Street Collaborative Film
To hold your name
should not conjure up
days of stifling suns.
It shouldn’t mean hands
that fold themselves
over and over
like obsessive handkerchiefs.
Your name shouldn’t be a red dot
blinking in some warehouse,
warning of an open door.
I should feel no spider crawl,
hairs gluing and ungluing
themselves up my arms.
Your name should be flour or sugar.
Substantial. Spotless. Filling.
It should carry the taste
of a lemon drop,
rolling and moist
on my lapping tongue.
Valentina Cano is a student of classical singing who spends whatever free time either writing or reading. Her works have appeared in Exercise Bowler, Blinking Cursor, Theory Train, Magnolia’s Press, Cartier Street Press, Berg Gasse 19, Precious Metals and will appear in the upcoming editions A Handful of Dust, The Scarlet Sound, The Adroit Journal, Perceptions Literary Magazine, Welcome to Wherever, The Corner Club Press, Death Rattle, Danse Macabre, Subliminal Interiors, Generations Literary Journal, Super Poetry Highway, Stream Press, Stone Telling, Popshot and Perhaps I’m Wrong About the World. You can find her here: http://coldbloodedlives.blogspot.com
22: First the background questions, where did you grow up and how did you get involved with art?
OPHELIA CHONG:I grew up in the wilds of Canada, in the city of Toronto. I remember my first collage, in grade five; it was a collage made of magazine bits and it was blue and green. During my formative years I was an explorer, I would ride my bike from mid-town to the lake and back; I would disappear for a whole day, exploring the city on my three-speed bike. I quickly outgrew Toronto and packed up and left for Los Angeles. I went to the Art Center College of Design and graduated with a BFA in Painting. I am an adjunct professor there in the Photography Dept.
OPHELIA CHONG: I love seeing the possibilities of color. Of using the pieces of paper as paint, my X-acto knife the brush.
22: What about the fusion of collage and design appeals to you? Are they really just versions of the same thing?
OPHELIA CHONG: It’s all the same thing, I see it all as color and form, no matter what medium it is.
22: You also seem to have a penchant for typography and presses where did that start?
OPHELIA CHONG: Shapes, I love the curves of typography. When I was younger I would sit in class sketching serif fonts. I loved the thin with the thick, the swoosh and staccato of forms in typography. When I first used a Vandercook Press six years ago, I was hooked. I love the ink pressing into the paper, the randomness of where the letters fell onto pieces of ephemera that I put through the press. How each piece was a singular piece of art. Never to be repeated twice. I use only vintage magazines to print on, therefore each piece is non-repeatable.
22: Can you explain your 35mm slide work (surreal cereal) process a little? What inspired working with collage this way? Any specific artists?
22:Who are some of your favorite designers or artists in general?
OPHELIA CHONG:All art from the 16th – 18th century. Fritz Sauter ( a Swiss printmaker), 15th century Gothic churches, Orson Welles, Paul Rand, [Richard] Neutra, music for the clavichord, the flavor of the week and anything that makes me want to grab an X-acto knife.
22: How did you start working on the slips of paper series? What was your first collage for that?
OPHELIA CHONG: I started in 1999, but if I had to trace it back, since I could use scissors. I picked up a small Moleskine sketch book in 1999 and started sticking bits of paper in it to relieve the stress I was going through at my job as a Creative Director. I filled books and books with “slips of paper”, not really going towards an end goal, just to keep myself from the digital world. All my work is non-digital.
22: How do you balance your professional life with your artistic career, do the two ever clash? Or do they enhance each other?
OPHELIA CHONG: I melded both into one. I have a rep in NYC for my illustration, and I now have a studio that I sit in all day working. I love it. Work = Love = Happiness
22:What are you currently working on? Any upcoming projects?
OPHELIA CHONG: I am writing more, I write commentary for KCET ( a local TV station in Los Angeles) and for howtosplitanatom.com . I have work traveling from Barcelona to NYC, it will take 2 years to finish my travels. My letterpress work is at the Hunt Gallery at Webster University in St.Louis. My project now is to keep cutting paper and I know I will never tire of it; the only time I get into trouble is when I cut up something someone was still reading. Never leave anything you want to read around me, it just might end up in a collage.