By News & Resources Editor Martin Elwell. Send me your found poetry news.
Kenneth Goldsmith is back! This time, he’s answering questions about Twitter for Sheila Heti at The Believer. You can also read Heti’s conversations with several other artists just by scrolling to the bottom. Here’s my favorite part of the KG interview:
SH: People maybe steer clear of Twitter and social media because they don’t want to be influenced by it. What do you think of these people?
KG: I think they’re idiots.
FPR’s Jenni B. Baker was in the news again, this time at BuzzFeed. Krystie Lee Yandoli profiled the Erasing Infinite project and sampled some highlights from Baker’s page-by-page erasures of Infinite Jest.
Jenni B. Baker is creating her own poetry by erasing words from pages of David Foster Wallace’s classic novel Infinite Jest.
These speak for themselves. Brought to you by Kurt Andersen (@KBAndersen).
The Metropolitan Museum of Art recently released five decades worth of publications on art history to read, search or download. Start remixing! Courtesy of Austin Kleon (@AustinKleon).
After Admiral Perry broke through Japan’s isolation in 1854, the current of Japanese trade flowed west again, bearing with it the colored wood cuts of Hokusai, Hiroshige, and their contemporaries. Some of the most avid collectors of these prints were the French Impressionists and Nabis, who found in them new ways to treat their own prints. In The Great Wave, Colta Feller Ives, Curat or in Charge, Department of Prints and Photographs, The Metropolitan Museum of Art, recounts the phenomenal “cult of Japan” in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin.