Friday, December 2, 2016

PIRANESI'S HOUR

Art did us a favor
with Piranesi's hour
as master engraver
in his era
along with Blake
and Goya
as these precursors flower
into Romanticism
with its interior decoration
of a prismatic poetic creativity
as he accepts his invitation
amid the charismatic emblems
from the dramatic ready altar
at the hidden edgy border
of the Order of Malta.


FAIRFIELD PORTER'S WAY

As a life long supporter
at the ambivalence
between realism's rule
and abstract expressionism
on Fairfield Porter's way
knowing his connection
to the helms of Red Grooms
Ashbery, O'Hara
in James Schuyler's day
embracing as an adolescent
the painting "Under the Elms"
from his many scented
domestic interior rooms
as favored domestic critics
Clement Greenberg
and Harold Rosenberg
are waiting on
as the New York school rises
from old European
catacomb tombs.



JOHN CAGE'S ETCHING

Cage's etching,
"Seventeen drawings
by Thoreau"
always blows us away
at the Solway gallery
in which bright leaves
alight on feathers
by ice cracking scenes
at nature's netting of trivia
in culture's sketches
vetting on copperplate
of a drawing randomness
yet a critic awaits
eyeing Cage's collection
hears a musical score
with it its A tonal moving
surreal yet language free
poetic connection
wanting to view
and hear more.

WHO IS EILSHEMIUS?

A bard who paints gorgeous
landscapes of the avant -garde
who escapes any definition
but colors without a canvas
exclusively on cardboard
yet moves in waterfalls
and upon curves from colors
all on glassy surfaces
for Louis, to inspire
you have a higher purpose
in part, Eilshemius
for us to believe
in a desire for the miraculous
yet naive in art.



MAX KLINGER'S "GLOVE"

Searching as an artist
for a glove at the ice rink
as an annalist
of a poetic painter
in symbolism
who makes us think
as we cling
to our own Freudian
magnetism of assumptions
without any sectarian
lonely presumptions
only a meaning to be enjoyed.

Thursday, December 1, 2016

ESTABAN VICENTE'S TIME

Your knowledge
of collages
like edges
of minimal art
with less of the brush
in precision for an exercise
that we rush toward
may be imprecise and hidden
in part of fragmentation
as basic pigment is crushed
toward a culture in an id
of your sculpture and painting
from the New York school
by interior rooms
as the liberated shapes
of an individual tone
instead instructed
the particulars into vermilion
of linear arrangement
drapes the sunny windows
as in "Roon 113 Red"
in its area's shadows
from the initial "Blues"
dissolves its collateral colors
into cobalt, gold, pink,
blurring the marginal
in a miracle of wonder
undersold in the minimal
by a faultless buffer
to its directness
and liberate a color surface
in cahoots and in part
from a supervised chance
of form in tracing zones
poised for a short distance
in palette and elemental plate
from a tenuous technique
in the roots and theory
from the tree of knowledge
at the dry bones of art
forming an ambiguous state
to make us aware to think.






AT THE REGATTA

After my string recital
in Harvard Square
my uncle and aunt
take me out
to a French restaurant
after having raspberries
and a croissant for desert
I'm seriously thinking
of his paintings,
ceramics and tapestries
of Raoul Dufy
since he drew regattas
in his perspective in 1962
at Paris which we viewed
now we decide to go
to the crew race on the Charles
where local students row.