Articolo precedente
Articolo successivo

ii ss


pratt institute – school of architecture – rome program
invites you to view


ii ss
collaborative works : mixed media drawings and text by


hermine ford and kathleen fraser

inaugurazione: 3 aprile 2007 ore 17:30
piazza s. apollonia 3, trastevere roma


viewing hours will continue:
april 4 and 5, 17:30 to 20:30



Hermine Ford lives and paints in NYC and in Nova Scotia, and travels annually to Rome. She teaches painting in the graduate program at the Maryland Institute College of Art. Ford’s work has been featured in five solo shows in NYC, as well as in numerous group shows, with work appearing in a number of distinguished public collections including the Metropolitan Museum of Art, The Corcoran Museum and the Yale University Art Gallery. Exhibitions in 2007 have begun with Ford’s mixed media drawings in tandem with sculptor, John Newman, at Plattsburgh State Art Museum (N.Y.) and an expanded version of the collaborative project appearing here — a series of image/word pieces developed over the last year with the poet, Kathleen Fraser, from artifacts of their shared attraction to Italian art and history.

Artist’s Statement:

This work began in Rome and that city remains, in large part, the touchstone for the work I’m doing for ii ss. A very old, very great city rising up on top of its own debris, over and over again, brings to mind the idea that art and architecture are made from raw materials, recycled over the millennia. One’s eye and hand move over those materials while at the beach, in the mountains, in the studio, visiting an Italian city, and the artist remembers how they once were and rearranges them: water, mud, stones, the pigments and tiles. The work for ii ss grew so naturally, often responding to Kathleen’s words with my stored images, just as her words unexpectedly evolved from connections to my drawings — a process feeling exactly like a conversation between old friends.



Kathleen Fraser lives in San Francisco, teaching in the graduate writing program at the California College of the Arts. Since 1987, she has lived in Rome for five months each spring — writing, translating and absorbing the language and visual history of Italy & the Etruscans. She is winner of a Guggenheim Fellowship in Poetry and two National Endowment for the Arts fellowships, as well as the Frank O’Hara Poetry Prize (NYC).

In October, Fraser presented projections of her recent collaged texts & collaborative work with three graphic artists at the Contemporary Experimental Women’s Poetry Festival at Cambridge University/ UK. Recent books include DISCRETE CATEGORIES FORCED INTO COUPLING (2004, Apogee Press), hi dde violeth i dde violet (2004, Nomados Press), and her collected essays, Translating the Unspeakable, Poetry and the Innovative Necessity (2000, University of Alabama Press / Contemporary Poetics Series). She has previously collaborated on artist books with painters Sam Francis and Mary Ann Hayden. Chax Press has just published W I T N E S S, a letter-press limited edition, in collaboration with print-maker Nancy Tokar Miller.

From 1983 to 1992, Fraser published & edited HOW(ever), a journal for poets and scholars interested in modernist/ innovative directions in writing by 20th century women — now on the web as How2:

Working Note:

The movement between coherence and incoherence has long compelled me, pulling my attention to the physicality of single or paired words, even how the characters of b, i or t — in a particular typeface — deliver discrete visual phenomena of intent. I’ve noticed how an allowance for — & acknowledgement of — typo and error, in tension with known grammar, can be revelatory. The desire to reposition fragments and watch them adhere to newly forming word events comes from the deliberate pleasure of the unexpected, found in hybrid (or log-jam) forms untangled and realigned during the working process. When Hermine Ford and I decided to embark upon a collaborative project, I‘d been looking at her work for years, following its increasingly vivid preoccupation with visual maps and overlaps, her alterior views of the earth’s evolving materials and reformations. I wanted to respond to these with the direct physicality of pieces & overlaps of language in space, each bearing its own face.


Immagine tratta da Your New Face.

Print Friendly, PDF & Email

articoli correlati

Incantamenti, molteplice, identità

di Francesca Matteoni
Nella mia casa conservo una valigetta di cartone dove anni fa ho chiuso un incantesimo. Ne ricordo la fonte: era un lutto per il quale ho rinnovato una delle mie molte e bizzarre promesse infantili.

Geografia umana dell’alterità e migrazione del corpo. Su “Isola aperta” di Francesco Ottonello

di Teresa Tommasini
Con un verso di Hart Crane «la memoria, affidata alla pagina, è stata rotta» si apre l’arcipelago di poesie che compongono Isola aperta Isola aperta (Interno Poesia, 2020, pref. Tommaso Di Dio, Premio Gozzano e Premio Internazionale di Letteratura Città di Como Opera Prima).

La traduzione del testo poetico tra XX e XXI secolo

a cura di Franco Buffoni «Come riprodurre, allora, lo stile?» è la domanda che poco fa abbiamo lasciato in sospeso....

XV Quaderno di poesia italiana contemporanea

Franco Buffoni Prefazione “Come si riconosce una poesia?” si chiede Antonella Anedda presentando in questo volume la silloge Diritto all’oblio di...

La “Bestia divina” di Mario Fresa (e i suoi fiori caduti nell’ansia di un labirinto)

di Prisco De Vivo   "Colui che farà ricorso ad un veleno per pensare ben presto non potrà più pensare senza veleno." Charles...

Reading Natalia Ginzburg

Editor's Introduction Stiliana Milkova   Natalia Ginzburg (1916-1991) was an Italian writer, translator, playwright, and essayist. She worked as an editor at...
Andrea Raos
Andrea Raos
andrea raos ha pubblicato discendere il fiume calmo, nel quinto quaderno italiano (milano, crocetti, 1996, a c. di franco buffoni), aspettami, dice. poesie 1992-2002 (roma, pieraldo, 2003), luna velata (marsiglia, cipM – les comptoirs de la nouvelle b.s., 2003), le api migratori (salerno, oèdipus – collana liquid, 2007), AAVV, prosa in prosa (firenze, le lettere, 2009), AAVV, la fisica delle cose. dieci riscritture da lucrezio (roma, giulio perrone editore, 2010), i cani dello chott el-jerid (milano, arcipelago, 2010), lettere nere (milano, effigie, 2013), le avventure dell'allegro leprotto e altre storie inospitali (osimo - an, arcipelago itaca, 2017) e o!h (pavia, blonk, 2020). è presente nel volume àkusma. forme della poesia contemporanea (metauro, 2000). ha curato le antologie chijô no utagoe – il coro temporaneo (tokyo, shichôsha, 2001) e contemporary italian poetry (freeverse editions, 2013). con andrea inglese ha curato le antologie azioni poetiche. nouveaux poètes italiens, in «action poétique», (sett. 2004) e le macchine liriche. sei poeti francesi della contemporaneità, in «nuovi argomenti» (ott.-dic. 2005). sue poesie sono apparse in traduzione francese sulle riviste «le cahier du réfuge» (2002), «if» (2003), «action poétique» (2005), «exit» (2005) e "nioques" (2015); altre, in traduzioni inglese, in "the new review of literature" (vol. 5 no. 2 / spring 2008), "aufgabe" (no. 7, 2008), poetry international, free verse e la rubrica "in translation" della rivista "brooklyn rail". in volume ha tradotto joe ross, strati (con marco giovenale, la camera verde, 2007), ryoko sekiguchi, apparizione (la camera verde, 2009), giuliano mesa (con eric suchere, action poetique, 2010), stephen rodefer, dormendo con la luce accesa (nazione indiana / murene, 2010) e charles reznikoff, olocausto (benway series, 2014). in rivista ha tradotto, tra gli altri, yoshioka minoru, gherasim luca, liliane giraudon, valere novarina, danielle collobert, nanni balestrini, kathleen fraser, robert lax, peter gizzi, bob perelman, antoine volodine, franco fortini e murasaki shikibu.
%d blogger hanno fatto clic su Mi Piace per questo: